Once more around on the guitar…er, we mean interview circuit.
â€œYou know, love stories can come in so many different forms,â€ she says. â€œI love Harold and Maude and Paper Moon. One of the greatest love stories Iâ€™ve ever seen is Planes, Trains, and Automobiles. Itâ€™s between two men, but I defy you not to get choked up at the end. I even think that Big Edie and Little Edie have a kind of love story. It is a love story,â€ she stresses. â€œIt is.â€
There’s a long tradition of male film-makers making lyrical, obsessive
films about their real-life partners, but few have exposed their
domestic life to conjecture quite as teasingly as Ceylan does in
Climates. Still, the director insists that Climates is not about him
and Ebru. "Of course, I have painful memories from many relationships –
they left a mark on me, and those marks made me make this movie. But my
relationship with my wife is not like this." The material for Climates,
he says, came from other relationships, a previous marriage and the
lives of friends.
At MTV, Doug Jones, the body behind "Pan’s Labyrinth"‘s creaking faun and lurching ogre, talks with Larry Carroll about his roles in "Hellboy 2: The Golden Army," also being directed by Guillermo Del Toro:
"I’m not just playing Abe Sapien in this second film â€” I’m doing three other smaller characters that are otherworldly and heavily made-up beyond recognition," Jones revealed. "My favorite one is called the Angel of Death â€” it’s another eyeless thing [like Pale Man] with huge wings, and he’s got a weird little ribcage. He’s beautiful. I’m going into my fittings this week."
King makes no apologies for the way studios use his name to sell tickets. "Do you really think people think Larry King is a movie critic?" he asks. "Come on! I’m the guy on CNN who liked the movie. I mean, after Roger Ebert, how many film critics could I even name? Joe Morgenstern. The guy with you. [The New York Post’s] Lou Lumenick. [The New York Times’] A.O. Scott. I mean, how many people in Dubuque, Iowa, know any of those guys?"
We suppose everyone needs a niche in life. The above paragraph is followed by an anecdote from Morgenstern about King’s taking cell phone calls in the middle of a screening â€” high-larious.
Mr. Sissako recalled the advice of an old friend, a Malian judge: â€œHe told me, â€˜Donâ€™t think this film will change anything. But you have to make it. Perhaps then they will know that we know.â€™ â€
So, if Hot Fuzz had a message what would it be?
Halfway through the film, Nick Frostâ€™s character shows Simon [Pegg]â€™s character a double-bill of Point Break and Bad Boys 2 in answer to the fact that Simonâ€™s character is job drunk – completely obsessed with the job – he finds it unable to switch off his brain, and itâ€™s affected his social life, itâ€™s affected his relationship. Dannyâ€™s prescription for that is to show him Point Break and Bad Boys 2, so essentially the message of the film is, you know what? Sometimes itâ€™s nice to just switch off your brain and enjoy some dumb fun.
+ Hopeful Romantic (New York)
+ Nuri Bilge Ceylan: The action man (Independent)
+’Pan’s Labyrinth’ Duo Use Oscar Clout To Make ‘Hellboy 2’ Their Way (MTV)
+ King of the blurbs (LA Times)
+ One Angry African Puts Big Money on Trial (NY Times)
+ Edgar Wright talks Hot Fuzz with Total Film (Total Film)