Friday, November 1, 2013 at 6:48PM You delight me! I asked readers to caption or commentary to this photo of Nicole Kidman on the set of Paddington Bear.
She shared this image on her official Facebook page. And hey while you're over there "like" the Film Experience too.
Her new Vanity Fair cover and the winning caption after the jump...
Friday, November 30, 2012 at 9:37AM Yesterday the finalists for Oscar's Visual Effects prize were announced. In the end there will be five nominees but for the next month ten films can dream of winning the nomination before the great culling on January 10th, 2013. Once again we see a preference for computer generated imagery with only Skyfall and The Dark Knight Rises as obvious examples of films which tried mightily to rely on in-camera practical effects and stunt work. At a recent "Evening With Christopher Nolan" here in NYC (more soon) Nolan revealed his preference for in camera work with computers relegated to touch up work.
Did you know that that infamous collapsing football field that led into the seige of Gotham was actually, in part, a collapsing football field (!) and not a figment of a computer artists imagination!?
Snubs: Generally speaking you can expect the more subtle fx work to be shut out each and every year. This is why Skyfall probably won't be nominated in the end. But my eyes were instantly drawn to the absence of Looper which is a shame, since it's most effectsy sequences, like that finale in the cornfield, were weirdly hypnotic and even the tiny touches like the frequent telekinetics were unfussy and unshowy but totally served the film. Plus, it's a good film which is more than can often be said about nominees in this category. It's also strange, at least in a multi-year context, to see The Impossible miss the finals when Hereafter's less impressive tsunami (in a less impressive film at that) went on to actually be nominated. More traditionally nominatable CG heavy movies shown the door were Battleship, Men in Black III, and Dark Shadows.
Which 50% of the films still standing will prevail?
still hanging. I hate this film more and more in retrospect.
Your guess work in the comments, please.
Saturday, June 16, 2012 at 1:03PM Vulture the best grimaces and grins from Mad Men season 5. Good stuff
Tim Robey interviews the great Danish actor Mads Mikkelsen on his very busy career (Thor 2, Hannibal TV series, A Royal Affair and more...)
Liz Smith on the Friar's Club roast of Tom Cruise (opening quote via Alec Baldwin)
EW Jeremy Jordan (Broadway's Newsies and Bonnie & Clyde) joins the cast of Smash. They're really shuffling players for Season 2. Which still won't solve the problem of treating Megan Hilty like she's not the Starriest of Stars on the show. (sigh)
Hollywood and Fine "why I love/hate Rock of Ages" point of view from former rock critic.
Stale Popcorn on Yentl "Barbra I can hear you". I also like this movie, haters begone.
Movies.com Here's the actor who's playing Osama Bin Laden in Kathryn Bigelow's Zero Dark Thirty
Pop Watch Prometheus deleted scene still. Who is "the engineer" talking with?
The Mary Sue on the trials and tribulations of superhero costumes
My New Plaid Pants does the only sensible thing and screencaps the red band Magic Mike trailer. Even with all the goodness inherent in such an effort my favorite thing is this comment from a reader named "Paco":
I am starting a petition to have this movie remade every year, with a rotating cast of actors.
Pass that petition right over. Reboot With Depantsing!
Appropos of nothing, it's Sam Hargraves, Chris Evans stunt double!Finally, the Thought Catalog has "The Life of Someone Who Didn't Like The Avengers" Funny read.
You didn’t hate it, but you wanted to like it more, and you knew that thinking it “wasn’t terrible” wouldn’t be good enough. Like that time that you saw The Dark Knight and pointed out the badly-choreographed fight scenes to your friend who proceeded to have a hissy fit in the theater lobby...
It does get lonely out there if you don't like a universally beloved thing (like me with Forrest Gump/Braveheart. OMG I hate those movies). I never shared this tidbit from my family time away from the blog a few weeks back but my sister didn't like The Avengers at all. Sadly she didn't say why. It's so hard talking movies in depth with my family. They never explain themselves. Perhaps that's one of the reasons I talk out into the void via The Film Experience?
Mad Men, Magic Mike, Prometheus, Rock of Ages, The Avengers, Tom Cruise, Yentl, Zero Dark Thirty, musicals, stunts Tuesday, September 20, 2011 at 2:22PM Michael C. here. I missed Margo Martindale's work on Justified, but judging by the response to her Emmy win, and by the consistently stellar level of her work, the award was no doubt well-deserved. All the same, it was hard not to mutter a curse under your breath when a name other than Christina Hendricks was called out. For four seasons on Mad Men Hendricks has been the epitome of a what a great supporting performance can accomplish. Her nuanced, deeply felt performance as Joan Holloway prevented the character from being the period caricature it could have been in lesser hands, and raised the bar for the rest of the show.
Christina Hendricks as "Blanche" in DRIVE (2011)
Now with Drive, in the small but crucial role of Blanche, Hendricks is taking that skill for finding the heart underneath flashy surfaces to the big screen. I got to chat with Hendricks recently at a press event where she arrived bright and enthusiastic fresh from the set of Mad Men. Here are some of the highlights from the event where I was able to get a few questions in:
On her confrontation with Ryan Gosling…
Christina Hendricks: We shot that very intense scene the very first day of shooting. None of really knew each other, and we were in this hundred degree creepy little hotel room. And so Nicolas came up to us and said, “I’m the kind of director - I will shoot and shoot and shoot until you tell me not to shoot. So be vocal with me and let me know if you feel comfortable with what we’ve already got” No director ever does this. It’s really a nice thing to hear.
