DID YOU READ

War of the Welles: Seven Actors Who’ve Played Orson

War of the Welles: Seven Actors Who’ve Played Orson (photo)

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Vincent D’Onofrio and Maurice LaMarche in “Ed Wood” (1994)

Directed by Tim Burton

The Film is… a biopic about the life of Edward D. Wood Jr., the so-called “worst director of all-time.” Frustrated by his financiers’ efforts to control his film “Plan 9 From Outer Space,” Wood (Johnny Depp) storms off the set and heads to the nearest bar where, by chance, Orson Welles sits alone, looking over his notes for his production of “Don Quixote.” Welles invites Wood to join him at his table and the two strike up a conversation about filmmaking.

Orson Welles is portrayed as… Ed Wood with talent. As Wood and Welles chat, they realize they have a lot in common: both men struggle to maintain their artistic vision in the face of domineering moneymen and producers who think they’re directors and try to recut their pictures. Welles eventually gives Wood the encouragement he needs to complete “Plan 9.” “Ed,” he tells him, “visions are worth fighting for. Why spend your life making someone else’s dreams?”

D’Onofrio and LaMarche are… a good combination, with D’Onofrio as the face and LaMarche as the voice of Welles. D’Onofrio definitely looks like him, though maybe a bit too much like the boy genius of “Citizen Kane” and not enough like the heavyset has-been who made “Touch of Evil” around the time of this imagined conversation. And LaMarche has made a cottage industry of his uncanny aural resemblance to Welles, even using the voice as the basis of the character The Brain from the cartoon series “Animaniacs” — there’s an entire episode where The Brain throws a recording studio hissy fit nearly identical to Welles’ famous “Frozen Peas” tirade. If you’re curious to hear why director Tim Burton chose to dub in LaMarche’s voice for D’Onofrio’s, just watch D’Onofrio’s “Five Minutes, Mr. Welles,” a short film about the actor’s preparations for his famous supporting role in Carol Reed’s “The Third Man.” Five minutes of D’Onofrio’s Mr. Welles and his unconvincing upper-class accent is more than enough to convince you that Burton made the right call.

Liev Schreiber in “RKO 281” (1999)

Directed by Benjamin Ross

The Film is… a fictionalized account of the controversy surrounding the production of “Citizen Kane.” Welles and co-screenwriter Herman Mankiewicz (John Malkovich) produce their version of newspaper tycoon William Randolph Hearst’s life, and then Hearst (James Cromwell) uses all of his considerable power and influence to try and destroy the finished film before it’s released to theaters.

Orson Welles is portrayed as… a glory-hogging freedom fighter. On the one hand, Schreiber’s Welles will not compromise his vision or cede the spotlight for anyone, forcing Mankiewicz to change the lead character’s name at one point, and then taking Mank’s name off the screenplay entirely at another. On the other, Welles’ stubborn attitude comes in handy when RKO Pictures begins to buckle under the pressure and Welles is summoned before the board of directors to make his case, which he does, couching the entire debate as a freedom of speech matter. Mostly, this Welles is a relentless, driven egomaniac, though during a rare conciliatory moment with Mankiewicz, he reveals the well of self-doubt he hides from everyone else with his boundless cockiness. Despite his success, his fame, his talent, Welles feels alone. Or as he puts it to Mankiewicz, “I’m just a fraud who couldn’t care less about anyone except himself.” Welles, in other words, isn’t just telling Hearst’s story with “Kane”; he’s also telling his own.

Liev Schreiber is… charismatic, but a bit of a lightweight. He does a fine job capturing the young Welles’ swagger. Hard to blame RKO head George Schaefer (Roy Scheider) for giving this Welles final cut on “Kane”; he’s just so damn charming. Early scenes hum with Welles’ exuberance about his opportunity to make a great film. But Schreiber, and the film as a whole, suffers during the film’s heavier moments: he never carries the sort of raw emotion Welles brought to similar performances. Put it this way: despite the numerous scenes recreating the “Kane” production, I have a hard time believing the guy in “RKO” is the same guy who destroyed Susan Alexander’s bedroom, or who delivered the campaign rally speech, or who screamed at Boss Jim Gettys from across an apartment building stairwell. He just doesn’t have that fire in him.

