Q&A: Hitting the Wall, Moving to France, Dreaming of Sofia

You asked so I'm answering. Not all the weekly questions of course. If I did that I'd be typing for a whole week with only your questions to guide me. I've selected a dozen questions to answer and here they are. 

Tyler: Do you think Leonardo DiCaprio and Kate Winslet give good performances in Titanic?
Nathaniel: Hmmm. Define "good". I didn't expect this question to give me pause but it did. I'll try to keep this short. I adore Titanic (1997) and not ironically. I have a certain level of teary devotion to instantly iconic performances like those, to movie-movie performances that maybe aren't nuanced or perfect but serve their movie in a seismic way. I think of Leo's floppy bangs or Kate's fiery curled tresses and I go all mushy inside and have a sudden desire to draw hearts all over notebook folders with a ball point pen. *Ahem*. So, I love Leo & Kate in Titanic, especially as a unit, but I think they both have kind of rough moments in it. (Seriously. That was the best take?). Still, if I'm on the ship and in charge of divvying up the lifeboats, Leo & Kate get one first. Women and children can fend for themselves. " Ladies Movie stars first!"

Kin: Pick a country to live in besides America, but base your reasons only on movies.
Nathaniel: France, bien sûr. Do I even need to explain? It's the birthplace of cinema and the auteur theory, the Eiffel Tower is key to a million famous movie scenes, the French New Wave still fascinates, and the list goes on. Also they have Deneuve so this win be landslide.

Matthew: How do you feel about acclaimed actresses who seemingly play themselves or variations of the same character in every film? I'm thinking of, in particular, Mary-Louise Parker and Zooey Deschanel, among other actresses whose overall versatility leaves something to be desired. Do you think they are deserving of accolades for their overall body of works when compared to say an actress like Kate Winslet or Julianne Moore.
Nathaniel: Many of the most beloved actors of all time did just this, particularly before The Method took over. Cary Grant is genius but always Cary Grant. Mae West wouldn't be Mae West if she wasn't Mae West. And so on. So as long as we like that core person they're playing and they're versatile enough to spin it or smear it or mess with it in small ways a little from role to role, we're good. That said, Mary Louise Parker needs to get the hell off of Weeds.  WHAT IS SHE STILL DOING THAT SHOW FOR? She's calcifying. That is way too long to play the same character when said character is already so close to who you've always played. 

SoSueMe: Which actors have hit a wall creatively and have pretty much shown us all that they can do?
Nathaniel: Ding. Ding. Ding. Other than Mary Louise Parker. I am pretty sure that Johnny Depp has misplaced his entire once-prodigious well of creativity and is on perma-auto-pilot for the past six years.

I worry a little bit about Leonardo DiCaprio, too. I'm willing to be proven wrong in J. Edgar but I absolutely don't believe that directors challenge or control him enough. He's so talented but I think his career has been too easy for him. If you never have to struggle -- and his struggling ended abruptly when he was only 23 --  don't you lose the hunger that leads people to ravenously attack their role as if this is the one, the best chance to prove their gift? His performances feel too samey and not just because of the furrowed brow and The Dead Wives Club. But when he's "on" he's really something (see The Departed, key passages in The Aviator and ⅔ of his pre Titanic output.)

Manuel: IF Winona Ryder was not burned out at the time and did The Godfather III, do you think the movie would have been better with her?

my answers and the Question(s) of the week after the jump

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Julianne is Dope. Also: Links

The Far From Heaven team cleaning up at the Indie Spirits in 2003IndieWire so it looks like it's really happening *sniffle* Julianne Moore is moving to television. After that Sarah Palin telefilm turn she's doing a pilot for an HBO series called Dope.

But it's not all bad news: Todd Haynes and Christine Vachon are involved so it's essentially the great Far From Heaven team. Cross your fingers that it's worthy of their collective gifts! It'll have to be really really special to be that. 

The series would be set in the 1950s and is based on this novel. Publishers Weekly describes Moore's character like so.

Josephine "Joe" Flannigan, is a former heroin addict and hooker who has recast herself as a petty thief and con. Working her home turf, New York City's Hell's Kitchen, she is taken up by a mysterious well-to-do couple to find their addict daughter, expelled from Barnard and lost to the streets. 

So there's room for great acting. We shall see.

The Linkies
The Wrap Patti Smith is working on a biopic of sorts -- it's based on her memoirs of her early years with photographer Robert Mapplethorpe in the late 60s/early 70s -- with screenwriter John Logan. Who on earth could play Patti Smith? She's kinda strange looking and Hollywood only hires beauties. Here's what they looked like when the movie would take place.

