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JASON CLARKE INTERVIEW

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Entries in Planet of the Apes (30)

Friday
Nov212014

Interview: Jason Clarke on Acting with Apes & Terminators

I wonder aloud if Jason Clarke, the still rising breakout star of Zero Dark Thirty, is feeling a little overscheduled these days. Is he scheduled in 20 minute increments at this point? He claims he's taking a little time off to enjoy himself in the days surrounding our 20 minutes on the telephone, but I'm not sure I quite believe him. Which is a strange feeling because onscreen, the fortysomething Aussie is never less than believable whether he's torturing prisoners in Zero Dark Thirty, totally unnerved by talking armed apes on horseback (who wouldn't be?) in Dawn of the Apes, bootlegging with his Bondurant brothers in Lawless, and so on.

Perhaps more surprising than his authenticity onscreen is his modesty. He didn't so much steal his scenes in Zero Dark Thirty as oxygenate then, detailing the emotional and intellectual and moral gaps between his hardened CIA operative and the newbie in his camp with his duet with Jessica Chastain. And though Andy Serkis and Toby Kebbel do amazing work in their motion capture suits as Caesar and Koba, this still human actor is so effortlessly grounding that he anchors the large excellent cast and behemoth fantastical enterprise that is Dawn of the Planet of the Apes without ever drawing attention to himself.

Thankfully Hollywood has seen through the modesty. Jason Clarke is very busy. As unintentional proof he struggles to recall which order he filmed things in "I did a couple back to back. Terminator and before that I shot Everest. [Pause] What did I shoot before that?" Better Angels, a small black and white period indie which just opened in select cities, is so far back in the "before that" list that you know you'll be seeing a lot of him onscreen.  

Our talk is after the jump...

Click to read more ...

Wednesday
Nov192014

FYC for SAG: "Outstanding Ensemble"

SAG ballots go out today (and Globe and BFCA ballots in a week or two) so it's FYC season again. SAG's most unique categories are "Stunt Ensemble" -- may we adamantly remind them that the fight scenes in Captain America: Winter Soldier are better than the ones in Guardians of the Galaxy even if the latter film is more popular and beloved --  and the one we tend to obsess on "Outstanding Performance by a Cast in a Motion Picture"" 

Unfortunately, the older the SAG Awards become the less adventurous their nominations. Rarely do we see the surprise Off-Best Picture nominee as in years past like Hustle & Flow or The Birdcage or what not. We'd love it if their randomly selected nominating committee were not thinking about the Oscars when they went a-balloting. We know, for example, that Boyhood, Selma, Theory of Everything, Birdman, Foxcatcher and The Imitation Game have an advantage do their strong assumed place in the Best Picture race but if you really think about it (which you always should if you have a ballot) are half of those movies all that impressive in terms of group acting? They're impressive in other ways, don't misunderstand. But you can nominate individual performers for prizes so why waste an ensemble spot on the same people!?

The Film Experience would like to make 3 suggestions off the expected path for those voting this year. These are films with impressive large ensembles that are very in sync with each other as well as the film's tone

For SAG's consideration...


DAWN OF THE PLANET OF THE APES
Jason Clarke does a fantastic atypically peaceful hero job leading the fine human cast but though they're at odds with the apes, their performances mesh extraordinarily well. Keep in mind that they were acting with people dressed up in funny performance capture suits. And the performances those suits captured are special, too!

GONE GIRL 
Though this one is focused on a marriage like the more likely nominee Theory of Everything, the supporting cast has a lot to do and many of them really pop from the TV hosts (Sela Ward & Missi Pyle) to all the family members (Carrie Coon), cops (Kim Dickens) and lawyers (Tyler Perry). SAG could and probably will do a lot worse than selecting this film.

PRIDE 
A loveable underdog but in past years when they latched on to movies as small as The Station Agent, they knew how to throw an adorable indie curveball. And, like, Dawn of the Planet of the Apes, this one basically has two opposing sets of actors, at odds, but mixing more superbly than you thought oil and water or, rather, coal miners and urban gays, ever could. 

