DID YOU READ

Tony Scott, famed Hollywood director, dead at 68

Tony Scott

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Tragic news out of Hollywood as news reports have confirmed the passing of Tony Scott from apparent suicide. He was 68.

After an early career directing commercials, Scott exploded onto the scene with his second project, the 1986 Tom Cruise action vehicle “Top Gun.” The wildly successful film became one of the year’s highest-grossing pictures, and cemented the rookie helmer as one of cinema’s premiere action directors.

In the years that followed, Scott would be associated with a plethora of hugely successful titles, including “Beverly Hills Cop 2,” “True Romance,” “The Last Boy Scout” and “Crimson Tide,” the latter with frequent collaborator Denzel Washington. The 2000s would also bring a litany of crowd pleasers, including Will Smith’s “Enemy of the State,” “Man on Fire” and most recently, “The Taking of Pelham 1-2-3″ and his last project “Unstoppable.”

Alongside his elder brother Ridley, Tony Scott launched Scott Free Productions, co-producing a number of films including 2012’s “Prometheus” and the hit television series “Numb3rs” and “The Good Wife.”

According to the L.A. Times, Scott jumped from the Vincent Thomas Bridge in the Los Angeles suburb of San Pedro. A suicide note was reportedly left in his office.

Stay tuned to IFC.com for more on this developing story.

Leave your remembrances of Tony Scott in the comments below, or on Facebook or Twitter.

Underworld

Under Your Spell

10 Otherworldly Romances That’ll Melt Your Heart

Spend Valentine's Day weekend with IFC's Underworld movie marathon.

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Photo Credit: Screen Gems/courtesy Everett Collection

Romance takes many forms, and that is especially true when you have a thirst for blood or laser beams coming out of your eyes.  It doesn’t matter if you’re a werewolf, a superhero, a clone, a time-traveler, or a vampire, love is the one thing that infects us all.  Read on to find out why Romeo and Juliet have nothing on these supernatural star-crossed lovers, and be sure to catch IFC’s Underworld movie marathon this Valentine’s Day weekend.

1. Cyclops/Jean Grey/Wolverine, X-Men series

The X-Men franchise is rife with romance, but the steamiest “ménage à mutant” may just be the one between Jean Grey (Famke Janssen), Cyclops (James Marsden), and Wolverine (Hugh Jackman). Their triangle is a complicated one as Jean finds herself torn between the two very different men while also trying to control her darker side, the Phoenix. This leads to Jean killing Cyclops and eventually getting stabbed through her heart by Wolverine in X-Men: The Last Stand. Yikes!  Maybe they should change the name to Ex-Men instead?


2. Willow/Tara, Buffy the Vampire Slayer

Joss Whedon gave audiences some great romances on Buffy the Vampire Slayer — including the central triangle of Buffy, Angel, and Spike — but it was the love between witches Willow (Alyson Hannigan) and Tara (Amber Benson) that broke new ground for its sensitive and nuanced portrayal of a LGBT relationship.

Willow is smart and confident and isn’t even sure of her sexuality when she first meets Tara at college in a Wiccan campus group. As the two begin experimenting with spells, they realize they’re also falling for one another and become the show’s most enduring, happy couple. At least until Tara’s death in season six, a moment that still brings on the feels.


3. Selene/Michael, Underworld series

The Twilight gang pales in comparison (both literally and metaphorically) to the Lycans and Vampires of the stylish Underworld franchise. If you’re looking for an epic vampire/werewolf romance set amidst an epic vampire/werewolf war, Underworld handily delivers in the form of leather catsuited Selene (Kate Beckinsale) and shaggy blonde hunk Michael (a post-Felicity Scott Speedman). As they work together to stop the Vampire/Lycan war, they give into their passions while also kicking butt in skintight leather. Love at first bite indeed.


4. Spider-man/Mary Jane Watson, Spider-man

After rushing to the aid of beautiful girl-next-door Mary Jane Watson (Kirsten Dunst), the Amazing Spider-man is rewarded with an upside-down kiss that is still one of the most romantic moments in comic book movie history. For Peter Parker (Tobey Maguire), the shy, lovable dork beneath the mask, his rain-soaked makeout session is the culmination of years of unrequited love and one very powerful spider bite. As the films progress, Peter tries pushing MJ away in an attempt to protect her from his enemies, but their web of love is just too powerful. And you know, with great power, comes great responsibility.


5. Molly/Sam, Ghost

When it comes to supernatural romance, you really can’t beat Molly and Sam from the 1990 hit film Ghost. Demi Moore goes crazy for Swayze like the rest of us, and the pair make pottery sexier than it’s ever been.