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Angus Macfadyen in “Cradle Will Rock” (1999)

Directed by Tim Robbins

The Film is… an Altman-esque ensemble piece about the relationship of art and capitalism set during the Great Depression. In one major thread, Orson Welles and the Federal Theater Project’s production of the pro-union musical “The Cradle Will Rock” is threatened when the FTP comes under assault from anti-Communist elements within the U.S. Government. In the other, Nelson Rockefeller (John Cusack) hires Diego Rivera (Rubén Blades) to paint a mural for the lobby of the Rockefeller Center, but is disgusted by the finished product’s favorable depiction of Communist leaders like Lenin.

Orson Welles is portrayed as… a drunken buffoon. Robbins told Interview at the time of “Cradle Will Rock”‘s release that he found the myth of the young, brilliant Orson Welles to be “overly romantic.” In Robbins’ interpretation, Welles is less the creator of his history than a well-lubricated witness to it. Though Robbins praised Welles in the same interview as “brilliant” with a “wonderful punk personality,” that’s not really the guy we see in Robbins’ film. The guy we see rails against the eight-hour workday and mandatory breaks for union employees, drinks like a fish, and doesn’t take a steady step in the entire picture. Robbins is far more flattering to “The Cradle Will Rock” writer Marc Blitzstein (Hank Azaria), producer John Houseman (Cary Elwes) and to Hallie Flanagan (Cherry Jones), their benefactor at the Federal Theater Project, who are all regarded as passionate believers in the transcendent power of art. Welles, in contrast, is a guy who passes out during cast auditions and who dines, like William Randolph Hearst, at the 21 Club, hobnobbing with other elites while his workers scrounge for every dollar.

Angus Macfadyen is… not Orson Welles, at least not any Welles I recognize, except perhaps in those Paul Masson Wine commercial outtakes. Scottish by birth, Macfayden rarely sounds like he’s American, let alone like Orson Welles. (Imagine Gerard Butler doing “Citizen Kane” with that strange not-quite-American accent from “The Ugly Truth” and you have a decent approximation.) It’s hard to imagine this Welles making any money in radio; he’s so swamped with alcohol that he slurs every syllable he utters. Macfadyen’s Welles is like something out of one of the period’s screwball comedies: boisterous, rowdy, quick-witted, and frequently tipsy. It’s a fun performance, but it doesn’t exactly scream Orson Welles (at least not the Welles of this particular period) to the point where you wonder, given Robbins’ willingness to fictionalize other parts of the story (John Turturro’s character, for instance, is a fabrication), why he didn’t just change the character’s name from Welles and let Macfadyen go really crazy.

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Christian McKay in “Me and Orson Welles” (2009)

Directed by Richard Linklater

The Film is… a coming-of-age story about a high-school-aged theater enthusiast named Richard Samuels (Zac Efron) who stumbles into a small role in the Mercury Theatre’s 1937 production of “Julius Caesar.”

Orson Welles is portrayed as… a brilliant scoundrel. As described by one of his employees (Claire Danes), Welles is “very competitive, very self-centered, and very brilliant.” “And,” she warns, “the rule with Orson is you don’t criticize him. Ever.” He’s basically the Don Corleone of Depression-era Broadway: favoring those he loves with warmth and generosity and ruining the lives of those who dare to cross him. During his stint at the Mercury, Richard sees many sides of Welles’ persona: his improvisational brilliance, his unwavering directorial vision, his ravenous womanizing, and his dangerous temper. The rest of the “Caesar” cast and crew are often seen waiting around for Welles while he’s darting from one radio appearance to the next. But when he arrives, he is always worth the wait.

Christian McKay is… uncanny. He’s larger than life, but never cartoonish. He’s simultaneously charismatic and repulsive. He’s equally convincing whether Welles is sweet-talking a pretty girl or browbeating an argumentative stagehand. Watching McKay in the role, it is easy to see how Welles commanded so much attention; whenever McKay enters a scene, you can’t take your eyes off him. It’s said that Welles fired the actor who previously played Richard’s part in “Julius Caesar” because Welles feared being upstaged. McKay never has to share his character’s concern. He’s so good he comes dangerously close to rendering the film’s title half untrue.