ArtsBeat David Cronenberg's A Dangerous Method will get a gala screening at the NYFF.
Latina Antonio Banderas on his long artistic separation from Pedro Almodóvar 'tween Tie Me Up! Tie Me Down! and The Skin I Live In (coming soon... and also getting a gala NYFF screening).

And speaking of Almodóvar, how amazing is this Rossy de Palma wall art by Adrian Valencia? I went to his site via a series of Lady Gaga drawings that are just stellar. 

© Adrian Valencia, 2011

 The Funnies
Ultra Culture "Cowboys and Aliens Fact Sheet"
My New Plaid Pants Quote of the Day from Jean Claude Van Damme [nsfw] 
The Hairpin an amusing review of Rise of the Planet of the Apes with drawings 
I09 "ten vestigial traits you didn't know you had". Robert Gonzalez, who wrote this, is funny. 
Bachmanneyezed a new tumblr  

Antonio Banderas, Ham. Ryan Gosling, Driven.

Gee, do you think Antonio Banderas is glad to be back in an Pedro Almodóvar picture or what? Here he is posing for photographs at Cannes with his The Skin I Live In co-star Elena Anaya (Talk to Her) and Pedro himself (cutest director/muse picture of 2011?). Photos via Zimbio via Getty Europe.

In other Cannes news, Off LVT that is, though we haven't yet seen premiere photos, Ryan Gosling's vehicle Drive, has been seen by critics. Which prompted this hilarious tweet from In Contention's Guy Lodge.

Ryan Gosling in DRIVE

DRIVE (A-) I won't lie to you: I pretty much want to have sex with this movie. Hot, clipped, nasty, beautiful. Best thing in competition.

I told him if he'd only film that, he'd take fanfic to a whole new level.

In just a few more days we'll know who takes Best Actor, Best Actress and the Palme D'Or. Any bets?

Hit Me With Your Best Shot: "MATADOR"

In the Hit Me With Your Best Shot Wednesday evening series we look at a pre-selected movie and choose what we each think of as its best shot. Anyone can play and we link up. (Links and next week's topic are at the end of the post.) This week, to coincide with the opening  of the Cannes film festival we thought we'd look at the one (or two) of the earliest Pedro Almodóvar / Antonio Banderas collaborations since the men are reuniting at Cannes to show off their first collaboration in two decades, The Skin I Live In (2011). I gave participants the option of either Matador (1986) or Law of Desire (1987) the films which elevated Banderas to Pedro Muse status, the only actor with a penis to hold that honor.

While Law of Desire (1987) is my all-time favorite Pedro, I chose to rescreen Matador (1986). Why? I thought this absurdist mystery about men and women who think of killing as an art form, might prove a fine companion piece to the director and star's new film, given the similarly violent and grotesque subject matter.

The title character trains new bullfighters in retirement.

So did I change my mind about Matador, my least favorite from my very favorite auteur? The answer is both No and Yes.

The opening credits of Matador seem to be challenging the audience to throw tomatoes and openly hate the movie as the title character, a retired matador named Diego (Nacho Martinez) masturbates to images of extreme violence against women. Moments later we see an explicit sex scene turn murderous. This time the corpse will be a man. All moviegoers have different levels of stamina with explicit material and I have the opposite constitution from the MPAA. Which is to say that I'm totally fine with sexually graphic imagery but I have a hard time watching people be brutalized. Pedro, a subversive artist and equal opportunity offender, is still working his way out of his "shock" phase. It's definitely a confrontational first reel but the rest of the film is much easier to watch.

The thing I forgot about Matador (I haven't seen it since... 1990?) is how completely erotic it is. Yes, all of the characters are either killers or caught up in the drama of death, but they're all horny about it.

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Reminder: Pedro & Antonio Cometh

I know I've been terrible about Hit Me With Your Best Shot lately but this Wednesday night we'll be celebrating the long time collaboration of Pedro & Antonio in Matador (1986) and Law of Desire (1987) -- take your pick as to which film you'll cover if you're joining us!

In the meantime enjoy this Cannes teaser for THE SKIN I LIVE IN

and here's some on the set footage for the extra curious among you (these props... que???). It's in Spanish but some of you will undoubtedly understand.

We might do a Yes, No, Maybe So when the full trailer arrives but it will all be reflexive as we're always a boisterous expectant "Sí" when a new Almodóvar rolls into town.