He was just very collaborative and very understanding; because it was really intense stuff we were shooting. And because I really didn’t know Ryan yet, it was this very real feeling of fear in this very uncomfortable hot room. So it was intense to shoot, but I think it lead to a successful scene. We all got to know each other by the end of the day [laughs] All sweating together.
Michael: How much of that intensity were you ready for and how much did you experience for the first time on the day?
Christina Hendricks: I think the night before we rehearsed it so we could get the blocking down but we didn’t rehearse it emotionally. We knew where we were going to be standing. Cause we knew it was going to be a long day and we knew it was going to be hard with the entire crew in there. So we all got together the night before and said, “We’ll walk here and here and then you’ll go down and the money bag will be here.” So I wasn’t quite ready for this strong leather glove on my face and I remember my heart being like “Ba-boom! Ba-boom!” He [Gosling] is such an extraordinary actor it felt real and very much in the moment. We did that scene over and over and over, so I was an emotional wreck by the end of the day. I was crying for twelve hours straight.
Michael: It comes across. Just watching it is draining.
Christina Hendricks: It was heavy. Nicolas would be like, “Can you do one more?” and I would be like “[gasping sobs] Hold on.” And Ryan was like, “Who are you? How can you keep doing this?”
On choosing Drive...
Christina Hendricks: I choose a project based on who’s involved and my faith in them and the script and the rest you just let go. I’d seen Nicolas’s film Bronson before we met and I was so impressed by it and so excited by it that I was like, “This guy’s going to do something cool." The end result was kind of what I imagined he would do. It was stylish and rich in color and scary and heartfelt and all these different things that I knew that he would do. I had a lot of confidence in him.
(From this point forward we could not avoid getting into SPOILERS -so read on if you've seen the movie)
Christina Hendricks, Drive, Mad Men, Nicolas Winding Refn, interview, stunts Thursday, June 16, 2011 at 2:00PM 
Michael C. from Serious Film here. As a rule, I don't indulge in nostalgic, "They don't make 'em like they used to" wallowing. I don't see the point. There was quality then and there is quality now. That having been said, it doesn't mean I can't geek out over one of the shining examples of classic Hollywood, which I will now do.
Watching The Adventures of Robin Hood (1938) directed by Michael Curtiz and William Keighley it is hard not to feel a twinge of longing for the studio system, Hayes Code and all. It was firing on all cylinders with this production and, man, is it glorious to behold. Everything is bold and colorful and exciting. It can go toe-to-toe with Singin’ in the Rain for pure joy of filmmaking on display.
As a nine-year-old viewer it was enough to inspire lifelong devotion. More than anything I think I responded to the reality of the film. Not realism, of course. This is a Movie-Movie if ever there was one. I mean the tactile reality of the things physically happening on the set. This is what we are losing with CGI. When something isn't faked it reaches a viewer (especially a young one) in a powerful way. In this movie we have Errol Flynn’s athleticism - swinging on vines and scaling walls - the impossibly cool sword fighting. And the arrows. Above all the arrows.
Howard Hill (archer) with Errol Flynn (movie star)
No movie does archery like The Adventures of Robin Hood. Which brings us to the hero of this episode, one Mr. Howard Hill, archer. If the arrows here have an impact lacking in other movies there is a good reason for that. Howard Hill was actually shooting people with real arrows.
I’ll say that again.
For a bonus $150 stunt men would throw on a steel plate and some padding and Hill would shoot them with real arrows fired at actual lethal speed. They could get away with this because Hill simply never missed. Seriously, he has to be seen to be believed. You can look for yourself on the DVD extra features where he is shown in archival footage splitting twine from fifty paces. He even worked with the sound team shooting his own specially designed arrows past microphones to create that instantly recognizable high-pitched “whoosh” sound that arrows make in this movie and no other.
Now, if I had to decide whether it’s right for stuntmen to risk getting shot with arrows by anyone, no matter how skilled, I would have to be a killjoy and say no. But since the arrows in question all flew over 70 years ago, I feel at liberty to point out that this method is really, really cool. Not only does it come across brilliantly on camera, but it spares us all the tricks the director would have needed to get around fake arrows - the kind of minor slight of hand that viewers let slide but nevertheless take us out of the movie a tiny bit each time.
Legend has it Hill personally performed the unforgettable stunt of splitting the arrow in one take. I saw an episode of Mythbusters where they declared this an impossible feat for a variety of reasons. Call me naïve and protective of my favorite childhood movie but I’m not convinced. I would prefer Mythbusters amending their verdict to “Busted for anyone who is not Howard Hill.”
previously on Unsung Heroes: Glengarry Glen Ross, Zodiac, Oldboy, The Iron Giant, Hedwig and the Angry Inch...
1938, Errol Flynn, Oscars (30s), Robin Hood, Unsung Heroes, stunts 