When Sam is murdered, he’s forced to communicate through con artist turned real psychic, Oda Mae Brown (Whoopi Goldberg in her Academy Award-winning role) to warn Molly she is still in danger from his co-worker, Carl (a pre-Scandal Tony Goldwyn). Molly doesn’t believe Oda is telling the truth, so Sam proves it by sliding a penny up the wall and then possessing Oda so he and Molly can share one last romantic dance together (but not the dirty kind). We’d pay a penny for a dance with Patrick Swayze ANY day.


6. Cosima/Delphine, Orphan Black

It stands to reason there would be at least one complicated romance on a show about clones, and none more complicated than the one between clone Cosima (Tatiana Maslany) and Dr. Delphine Cormier (Evelyne Brochu) on BBC America’s hit drama Orphan Black.

Cosima is a PhD student focusing on evolutionary developmental biology at the University of Minnesota when she meets Delphine, a research associate from the nefarious Dyad Institute, posing as a fellow immunology student. The two fall in love, but their happiness is brief once Dyad and the other members of Clone Club get involved. Here’s hoping Cosima finds love in season four of Orphan Black. Girlfriend could use a break.


7. Aragorn/Arwen, Lord of the Rings

On a picturesque bridge in Rivendell amidst some stellar mood-lighting and dreamy Elvish language with English subtitles for us non-Middle Earthlings, Arwen (Liv Tyler) and Aragorn (Viggo Mortensen) bind their souls to one another, pledging to love each other no matter what befalls them.

Their courtship is a matter of contention with Arwen’s father, Elrond (Hugo Weaving), who doesn’t wish to see his daughter suffer over Aragorn’s future death. The two marry after the conclusion of the War of the Ring, with Aragorn assuming his throne as King of Gondor, and Arwen forgoing her immortality to become his Queen. Is it too much to assume they asked Frodo to be their wedding ring-bearer?


8. Lafayette/Jesus, True Blood

True Blood quickly became the go-to show for supernatural sex scenes featuring future Magic Mike strippers (Joe Manganiello) and pale Nordic men with washboard abs (Hi Alexander Skarsgård!), but honestly, there was a little something for everyone, including fan favorite Bon Temps medium, Lafayette Reynolds (Nelsan Ellis).

In season three, Lafayette met his mother’s nurse, Jesus, and the two began a relationship. As they spend more time together and start doing V (short for Vampire Blood), they learn Jesus is descended from a long line of witches and that Lafayette himself has magical abilities. However, supernatural love is anything but simple, and after the pair join a coven, Lafayette becomes possessed by the dead spirit of its former leader. This relationship certainly puts a whole new spin on possessive love.


9. Nymphadora Tonks/Remus Lupin, Harry Potter series

There are lots of sad characters in the Harry Potter series, but Remus Lupin ranks among the saddest. He was bitten by a werewolf as a child, his best friend was murdered and his other best friend was wrongly imprisoned in Azkaban for it, then THAT best friend was killed by a Death Eater at the Ministry of Magic as Remus looked on. So when Lupin unexpectedly found himself in love with badass Auror and Metamorphmagus Nymphadora Tonks (she prefers to be called by her surname ONLY, thank you very much), pretty much everyone, including Lupin himself, was both elated and cautiously hopeful about their romance and eventual marriage.

Sadly, the pair met a tragic ending when both were killed by Death Eaters during the Battle of Hogwarts, leaving their son, Teddy, orphaned much like his godfather Harry Potter. Accio hankies!


10. The Doctor/Rose Tyler, Doctor Who

Speaking of wolves, Rose “Bad Wolf” Tyler (Billie Piper) captured the Doctor’s hearts from the moment he told her to “Run!” in the very first episode of the re-booted Doctor Who series. Their affection for one another grew steadily deeper during their travels in the TARDIS, whether they were stuck in 1950s London, facing down pure evil in the Satan Pit, or battling Cybermen.

But their relationship took a tragic turn during the season two finale episode, “Doomsday,” when the Tenth Doctor (David Tennant) and Rose found themselves separated in parallel universes with no way of being reunited (lest two universes collapse as a result of a paradox). A sobbing Rose told a holographic transmission of the Doctor she loved him, but before he could reply, the transmission cut out, leaving our beloved Time Lord (and most of the audience) with a tear-stained face and two broken hearts all alone in the TARDIS.

