Entries in Ryan Gosling (57)
Hey Everyone. Amir here to preview the Toronto International Film Festival. There's less than a month to go before opening night. Those of you who follow the festival’s news regularly probably know that yesterday marked the completion of most of the festival’s strands, so we can officially start salivating all over the program book. Making a “Most Anticipated Films” list is a fool’s errand; TIFF’s lineup is so vast that the list would basically equate to everything that’s left to be screened in 2012 and then some. Titles like The Master, Anna Karenina, Argo (the latter of which I'm anticipating and dreading) and Cloud Atlas will feature on everyone’s list. There are also Cannes leftovers such as Rust & Bone, Reality, No and The Paperboy to be excited for, but I’m dedicating this list, to the pleasure of discovery which is the lifeblood of festivals.
Last year Nathaniel made a similar list of sixteen potential gems in advance of the festival. Some of those were films I would not have watched had he not suggested them, and I’m glad to say that one of them ended up not only as my top film of the festival, but the best film I saw all year. Here’s hoping we can strike gold again with any of these:
Yes, I hate "ties" as much as you when it comes to list-making but I wanted to round things out with an animated film and couldn’t decide between them. We've got a 3D fictionalized telling of Graham Chapman’s life through the perspective of the Monty Python gang or a Patrice Leconte musical about a family who help people take their own lives. Can you blame me for the indecision ?!?
The Midnight Madness program is the one I’ve attended the least over the years, mostly because I see too many films in a day to have the energy at midnight. Yet this omnibus film seems like the perfect campy end to a festival day. Twenty-six directors from all over the world (including Ti West and Ben Wheatley) give us twenty-six alphabet inspired ways to die in a horror film.
Barbara already screened at Berlinale to terrific reactions, but given that it has no Canadian distributor I’m watching. Director Christian Petzold netted a Silver Bear in Berlin and Nina Hoss, terrific in his last two films, returns to star in a third consecutive. The 80s-set story concerns a scientist forced to stay in a rural hospital as punishment by the East German government.
Isabelle Huppert, Terrence Malick, and Seven (or more) Pyschopaths after the jump.
Incredible Suit is on the Goswatch to detail four upcoming chances for Ryan Gosling to continue his awesomeness into 2013.
Collider Great news for Viola Davis fans - a second lead role cometh. (Of course she had to make it happen herself.) She'll produce and star in a biopic about the first African American elected to the Texas senate. It's based on the Mary Beth Rogers book Barbara Jordan: An American Hero.
Vanity Fair has a gallery of backstage photos of film/theaters stars in their dressing rooms by Simon Annand including beautiful shots of Rachel Weisz, Tom Hardy, Daniel Craig and Cate Blanchett.
Flavorwire 40 of the best lines from Mad Men's Don Draper (Jon Hamm) or his writing team, rather. Someone make this into a super cut please. One my my all time favorites is:
You don’t cover for me. You manage people’s expectations."
In Contention on the ongoing success and controverseries surrounding Asghar Farhadi's amazing Oscar winner A Separation.
Kenneth in the (212) thinks Rosie's interview show on Oprah's new network is great. Apparently she and Sandra Bernhard talked King of Comedy quite a bit. Ugh, love that movie. (Damnit does this mean I have to DVR another show?)
Boston Review a former president of the American Psychiatric Association reviews A Dangerous Method. Interesting review and it takes time to detour into the theatrical production of "The Talking Cure" (the play that preceded the movie) wherein Ralph Fiennes starred in what became the Michael Fassbender role.
ioncinema oooh, the first photos I've seen from Laurence Anyways the new Xavier Dolan picture. This one stars the wonderful Melvil Poupaud as a man who decides he wants to be a woman.
Today's Must Read
Moviefone's Mike Ryan calls a "John Carter" in 50 states to see if they're seeing John Carter this weekend. Insane, funny, awesome.
I've been racing around this week from interview to interview. You'll start seeing them as soon as I can catch my breath. For numerous reasons my mind kept leaping back to last year's precursor season when I met with Kirsten Dunst while she was on the promotional circuit for the true crime romantic drama All Good Things. Her name popped up Wednesday while I was talking with Ben Foster (Rampart) -- he's a past co-star and endearingly describes himself as "a silly fan of Kirsten" -- and Melancholia is never far from my mind as one of the most provocative and essential films of 2011. Her mysterious bewitching lead role as a severely depressed bride has, at this point, not garnered as much Best Actress traction as the performance merits, but there's little doubt that her career is most decidedly back on track. I read yesterday that she'd just joined the cast of Red Light Winter which will reunite her with Mark Ruffalo. This interview was already on my mind, and that sealed it since she had such happy memories of working with him.
So let's travel back in time a year to a pivotal re-energizing moment in her career when neither we nor Kirsten knew what to expect from Melancholia and the rollercoaster of the film's Cannes debut, controversial press conference, and Best Actress win was still future tense.