[Additional photos: “The Night That Panicked America,” Paramount Television, 1975; “Malice in Wonderland,” Incorporated Television Company, 1985; “Heavenly Creatures,” Miramax, 1994; “Ed Wood,” Touchstone Pictures, 1994; “RKO 281,” HBO, 1999; “Cradle Will Rock,” Touchstone Pictures, 1999; and “Me and Orson Welles,” Freestyle Releasing, 2009]

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TREMORS [US 1990]  FRED WARD, FINN CARTER     Date: 1990

Better Off Fred

5 Roles That Prove Fred Ward Should Be In Every Movie

Catch a Tremors movie marathon Saturday, April 30th on IFC.

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Photo Credit: Universal/Everett Collection

Fred Ward has always exuded a tough but likeable on-screen “bad-assitude” that has enabled him to enjoy a career spanning five decades. Before he had a recognizable “that guy” face to movie fans, he was cast alongside Clint Eastwood in Escape from Alcatraz. Not many actors can play both Henry Miller and David Spade’s dad in Joe Dirt with equal aplomb. Before you catch IFC’s Tremors marathon, check out some roles that prove Fred Ward can hold his own with the Van Dammes and Stallones of the world.

5. Wilkes, Uncommon Valor

Due to his rugged, determined look, Ward was often cast as cops, crooks and military men. It’s no surprise that he appeared in Uncommon Valor, the 1983 film where Gene Hackman puts together a ragtag squad of ex-Vietnam vets to rescue his son who was left behind in Laos. Sure, the movie pretty much set out to make a Vietnam version of The Dirty Dozen, but that doesn’t mean it wasn’t entertaining in its own right. Ward fits right in with a cast of ’80s era tough guys, including Patrick Swayze, Randall “Tex” Cobb, and Tim Tomerson. Ward’s character Wilkes was a tough-as-nails Vietnam Vet who was a “tunnel rat” during the war. There’s a funny training session scene that provides a comic relief moment where Wilkes captures every one of the guys in the unit, including Gene Hackman’s Colonel Rhodes, by hiding under water. Eat your heart out, Rambo.


4. Earl Bass, Tremors

Not many actors can pull off lasso-tossing an explosive in order to lure a huge worm creature with snake tongues out of the desert sand, but Ward pulls off moment with zero camp. His Earl Bass, the tough but average Joe ranch hand turned hero, didn’t need Kevin Bacon’s long hair and exaggerated Southern drawl either. Ward and Kevin Bacon made a great team trying to save their town from the Graboids, elevating the humor in this out-of-this-world (or under-this-world) horror comedy.


3. Sgt. Hoke Moseley, Miami Blues

In a movie where Alec Baldwin completely shines as a psychotic (and highly entertaining) criminal using Miami as his own personal joy ride, Fred Ward gives an equally great performance as the grizzled Miami cop who’s seen one too many cases. After being attacked by Baldwin’s character in his own home, Ward’s Sgt. Hank Moseley loses his badge, his gun and his dentures, which really pisses him off. (And nobody plays pissed off better than Ward.) Baldwin’s Junior goes on a crime spree while using Moseley’s identification. Moseley’s wily veteran slowly begins to figure out what Junior is up to through sly conversations with Baldwin and his overly trusting hooker girlfriend, memorably played by Jennifer Jason Leigh. An underrated action comedy that is all the better for giving us a pure shot of uncut Ward awesomeness.


4. Gus Grissom, The Right Stuff

“An astronaut named Gus?” That was the question asked of Virgil Grissom in The Right Stuff by the executive from Life magazine. Who better to play a fearless, rough-around-the-edges astronaut who refused to be called Virgil than Fred Ward? The Mercury Astronauts were the best of the best, and in the film they were played by a group of great actors who were all perfectly cast to portray the brash group of American heroes. In the film, Gus was blunt and to the point and far from loquacious (his character would never use that word) but when he did speak up, it had meaning. In another pivotal scene, in which Deke Slayton was relaying to the other astronauts what Gus was trying to say about beating a monkey into space, it’s Gus’ response that summed up his character perfectly: “F***in’ A, bubba.” Nobody could have delivered that bad-ass line better than Fred Ward. In fact, “F***in’ A bubba” should have been added into the dialogue of every character he played.


