Wednesday, March 30, 2011

Will There Be a Friends Reunion?

“We were on a BREAK!!!”

In an exclusive interview with David Schwimmer, HOLLYSCOOP asked the actor-turned-director if a possible Friends reunion movie was in the works.

“Not to my knowledge, no. And when I talked to Matt LeBlanc the other day, it’s not to his knowledge either.”

So as much as you’d like to see what Ross and Rachel are up to, it doesn’t look like it’s happening anytime soon. And Schwimmer is fine with that.

He told HS, “I really like how the show ended; I really loved how it ended. I think it was kind of a perfect ending, I cant see any good reason to revisit it."

Here’s a good reason: the millions of fans who would make a Friends reunion flick box office gold!

But David’s been busy with a new role: director. He recently finished working on Trust, a movie starring Clive Owen and Catherine Keener.

“I love directing. I don’t know if I like it more than acting, I really love both, I hope to continue both. It takes a lot longer than acting…I’ve been on [the movie] two and a half years.”

Trust is about a young teenage girl who is targeted by an online predator. The movie’s theme deals with the dangers of technology and more specifically, “parenting in the age of technology,” says Schwimmer.

As for himself, Schwimmer says he loves technology. “I love gadgets…I’m definitely aware though, that I’m watching younger kids socialize in a very different way than I am accustomed to.”

I guess the only online predators Schwimmer has to worry about are the fanatics from Friends fan sites.

And how is the rest of the Friends cast doing?

Matt LeBlanc is currently starring in Showtime Episodes, a comedy in which LeBlanc plays himself. And apparently people like the character, because it just got renewed for a second season. Then again, so did Joey. Jennifer Aniston has managed to stay in the public eye, as her latest romantic comedy, Just Go with it came in #1 in its opening weekend, beating out Justin Bieber’s movie. That’s no easy feat. And her hair hasn’t stopped making headlines, either. Courteney Cox continues to star in ABC’s Cougartown and has recently rekindled romance with her estranged husband, David Arquette. Cox reconnected with Arquette publically at a recent premiere of Scream 4.Lisa Kudrow might have played a flighty hippie on Friends, but in real life, she’s all business. Kudrow has become an executive producer for the NBC TV series, Who Do You Think You Are? The show traces the family history of a new celebrity each week. Kudow appeared in the first season along with Susan Sarandon and Sarah Jessica Parker. As for Matthew Perry, he’s returned to the sitcom world as well, shooting twelve episodes of the ABC TV series Mr. Sunshine. In the series, still in its first season, Perry stars as a manager of a failing San Diego sports arena.

We might have to wait a few more years for a full-on reunion, but we’re not giving up hope. Aniston’s rom-coms and LeBlancs variations of Joey can only last so long!



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Fox Defends Natalie Portman Against Body Double Controversy

Natalie Portman picked up just about every Best Actress award this year for her role in Black Swan, but an extra from the movie is raining on her parade.

Natalie's body double/ballerina Sarah Lane claims she did 95% of the dancing in the movie but only got "Lady in the Lane" credit on IMDB.

After Natalie's fiancé, Ben Millepied, who was the choreographer for the movie told the Los Angeles Times that "85 percent of that movie was Natalie [dancing]", Lane told Entertainment Weekly, "On the full body shots, I would say 5 percent are Natalie. I mean, from a professional dancer's standpoint, she doesn't look like a professional ballet dancer at all and she can't dance in pointe shoes. And she can't move her body, she's very stiff."

And now Fox Searchlight Pictures is defending Natalie. They released a statement saying:

"We were fortunate to have Sarah there to cover the more complicated dance sequences and we have nothing but praise for the hard work she did," the studio said. "However, Natalie herself did most of the dancing featured in the film."

Regardless of who did what percentage of the dancing, there's no denying that Natalie's performance was amazing in the movie. She went from hot to cold in a split second and I was on the edge of my seat throughout the whole movie. What are your thoughts on the scandal?


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Thank You music review

By Satyajit, Glamsham EditorialSend to Friend

THANK YOU, this title will surely ring bells for all good and humorous reasons, as it comes from the stables of a filmmaker who has been consistent in delivering out frothy slapstick entertainers. Director Anees Bazmee pitches out another rib-tickler that has all the ingredients to attract footfalls into the theatres. Ensemble of bankable A-list actors, grandeur of exotic foreign locations, crazy slapstick comedy and to spice it all, it has Pritam's peppy music to make everything notable in days to come.

In Bazmee's flicks music has always been mechanical or situational but still have grounded screenplay to its fullest potential. THANK YOU opens to minimal musical expectations but all the above mentioned features makes it as one of most anticipated musical releases. Can this THANK YOU be another WELCOME surprise for listeners? Just check this out...

It all started off with rehashed version of "Apni toh jaise taise" ((HOUSEFULL (2010)), a racy 70's dancing track that stole limelight and was instant big surprise chartbusting hit. What is following next is "Pyar Do Pyar Lo", a sensational 80' disco cabaret hit from Feroze Khan's JAANBAAZ with similar blazing nasal twang of Mika Singh? This soundtrack is amusing "club-remix" style of disco-tadka with initial similar punch-lines but with hilariously bawdy "antaras" to create frolicsome feel for varied comical situations. Pritam delivers an above-average funky number that has archetypical 80's disco feel number that should be fuelling out humor quotient. Mika Singh's vocals works perfectly again and so do its chirpy lyrics, it will really be enterprising to see how it works on big screen.

CHECK OUT: THANK YOU Movie Preview

"Pyar Do Pyar Lo (remix)" by Abhijit Vaghani works and it's because it's a quintessentially disco number and added disco-beat fillers zing adds to the zealous dancing feast. It works for its formulaic massy feel and if "magic" works well in slick choreographic moves or "tongue-in-cheek" humor then do expect this number to be next big thing on the musical charts.

"Munni", "Sheila" and now its "Razia" to create ruckus on floor! Following the guidelines of raunchy "item-songs" with garish rustic feel, Pritam tries to create decorum with situational sounding "Razia". This one comes with more narrative moves and in duet mode with yelling tones of Master Saleem and Ritu Pathak's, varying high and loud. Massy feel galore again in Ritu Pathak's loud-throated voice, it will be again a visual feast type of dancing track that should up all catalyzing commercial prospects by attracting front-benchers. Ashish Pandit's earthen feel lyrics may not be as tangy as one expects but works instinctively with the "crowd-pleasing" mood of the song.

Abhijit Vaghani's DJ antics delivers out another hip-shaking feast in "Razia (Remix)" with infused African tribal sounds, beat-juggles, electronic fillers and DJ spins, giving it a true disco feel.

Bombay Viking magic is back! Neeraj Sridhar's Indi-Pop days gets a major boost as this time he gets a chance to rejuvenate golden bygone eras of Bollywood with trendy-feel orchestrations in "Full Volume". Pritam tries to give this a "Zor Ka Jhatka" (ACTION REPLAYY) discotheque feel in Richa Sharma's nasal twang with Hard Kaur's emceeing doing extra bit to give it thriving zest. Neeraj Sridhar's enthused singing is the biggest highlight and it gets a strong support of upbeat hip-hop jives, crazy chorals and infectious drumming at intermittent phases, giving it a cheerful outlook. It's effervescently peppy entertainment on ears; its scintillating "on-screen" display will be adding more colors to this "livewire" feel song, thanks to Pritam's funky tones and Neeraj's lively singing that makes it happen.

"Full Volume (remix)" is peculiar "dhol" beat drumming "club-remix" attribute by Harry Anand that comes with slow-tempo mixing well with voices, chorals with amiable crazy sounds and rhythms, giving it extra hilarious cum amusing tones. A well crafted promotion for this song is highly anticipated!!!

In one of the film awards function, director Sajid Khan mimicked Shabbir Kumar's style of singing and it suddenly transformed into singer's comeback through "I don't know what you do" in HOUSEFULL (2010). This time it's the specialist Sonu Nigam, also famous for his mimicry singing, behind the mike in mimicking out Shabbir Kumar in "My Heart is beating". It's nowhere inspirational to 70's Priti Sagar's sweetly toned track "My Heart is beating" (JULIE (1970)) but a retro feel route to 60's music. Pritam's composition is huge inspirational lift from 60's Mohammad Rafi hits, preferably from vintage romantic tinge of Shashi Kapoor and Shammi Kapoor evergreen numbers. Like spunky caricatured "I don't know what you do", it too carries "teasing-pleasing" musical flair to flare up humor-quotient in the flick. Kumaar's wordings are optimally amusing and gel well with nonsensical comical feel, a witty slapstick hilarious move will carry it to higher limits.

CHECK OUT: Akshay Kumar loses his cool on a journalist

"My Heart is beating (remix)" comes like a vociferous title track with deliriously snazzy "club-remix" touches, mixing well with the composition. This version is presumed to be tailor made for the ending or beginning titles and should be favorites among film promos and teasers.

Finally some serious music that talks melody! The last attribute of the album comes out in form of "Pyar Mein", a tenderly paced ballad with strong infectious Spanish flamengo feel. Javed Ali along with Neeraj Sridhar soothes this out in nimble tones, where arrangements belong to Enrique Iglesias style of music with peculiar Spanish guitar riffs, delivering out a somber mushy appeal. The breeziness in intrinsically Spanish musical appeal delivers out spells of romantic mushiness that works out progressively with likable voices. "Pyar Mein" may not be as sporadically catchy as Pritam's earlier ballads were, but this has creative finesse of chartering out new genre with some quality works.

THANK YOU is reasonably enjoyable massy album that entertains and enthralls. The album may not be the finest from Pritam in recent times but has delivered bountiful of amusing numbers in the form of "Pyar Do Pyar Lo", "Razia", and "Full Volume". It will be really engaging to see all the stars dancing to its bombastically punched tunes and if things works on big silver screen, then do expect a couple of soundtracks making it big on the charts.