Films that derive their full strength from the symbiotic contributions or a large diverse talented cast list rather than an acting triump MVP or two (usually leads) ... aren't these the type of films that ought to be considered for "Outstanding Cast" honors?  

Thursday
Nov132014

AFI Fest: Weta Digital Celebrates 20 Years with New Technology

Anne Marie here at the AFI Fest with another special event. Weta Digital, the pioneering VFX company behind some of the biggest blockbusters, including the Marvel franchise, Avatar, and The Hobbit, is celebrating its 20th anniversary this year. In  “State of the Art: The Evolution of Weta Digital," Visual Effects Supervisor Dan Lemmon gave audiences a peek behind the digital curtain of Weta Digital’s latest film, Dawn of the Planet of the Apes, to show how the company develops performance capture to assist and augment cinematography.

 Weta Digital is probably best known for its motion capture process (dubbed “performance capture” by James Cameron "because they also capture emotions"). Dan Lemmon explained that this evolved from Andy Serkis filming scenes as Gollum twice for The Lord of the Rings, into a sophisticated system called a “Capture Volume,” a cube of space surrounded by infrared cameras that record the actors’ movements. For Dawn of the Planet of the Apes, director Matt Reeves wanted to shoot the apes on location, so a new “portable” version was developed. The result had a profound effect not only on the technology of performance capture, but also on the look of the film--both digital and real.

Serkis in Dawn of the Planet of the Apes

Since Avatar won the Oscar for Best Cinematography in 2009, each subsequent winner has been a VFX-heavy film, so the unspoken question was how Weta Digital interacted with Michael Seresin, the cinematographer of Dawn. Shooting on location allowed Seresin to light the ape actors as he would real characters. Then, Weta Digital could match that lighting on the pixelized primates. In addition, Seresin and Reeves developed a look book, pulling images from The Godfather and grittier 70s films. Dan Lemmon explained that Weta’s job was to mimic Seresin’s intentions, for instance digitally creating the vertigo-inducing helicopter shot for the climax. However, Lemmon also proudly pointed out how Weta Digital improved on Seresin’s vision, whether it was by manipulating the light to capture a digital ape’s eyes, or by adding fake “flaws” to the helicopter shot in order to make the synthetic image more real. 

The result of Weta Digital’s collaboration with Seresin is undoubtedly remarkable, and pushes VFX to be accepted as an art, rather than a gimmick. Still, Weta's additions to Seresin's work mark a definite change in the visual landscape of moviemaking. As VFX are integrated from pre-production to filming to post-production and digital effects get clearer, the line between cinematography and visual effects is going to get increasingly muddy.

Thursday
Aug072014

199 Days 'til Oscar...

Not that I'm counting. I don't have one of those alternating colored construction paper link chains on my wall that I rip off every day or anything like I did when I was five while waiting for Santa. No siree. Do not have one of those. But if I did the colors would be gold leaf and red carpet. 

Mmmmm, where were we since we last spoke?

Release Date Shuffle
No press release or dropped hint or trailer dates should ever be taken at face value when it comes to release dates. These things change back and forth all the time but, at least for the moment, things are murky on a ton of titles and many of them are actressy: CarolFar From the Madding Crowd, MacBethThe Suffragette and more. And some pictures that were clearly designated as 2015 are obviously finished like Ron Howard's Heart of the Sea starring Chris Hemsworth all slimmed down so who knows what might transpire if a specific studio sees an opening. So let's talk about the stuff that's out already...