5. Remo Williams, Remo Williams: The Adventure Begins

Remo Williams: The Adventure Begins might have gotten ahead of itself with that title as we never got to see the adventure continue, but it had everything you want in an action movie, starting with Fred Ward. Of course, it also had Joel Grey in heavy makeup portraying Korean martial arts master Chiun, but the less said about that unfortunate bit of dated cultural stereotyping the better. Based on a series of pulp novels, Remo Williams was supposed to be an American alternative to James Bond. In an alternate, much cooler universe, it would have propelled Ward to action movie superstardom. In the film, Ward starts out as a NYC street cop recruited to be a government assassin. His face was altered through plastic surgery (to look less like a generic actor and more like Fred Ward with a clean shave) and then he is given the name Remo Williams. There is a lot of humor in this film, which mostly comes through the interaction between Ward and Grey. Chiun teaches Remo the ways of Sinanju, the ancient Korean marital art which enables you to not only dodge punches but point blank range bullets as well. (Let’s see Mr. Miyagi do that.) Anyone who caught this movie during one of its many TV airings during the ’80s remembers the thrilling fight scenes that takes place on the Statue of Liberty. Only Ward could pull off a turtle neck sweater/leather jacket combo and still look badass.

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Scarface Al Pacino

Nose Dive

10 Crazy Facts You Might Not Know About Scarface

Say hello to Scarface this month on IFC.

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Photo Credit: Everett Collection/Universal Studios

We learned a lot from Scarface. Don’t get high on your own supply. Never trust anyone. And definitely don’t bring a gun to a chainsaw fight. So what happened behind the scenes during the making of this cultural sensation? We nosed around and found some things about Scarface you might not know, which you can catch this month on IFC. Say hello to our little facts below.

1. Brian De Palma almost directed Flashdance instead.

Scarface Brian de Palma
Everett Collection/Universal

Producer Martin Bregman offered De Palma a chance to direct Scarface while the director was filming the 1981 cult classic Blow Out.  Initially De Palma said “yes,” but then politely declined as he was too busy. He signed on to direct Flashdance instead in the hopes of getting the producer to greenlight his script on the Yablonski murders. De Palma made it about two weeks into pre-production on the dance flick before quitting.  Bregman offered Scarface to De Palma again, and the rest is history. What a feeling!


2. Michelle Pfeiffer was hangry throughout the shoot.

Scarface Michelle Pfeiffer
Universal

The actress would give a star-making performance as Elvira Hancock, the chic wife of gangster Tony Montana, but her experience behind the scenes wasn’t quite as glamorous. Pfeiffer ate very little on set to maintain Elvira’s slinky, cocaine addict look. When production stretched from the predicted four months to six, Pfeiffer was frequently starving and irritable. Might we suggest a Cubano sandwich?


3. Al Pacino’s performance was inspired by Meryl Streep.

Scarface Little Friend
Universal

It may seem hard to believe vulgar, violent cocaine kingpin Tony Montana has much in common with the reigning Queen of the Silver Screen, but Pacino saw something useful in one of Streep’s most iconic roles. Streep’s Oscar-winning turn as the titular holocaust survivor in Sophie’s Choice made a serious impression on the actor, citing her deep commitment to the tiniest details of playing someone from another country and world as his largest influence on how he played Tony. Who knew Al Pacino is a Meryl Streep fanatic? Stars really are just like the rest of us!


4. Oliver Stone was fighting his own cocaine addiction while penning the script.

Scarface Cocaine
Universal

Hooked for a year or two prior to beginning work on Scarface, Stone realized his work was getting “shallower” and bank account smaller. He and his then-wife moved to Paris as a means of cutting off his access to the drug. Stone wrote the screenplay “cold sober” in a dark room while living in the City of Light.


5. F. Murray Abraham had firsthand experience as a gangster.

Scarface F Murray Abraham
Everett Collection/Universal

As a teen in El Paso, TX, Abraham was a self-described “hoodlum.” Long before he was causing trouble as henchman Omar Suarez, the young Abraham ran around with a local gang stealing cars, getting into fights, and occasionally going to school. All that changed when the speech and drama teacher at his high school gave him March Antony’s “Friends, Romans, countrymen” speech from Shakespeare’s Julius Caesar to read in front of the class. He was hooked, and his gang days were over.


