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“The reality is, that probably was a mistake.”

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"More Mick Jagger..."
The interesting interviews floating around this week.

Kaleem Aftab interviews Juliette Binoche in the Independent:

"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."

Mark Kermode (who declares "Pan’s Labyrinth" "the very best film of the year") talks to Guillermo Del Toro at the Observer:

‘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.’

George Ducker interviews our beloved David Gordon Green at The Believer:

BLVR: In All the Real Girls, there’s a scene of Paul Schneider’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 camera—the music is still playing, people are still moving—but the scene fades out on Paul’s face, on his expression, which is very much like, “Haven’t you had enough of this? Can we just stop this for just a second?”

DGG: It’s a bold decision. People don’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 what’s intended in a finished cut from what’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. That’s what you find in the editing room. We all sit around and dig through the mistakes and incorporate a shitload of them.

Ryan Gilbey talks to Hugh Jackman at the Guardian:

"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."

Peter Howell chats with Albert Maysles about Scorsese‘s Rolling Stones doc (still untitled; Maysles is apparently pulling for "The Stones Keep Rolling") at the Toronto Star:

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)."

N.P. Thompson interviews Malcolm McDowell at The House Next Door:

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 didn’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 – it was originally meant to be a scary tale – until Peter Sellers got a hold of it; he made it a comedy and better than what was on the page.

Tom Charity speaks with director Anthony Minghella at the Telegraph:

"Walter Murch
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."

Gayle MacDonald, talking with Emma Thompson at the Globe and Mail:

In 1992, she turned down the role played by Sharon Stone in Basic Instinct, the steamy box office hit.

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."

And Daniel Nemet-Nejat interviews "Kurt Cobain: About A Son" director AJ Schnack at Nerve‘s Film Lounge:

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 — 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)   

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The Best Of The Last

Portlandia Goes Out With A Bang

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The end is near. In mere days Portlandia wraps up its final season, and oh what a season it’s been. Lucky for you, you can watch the entire season right now right here and on the IFC app, including this free episode courtesy of Subaru.

But now, let’s take a moment to look back at some of the new classics Fred and Carrie have so thoughtfully bestowed upon us. (We’ll be looking back through tear-blurred eyes, but you do you.)

Couples Dinner

It’s not that being single sucks, it’s that you suck if you’re single.

Cancel it!

A sketch for anyone who has cancelled more appointments than they’ve kept. Which is everyone.

Forgotten America

This one’s a “Serial” killer…everything both right and wrong about true crime podcasts.

Wedding Planners

The only bad wedding is a boring wedding.

Disaster Hut

It’s only the end of the world if your doomsday kit doesn’t include rosé.

Catch up on Portlandia’s final episodes on demand and at

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Your Portlandia Personality Test

The New Portlandia Webseries Is Going Your Way

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Carrie and Fred understand that although we have so much in common, we’re each so beautifully unique and different. To help us navigate those differences, Portlandia has found an easy and honest way to embrace our special selves in the form of a progressive new traffic system: a specific lane for every kind of driver. It’s all in honor of the show’s 8th and final season, and it’s all presented by Subaru.

Ready to find out who you really are? Match your personality to a lane and hop on the expressway to self-understanding.

Lane 10: Trucks Piled With Junk

Your junk is falling out of your trunk. Shake a tail light, people — this lane is for you.

Lane 33: Twins

You’re like a Gemini, but waaaay more pedestrian. Maybe you and a friend just wear the same outfits a lot. Who cares, it’s just twinning enough to make you feel special.

Lane 27: Broken Windows

Bad luck follows you around and everyone knows it. Your proverbial seat is always damp from proverbial rain. Is this the universe telling you to swallow your pride? Yes.

Lane 69: Filthy Cars

You’re all about convenience. Getting your car washed while you drive is a no-brainer.

Lane 43: Newly Divorced Singles

It’s been a while since you’ve driven alone, and you don’t know the rules of the road anymore. What’s too fast? What’s too slow? Are you sending the right signals? Don’t worry, the breakdown lane is nearby if you need it.

Still can’t find a lane to match your personality? Check out all the videos here. And see the final season of Portlandia this spring on IFC.

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Last-Minute Holiday Gift Guide

Hits from the '80s are on repeat all Christmas Eve and Day on IFC.

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GIFs via Giphy, Photos via The Everett Collection

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