The Tiny Idiosyncratic Indies vs.  Large Mainstream Blockbusters
This summer I think you could safely argue that the big winners at the arthouse were the Polish film Ida which grossed more than last year's high profile foreign Oscar winner and Richard Linklater's critically adored 12 years in the making Boyhood. Music Box Films and IFC Films, which released the films, don't have high profile histories at pushing for Oscar nominations the way  Sony Pictures Classics and The Weinstein Co do but they should probably spend the money. If either maneuvers correctly, there will be at least one or two high profile nominations in store. This is why I wonder why more small films with Oscar potential don't try summer releases. If you have the goods and you're "small" it's better to be safely esconced at the top of the mountain when the "big" mainstream prestige films aren't even around and then defend your turf in the fall/winter rather than trying to climb up that insane awards mountain when all the 800 lb gorillas are also scaling it; more often than not they'll knock you right off by simply crushing your chances of enough media coverage for starters.

Whether or not Ida's box office bonanza results in Oscar traction I hope it keeps the lights on at Music Box offices for a long time. To understand just how huge the film has been for them some context: Ida is now second only to the French thriller Tell No One as their top grosser that doesn't star Noomi Rapace and start with the words "The Girl..." Further context: in terms of their recent memory hits Ida has now surpassed the combined grosses of the all star French comedy Potiche and the Rachel Weisz period drama The Deep Blue Sea (which got a little bit of awards traction).

Visual Effects is already a bloody battle. Can Guardians of the Galaxy win the nomination?

Response to this year's blockbusters is a bit harder to read at this early juncture since a) there are so many of them that have been solid doubles or triples but not home runs and b) mainstream blockbusters often need home runs to have voters thinking of them on par with the "serious" pictures. I can't say, for example, that Maleficent (big hit but not entirely respected) or Captain America and Guardians of the Galaxy (big hits but Oscar doesn't take superheroes seriously outside of that orphaned billionaire in the batsuit) or Godzilla (divisive hit from ancient B movie franchise) are necessarily going to land tech nods but they'll probably try. The exception to all this 'solid player but not much more' business is surely Dawn of the Planet of the Apes which opened to much coin and such feverish raves you'd think it was a Martin Scorsese picture with Leonardo DiCaprio in an ape mask. But even that one is the 8th film in a 46 year old franchise that has only ever won 3 competitive Oscar nominations and one special Oscar... and 75% of those were from the 1968 original!

That's just one of the man reasons I think it's crazy that people are hoping for an Andy Serkis nomination though I'd be down for him to win a non-competitive special Oscar for pioneering a new subdivision of acting. If you missed the recent Podcast on 1973 the discussion of Linda Blair's performance led to the very relevant 2014 topic on how to judge "collaborative" work. 

I know, I know. You're all like... stop talking. Get to the updated Oscar charts. They're ALL updated, look at me finally updating!

PICTUREDIRECTOR & SCREENPLAYS
VISUAL & SOUND 
ACTRESS & ACTOR
SUPPORTING ACTRESS & SUPPORTING ACTOR
ANIMATED and FOREIGN 

Thoughts? Of course all this will be moot soon when the festivals shake things up with actual buzz rather than hype and some films without release dates securing distribution. We'll start on the foreign submission charts in the next couple of days since Hungary is the first to announce with the Cannes sensation "WHITE GOD" about those rampaging wild dogs.  

 

 

Monday
Jul282014

Podcast: Charming Musicians, Frosty Survivors, Talking Apes

It's one-on-one podcast time this week. Nathaniel and Nick discuss two movies they're sympatico on (Begin Again and Dawn of the Planet of the Apes) and one which halfway divides them (Snowpiercer). 

You can listen at the bottom of the post or download the conversation on iTunes. Continue the conversation in the comments.

Index
00:01 Intro & Scene Stealing
01:30 Begin Again: rough starts, Mark Ruffalo's abrasiveness, Keira Knightley overall excellence, how it compares to Once.
14:00 Why we're not talking Boyhood. Plus the difficulty of grading ambitious movies.
20:00 Snowpiercer: allegory, structure, and the fight over the final cut, Tilda Swinton of course. Plus Bong Joon-ho and Korean cinema.
35:00 Dawn of the Planet of the Apes: highlight scenes, amazing imagery, franchise politics, Jason Clarke, and Caesar vs. Koba.
45:00 "Lost Stars" 


What is this picture doing here?
You'll have to listen to find out.