6. Al Pacino’s hand got stuck to a gun barrel.

Scarface Machine gun
Everett Collection/Universal

In addition to accidentally being cut by a rogue shard from a plate thrown by Michelle Pfeiffer, Pacino suffered another injury on set. During a rehearsal for a gunfight, he mistakenly grabbed the barrel of the prop gun after firing several rounds, and his hand got stuck to the hot barrel. The burns were so bad, Pacino couldn’t work for two weeks.


7. Glenn Close wasn’t “slutty” enough to play Elvira.

Glenn Close
Sony

Al Pacino wanted Close, whom he knew through the New York theatre scene, as Elvira. However, producer Martin Bregman wasn’t convinced she was “slutty enough” to play the coked-out sex symbol. Close wasn’t the only high profile actress turned down for the coveted role; other contenders included Geena Davis, Carrie Fisher, Sharon Stone, Kelly McGillis, Melanie Griffith, and Kim Basinger, all of whom presumably didn’t possess sufficient levels of sluttiness according to Mr. Bregman.


8. Tammy Lynn Leppert disappeared shortly after filming.

Tammy Lynn Leppert
Universal

The 18 year-old actress, model, and former child beauty-queen appeared as Manny’s (Steven Bauer) distraction while he was in the lookout car during the infamous chainsaw scene. Leppert was last seen in Cocoa Beach, Florida on July 6, 1983 just five months before Scarface hit theaters. Authorities speculated Leppert may have been three months pregnant at the time of her mysterious disappearance and that her missing persons status could be tied to several serial killers and drug trafficking networks around the area. Her current whereabouts are still unknown.


9. F. Murray Abraham’s mother didn’t approve of Pacino’s foul mouth.

F Murray Abraham
Universal

Scarface is full of expletives with the F-word being used well over 200 times in the nearly three-hour film (the scorecard feature on the Platinum DVD edition reportedly averages its use at 1.32 f–ks per minute of the film). It’s no surprise many were turned off by the kingpin’s profanity laden mouth including wife Elvira onscreen and F. Murray Abraham’s mother. After a screening of the film in 2011, Abraham’s Italian mother asked the actor to “tell Al not to use that language. It’s not good for the Italian people.” Cuban drug dealers may be tough, but you really don’t want to mess with an Italian mama!


10. The infamous chainsaw scene was based on a real incident.

Scarface Chainsaw
Universal

Screenwriter Oliver Stone spent several months in Miami with local law enforcement and the DEA doing research and was drawn to a particularly gruesome real case. A major drug smuggling ring headed by Mario Tabraue (who became one of the major inspirations for Tony in the film) dismembered Larry Nash with a chainsaw and burned his body in July 1980 after discovering he was an informant for the Bureau of Alcohol, Tobacco, and Firearms. Tabraue was eventually arrested in 1987 as part of the FBI’s “Operation Cobra” at his home in Dade County while his wife threw $50,000 cash out the back window, which was caught by a federal agent. By the time Tabraue’s drug ring was busted up, it was worth over $75 million. Say goodnight to the bad guy.

See what Scarface would look like as a sitcom below.

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Breaking-the-girl-web

Iceland Bound

Watch Fred Armisen’s Dreamy Music Video For El Perro Del Mar’s Red Hot Chili Peppers Cover

Fred returns to Iceland in his new music video

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Photo Credit: El Perro Del Mar

Created by two seasoned musicians, Portlandia often uses music as its satirical base. But while the show allows Fred Armisen and Carrie Brownstein to shine as masterful comedians and occasional singers, Portlandia has yet to offer a dreamy full-length music videos shot in Iceland. Fortunately, Fred was able to make that happen by directing the music video for El Perro del Mar’s down-tempo cover of the Red Hot Chili Peppers’ “Breaking the Girl.” In the video, a valet in Los Angeles attempts to track down the owner of a lost car key all the way to Iceland. In addition to directing the video, Armisen also stars as the globetrotting valet.

Fred — who is no stranger to music videos, having directed clips for artists like Neil Michael Hagerty & the Howling Hex and The Helio Sequence — recently spoke to Rolling Stone about working with El Perro Del Mar (the musical alias of Sarah Assbring) and his love for the Chili Peppers’ music. Documentary Now! fans also know that this isn’t Fred’s first trip to Iceland. No word on whether he attended an Al Capone Festival on his return visit.

Check out Fred’s sweetly relaxing music video for El Perro del Mar’s “Breaking the Girl” below.

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