Rating - 3/5


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Patiala House movie review

February 11, 2011 02:30:31 PM IST
By Pankaj Sabnani, Glamsham EditorialSend to Friend

The ICC Cricket World Cup 2011 is around the corner. The excitement among fans is humongous as we are a few days away from the opening match. So it's perhaps a great move to release a film with a cricket theme, just before the big tournament.

While we've seen many films based on cricket (LAGAAN, VICTORY, IQBAL), PATIALA HOUSE is different as it's primarily a father-son conflict, having cricket as it's backdrop.

34-year-old Parghat Singh Kahlon aka Gattu (Akshay Kumar) had given up his dreams due to his authoritarian father Gurtej Kahlon (Rishi Kapoor), 17 years ago. Despite being an excellent fast bowler, he wasn't allowed to play for Firangis (England) as their family was subjected to racist attacks many years back. Gurutej turned very aggressive post the incident and used to raise his hand or voice at the drop of a hat.

Gattu, on the other hand, has been living a mediocre life, working in a Southhall corner store for years now. The younger generation of his family blames him for setting the wrong example.

Still not over with his love for the game, Gattu discreetly practices bowling when no one is around. His neighbour friend Simran (Anushka Sharma) and her kid brother (Z) are determined to get Gattu's life back on track. Will he get his life back is what forms the rest of the story.

Nikhil Advani keeps the narrative to the point, avoiding all the redundancies in the first half. The characters and their conflicts are well established. It's a tough situation if you are in the shoes of Gattu and have to choose between your dreams and family. You really do feel for Gattu and his predicament. Simran and Zee making a spineless Gattu realise the importance of chasing dreams is inspiring. Their characters act as catalysts in moving the story ahead.




Post the interval, the Nikhil goes a bit wayward in his direction. The entire plan and more so its execution is just too convenient. The cricket scenes, though not bad, don't arouse the excitement that LAGAAN immaculately did.

The plot is no doubt predictable. You roughly know what will happen in the end. But how Nikhil reaches there is plausible. There's an endearing scene just before the interval where Priti Kahlon (Jeneva Talwar) tells Gattu that the Britishers treat Indians as equals and have hence offered him a place in their team. The lighter moments manage to bring a smile.

Manan Sagar's editing is good but the second half could have been much tighter. Cinematography by Santosh Thundiyil is nice. Shankar-Ehsaan-Loy's music goes well with the film.

Akshay Kumar, teaming up with Nikhil after CHADNI CHOWK TO CHINA, is first-rate as he delivers a very restrained performance. He looks convincing as a cricketer and never goes overboard. Rishi Kapoor plays his role to perfection. Anushka Sharma is refreshingly good and is at her chirpiest best. The boy who plays Zee is completely natural. Dimple Kapadia doesn't have much scope. Tinu Anand is good. Thankfully, the cricketers (Andrew Symonds, Herschelle Gibbs, Kieron Pollard) are just seen playing cricket and don't mouth dialogues. All the other characters are fine in their small roles.

PATIALA HOUSE is a heart-warming drama. Do pay a visit to this house with your family. A fun time is guaranteed.

Rating - 3/5


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Tanu Weds Manu music review

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By Satyajit, Glamsham Editorial Send to Friend

BAND BAAJA BAARAAT blew the trumpet of success for marriage season and now it's TANU WEDS MANU to make it happen with all its pomp and show. Low profile, average face value, new musical prodigies but much-accepted genre of "romantic comedy (rom-com)" to entertain, TANU WEDS MANU sounds like an interesting fare to happen. It pitches budding composer Krsna to be the leading musical man with writing potentials of new lyricist Rajshekhar to deliver the needful. Can Krsna and Rajshekhar be the "chosen-ones" in cadre of this year's happening talents? Does this rom-com have potential verve to entice young listeners? Expectations may not be humongous but feel is immensely positive, as we charter into the musical terrains of this fun-filled rom-com with fingers crossed...

When it comes to quintessentially Punjabi folk-singing, names like Sukhshinder Shinda, Mehsopuria, Jazzy B, RDB and Lehember Hussainpuri have made their strong vociferous dominance with their thick-toned baritones, exuding out a vibrant folksy celebratory feel. The overtly hyped "Sadi Galli" belongs to this genre with streaming voice of Lehember Hussainpuri, gesturing all out glitzy happening of marriage celebrations. Few years back, RDB rocked the charts with this number with almost similar sounding arrangements and now it gets packed well into this rom-com entertainer. For all contemporary "bhangra" lovers, it's already a big rage and should be a very "scintillating" factor in pumping up the "glam-quotient" of the flick. "Sadi Galli", a frivolously cracker of dancing cum feasting entertainment, is presumed to be next big commodity for DJ's tables and is likely to be hot sizzler for festive occasions, especially in North India (preferably in Punjabi speaking regions). Go for it!!!

Romance is the flavor of this season and duet is the most anticipated melodic verve to arrive in Mohit Chauhan's sonorously oozed vocals in "Yun Hi". Newbie Krsna makes his first original dent in this tender-paced number that is modestly arranged with varied instrumental flows. Conceptualized to be dreamy duet track, it has primarily Mohit's subtle singing at fore with synchronized classical Indian textured instrumentals, mellowing amiably in modestly penned wordings. Ujjaini's sublime back-up voice is soothing and comes intermittently to add feminine touches in this simplistically designed love track. Overall, it's a decent sounding song that plots out the graph of love-chemistry and its relative happening in its four minute plus display.
Sufism has defined divinity in multifarious ways; its endeavors are fast emerging voluble in Hindi filmdom and the next promising enterprise to arrive is "Rangrez". After hearing to earthen feel of "Des Mera Rangrezi" (PEEPLI LIVE), the word "Rangrez" lingers in senses and this eloquently beautifying number has shades of "Sahib Mera Rangrez" (Saint Kabir's poem) with brilliance of expressive voice and literate poetic wordings. Krsna gleams out as potential vocalist this time as he modulates as well as varies his tones, matching well to the desired needs of a perfect Sufi "qawalli". Upcoming Rajshekhar's poetic finesse is equally admirable as lyrics unravel from the mystifying feel of coloring ("Rang rang de rang de chunari pe rang, Kar muhe kapaas pe rang naa rukey, Rang itna gehra tera ki jaan-o-jagar tak ko bhi rang de, Jigar rang de...) to refined Urdu verbatim ("Meri raah bhi tu, Mera rahbar tu, Mera sarwar tu, Mera akbar tu, Mera mashriq tu, Mera maghrib tu, Zaahid bhi mera, Murshid bhi tu...), exulting out myriad shades of spirituality in remarkable Sufism tonality. Krsna's command over breath-control and classical "alaap" rendition in the latter stages, adds to this graceful composure of this remarkably delivered soundtrack. "Rangrez" spells pure magic for classy listeners and all credits to the combined melodic brilliance that makes it happen for quality-music hearing ears.

The magic moves on to the second version by Wadali Brothers (Puranchand Wadali and Pyare Lal Wadali), a quintessentially classical offerings that should do grace for live-concerts. For all Sufi music lovers and classical music literates, "Rangrez" is immensely likable listening treat that should open vistas for more classy works in Bollywood music. Rhythm-divine!!!

In an era where "Munnis" and "Sheilas" raunchiness has rocked the charts, it becomes impossible to expect the sublimity of decent feminine emotions interwoven in Indian classical musical attire making its impeccable impact. After delivering out an outstanding "Rangrez", Krsna's composing prowess regales again and delivers a gem of performance from purist Roop Kumar Rathod in "Piya". In terms of expressive tonality, supple arrangements and appealing situational feel, this classically refined song brings memories of melancholic sounding "Aaoge Jab Tum" (JAB WE MET -2007) and impresses to the core. Rajshekhar's literary strength in interweaving sentimental shades in refined wordings makes remarkable presentation in lines like ("Megh nahin bijuri bann barse, Mohe ek chama naahin arj ae, Baathal sang kar ke jiya ra, Bole jaa mann basiya...) to the beloved pathos ("Aswan sang mora beh gaya kajra, Utri mehndi, Sookha gajra, Mann basant ko patt jhadh kar woh, Le gayo, Le gayo, Le gayo, Le gayo rang, Rang rasiya...), exemplifying the gist of pure love-relationship. Roop Kumar's pristine voice is extremely penetrative and so does the beautiful concoction of "sarangi", flute, tabla and harmonium displays, making this one of the finest in its genre. Krsna's adroitness in foraying into classical works excels and gives sufficient reasons of lauding up this remarkable track that has quality workmanship as its trump-card. Noteworthy!!!

Chirpy, vivaciously familial and quirky in nature, the fun-filled "Mannu Bhaiya" comes moreover like a cheerful "teasing-pleasing" endeavor that shows the high spirits of bridegroom's dear-ones. Sunidhi Chauhan's booming vocals leads the show with frivolous earthen voices of Ujjaini Mukherjee and Niladri Debnath, giving out a typical "Delhi-wala" folklore feel, similar to "Sasural Genda Phool" (DELHI-6). The added back-up vocals of Manjeera, Rakhi Chand and Vivek Naik adds colors to the show. In terms of composition and arrangements, this playful amusing number reminds of ethnic feel of "Kangna Re" (PAHELI -2005) and jester out loads of cheery musical happenings for silver screen. Amusing!!!

In listing of Punjabi folklore singing, "Jugni" has always been most prolific musical-piece that has caught every "bhangra-beat" lover's attention. It is graced up this time with Mika Singh's nasal twang with cherubically bubbly wordings ("Jugni kardi western dance, Gentleman de naal romance, Munde labh de phirde chance, Oye phir mere ae ve jugni...), serenading out playful characteristics of lead female protagonist. Like "Sadi Galli", its striking features are strong electronically punched fillers that are mixed well with traditional Punjabi instrumentals, exuding out a frolicsome signature tune for the track. For all its peppiness and "masti", do play it loud and enjoy this lively track that should give optimum reasons to shake booty on floors. Enjoyable!!!