Call-In Commentary: Watch the “Robot & Frank” trailer with director Jake Schreier

Frank Langella in Robot & Frank

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It’s surprising to think that one of the most humanistic films of the year co-stars a machine, but that’s what you get with Jake Schreier’s new movie “Robot & Frank.” Legendary actor Frank Langella plays Frank, an elderly grump in the near-future whose children (Liv Tyler and James Marsden) worry constantly about him as he schlubs his way through his twilight years. Hoping to get his dad’s life back in order, his son orders him a robot (voiced by Peter Sarsgaard), a digitally-powered unit designed to function as a butler and caretaker in one. Initially resistant to his new addition, Frank — a “retired” jewel thief — quickly realizes that his robot may be good for more than just fetching glasses of milk.

One of the cleverest and most original films of the year, “Robot & Frank” is funny, touching and a joy to watch. Which is precisely why we were thrilled that Schreier agreed to record a Call-In Commentary for us, where filmmakers provide a narration to their movie trailer. In the video below, the director takes you through the storyline and its many characters.

“Robot & Frank” opens in NYC tomorrow, and August 24 in Los Angeles and other major cities, opening wide on August 31.

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MORE CALL-IN COMMENTARIES:

Watch the “Iron Sky” trailer with director Timo Vuorensola
Watch the “Nitro Circus: The Movie 3D” trailer with director Gregg Godfrey
Watch “The Imposter” trailer with director Bart Layton
Watch the “Dark Horse” trailer with writer-director Todd Solondz
Watch the “Snow White and the Huntsman” trailer with director Rupert Sanders
Watch the “Bernie” trailer with writer-director Richard Linklater

View more Call-In Commentaries…

Will you be checking out “Robot & Frank”? Let us know in the comments below, or on Facebook or Twitter.

David Cronenberg on “Cosmopolis,” Robert Pattinson, and why it’s necessary to “betray the book”

032212_cosmopolis

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“Cosmopolis” hits theaters this weekend, bringing director David Cronenberg’s unique vision to Don DeLillo’s 2003 novel about a 28-year-old billionaire whose mid-day trek across Manhattan in a tricked-out limo quickly becomes a surreal, philosophical exploration of the relationship between money, power, and society.

Starring in the film is “Twilight” alum Robert Pattinson, who plays the icy Eric Parker, a young man with a lot of money and a single-minded urge to get a haircut across town. His adventure is waylaid by random sexual trysts, cold meetings with his new wife, a massive protest filled with rat-flinging anarchists, and a pair of mysterious “threats” that keep his security detail on high alert.

IFC spoke with Cronenberg about the new film and his approach to adaptations, and got the scoop on a pair of projects he worked on that will probably never make it to theaters, but are interesting all the same.

IFC: You’ve made so many films over the years based on books, what was it about this particular story that jumped out at you?

DAVID CRONENBERG: I was immediately struck by the dialogue [in DiDeLillo’s book]. It was familiar to me because Don’s dialogue is very distinctive. I think of him in the same terms as I think of David Mamet or Harold Pinter — that is to say, it’s the way people speak, but it’s also very stylized. That produces an interesting tension and rhythm. But those two guys are dramatists, and you hear their dialogue spoken often on stage and in movies, whereas Don is a novelist. You don’t hear his dialogue spoken ever, because he hasn’t had a movie made out of one of his books before.

IFC: Does that raise the level of difficulty in making a movie like this?

CRONENBERG: No, not at all. I’m really thinking of that in retrospect now. I wasn’t thinking so much about that at the time. What I was thinking was, I would love to hear that dialogue spoken by some really terrific actors. I think it would be really intriguing and interesting and compelling. That was the hook for me. It wasn’t the theme of the story or anything like that. I like the restriction of one street, one limo, one day, because I don’t shy away from that and rather like it, but I think it was the dialogue first and foremost that was the hook. And the dialogue in the movie is 100-percent from the book.

IFC: You mentioned wanting to see great actors speak the dialogue, and the movie is filled with them. But I’m curious about Robert Pattinson, who’s still a young actor and doesn’t have nearly as much experience as some of the supporting cast, but has a massive following. When you have a project like this, do you do more tailoring of the script to fit his strengths, or more work with him to match his abilities and talents to the material?