The Return of Kirsten Dunst (A Very Good Thing)
***Originally Published in December 2010***
It might sound silly to say, but seeing her in the flesh is something of a shock. Kirsten Dunst has been in the movies for many years, and she's made an indelible mark in them, whether as a child vampire, an unknowable teen dream, a disciplined cheerleader, a superhero's better half and so on; one half expects her to flicker when one meets her, as if she's being projected still. But there she was earlier this month at a New York City luncheon honoring her heartbreaking work in All Good Things. Her image did not fade or dissolve but remained steady in medium shot. She ate, she sipped, she walked around the room talking with reporters, friends and peers.
There was, however, a close-up. We shook hands and exchanged a few pleasantries. Then she was whisked off, not by a sharp edit, jump cut or a quick pan, but by her people taking her to the next reporter. Imagine it!
I reminded her of the busy luncheon a few days later over the phone. She's already thousands of miles away. This time, she's a disembodied voice which is surprisingly more familiar, like a movie image. "You were so in demand," I say, reminding her of the crowd and well-wishers.
"You know...," she says, and I do having been there, "A lot of babies to kiss. A lot of hands to shake."
It's good to hear the smile in her voice and remember her amiable presence in the room that day. Especially considering the sadness that lingers from her fine work in All Good Things. People have won Oscar nominations for giving much less to their films than she does here, in one of her finest performances. She starts out sunny and delightful, the girlish woman we sort of recognize from numerous other films but she's soon torn apart by her husband's (Ryan Gosling) dark almost alien soul. The film is based on a true story, the unsolved mystery of the disappearance of Katie Marks (Kirsten), the bride of the heir to a wealthy New York family. I've followed her career enthusiastically for many years, once even referring to her as "the future of the movies" but naturally we start with the present and the subject at hand.
It's not the first time she's played a real life character but how did she tackle someone who isn't easy to research, someone who went missing? Here Kirsten cedes most of the credit to her director, who knew the case inside and out.
KIRSTEN: Everything that we knew about [Katie] is in the script. She's not a public figure. Yes, she's a real person but not someone that we know her mannerisms. It was really about making her feel like a whole person that was unravelling, as he was in a way, someone with her own strong motives so it wouldn't just be The Victim of this crime.
Nathaniel: You have to have the full range of their romance.
KIRSTEN: That was so important. You have to believe these people were completely in love with each other in order for her to stay and to excuse the behavior
Did anything change a lot from filming to the finished movie? You're acting piecemeal and the movie takes place over a really long span. Did anything surprise you about the finished product?
KIRSTEN: With every movie you kind of never know how exactly it's going to come together. I had an idea but obviously I wasn't there for the last half of the movie. [She pauses briefly, considering] ...I only saw Ryan in drag once on the set so I wasn't sure how all that was going to come together.
While we were working we played things very differently; we improvised a lot. The scene where he asked me to marry him was very different in the script. We got to play around a lot which was exciting. But you never know what it's going to end up being.
I thought it was interesting that this movie opened so close to Blue Valentine, another unravelling Ryan Gosling marriage, and then I remembered that you've worked with Michelle Williams before on Dick. Hollywood is a small world.
KIRSTEN: It is a small world. I'm friendly with Michelle. That's funny. [Pauses considering the two movies] Ryan... he loves a good love story, that one! [laughs].
With some movie stars chemistry is a hit-and-miss thing but I've always felt from your films that you have a dependable connection to your co-stars/scene partners. What do you attribute that to?
Two of our best recent additions to the A List of Movie Stardom share a birthday, so let's sing a collective off pitched "happy birthday" for Ryan Gosling and Anne Hathaway today, turning 31 and 29. Given Ryan Gosling's absurdly potent chemistry with virtually all female co-stars, and his and Anne's mutual "photoshopped" bodies (seriously?), we're pretty certain that Hathaway is already stripping and running for the bedroom set if anyone offers them a movie together...
Isn't it weird that Hollywood hasn't thought to pair them?
If Ryan keeps up his current pace and doesn't quit the movies to make babies as he threatened earlier this year he'll soon have co-starred with virtually every important age-appropriate actress. By this time in 2013 we'll have seen him with rising Rooney Mara (Lawless) and reunited with Emma Stone (Gangster Squad). And he's already worked magic with McAdams, Wood, Mulligan, Dunst, and Williams!
I recently suggested that I thought he'd look great with Andrea Riseborough (or TV stars Deborah Ann Woll or Katee Sackhoff if anyone would ever give them the big screen role they deserve.) but readers countered with some man-on-man suggestions. And since Gosling's enviable range hasn't yet dropped him into a gay role, what's your favorite reader suggestion there?
Anne Hathaway hasn't been paired as frequently with opposite sex peers who share her star wattage with the notable exceptions of Gyllenhaal (twice), McAvoy, and Christian Bale next year (at least we assume the Bat and the Cat are still going to be scrappy sex partners, though who knows! Nolan's films do tend to swerve asexual.)
Who would you love to see Anne Hathaway paired with once she's out of the cat suit?
P.S. Today would have been Grace Kelly's 82nd birthday. We were just discussing the casting of her upcoming biopic.