To sum up, TANU WEDS MANU is an entertaining musical "wedding card" that enthralls, excites and finally impresses with its melodic gestures. Krsna succeeds potentially in churning out a successful musical feast that has pleasing "bhangra-beat" grooves in "Sadi Galli" and "Jugni" but the noteworthy aspects are impressive Sufism and classical musical feel in songs like "Rangrez" and "Piya". Rajshekhar's lyrical attributes also deserve special mention that gel appreciably with quality singing. This rom-com is expected to be getting boost from its musical offerings and it will be interesting to view all these numbers on big-screen. Hoping for this hot "n" happening marriage to prosper on big screen...till then Happy Listening!!!

Rating - 4/5


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Tuesday, March 29, 2011

Game music review

By Satyajit, Glamsham EditorialSend to Friend

ICC World Cup Cricket has gripped the nation but Bollywood is all prepared to pitch out its GAME! In genre of stylishly packed action thrillers, debutante director Abhinay Deo plots out a game of deceit, intrigue, lust and greed with heavy dosage of glamour and slick action thrills. Music...! It has dependable triumvirate Shankar-Ehsaan-Loy leading the castle along with notable Javed Akhtar as the lyricist for the flick. So far, the track record of this musical team has delivered bountiful of success for the producers (Farhan Akhtar and Ritesh Sidhwani) in the form of DIL CHAHTA HAI (2001), LAKSHYA (2004), DON-THE CHASE BEGINS AGAIN (2006), ROCK ON!! (2008), LUCK BY CHANCE (2009) and KARTHIK CALLING KARTHIK (2010). If one goes by the high standards and remarkable records, GAME is predicted to be next big musical bonanza to hit audio stands. Will this be another winning 'game' for the producers and composers? Will this album live up to high expectations? Let's charter out its musical terrains...


Bollywood tryst with 'Bond-ish' theme title track makes another quirky move as Vishal Dadlani's gruffly toned vocals mixes well with electronically synchronized arrangements in 'It's a Game'. Few years back, S-E-L had their share of luck and success in tracks like 'Dhokha' and 'Johnny Gaddar' ((JOHNNY GADDAR (2007)) and this one too makes notable expression. It has infectious 'Bond-ish' signature tuneful appeal that is not only haunting but also appealing with back-up support of seductive feminine chorals and ballistic arrangements. Vishal's coarsely emoted voice plays a 'cool' mouthpiece for eventful happening, a predictable rollicking background score or suitable score for ending or beginning titles.

The second version comes out as 'It's a Game', a female version having the effective support of Sunita Sarathi's ('My Wish come true' (KISNA (2005)), 'Khuda Hafiz' (YUVA (2004)) vocals. It comes closer to international hit track 'Golden-eye' (Tina Turner) and makes sensuously loud impact with intimidating tuneful orchestrations, giving it added dark shades. S-E-L may not have given the finest in this genre but has delivered needful that should be making optimum impact in those compelling moments of the film.

Down the memory lane, the glitzy fast-paced track 'Kya Maine Socha Tha' (Hindi version of 'One Love' in RAKHT (2004)) created rage with Shaan's youthful voice playing loud and giving 'item-boy' image to Abhishek Bachchan with success. Javed Akhtar's poetic pen tries to rewrite those theme-lines again in 'Kab Maine Yeh Socha', a serene-sounding love ballad pitching Shaan's soothing vocals with Anusha Mani's deliriously saucy voice. It's impressive in its subtle orchestral maneuvers and reminds of some of S-E-L lovely tracks like 'Tumhi Dekho Naa' (KABHI ALVIDA NA KEHNA) with delicately played piano drills, melodramatic violin chorals as its striking features. Despite lacking the 'novelty factor' in its composition, it entertains well with tender romantic hues in expressive vocals and comforting arrangements. For its urbane-cool ambience and tender youthful appeal, do expect this number to be one among 'chosen-one' in Valentine's Day collections.

Game of Seduction and Deceit! Seductive cabaret and salsa moods take centre-stage with a feel of 60's bygone era in Shreya Ghoshal's quivering-cum-alluring voice in 'Mehki Mehki'. The song is conceptualized to be 'eye-candy' item-song that changes its mood from archetypical jazz feel to Arabic belly-dancing grooves. Kshitij's appealing voice (sounding similar to KK) is another highlight that infuses life in this dancing-feast type of soundtrack. S-E-L's composition plays to the situation and can be presumed to be more of visual delight on big silver screen.


'Mehki Mehki (remix)' is enthralling surprise and makes itself a striking enterprise with bouncy 'club' disco beat fillers making mood merrier. This version has striking echoing impacts, effective beat-juggles and racy DJ spins, giving sufficient energy and zeal to shake booty on floors.

Unraveling into 70's action-packed era with its peculiar thrilling melodic feel, S-E-L play it in contemporary Bollywood's thriller format in delivering out another situational soundtrack in 'Kaun Hai Ajnabi'. KK along with Aditi Singh Sharma renders out this 70's stylized song with feel of Bond-ish style thematically arranged composition. Like all previous soundtracks, this one too plays for the situational deadly feel with formidable singing and amiable orchestrations as its main supports.

To infuse dancing thrills, 'Kaun Hai Ajnabi (remix)' is delightful addition that appreciates 'pep-factor' of the album with enthralling 'club' disco beat fillers getting well into contours of this contemporary sounding soundtrack. It can be presumed to be another pivotal musical feature in the climax stages of this hi-octane thriller.

GAME is a conventional musical 'game' in genre of action-packed thrillers with couple of impressive soundtracks under its belt. This S-E-L album is no big path-breaker but neither disappoints in its entire display of seven soundtracks. The biggest assets of the albums are 'It's a Game' and 'Maine Kab Yeh Socha Tha' while rest of the soundtracks play strictly to the situational needs of the flick. After the mediocre success of PATIALA HOUSE this year, S-E-L's music has once again failed to deliver one bright chartbusting hit that could really set the pace for the film. A prosperous box-office result and positive 'word-of-mouth' publicity will surely be boosting factors in raising out its commercial prospects.

Rating - 2.5/5


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F.A.L.T.U music review

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By Satyajit, Glamsham Editorial Send to Friend

Youthfully festive, energetically bouncy and thematically satirical...it gists out the feel of F.A.L.T.U (meaning 'useless')! Farah Khan, Ahmed Khan, Ganesh Acharya and now Remo D'Souza (all leading choreographers of B-town), take challenge of directing full-fledged feature films by pitching out promising young-talents together for this teenybopper's delight flick. F.A.L.T.U makes history of its kind by launching its music on the official website at affordable rates, clearly indicating that this is an upbeat youth-feast that arrives with technical innovation.


Sachin-Jigar, a prodigal duo who made a splendid debut with TEREE SANG (2009) make a 'cool' splash of musical happenings with this album. In the past, both Remo and producers (Vashu Bhagnani) have a splendid track record of delivering out the best in musical section and so expectations are believed to be mercurial high. Ditto for Sachin-Jigar, who are believed to be finest among budding composers, and have assisted almost every big composer in the marquee? Can we expect this F.A.L.T.U to be racy, peppy and unlike its title ('useless'), a more worthy album in its genre? Dancing floors are ready, mushy romance is about to bloom but can this Sachin-Jigar album have enough thrills to make things happen on your audio players? Let's start the 'faltugiri' by plugging 'play' button on...

Sonorously tuneful! Atif Aslam's extremely likable sonorous baritones are at helm of affairs that collage beautifully with harmoniously tuned hard-metal base composition to churn out a magnificently paced soundtrack called 'Le Ja Tu Mujhe'. It's a song that talks about desires, freedom and hope in its lively wordings with trendy flair of meticulously arranged rock-based orchestrations as its backdrop. Sameer's meaningfully prosaic lyrics ('Ab dabi dabi awaaz hai, Khoye sabi alfaaz hain, Naaraz kyun saaz hai gaanon se mere, Chubh rahi hain woh shikaayatein, Shikaayatein na jaane kyun apni chaahatein, Beshaakh tha iss dard se...) exudes out a liberal-thinking notions of 'breaking-all-the-rules' and creating 'world-of-their-own'. Sachin-Jigar's rollicking composition unravels from grungy distorted electric guitar riffs, impulsive rocking feel to subtle 'sarangi' based instrumental moods, thus creating dramatic undertones for this youthful saga. The soundtrack has 'chartbuster' written all over it and should be having major takers among urbane listeners. Play it cool, play it loud, it has all zeal and soul to be played again and again for your audio players and I-pods, grab-it-soon! Chartbuster!!!

Leave your thinking caps and wear your dancing shoes! Wishy-washy wordings, pulsating arrangements and Hard Kaur's quivering vocals collage well to thrive out a zany dancing number in 'Char Baj Gaye'. Remo prefers it to be a typical choreographer's delight song with synchronized electronic beat fillers making it easier for dancers to shake their legs on the floor. As per its fun-filled frolic feel, it is presumed to be a visual feast with 'gravity-defying' choreographic moves as its major highlights, so do wait when it arrives with actors giving their best on dancing floors.

After deliriously paced dancing grooves, it's genteel Indi-pop romantic hues that come breezing all the way in Neeraj Sridhar's delightful voice in 'Rab Sab Se Sona'. This soft-rock ballad has Pritam's strong melodic feel where English back-up vocals (Apeksha Dandekar) gels well with Hindi cum Punjabi lyrical flows. A few years back, Sachin-Jigar composed 'Rab Milya' (TEREE SANG) that got rave appreciation and this one too impresses in its mild tones.

Voice-over of protagonists! Sachin-Jigar shows their brawny skills this time as they pulverized their dexterity of phil-harmonic displays in motivationally profound theme track titled 'Awaaz'. Jigar's subtly crooned vocals epitomize the feel of listening to your inner-heart feelings that is full of aspirations and having freedom of its own kind. Its hues are soft, inspirational as well as invigorating in its lyrical textures that are amalgamated well with quality displays of traditional Indian classical instrumentals clubbed with appreciable phil-harmonic exhibit (violin chorals and piano drills) in its middle interludes. 'Awaaz' is likely to be the 'pick' of the lot in narration and should be welcome surprise for all those who treasure quality works from this talented duo.