 

Begin Again Snowpiercer Dawn of...

Monday
Jul212014

Linkpiercer

Guardian Tim Robey has a lovely tribute to TV & film star James Garner (RIP) who I'll always remember best for Murphy's Romance and Victor/Victoria in the 1980s
Pajiba I'm more of a cat person but this gallery of big celebrities with tiny dogs is adorable
Criterion Collection on the painstaking restoration of The Umbrellas of Cherbourg
Thompson on Hollywood has an in depth look at the VOD decisions involving Snowpiercer from the mouth of Harvey Weinstein (so yes it's very one-sided... but interesting nonetheless)

The Dissolve 'when images match ideas' on Snowpiercer and Dawn of the Planet of the Apes 
Pajiba has the talk with Marvel about the Edgar Wright Divorce  
Towleroad Andrew Rannells starts soon as Hedwig. (I'm excited. The role is big enough for multiple interpretations)
Theater Mania Michelle Williams wants to keep singing at the Kit Kat Club longer than expected. She's staying with Cabaret all the way through November 9th now (I guess she doesn't have to start promoting Suite Française for awhile still)
Details interviews Wentworth Miller, former Prison Break hunk and Stoker writer, on his career after coming out

And, finally, are you excited for Festival Season yet?

I'm trying to remain calm as I make plans but NYFF isn't making staying calm any easier what with their Opening Night Film (Gone Girl's world premiere) Centerpiece (Inherent Vice) and Closing Night (Birdman which is scheduled for Venice as well). Tomorrow TIFF holds their opening news conference and we'll hear more about their plans as well. Here's some speculation from a Toronto news site which suggests that Reese Witherspoon is going to be a major presence and you can probably safely assume that Maps to the Stars will also be there given TIFF's love of Cronenberg.

Sunday
Jul202014

What did you see this weekend?

Dawn of the Planet of the Apes continued to sell well (and should easily surpass Rise's gross) but the only box office story of much interest this weekend is Boyhood's incredible success at only 33 locations.  Though IFC Films almost never campaigns for Oscar nominations in any meaningful way, there are some whisperings that the response to Boyhood may change that. We'll see.

Raher than a top ten chart let's look at wide and platforming.  

WIDE RELEASES
01 DAWN OF PLANET OF APES $36 (cum. $138.9) Review
02 THE PURGE: ANARCHY $28.3 *new*
03 PLANES: FIRE & RESCUE $18 *new* 
04 SEX TAPE $15 *new*
05 TRANSF4RMERS: AGE OF EXTINCTION $10 (cum. $227.1)

UNDER 100 SCREENS
01 BOYHOOD $1.1 (cum. $1.8) Review
02 WISH I WAS HERE $.4 *new*
03 OBVIOUS CHILD $.1 (cum. $2.6) Review
04 IDA $.1 (cum. $3.3) Capsule
05 BELLE $.1 (cum. $10.4) Capsule

In other news Chef, Jon Favreau's 'pulling in all his favors' all-star comedy crossed $25 million in its 11th week. The movie, a light sweet comedy about a chef whose career falls apart forcing him to reevaluate his choices, has been a true word of mouth hit in limited release. Almost by accident I saw it yesterday with a friend and her family who had decided they wanted to see a movie, any movie, at the last minute last night on our beach weekend. It was the perfect kind of casual entertainment for a group. Of course to enjoy its sweet father/son drama, it's shameless twitter-ad placements, and the enjoyable camaraderie of the stars, I had to turn off my inward groaning that not only did portly Jon Favreau have Scarlett Johansson as a love interest but his other love interest was Sofia Vergara - realism unbounded! (And worse still neither of them existed as people but to prop up his character arc towards becoming a better man.) But I guess when you write and direct and star and produce your own picture you can pretend that the world's most voluptous women would be totally into your mopey ass and exist only to meet your emotional needs when you crash. 

WHAT DID YOU SEE THIS WEEKEND?