Fast and Furious 7 is an emotional movie; there's no getting around that. There were few dry eyes after the screening we attended. But, if it's this emotional for people who are watching the movie, can you imagine what it must be like for the people who made the movie, and knew Paul Walker? We spoke to director James Wan who told us that it's still so hard, he has to get up and leave the theater during the film's ending.
Interviews - Page 7
I met up with Teller in Austin where he was passing through on an Insurgent promotional stop. I was eager to see which Teller would show up. The formalwear of the Oscar season was long gone and Teller was dressed bro casual in blue tank top, showing off both his impressive physique and the deep scars from a 2007 car crash that nearly killed him. The contrast between the two recalls the strength and weakness Teller brings to his roles; he's equal parts vulnerable, but looks like he could (and would) kick your ass if need be.
David Robert Mitchell left quite an impression with his first feature film, The Myth of the American Sleepover, an honest and subdued look at teen friendship and coming of age. The director has returned with his second feature, It Follows, a thoughtful horror film in which teens are once again the focus, this time coping with a sexually-transmitted haunting. Mitchell has a knack for understanding young people, with a keen ear for their dialogue and a sharp perception of the somewhat separate world they inhabit. Along with a handful of other directors, Mitchell has helped to reinvigorate the horror genre, which has suffered in recent years from the influx of found footage and banal, unoriginal concepts. We had a chance to speak with Mitchell about It Follows, the genesis of this layered and impactful horror film, and the timelessness of what he’s created.
We spoke to Hugh Jackman earlier today for his upcoming movie ‘Chappie’ (we’ll have much more on that movie soon), and as we were making small talk, we asked Mr. Jackman whether he had heard the news yet about Marvel and Sony Pictures coming to terms on an agreement that would allow Spider-Man to crossover into the Marvel Cinematic Universe. He had not. He was very surprised.
'Black or White' is a movie Costner admits no one in Hollywood wanted to make. So, he made it his damn self. With his own money. $9 million of his own money. If it seems like the kind of thing that a lot of people would advise against, you're right. We sat down with the actor to talk about this, and why he felt 'Black or White' was so important to invest so much of his own money in.
Chandor is the definition of “gregarious.” He likes telling long stories (to the point he drove the film’s publicists crazy trying to keep everything running on time, until they just kind of gave up), which I suppose makes sense considering his profession. Chandor is the true definition of “storyteller,” in that he conceives a story and follows it through from start to finish—whether that’s on film or in a Park Ave. hotel. Though, Chandor admits he’s a “loudmouth,” but commends himself on not revealing a big secret about Oscar Isaac’s role in the new ‘Star Wars’ movie.
The first thing you notice about Brie Larson is her unexpected height, forever putting her in my own personal “this actor was much taller than I expected” club, where she joins the likes of John Cusack and Colin Firth. The second is that she’s, pleasantly, a bit of an oddball, meant in the most endearing and interesting way possible. With a single answer, she has the ability to be aloof and on point at the exact same time. Larson seems to have it all figured out without even trying. In other words: She’s winning a game that even she admits is impossible to win.
Christoph Waltz is a lot like what you might expect Christoph Waltz to be like in person: Forever charming, even when he doesn’t agree with what you are saying. And Waltz always has a lot to say, which comes from an interesting perspective as an actor who, after years in German cinema, now owns two Academy Awards. Waltz has an equally interesting approach to characters—he doesn’t see characters as “good” or “bad”; and he certainly doesn’t let himself think about the fact that in his latest film, Tim Burton’s ‘Big Eyes,’ he’s playing a real person—but whatever Waltz is doing, it appears to be working.
While standing in the hallway of New York’s Waldorf Astoria, Emily Blunt approached me, assertively, and said, “We’ve met before.” This happens from time to time before interviews, even from people I’ve never met, but it’s usually with an I hope I’m right question uptick at the end. This seemed different. I responded, “We have, Comic-Con two years ago. There’s no way you remember that.” Chit chat continued and, it was at this point, that a publicist approached us and asked that we not conduct an interview in the hallway, so we were led into a hotel conference room with a big round table. Even in a desolate room like this one, Blunt has the ability to be on and funny when nothing funny should ever happen in a room like this.
A few months ago, the Internet celebrated the 25th anniversary of Tim Burton’s ‘Batman’ as the Internet is wont to do: retrospectives, lists about things we may or may not have known about ‘Batman,’ embeddable clips from Prince’s ‘Batdance.’ So it’s kind of fitting that both the director of ‘Batman,’ Tim Burton, and its star, Michael Keaton, currently have movies out that are considered respective departures. Burton, for dropping his signature style to make the Margaret Keane biopic, ‘Big Eyes,’ and Keaton for playing off his own persona as Batman in ‘Birdman’—a movie Burton has yet to see, but that fact doesn’t stop Burton from saying many wonderful things about Keaton.