Hard Kaur has something extra ballistic to offer for dancing floors as she clubs aggressively with Mika Singh in delivering out fast-paced dancing track 'Fully Faltu'. The feel is upbeat hip-hop and one expects acrobatic B-boying, stomping moves on floors with groovy feel of rave disco party. Sachin-Jigar's composition is funky and peppy with outlandish wordings ('Aaltu jalaaltu, Aayi bala tu taal tu, Tension vension chhod de baccha, hoja fully faltu...'), giving it a true campus-caper appeal. Like vivaciously loud 'Char Baj Gaye', it's likely to be another choreographer's special number that should be adding to the glam-quotient of the flick.


Breezy hilly feel, likable voices and above all soothing orchestrations, all constitute to the trademark composing of Sachin-Jigar that makes another impressive dent of happenings in highly inspirational sounding 'Gale Laaga Le'. It starts off impressively with chirpy chorals that sublimes well into 'lounge' textured arrangements, epitomizing out a 'nature-fresh' decorum of delightful hilly surroundings, with a feel of loving life. Vijay Prakash's invigorating voice is motivational while upcoming Priya Panchal's silken-soft is a delight to hear, as the song progresses well in mild orchestral tones. This beautiful melody is in cadre of recently heard 'Awaaz' and 'Rab Milya' (TEREE SANG) and should be adding extra edges to both characterizations and narrations of the flick.

In a youth-oriented flick like F.A.L.T.U, one strongly anticipates concert like rock song with naive vocals that talk of aspirations, carefree thoughts, and new horizons of opportunities with extra zing in the instrumentals. It arrives vivaciously in 'Nayee Subah', a lovable youthful college-concert type of songs with contemporary displays of 'hard-rock' arrangements jostling loud and high, almost an ideal jingle for snazzy commercial advertisements. Jigar's voice is energetic, cool and peppy and so do its melodic feel, a frisky number that should be an entertainer on big screen, a worth-hearing again and again on campus circuits.

Situational and comical! Once again thinking caps take a back-seat as students start jamming together weirdly for a crazy college-fest with crap wordings in 'O Teri'. This time Sachin-Jigar make it clear that this is nonsensically comical with Jigar's crazy voices leading the show. To add humorous spice, this song must be one amusing musical-piece but nothing great in terms of melody or 'masti'.

Fun-filled nonsensical entertainment continues with 'Percentage' and this time the feel is completely crazy and the song talks about the plight of 'faltu' guys. This sounds engrossing as it builds character-graph of lead protagonists but moves out in gibberish lyrical mode. Sachin-Jigar's composition is of 'American Pie' style of snazzy cum rip-roaring stuff and should come out as perky background score in the flick. Neuman Pinto's madcap voice screams out to its best in describing low percentage of 'faltus' and works more like chitchat between them and their 'cool-daddies' in the most frivolous way.

Musical mood takes all together different route as album takes archetypical 70's rock 'n' roll swing and brings a spirit of fun-filled togetherness in 'Beh Chala'. It takes huge inspiration from the likes of Elvis Presley, Shakin Steven style of rock 'n' roll and enthralls in mix 'n' match of hip-hop jives that works sporadically with funky spirits of the song. Neeraj Sridhar enjoys this type of song and so do the lively emceeing that adds to the pep-factor. Sachin-Jigar show their zeal in unraveling indifferent terrains and delivers out a potential soundtrack that should be adding to the 'yuppie' factor of the album.

Satirical mood pulls off the curtains for this youthful album, as the last soundtrack, 'Bhoot Aaya', is not only comical but is also lyrically amusing. It comes out as frolicsome satire on popular commercial ad (Bajaj's 'Jab Mein Chhota Bacha Tha...) and further builds up a loud tempo, both in quizzical wordings and bombastic arrangements. Lehember Hussainpuri's peculiar toned voice is apt for this situation as the song is amalgam of crazy voices, freaky sounds and rhythms that helps in giving it multicolored hilarious shades.

F.A.L.T.U is 'fultoo' entertainment on ears; it's indeed a 'fundoo' album that should be creating sufficient pep-fizz for the flick among young urbane listeners. After a commendable start with TEREE SANG, talented duo Sachin-Jigar pile up another winner by composing out eleven soundtracks that entertain in their own way. If one goes by quality standards then Atif Aslam's 'Le Ja Tu Mujhe' is the finest, followed by 'Awaaz', 'Gale Laga Le', 'Rab Se Sona' and Nayee Subaah'. There is a lot in store to shake booty on floors as soundtracks like 'Char Baj Gaye', 'Percentage', ' Fully Faltu', 'Beh Chala' and 'Bhoot Aaya' are full on energy and create a desired uproarious dancing decorum. Funky theme, youthful genre and high-on-spirits compositions should be enough reasons in making this as another winner. Go for it and add one more worthy add to your music collections. Happy Listening!!!

Rating - 4/5


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Beastly Review

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Black Death Review

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Sunday, March 27, 2011

Aronofsky Steps Down From Directing The Wolverine

In perhaps the most surprising news of the day, Oscar-nominated director Darren Aronofsky has dropped out of directing the sequel to X-Men Origins: Wolverine. In a statement issued by the Black Swan director, Aronofsky says that during the process of prepping for The Wolverine, he became uncomfortable with the prospect of spending almost a year away from his family. Much of the film is scheduled to be shot in Japan. Deadline is also reporting that his withdrawal also involves the director’s divorce from actress Rachel Weisz and the custody of their son. Fox issued a statement saying that while disappointed, they look forward to working with the director in the future and will move forward “aggressively.” So who should step into the vacated director’s chair? --Derrick Deane

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Bradley Cooper Confirms No A-Team Sequel, Hoping for Role in 3D Gatsby Movie

Gunning for Gatsby A few days after confirming that a sequel to The A-Team movie was not in development, Bradley Cooper is now gunning for a completely different role – a cocky blue-blooded husband named Tom Buchanan in Baz Luhrman’s upcoming 3D adaptation of F. Scott Fitzgerald’s The Great Gatsby. Leonardo DiCaprio as Gatsby and Carey Mulligan as his love interest Daisy/Tom’s wife are already locked in. Cooper has said “To me, he’s the best character in the book. He’s so complicated. He’s xenophobic, he’s an alcoholic. Whoever plays [the role] has to take a gentle hand, because it could so easily be stock, where he’s the rich jerk you don’t identify with at all.” While that may sound like a Mel Gibson biopic, can Cooper, who’s done a great job in the action and comedy genres, pull of this dramatic role? --Derrick Deane

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Channing Tatum's Peter Pan Origins Movie Gets the Green Light

Tatum’s Next Bomb? You know things are getting pretty desperate when you’re pitching an origin story for Peter Pan. Last week it was reported that Channing Tatum, fresh off his big-screen bomb The Eagle, had teamed with writer Billy Ray (no not Miley’s dad) and producer Joe Roth (he produced last year’s Oscar-winning Alice in Wonderland along with Knight and Day) to star in Hollywood’s latest reboot. Sony has acquired the project, titled Pan, which envisions Pan and Captain Hook as brothers. After you recover from your collective eye-rolling, head shaking and apathetic groaning, tell us who should play Hook and if you’re even remotely interested in this movie. --Derrick Deane

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More Christmas Jeer On The Way With Bad Santa Sequel

Our favorite Bad Santa may be returning soon. According to The Wrap, Billy Bob Thornton is in negotiations to reprise his foul-mouthed Santa role. In December, Miramax (now owned by private media company Filmyard Holdings, LLC) announced that it would partner with The Weinstein Company on a follow-up of not only Bad Santa but also sequels to Swingers and Rounders. So are you up for more yuletide jeer with Billy Bob and thoughts on sequels to Swingers and Rounders? --Derrick Deane

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Megan Fox in Talks to Join Knocked Up Spin-off

Not even a trifecta of movie bombs could keep Megan Fox from returning to the big screen. The Hollywood Reporter says that Fox is in negotiations to join Judd Apatow’s currently untitled Knocked Up spinoff starring Paul Rudd and Leslie Mann. Rudd and Mann will reprise their roles of Pete and Debbie, with the plot following the couple’s relationship five years following the 2006 Seth Rogen-Katherine Heigl comedy. Apatow has said that he would also like to bring back more cast members from previous films but that will depend on the actor’s schedules. The spin-off is set to start filming this summer for a June 1, 2012 release. So do you think Fox would be a good fit in Team Apatow and what other former collaborators would you like to see? Jonah Hill? Christopher “McLovin” Mintz-Plasse? Steve Carrell? Jason Segel? --Derrick Deane

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Here It Comes: The BP Oil Disaster Movie

While we wait for Brad Pitt’s production company to buy the film rights to the riveting Chilean miners’ story, the studio that brought us the blockbuster I-heart-vegetarian-vampires-more-than-Native-American-werewolves franchise better known as Twilight is bringing us its next disaster movie. Summit Entertainment has teamed up with Participant Media to bring us a movie version of the BP Oil Disaster. Early plot details suggest that the movie will focus on the events leading up to the massive oil disaster and chronicle the “great heroism that took place.” No word yet if BP will have the gripping dialogue or tepid directing that the Twilight franchise has featured (so far), but thankfully this drama won’t feature Kristen Stewart or a sparkly vampire who feeds on animals… although there was a lot of wildlife killed during the disaster… --Derrick Deane

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Saturday, March 26, 2011

Robert Pattinson “In Talks” To Be New Daredevil

Granted, it’s only in the rumor stages right now, but various outlets including Moviehole are reporting that Twilight’s Robert Pattinson is in talks with newly appointed director David Slade to star in Fox’s Daredevil reboot. Slade and Pattinson previously worked together on Twilight: Eclipse and with the series wrapping up later this year (hold your applause), the site says that Pattinson is, “going to be looking for a new well-paying gig.” The only other movie Pattinson is currently scheduled to shoot is David Cronenberg’s Cosmopolis later this year. So while Fox is sure to screen a bunch of other young actors for the role, we’ll pose the question to you; who should be the new Daredevil? --Derrick Deane