CRONENBERG: For all the actors, you don’t really know what you’re going to get. Except for some auditions that a few actors did for certain roles, I never heard the dialogue spoken until we were shooting. With Rob in particular, I never heard that particular dialogue spoken until we were shooting. You go into filming with confidence that you have the right guy, but you don’t know exactly what’s going to happen. There’s a very organic thing that goes on in “Cosmopolis” that’s very spontaneous, because until Robert’s sitting in the limo with the actual actor opposite him who he’s playing the scene with — and there are so many different actors who come in and out of that limo — he doesn’t know how he’s going to react, because he’s not acting in a vacuum. He’s reacting to the other actor. . . . For example, the very first scene we shot was in the limo with Jay Baruchel. Rob was shocked by how Jay was playing it, because he was playing it with so much emotion and vulnerability, and Rob had never anticipated that. So he had to react to that. That’s the excitement of the movie: you mix all of these things that are potent and good, but you don’t really know what you’re going to get from that.

IFC: It’s sort of like cooking…

CRONENBERG: [Laughs] Yes, it is. It’s like cooking a meal you’ve never made before.

IFC: You’ve done so many adaptations over the years, and many of them have differed significantly from their source material, but were great movies all the same. How do you balance the need to stay faithful to the source material against the need to make a good, original, interesting movie?

CRONENBERG: I learned very quickly when I did “The Dead Zone,” my first adaptation, that you have to betray the book in order to be faithful to the book. The reason for that is that the two media are really different. Literature and cinema, they are not the same. They are related, and they might seem to be closer together than they are, but when you’re really working in both of the fields, you can see they’re tremendously different. To take the most obvious example, even a bad novelist can do a convincing inner monologue where you’re in the person’s head and he’s walking down the street and thinking about his mistress and his bank account, and so on. You can’t do that in a movie. The usual failure is that you resort to a voiceover, where someone is reading the novel to you like a kid at bedtime. To me, that’s an admission of failure. You couldn’t find the cinematic translation or equivalent or whatever. You have to be brutal. When there’s something you know won’t work, you have to get rid of it or rethink it or reconfigure it. That’s what the key is: recognizing the differences of cinema and what its strengths are and weakeness are, and coming to grips with that.

IFC: On the subject of changes form the source material, I’m going to get into spoiler territory here for a moment and ask you about the end of the movie and how it differs from the book. The movie leaves things more uncertain than the book, it seems…

CRONENBERG: It’s hard to discuss without spoilers, but it would’ve been very easy to put a gunshot on the soundtrack and you would know that Eric was murdered. And in the book you know that he’s murdered, or at least if you believe Benno, he’s been murdered — but that’s the thing, because Benno is not exactly a trustworthy narrator. In the book there is still some scope for uncertainty as to Eric’s fate, but as we were shooting that last scene, I loved that these two guys were frozen in that last moment — almost frozen in an eternity of uncertainty. They’re bound together. They’re locked together in this sort of archetypal moment. I thought the moment should be eternal.

IFC: I can picture you going, “And cut it right… there!”

CRONENBERG: [Laughs] Basically, yeah. So it was more like that than a dramatic thing. It wasn’t like, “Oh, I can’t stand to have this character killed,” or “Rob’s fans won’t like it if I shoot Robert,” or anything like that. I wasn’t worry about that stuff. It was really spontaneous. As I mentioned, we could’ve easily made it clear that he’s killed, cutting to black with the sound of a gunshot.

IFC: One of your other projects that’s been im the news lately is “Eastern Promises.” There’s been some indication that a sequel might happen…

CRONENBERG: That’s dead, so it’s not worth discussing it other than to say that was something I really wanted to do and was looking forward to doing, but it’s not going to happen.

IFC: The remake of “Total Recall” was released recently, and while I was doing some research on it, I was surprised to learn about the version of the film that you were planning to make with William Hurt that pre-dated Paul Verhoeven’s film. I’d love to know what your take on “Total Recall” would’ve been like…

CRONENBERG: I haven’t seen the new one, so i can’t say anything about that. But I’m a big Philip K. Dick fan, and the difference [in what I was planning to make] was that I wanted to cast William Hurt and they cast Arnold Schwarzenegger. That’s the difference.

IFC: That’s… that’s a pretty big difference.

CRONENBERG: That’s really the difference.

IFC: So what’s next for you after “Cosmopolis”?

CRONENBERG: At the moment, because “Eastern Promises 2″ collapsed, I really don’t have anything that’s remotely close to being green-lit. There are projects, maybe, but nothing that’s close enough to discuss other than the novel I have to finish by the end of the year. It’s been sold to a lot of countries, but I haven’t finished it yet. So that’s what I’m going to do: I’m going to be a novelist for the rest of the year.

IFC: That’s not a bad plan to have.

CRONENBERG: No, it’s not too bad at all.

“Cosmopolis” hits theaters August 17.

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