The interesting interviews floating around this week.
"When I shot with Kieslowski I lied to him because I didn’t see his films. But before we shot the film I saw them. There was once a time, I’d watch the films after working with the director, but now I always watch them before."
‘The faun proved more difficult. The idea was to make him very masculine, not aggressively so, just sinuous. I remember talking to Doug Jones [who plays both the faun and the pale man] when he first started working on the role and saying, "More Mick Jagger, less David Bowie!" I wanted the faun to have a rock star quality. Everything about the faun and his personality needed to be masculine because you had to pit the female energy of the girl against something monolithic.’
BLVR: In All the Real Girls, thereâ€™s a scene of Paul Schneiderâ€™s character in a clown costume. He does a silly kind of dance for children at a hospital. At the end of the scene, he turns and looks dead into the cameraâ€”the music is still playing, people are still movingâ€”but the scene fades out on Paulâ€™s face, on his expression, which is very much like, â€œHavenâ€™t you had enough of this? Can we just stop this for just a second?â€
DGG: Itâ€™s a bold decision. People donâ€™t even consider that an option.
BLVR: I thought about how that could be seen as a kind of mistake. I kept thinking about how mistakes become the finished product. How, when all is said and done, it becomes difficult to tell whatâ€™s intended in a finished cut from whatâ€™s not.
DGG: The reality is, that probably was a mistake. Like, I was talking to him while he was dancing and he just turned to the camera and had this kind of weird reaction to what I was saying. Thatâ€™s what you find in the editing room. We all sit around and dig through the mistakes and incorporate a shitload of them.
"In the scenes with Christian in The Prestige, you could feel this hush descending over the entire soundstage. Everyone would get drawn in, no matter what they were doing. And then you know you’ve got it, you’ve transcended the words on the page, the marks on the floor." But even this doesn’t equal the thrill of theatre. "Nothing has ever really eclipsed for me those special moments. If I gave you my top 10 acting experiences, they’d all be on the stage."
The Stones still shudder about Altamont. But they obviously don’t have any lingering bad vibes about Gimme Shelter, because both Mick Jagger and Keith Richards were keen to have Maysles on board for the Beacon shoot.
"They both recommended that I be brought on," Maysles said proudly. "That was nice. We exchanged hugs as soon as we got to see each other. I’m 80 years old, so I think of them as pretty young guys (Jagger is 63 and Richards is 62)."
When Arliss Howard was one of the guests last year at the Port Townsend Film Festival, he spoke a little bit about working with Stanley Kubrick on Full Metal Jacket. He mentioned that after the long shoot, with all its multiple takes, Kubrick told him, "You’re gonna miss me. You’ll have directors who’ll say, ‘We got it,’ and you know they didn’t." Does that, in any way, sound like the Kubrick you knew?
No, not really. Stanley went a little nuts, I think. He didnâ€™t start the 1500 takes until The Shining. [Pause] I could see him saying it, actually. He and I had a complex relationship; he was the antithesis of Lindsay Anderson. A Jewish boy from the Bronx, Stanley was savvy in a street way whereas Lindsay, who was an Oxonian, trained in Greek and Latin, wasn’t. They were polar opposites and yet very great artists. What I consider great about Stanley is that he was fluid enough to go with whatever was on the set. He went with the humor that I brought to A Clockwork Orange. Dr. Strangelove was also written straight â€“ it was originally meant to be a scary tale â€“ until Peter Sellers got a hold of it; he made it a comedy and better than what was on the page.
told me a very brilliant thing one time," he says. "He said: ‘Don’t
keep talking about the movie you thought you were making, look at the
movie you have made.’ For a long time I thought it was a comedy idea. I
guess my pen doesn’t feel the weight of the comedy. I am quite
surprised by the melancholy. I didn’t feel melancholy when I was I
writing it, but now I see it very clearly."
Not one to miss a beat, Thompson keenly observed that "Stone was shagging Michael Douglas like a donkey, and not an inch moved. If that had been me, there would have been things flying around hitting me in the eye."
He said at one point that punk rock saved him. What did he mean by that?
He says in the film that he grew up wanting to be a rock star, but that punk rock and, later, the musicians he was exposed to in Olympia, told him, "You don’t have to be a rock star. You can just make music. You don’t have to be this larger-than-life figure." He says finding punk rock saved him, but I also think it helped create this conflict in him over what he really wanted. Whether he wanted to aspire to what he had thought as a child or aspire to what he wanted after discovering punk rock and moving to Olympia â€” aspiring to more of a Sonic Youth level, somewhere where he could make it and have an audience and pay his rent and go on tour.
+ Juliette Binoche: Blond ambition (Independent)
+ ‘Pain should not be sought – but it should never be avoided’ (Observer)
+ David Gordon Green (Believer)
+ ‘Well, I am a big old ham …’ (Guardian)
+ Scorsese’s Last Waltz, Stones style (Toronto Star)
+ "Keep the Audience Awake!": An Interview with Malcolm McDowell (The House Next Door)
+ ‘I wanted to make a film about home’ (Telegraph)
+ No stranger to fiction (Globe and Mail)
+ The Man Behind the Grunge (Nerve Film Lounge)