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Tomb Raider Returns as Reboot

Get ready for the return of Tomb Raider -- in 2013 at the earliest. GK Films, a production company involved with Rango and Martin Scorsese’s Thanksgiving family movie Hugo Cabret has acquired the rights to the lucrative video game-turned-movie franchise. Angelina Jolie, who powered two movies to $432 million worldwide will not be back as Lara Croft, nor will the original actress whom the character was modeled after, Rhona Mitra, which opens the door for a new badass buxom butt-kicking babe (say that three times fast) to emerge. Early and rather unimpressive candidates include Megan Fox, Gemma Arterton, Summer Glau, Olivia Munn and Noomi Rapace. Granted, no one will fill the Tomb Raider outfit better than Jolie, but which one of these actresses stands the best shot (pardon the pun)? --Derrick Deane

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A Michael Bay Version of Pulp Fiction? Blame the Martinis

After trashing his Razzie Award winning Worst Picture Transformers: Revenge of the Fallen recently and placing the blame on the WGA Writer’s Strike, director Michael Bay is now back-tracking on a comment he made earlier about making a small Pulp Fiction type movie. A few months before his critically castrated sequel hit theaters, Bay had said he would like to take time off to film a dark comedy about a group of Florida steroid-abusing bodybuilders who become involved in a kidnapping plot that goes horribly wrong. No word on whether Will Smith or Martin Lawrence would don a Jehri curl and spout off lengthy Biblical verses, but Bay says that he had downed a couple martinis before making the comment. So while we can chalk a Michael Bay Pulp Fiction movie to the ramblings of a drunken director, we ask you, who would you have cast in this? --Derrick Deane

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Zack Snyder Taking “Batman Begins”-Style Approach to Superman Reboot

Now that Ma and Pa Kent have been cast in Zack Snyder’s Superman reboot starring Henry Cavill as the Man of Steel, it’s time to turn our attention to villains and story development. Diane Lane and Kevin Costner will play Martha and Joe Kent, with Costner locking in on the project yesterday. Today, we hear that Snyder is taking a Christopher Nolan-style approach to the franchise by giving us a pre-supposed beginning to Superman’s heroics. Says Snyder, “If you look at Batman Begins… there’s the canon that we know about and respect but on the other hand there’s this approach that pre-supposes that there haven’t been any other movies.” So with Snyder’s fresh start approach in mind, might we be going all the way back to the very first batch of villains from the Action Comics days? Or something more modern? Who do you think should be the Superman reboot villain and who should play him/her? --Derrick Deane

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6. Red Riding Hood - $7.2M

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4. The Lincoln Lawyer - $13.4M

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Friday, March 25, 2011

3. Battle: Los Angeles - $14.6M

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1. Limitless - $19.0M

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7. The Adjustment Bureau - $5.9M

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2 Range-$15.3M

by palmettobug

Saw this movie tonight (Mar.4) and was truly disappointed. This is NOT your good ole' Toy Story scenario! This movie IS NOT a quality movie for children and it is unfortunate that many parents...

by MamieRichman

The kids and I just loved this one. Highly entertaining with witty humor. Johnny Depp really pulled the role! If you havent seen you can watch at flickgateway .cĂłm...

by Fort McKinney

This movie was absolutely horrendous for any child or adult to watch. The entire theme of the movie revolves around death. Three owls sing about death throughout the movie, there are remarks about...


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8. Mars Needs Moms - $5.3M

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9. Beastly - $3.2M

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Thursday, March 24, 2011

Dialogue: Interviews with the Cast of I Am Number Four

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DreamWorks’ I Am Number Four, which highlights the lives of two young fugitives from the planet of Lorien and a young teenage girl who helps them in their quest for survival, has a radiant cast. D.J. Caruso helms the project with Michael Bay as producer, so expect tons of explosions and daring action scenes.

Alex Pettyfer, Dianna Agron, Teresa Palmer and director D.J. Caruso sit down to discuss the arduous process behind the making of this alien film for modern times.

Q: D.J., did you get involved in this movie because you loved reading the book or was it your relationship with Steven Spielberg?
D.J. Caruso:
I got a call from DreamWorks. It was Steven and he said they'd bought this book for Michael Bay, but Michael was now going to do Transformers and they were talking about directors and asked if I would read the script and the book. They sent the script and the manuscript over for the book and I read them, and I found something in there that I thought would be really cool.

So that's how I kind of got involved, worked on some of the drafts. And then DreamWorks really didn't give me much time. They sort of said, If you want to make this, you have to start shooting in four months. And I said, "Okay. I think we can do that." It’s been a race ever since.

Q: How is this project different from other sci-fi films with aliens?
Dianna Agron:
It’s interesting because I was trying to describe this movie to my mom and my friend and I said to them it’s sort of Rebel Without a Cause with aliens. I think my mom was picturing Mars Attacks! with aliens coming down and lasers. From what I’ve seen of the cut, D.J. has it really grounded within this world. It’s easiest when you see it to understand. The imagery is so amazing. You’ve got these bad guys hunting down Alex and Teresa and other kids and yet they don’t have pointy ears, or a pointy nose or an alien head they are very sophisticated. This is a very different vehicle that I think has never been driven before.

Q: What’s the difference between Superman and Number Four?
Alex Pettyfer:
Superman is someone who knows his destiny, wants it and fights it. He kind of endures the fact that he has all these powers. But [Number Four] doesn’t really want any of his powers. He wants normality.

It's kind of like that Jason Bourne feeling of not knowing who you are. He wants the normal life where he is in the same place as the same people around him--wants everything to be normal. And that's not who he is and that's not what his destiny is.

Q: Teresa, what super power does you character have in the film?
Teresa Palmer:
I am fireproof and I also have the power of invisibility. On top of that she is an incredible warrior—she has been training in martial arts for years and years. She has been hunting the enemy alien. So she is fierce and that meant that I had to do a ton of physical training. A lot of conditioning and stunt work, sword work, shooting and I learned to ride a Ducati motorbike. I did some intensive training.

Q: How does Number Six help Number Four?
Palmer:
Well Number Six has been searching for Number Four for a while. She knows that if they can find each other with their powers combined, they can become the ultimate weapon to defend themselves against the enemy. So she has been searching and searching and she finally finds him and realizes that he is very new to this whole "powers" thing. He’s not really committed, he wants to have his own normal life and Number Six comes in and says, “You've got no choice, you are one of us and you need to step up and bring these guys down.” They pair up and they are an incredible team. The fight sequences in this movie are incredible: he can shoot these lightning bolts from his hands and if fire gets thrown at us I can deflect that. It’s remarkable to watch.

Q: Were there any difficulties in creating the lumen that comes from Alex’s hands?
Caruso:
The lumen didn't particularly provide injuries, but Alex basically had, like, a practical appliance that was at times as big as your cell phone and other times quite smaller. It was important that the light not just be CG light and that there's an interactive element to it. I think it was probably hard to run and grab things and try to figure things out [but Alex] became a lumen pro after a while with light wires coming up his hands.

Pettyfer: I had this suit jacket I put on and these wires came down from either side and we had sticky tape. One word of advice: do not go near water when you got it on, but it's all worth it because it makes it real.

Q: Dianna, Teresa and Alex have intense actions scenes. What sort of stunt work can we expect from you?
Agron:
Well, I do some falling and running. [Laughs] And it was so much fun! I For some reason, I don’t know why, but I’ve never been skydiving or bungee jumping or any of those things yet it interests me so much, particularly when I started doing the stunt training. They asked me if I was afraid of heights, are you this, are you that and I said, “No, come on, let’s go.”

There was this one experience where we are running out of this alcove and I was supposed to be leading the way and I’m thinking, oh god, I was a ballerina growing up so I hope I don’t trip and fall. What if I can’t run really fast? They were [filming] in high speed and all of a sudden they yell "cut" and everybody is laughing hysterically. And I’m thinking, what did I do? Do I look like an idiot running? What’s going on? They show us the playback and I am running so fast, especially on the high speed, and no one is next to me. It’s just me taking off like a mad woman. They were like, "Maybe you shouldn’t run that fast."

Q: What’s different about Sarah compared to Quinn on Glee?
Agron:
They are both teenagers in high school and obviously I’m still blonde in this film. Some people that have read the book can say that she is also a cheerleader and she was popular, and those are things that are not really touched on in the film. She loves photography and she likes the idea of escaping the smaller pond that she has existed in for so long. What I loved about her is that she’s strong and sensitive at the same time and when Alex’s character, John, comes into town it’s kind of a new beginning for her. She finds this guy who interests her so much and sees her for her and doesn’t have all those preconceived notions or experiences that perhaps her other peers had with her. So, it’s a really great bond that they form and fall in love with each other right away. With Glee all of our characters are on this hyper reality and everybody has real emotions but everything is so poppy. Granted there are real moments, but this character in particular is an old soul.

Q: How are you mentally preparing yourself for the possibility that these films, along with the books, could become phenomenon?
Palmer:
Well it is so flattering to hear that this could be a massive movie, a phenomenon or that there are going to be sequels. I think we all had an incredible time shooting this movie and if it is successful, and audiences embrace the story and want another film, I would be so excited to be part of that. I know the next book is called The Power of Six so it focuses a lot on the character of Number Six. I would totally embrace [the opportunity] with open arms. I have been continuing my martial arts training. So just in case there is a second film I think that it is good that I keep up with my motorbike riding and sword fighting. I figured that if I have a foundation, I might as well continue on with it. I definitely enjoyed it.


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Dialogue: Q&A with I Am Number Four Director D.J. Caruso

Dialogue: Q&A with I Am Number Four Director D.J. Caruso

By Elisa Osegueda Feb 18, 2011

The director of Disturbia and Eagle Eyes returns this week with his latest project I Am Number Four, a sci-fi suspense thriller that highlights the life of a fugitive alien who is forced to confront his true destiny. Captivated by the story, director D.J. Caruso, alongside producers Steven Spielberg and Michael Bay, brought the project to fruition over the course of summer 2010. The well-spoken, charming filmmaker sat down with us for an exclusive interview where he discussed the making of the movie, the challenges he faced working with newcomer Alex Pettyfer, his upcoming projects, and finally, his family life and the ever-exhausting quest to maintain some balance.

Q: What was your initial vision for the film?
D.J. Caruso:
It's kind of weird but [the script] reminded me of Back to the Future but in a much more stylized way. I think the vision I had was to [incorporate] this great science fiction element and still keep the movie grounded. [A] movie that I really fell in love with again and got reacquainted [with] was Starman. I remember Jeff Bridges' performance and Karen Allen, who I love very much…and to me, it's probably one of the best alien love stories you can see. I referenced that movie for how Alex [Pettyfer] would be related to Dianna [Agron].

Q: Teresa Palmer and Dianna Agron said the weather in Pennsylvania was horrible. How you do keep your cast and crew motivated under unfavorable circumstances?
Caruso:
As a director, your enthusiasm has to spill out through everybody else, but most of the time it's a crew that I have been working with for a long time so we all pick each other up. There are days where I need a [pickup, too,] so there was definitely a great synergy. But it's pretty much the director's job to keep everyone motivated and focused, especially when you only have a five-minute widow to get a shot before a storm comes in…Pennsylvania is great but we did have a tough summer. The challenge of this movie was that about 75% of it was shot at night, and of course we are shooting a movie in the summer when you have the shortest nights.

Q: The lead role is played by Alex Pettyfer, a newcomer who's never played the lead role. What drew you to him?
Caruso:
What I liked about Alex is that he's dynamic, good looking, and strong—but then what struck me was his vulnerability. Even in the very first reading, you could just tell this was a guy that wasn't overly confident.

Q: Did you notice growth in Alex?
Caruso:
I know for a fact that if you have never been number one on the call sheet before, you really don't understand it. I think Alex [did come] to understand what that means, [and] the responsibility, and how not only is the director guiding [you], but you have a responsibility to the crew, [and] to the rest of the cast; not that he was irresponsible, but I think he discovered that halfway through the movie. It's like, "Wait a minute, how I perform on a certain day can dictate the whole way the day of the movie goes." It was interesting for me to see how he was sort of naĂŻve about things at first and then [he was] really understanding [about] what it means and what it entails.

Q: It's always great when you see strong female characters in a movie and in this film you have two, played by Dianna Agron and Teresa Palmer.
Caruso:
It's been something that I've been striving for because when I made my first movie The Salton Sea, I remember this journalist came up to me and just said, "OMG, the treatment of women is so atrocious." It just wasn't something that donned on me when I was making the movie. But having worked with Angelina Jolie in Taking Lives, I saw what a strong and dynamic woman can do. So, yeah, the women in this movie are very strong. Number Six [Palmer] comes into the picture right when John is barely figuring out his powers and she basically says, "Come on man, let's kick some ass. I'm not being chased, I chase them." So that's pretty liberating.

Q: Teresa mentioned being strapped to a harness at high altitudes. Did you ever get scared she might hurt herself?
Caruso:
No, I wasn't scared. We had a great stunt coordinator. Once we figured out what her sequences would be and figured out the schedule, Teresa had the time to really commit and train for those specific sequences. She was incredibly prepared—it was phenomenal. I really wasn't scared; it was all her and it's really great to see her kick ass.

Q: Let's talk about your upcoming projects. Everyone is linking you to different films, so let's set the record straight.
Caruso:
I'm still trying to get Art of Making Money going at Paramount. There's one in particular that I'm circling around—it's a graphic novel, but I can't say much. Then there's Dead Space. It's a project I'm very interested in. It's an amazing game. Wyck Godfery and I have been trying to crack it for a while and see what we can do for a movie. We've even thought about a prequel since the game is so amazing, but we just haven't written enough of the story to get it going.

Q: You're working with Chris Pine on the script for the Art of Making Money, right?
Caruso:
He's dynamic, amazing, and an intelligent actor. We've been developing the screenplay together; even if the movie never gets made, we really hit it off. He's such an intelligent guy and comes from a great character perspective. He's an actor who loves to act; doesn't want to be a movie star, he just wants to act.

Q: Seems like you're not slowing down, so how do you balance your hectic work schedule with family time?
Caruso:
The balance is really difficult but I just put family first. I realized my most important element and that's to be a great husband and great father—the movie element is right up there but at the same time I always try to take my family with me and include them in everything. But to achieve that balance…I will say that it is exhausting.

This may sound a bit corny but…you're sitting in the editing room [with] Steven Spielberg [and] making a movie; you see [your] one-sheet outside in a hallway and you realize that being part of that whole thing is what you dreamt about, what I dreamt about since I was in 10th grade. I made the decision, and I've been blessed to do it, and balancing is really difficult, but I wouldn't trade it for the world.


View the original article here

Dialogue: Exclusive Interview with Alex Pettyfer of I Am Number Four

Newcomer Alex Pettyfer takes us on a wild adventure with co-stars Dianna Agron and Teresa Palmer in director D.J. Caruso's I Am Number Four. The UK hottie plays John Smith (Number Four), who might look like your average teenager—except he's from a planet called Lorien. This suspense thriller has drama, action (thanks to producer Michael Bay), and your classic love story…with a few twists, of course.

Pettyfer joined us for an exclusive interview at the Four Seasons Hotel in Beverly Hills where he comfortably, in his lovely British accent, discussed the making of I Am Number Four, working with Glee sensation Dianna Agron, and his next film projects, where he gets to rub shoulders with Justin Timberlake, Olivia Wilde, and Vanessa Hudgens.

Movies.com: Nine children survived the destruction of the planet Lorien and you are lucky No.4. What sort of powers does Number Four develop?
Alex Pettyfer:
I have telekinesis—basically the ability to move things without touching them—and I have lumen, which is a source of light that…allows me to demolish/harm these creatures in the movie that are called Piken, who are sent to Earth to destroy the nine survivors.

Movies.com: You've described this movie as a coming-of-age story, and [it's] one of the reasons why you took on the role. Tell us about the struggles your character faces.
Pettyfer:
He's struggling with the fact that he wants normality and he's not going to get it. There's a pivotal point where he either fights or doesn't fight. What's so great about the story and what [grabbed] me is that you go on this journey with this guy who essentially doesn't want it, and that's such a phenomenal thing…there's no cheesy 80's montage of him learning how to use his powers; it's very much [in] the realm of Bourne…and it makes it that much more interesting.

Movies.com: You co-star alongside Glee sensation Dianna Agron and Aussie Teresa Palmer…do you consider yourself lucky?
Pettyfer:
[Smiles]. Dianna and Teresa are amazing in the movie. Diana had this very Audrey Hepburn/Grace Kelly feel to her and it's amazing to watch the energy of both of them on screen. It's been a long time since we've seen two girls in a film [who] might become iconic characters.

Teresa is such a bundle of energy and she worked hard training for this film. It's great to work with someone who has prepared for months and learned these tricky moves that God knows I would never be able to do.

Movies.com: Your character ends up falling in love while simultaneously discovering his powers.
Pettyfer:
Right, he hasn't got his powers when he first meets [Dianna] but they are trigged by the feelings he begins to have for her, so he gets his powers, and falls in love.

Movies.com: How does your character balance his quest for survival and his personal life?
Pettyfer:
Teenage hormones—you can't balance it. [Laughs].

Movies.com: Seems like you've developed a close relationship with D.J. Caruso.
Pettyfer:
D.J. is great. I've loved his work since day one. I liked Disturbia, even though I thought it would never work…but it did. All the movies he has ever done have been so great, and he has this eye for telling a story and making you care. He's a very good mentor and I look up to him.

Movies.com: Let's talk about your upcoming projects, Beastly and Now.
Pettyfer:
Beastly comes out in March. It's the classic Beauty and the Beast story but with a modern twist. What can I say is that [the make-up] took about four and a half hours to put on and an hour and a half to get out.

Now, it's a very original idea. It's about a guy who starts aging at the age of 25. It's very dark and very much in the vein of Inception. I play the bad guy—I can't go too much into detail. I've never played a bad guy but I certainly enjoyed it…not sure if I should say that I had a great time playing the bad guy. [Laughs].


View the original article here

Dialogue: SXSW Interview with Apart Star Joey Lauren Adams

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The gulf between Ink-Stained Wretch and Movie Star seems very apparent on the first Sunday morning at South by Southwest – it's a muggy day, and I arrive at the historic Driskill hotel looking like a soaked manatee with a note pad, while Joey Lauren Adams has a glow that defies the early hour.

Perhaps best known for her starring role in Kevin Smith's Chasing Amy, Adams has established herself as a uniquely quirky and empathetic actress ever since her breakthrough role in Richard Linklater's Dazed and Confused. Attending South by Southwest with Apart, in which she plays a sympathetic psychiatrist to a young girl who suffers from precognitive hallucinations – and has a rare condition in which those delusions are shared with a close friend – she spoke with us about working on both sides of the camera and living outside of the Hollywood bubble.

Movies.com: So you're living in Oxford, Mississippi, now, yes?
Joey Lauren Adams:
I like it there, I do. It gets brutal in August, but when it comes September and you get that first crisp day, you really appreciate it.

Movies.com: How has that affected your career as a working actress?
Adams:
I'm sure I would work more if I lived in L.A., but it's just a quality of life thing. I work enough to pay my bills. And nowadays, I can go to [Ole Miss] and they can put me on tape, and I can have it up, and the casting director can have it in an hour. And sometimes I get my writer friends – there's a lot of writers who live there – and I can get them to run camera and we'll shoot the audition ourselves, and I can edit it and put it up. Today, with technology, it's…otherwise, I wouldn't be able to live there. And then I write, and it's a great town for that.

Movies.com: The ghost of Faulkner watching over you.
Adams:
Yeah!

Movies.com: Let's talk a little about Apart. Did you observe any child therapists as research?
Adams:
You know, I didn't, really, because I knew [writer-director] Aaron [Rottinghaus] had done his research about the disease, and we talked about it a lot. And I've been in therapy, on and off (laughs) so I kind of understood the concept. And then I think really what we did was to kind of play around with different takes. Some that were a little more familiar, some that were a little more harsh, because the film is such a weird film, and figuring out these scenes and where they're going to sit. It's not like you can read the script and know what the scene coming after it is – even if you're shooting out of order, you know the scenes. But I knew that when he was going to edit it, he would be meshing it together.

Movies.com: You want choices.
Adams:
Yeah, so I think tonally, where he was with the film could have not meshed with what we got on set. So we just did a bunch of different takes – tonally, emotionally – so he'd have different things to choose from in the editing room.

Movies.com: How did the project come to you?
Adams:
I've known Aaron – he was assistant editor on a film [2006's "Come Early Morning"] that I wrote and directed, and he was awesome, he went above and beyond for me. So I heard him talking about wanting to write the script, and then I read different drafts, so I've been in there since the beginning.

Movies.com: I was going to ask, you're a director now, how does that change your process for you as an actress, when you're on set?
Adams:
I have a lot more sympathy. (laughs) If they're like, "We need to push your call, is that OK?" I'm like, "Sure." Because I've been there now. It's great; I appreciate so much that Aaron got to make this movie. I know how hard it is now. I understand the casting process differently now – because there were actors who came in that I loved, but they just weren't right for this part. It's great to understand something on another level.

Movies.com: So we're in Austin, where you made your breakthrough film Dazed and Confused. Are there places you always want to go when you're here?
Adams:
Oh yeah, of course. Which is why I'm exhausted right now. (laughs) First night in town, I was at the Continental [Club]; second night, I was at the Broken Spoke. Last night, we had our party, so I was there, but yeah, there's lots of places. And my sister lives here, so, yeah. I actually popped into the Radisson, which is where we stayed when we shot Dazed and Confused, and it looks so different. I almost wish I hadn't. Because I have such fond memories of that lobby. We would write scenes for the movie in that lobby.

Movies.com: That's one of those amazing films where it's this ground zero for all these amazing careers. When you guys were making it, you were all sort of on that cusp – did you have the feeling that this was going to be special, or do you never know when you're making a movie like that?
Adams:
For lots of us, this was our first film, so we were just happy to be there, you know? Just so excited that I got to call my mom and say, "I'm gonna be in a movie!" And again, Rick completely spoiled us, because he was so amazing to work with. And we'd write scenes, and we'd show up to work the next day and say, "We wrote a scene, Rick!" And he'd say, "All right, I'll give you two takes." And some of them ended up in the movie. I saw Rick on Thursday night in the Radisson Hotel lobby, and we were talking about how in that lobby, we were just kinda hanging out, and Marissa Ribisi and Matthew McConaughey and I were like, how funny would it be if our characters hooked up? And it happened in the film. [Linklater] just made you feel like you were part of the process, and your ideas mattered. He wanted you to think about it, and think about the character. He sent us all music. And then the next film I went and did, I was working on my scene, changing a few lines, and went up to the director, and he was just like, "No. Don't even think about it."

Movies.com: Was that Mallrats, by any chance?
Adams:
It wasn't Mallrats, (laughs) but Kevin is that way too.

Movies.com: Oh yeah, he even says so. A moment of yours that I always love from that era, which feels totally improvised, is when you and Parker Posey disrupt a men's poker night by playing guitar and singing in Sleep with Me.
Adams:
That was my house, that we shot that at. (laughs) I think the film was a little short, and they liked Parker's and my characters, so they said, "We want to do this scene," and I said, "Come to my house and shoot it." And that was my guitar and those were my songs.

Movies.com: So having gotten to direct, do you have the itch to do it again?
Adams:
I do, I do, yeah. It's just hard – I don't think I'm that creative a director yet, so it's hard to read other people's [scripts]. I think there's just different kinds of directors – some directors are really into the camera, how it moves and all of that. I really like working with actors. And so I haven't read a script that someone else wrote, that I thought, "I have to tell this story." And it's hard as hell to direct a film, and it's a lot of your life.

Movies.com: You don't want to devote two years of your life to something that doesn't move you.
Adams:
Yeah, and I don't know how people just take a job, like I'm going to take this and make some money, direct this. Because it's so difficult, and you have to fight every day, whether it's producers or messed-up actors or the trains coming by, it's just every day. It's a struggle. So I'm having to write my own things. But I got a job writing a screenplay, off my own film, and then I wrote a screenplay that sucked (laughs), and then I just finished the thing I want to direct.

Movies.com: What else have you got coming up?
Adams:
I just did a film called Art Machine in New York, so who knows? Another small, indie film.

Movies.com: You talked about Linklater and his process – who that you've worked with has informed your own process as a director?
Adams:
Honestly, it's the writer-directors that I've worked with. And I don't know if it's a different understanding of the material, and they seem to be a little more relaxed with it all. It's amazing how many – the bad directors, which I learned from as well. Because when things are going well, you don't stop and say, "Why are things going so well?" It's when things aren't going well, that you go, "Why am I in my trailer for four hours?" And then you go outside and realize, "Oh, the director didn't do a shot list before we got to work this morning. Note to self: Create a shot list!"

MDC at SXSW 2011:
2011 SXSW Film Festival - Photo Gallery
Dialogue: SXSW Interview with Rainn Wilson and James Gunn
Dialogue: SXSW - Morgan Spurlock Delivers The Greatest Movie
Dialogue: SXSW - Paul Giamatti Grapples with Win Win
Dialogue: SXSW Interview with Apart Star Joey Lauren Adams
Dialogue: SXSW Interview with A Year in Mooring's Josh Lucas
Day Five - Film Ends, >Conan Heads to the Big Screen and Anchor Bay Makes the Biggest Buy in Conference History
Day Four - Tuneful Documentaries and Concert Films
Day Three - Simon Pegg in Paul, Kristen Wiig in Bridesmaids, and Interactive in Everything
Day Two - Josh Lucas' A Year in Mooring, Apart and the Not-So-Super
Day One - Source Code, Insidious, Shiner Bock and Smartphones


View the original article here

Dialogue: SXSW - Morgan Spurlock Delivers The Greatest Movie

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Dialogue: SXSW - Morgan Spurlock Delivers The Greatest Movie

By Elliot V. Kotek Mar 15, 2011

The latest film from Morgan Spurlock, the director who found fame with Super Size Me is POM Wonderful Presents: The Greatest Movie Ever Sold -- about product placement, advertising and marketing in the media, told so cleverly that it will leave your head in a well-entertained, brand-induced spin. It highlights Spurlock’s process of raising financing by selling product placement and advertising opportunities within the film. So, as conversations with potential sponsors progresses, so does the film. Having premiered at Sundance, where the film was picked up by Sony Pictures Classics, The Greatest hits theaters on April 22 with a marketing campaign of which any documentary should be envious, as each of the sponsors cross-promotes the documentary with their products – pizza boxes, bottle swing-tags, commemorative cups – just as they would with a commercial blockbuster. We caught up with the filmmaker at Austin’s SxSW film festival a couple of hours before the film’s screening.

Movies.com: Signing sponsors seemed tough going from the outset, but now additional backers are streaming on board leading in to the release?
Morgan Spurlock:
Yeah. Post the screening at Sundance, we went back to New York and called other people who, ultimately, won’t be in the movie but will come on as co-promotional partners. Like Petland Discounts, where you’ll be able to go in and buy the Greatest Goldfish You’ll Ever Buy, which is great, because one of my favorite scenes in the movie is where I talk about my son and the goldfish.

Movies.com: So the Morgan Spurlock brand has now been expanded to include your son, Laken?
Spurlock:
That’s exactly right.

Movies.com: Pimping your kid out already, that’s horrible.
Spurlock:
[Laughs] He signed a release. It’s like a paw print, it’s like when you see a cat sign a contract.

Movies.com: Do you think these sponsors will become lifelong supporters of the Spurlock brand?
Spurlock:
[Laughs] That remains to be seen. We’ll see what happens when the movie comes out, or when we greenlight the sequel.

Movies.com: Speaking of sequels, or of what’s next, last time we spoke you were looking for a composer for your documentary about Comic-Con—
Spurlock:
We’re still looking for a great composer, there’s a couple of people on our shortlist, so now it’s just about availability, because you want to have the people who make those big genre movies be the people who score the film.

Movies.com: Having Legendary Pictures’ Thomas Tull [Inception, The Dark Knight, The Hangover] on board as a producer--
Spurlock:
It helps.

Movies.com: And Joss Whedon, and Stan Lee, etc. all on board as producers, do you have to take care to treat them and their character creations like sponsors, too?
Spurlock:
I think ultimately I wouldn’t want to put anybody on the spot. Comic-Con is such a specific film, because it really is about the people who go there, and their back stories. The movie wouldn’t happen without Stan, Joss and Thomas, and Harry Knowles. That they came on board and supported this film was huge, and yes, we’re cognizant of making things safe for them because they don’t want to damage their relationships with their fan base… well, not if we ever want to work with Legendary Pictures again.

Movies.com: The film shows a clean San Paolo, Brazil, a city that has foregone billboards. Do you think that you could have a city in the U.S. in which there wasn’t this obvious constant marketing to us?
Spurlock:
I think it’s possible, I think you just have to have somebody willing to put it through. They were very against it in San Paulo, there were people (usually the advertisers, and the guys who owned the billboard companies) saying you’re going to ruin everything, how could you do this? And of course it didn’t ruin everything, and it all worked out. And it’s beautiful now.

Movies.com: Going back in time to films like Steven Spielberg’s Minority Report, the future was shown to be one where every time people pass some sensor, they’re scanned and bombarded by advertising—
Spurlock:
And that’s happening now. If you have GPS hooked up on your phone, you’ll be getting updates of places that have deals within a range of where you are. And it won’t be long before you walk in a store and there’ll be a voice that says, Morgan, you need a Guinness right now. They know what you like, they know what you want.

One of my favorite scenes in the film is the one about neuro-marketing, and how they’re using it to understand the desire centers of your brain. It’s literally like a pre-cog – I’m going to predict what you’re going to buy even before you buy it. I’m going to so grease the well to make it so desirable to you, that you’ll want it.

Movies.com: When did you first relate to product placement on screen as conscious advertising?
Spurlock:
It became news when I was a kid, when the whole E.T. and Reese’s Pieces story hit the papers. I think that was when I became really aware that people paid for putting things in film, that that actually happens.

What making The Greatest did for me was that it made me hyper aware, and not just to marketing in film and television, but to marketing in your everyday life – it surrounds you constantly. And I think that people, when they see this movie, will also become aware – it will change the way they look at film and TV.

Movies.com: Well, the way you’re bringing this out is original for an indie film, marketing it like a blockbuster.
Spurlock:
A doc-buster.

Movies.com: Have you trademarked that?
Spurlock:
I better get on that.

Movies.com: Could this approach change the way people release an independent movie, treating it like a blockbuster with heavy marketing at Old Navy, Sheetz convenience stores, etc?
Spurlock:
If this film comes out and does as well as we hope, then I think it could change things, especially for independent filmmakers who want to do things differently in terms of raising money, and also hopefully change the way companies look at getting involved with independent films.

What’s been interesting is the amount of people who want to talk about this. Normally, you make a film and you get word that Entertainment Weekly wants to talk to you. But with this film, it’s Fast Company, Crain’s Business Week and Mediaweek, people who are not just writing stories about movies, but who are really looking at this from a business point of view. I’ve never had a film like that.

Movies.com: What was the last film you bought a ticket to, and saw at the theater?
Spurlock:
TRON: Legacy 3D.

Movies.com: So when are we all going to Aruba [the official holiday destination of The Greatest]?
Spurlock:
The original idea was to get JetBlue to fly all the journalists to Aruba, we’d erect an inflatable screen coming out of the water, and do the press junket in Aruba. But Sony and someone else said that would be like bribing journalists. I told them, We’d just be offering them the chance of seeing the movie… but in Aruba. We can still figure it out.

MDC at SXSW 2011:
2011 SXSW Film Festival - Photo Gallery
Dialogue: SXSW Interview with Rainn Wilson and James Gunn
Dialogue: SXSW - Morgan Spurlock Delivers The Greatest Movie
Dialogue: SXSW - Paul Giamatti Grapples with Win Win
Dialogue: SXSW Interview with Apart Star Joey Lauren Adams
Dialogue: SXSW Interview with A Year in Mooring's Josh Lucas
Day Five - Film Ends, >Conan Heads to the Big Screen and Anchor Bay Makes the Biggest Buy in Conference History
Day Four - Tuneful Documentaries and Concert Films
Day Three - Simon Pegg in Paul, Kristen Wiig in Bridesmaids, and Interactive in Everything
Day Two - Josh Lucas' A Year in Mooring, Apart and the Not-So-Super
Day One - Source Code, Insidious, Shiner Bock and Smartphones


View the original article here

Dialogue: SXSW - Paul Giamatti Grapples with Win Win

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Dialogue: SXSW - Paul Giamatti Grapples with Win Win

By Elliot V. Kotek Mar 15, 2011

Paul Giamatti is one of the most consistently courageous and inherently fascinating actors of the past 10 years, traversing roles that have seen him transform into highly lauded Trotsky-ites, comic book writers, boxing managers, presidents and pawns. In his latest effort, Fox Searchlight’s Win Win, Giamatti portrays a suburban lawyer and high school wrestling coach dealing with a cash-flow problem in his own way. His character, Mike Flaherty, is a regular guy who may have just made a bad decision, or two.

While the time is right for Giamatti, the same is true for his close friends and co-stars, Win Win writer/director Tom McCarthy ( The Station Agent, The Visitor ), and the ever-interesting Amy Ryan ( Gone Baby Gone, The Wire, The Office ). We caught up with Giamatti at Austin’s SxSW festival, days before the release of the film, for a casual chat about the film appetite of three generations of Giamattis.

Movies.com: The film has a contemporary, real-life honesty to it. Do you have a preference – films that attempt to capture slice of life vs. fantastical or period pieces?
Giamatti:
I like those with an element of fantasy a lot, and it’s the kind of thing that made me want to be an actor – I like genre stuff. That said, this kind of thing is great, too. The wrestling thing in this was really interesting to me because it’s a weird subculture I don’t know much about. I think I always need some element that makes it a little bit off-center.

Movies.com: Did you watch wrestling videotape?
Giamatti:
I watched some tape, and went to a lot of matches in New Jersey with Bobby [Cannavale] and Tom [McCarthy], and this guy Joe Tiboni who wrote the script with Tom. I actually did it for about half a season in high school, and I remember being really into it until I realized that the difference between me and the other guys is that I was doing it for fun, and the other guys just wanted to kill me. I just remember one guy just throwing me so hard that I could feel every tooth in my head vibrating after hitting the mat. So, that’s when I thought I didn’t want to do that anymore.

Movies.com: So what sport did you take up?
Giamatti:
Swimming. [Laughs] Much safer.

Movies.com: Alex Shaffer, who plays Kyle, is a champion wrestler but a first timer to the acting world, I’ve seen you and Bobby and Amy give him some gentle hazing; was that your way to make him feel at home?
Giamatti:
He kind of started it. I remember the kid came in to a table reading, and he was really relaxed and I found it kind of funny, and so it pretty much started right away. And I think it’s because he’s a really good kid, and you can sort of make fun of him and he gets it. He’s smart, he jokes; he’s a fun kid to be around. It was great to work with a kid who had no baggage about acting. For him it was just kind of a cool thing to do.

Amy [Ryan] just asked him what he’s thinking about all this. She said that he said, “It’s cool that everyone likes the movie. I just like talking to people.” And that’s what’s great about that kid, he just likes to sort of hang out and talk. If that’s what he’s getting from this experience, that’s great.

Movies.com: Right, because press can be tough, repeating your thoughts, stories…
Giamatti:
It’s a necessary evil. [Laughs] But I think I’ve found a way to enjoy it. Listen, it’s better than f***in’ working at a sewage plant or something.

Movies.com: That was never an option was it?
Giamatti:
I dunno. With me, it certainly could have been an option. I worked as a janitor at a gym, washed dishes at a restaurant, sold juice machines at a weird place in Seattle once. I did some of that stuff, but I was lucky, I made a living as an actor pretty early on. I managed to make money as an actor, probably because I didn’t have any needs, I had a shitty apartment and I survived.

Movies.com: Were you a pop culture guy growing up?
Giamatti:
I guess I was, in a way. My dad was a big movie guy – my mom, too, but my dad more so – he loved Westerns, my grandfather, too.

Movies.com: Spaghetti or American?
Giamatti:
Any type of Western, but they loved spaghetti Westerns and kung fu movies and shit. My grandfather, who was this old Italian dude from Naples, used to love to watch kung fu movies. I would just sit with him and watch them.

Movies.com: Are you still able to relax and watch a film, or do you dissect them too much?
Giamatti:
I’m more able to go and see genre movies, old movies and foreign movies. A lot of the time it’s easier for me if I don’t know the actors. It’s gotten a lot harder for me to enjoy watching movies, which is a bummer.

Movies.com: When’s the last time you got to a movie theater?
Giamatti:
I haven’t done it a whole lot for a long time now. Mostly I take my son, who’s about 10. I think the last thing we saw was that movie The Eagle.

Movies.com: Sword and sandal epic?
Giamatti:
Yeah. Romans. ’Cause he’s really into war and stuff like that. I really wanted to see it, too! I love shit like that. I had a good time. That, I could just totally forget about and watch the movie.

Movies.com: Are there old films that you find yourself wanting to share with him?
Giamatti:
Definitely. He’s getting to that age now. I showed him The Man Who Would Be King. F***ing brilliant film. He loved it.

Movies.com: I’m never sure if Woody Allen was screwing with me, telling me he tried to show his small kids Gone With the Wind and The Miracle Worker …
Giamatti:
[Laughs] Dude, I’m telling you though, I actually had parents who would take us to shit. I remember them taking us to [Stanley Kubrick’s] Barry Lyndon. I was probably about six. My mother used to take us to insanely inappropriate movies, One Flew Over the Cuckoo’s Nest, and shit like that. Now, I think about that, and part of me thinks that was crazy, and part of me thinks it was kind of cool. She wanted to go see them, and my dad was working, and so we would go see completely f***ing inappropriate shit. I’m really glad we did, actually.

Movies.com: It must have been great filming in writer Tom’s hometown [New Providence].
Giamatti:
It was! I’d never been to his house where his parents still live, I’d never met his sisters who all still live there, and I’ve known Tom for 20 years. We went to his high school, and stuff like that, it was hilarious. We went to some crazy-ass sandwich place. They made some crazy f***in’ sandwiches with coleslaw and Russian dressing. We would buy those and then would go eat them watching the wrestling matches.

Did you keep a souvenir from the film?
Giamatti:
I didn’t. I used to do that, and then I just ended up with a bunch of shit in a box, thinking, I gotta stop doing this.

MDC at SXSW 2011:
2011 SXSW Film Festival - Photo Gallery
Dialogue: SXSW Interview with Rainn Wilson and James Gunn
Dialogue: SXSW - Morgan Spurlock Delivers The Greatest Movie
Dialogue: SXSW - Paul Giamatti Grapples with Win Win
Dialogue: SXSW Interview with Apart Star Joey Lauren Adams
Dialogue: SXSW Interview with A Year in Mooring's Josh Lucas
Day Five - Film Ends, >Conan Heads to the Big Screen and Anchor Bay Makes the Biggest Buy in Conference History
Day Four - Tuneful Documentaries and Concert Films
Day Three - Simon Pegg in Paul, Kristen Wiig in Bridesmaids, and Interactive in Everything
Day Two - Josh Lucas' A Year in Mooring, Apart and the Not-So-Super
Day One - Source Code, Insidious, Shiner Bock and Smartphones


View the original article here