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The Afghan Whigs will play their first show in 13 years when the Greg Dulli-led band reunites for All Tomorrow’s Parties “I’ll Be Your Mirror” festival at London’s Alexandra Palace on May 27.
The revered Cincinnati band are taking the slot that had been held by Guided By Voices, who cancelled because they broke up and have cancelled all 2012 (and we presume beyond that) bookings.
Other performers during the May 25-27 festival, curated by Mogwai and ATP, include Slayer, Sleep, Mudhoney, Yuck, the Melvins, and a reunited Codeine. Newly added are The Archers of Loaf and Chavez, who reformed last year.
The "Mission: Impossible" franchise is a strange one.
For one thing, I think people often misuse the word "franchise." Just because they make a few sequels to a movie, that doesn't automatically qualify that thing as a franchise. I think of that more as a description of a film property (or book property or game property… whatever sort of IP you want to substitute) that features a basic idea or premise that can be endlessly refigured to fit new casts, new creative teams, and new storytelling styles, with little real regard for continuity. "Mission: Impossible," from the moment it first aired as a television show, has offered up a near-perfect franchise engine, a premise so simple, so feather-light, that you can do anything with it, and as long as you strike those same few notes, it's recognizably "Mission: Impossible."
Over the weekend, I rewatched the first three "Mission: Impossible" films on Blu-ray. I've always been fond of the first one, and looking at it now, it's one of those early CGI-era movies that reaches for some groundbreaking stuff in how action is staged and shot that doesn't totally work on a technical level, but that deserves respect for pushing the envelope as much as it did. More than that, though, it's a fun piece of pop culture subversion that was designed to acknowledge the old school, then annihilate the old school, then introduce Tom Cruise as the new school. Brian De Palma made each set piece feel like he was having fun, and it was big and complex and sleek and absolutely proved that it would work on the big screen.
The second film is so bad that it feels like someone who was very angry at John Woo decided to make a MAD-magazine-style parody of John Woo films and then release it with his name attached as director. Awful.
I'll finally get around to running down the Best Original Song category in tomorrow's Tech Support column, but how about one last contender spotlight?
Madonna's "W.E." has took a critical thrashing when it premiered at the Venice Film Festival in September. Having finally caught the film last night, I'm sorry to report that the pans were on point. What a delirious mess of a film. A Vogue photo shoot brought to life. Which, it should be noted, the film is indeed gorgeous. The costume design, production design and cinematography would all find room on my ballot, I bet.
I had heard there was an original song for the film from the Material Girl herself, but didn't really think about it until I noted the FYC section of the screener packaging. Indeed, "Masterpiece" -- which leaked recently and is expected to also be on Madonna's next album -- is being pitched for awards.
The tribute announcements keep coming for the upcoming Santa Barbara International Film Festival. Today the fest announced the recipient of this year's Cinema Vanguard Award, given in tandem for the first time this year, to "The Artist" stars Jean Dujardin and Bérénice Bejo.
The honor is given annually "in recognition of an actor who has forged his/her own path, taking artistic risks and making a significant and unique contribution to film." I guess that sums up what Dujardin and Bejo did with the film, but it's unique amid the flurry of recent recipients: Nicole Kidman, Christoph Waltz, Vera Farmiga, Stanley Tucci, Peter Sarsgaard, Kristin Scott Thomas and Ryan Gosling.
Anyway, festival director Roger Durling made his case in the press release: "In an age of sight and sound spectacle, there is great risk in a silent film. Jean and Bérénice's acting is an amazing pas des deux both physically and emotionally - recalling classic Hollywood pairings like Hepburn and Tracy, and of course indelibly Ginger and Fred."
Spend a yultide by the fireside with Damien Jurado, who's pumped out a piano- and horn-laden version of "Christmas Time Is Here." The Vince Guaraldi original -- popularized via "A Charlie Brown Christmas" -- has a melancholy slowness that Jurado's falsetto capitalizes upon, warms up with the Aki Kurose Middle School Academy Glee Club and prepares your brain waves for a long winter's nap.
It's hot as hell in here. No, really, Gary Oldman has set the thermostat so high that it feels less like a room at the Beverly Hills Four Seasons than a fire-heated Transylvanian castle on a snow-blown mountainside.
"The first thing I do when I get into a hotel room is crank it up to about 80," he says jokingly through that recognizable twangy British accent to a publicist as she makes her way out of the room. Or is it recognizable? Oldman is a classic character actor, a "that guy" for film-goers the world over. So maybe it is. But his career never took hold in a leading man capacity, so he lingers on the pages of recent film history. Maybe it was the dust-up behind the scenes over the perspective of Rod Lurie's "The Contender" in 2000 that held him back at a time when his career was set to take off. Maybe that's an overstatement.
He looks remarkably young. At 53, he's taken on roles as of late that have played up older, wiser traits, but they've clearly shielded some vitality. His latest, Tomas Alfredson's "Tinker, Tailor, Soldier, Spy," is a prime example, Oldman saddling up to the role that Alec Guiness first fleshed out on the screen via British television mini-series. Now he's being asked by young press types who aren't likely aware of Guiness outside of "Star Wars" whether he was familiar with that project before taking the role.
It's been interesting finding myself caught in the middle on a great many films this year that have sparked passion on both sides of the scale. Watching the pendulum swing between love and hate on "J. Edgar," "The Help" and now, "Hugo," has been strange, because I can't passionately argue one case over the other, but I sympathize with both. We first mentioned the idea of 2011 as a season of films about nostalgia a few weeks back, and that narrative has continued to take hold. Mark Harris recently spotlighted it, but went a step further into accusing films like "The Artist" and "Hugo" of "faux-nostalgia, pegging the latter for being "not a valentine to the dawn of movies [but] a valentine to the people who send those valentines." Flattery, he seems to surmise, will get you everywhere with the Academy. [Grantland]
When the first season of "The Hour" wrapped up on BBC America back in September, I noted that the BBC had already commissioned a sequel from writer Abi Morgan, but that there was no guarantee the new series would air in America. Now there is, as BBC America has stepped up as co-producer of "The Hour" season 2, to debut sometime next year.
NEW YORK - Horses aren't anything new to legendary filmmaker Steven Spielberg. No, it's not because of helming the installments of "Indiana Jones" that found Harrison Ford jumping on a horse to save the day or escape chasing Nazis. Instead, it turns out Spielberg's youngest daughter Destry is actually a competitive jumper and their family stable has 8 horses ready to ride. It also means he didn't have to walk far to begin researching his latest film, "War Horse."
"When I realized i was going to commit to direct 'War Horse' I actually went out there and just was photographing them from all angles," Spielberg says. "I spent a lot of time with the iPhone taking photos."
Along with "The Adventures of Tintin," which was released in Europe at the end of October, "War Horse" marks Spielberg's return to the director's chair for the first time in three years. Set during World War I, "War Horse" is based on Michael Morpurgo's 1982 young adult novel about Joey, a horse that is raised by a young Englishman, Albert, but sold to a British Officer to serve in the war. As Joey meets different people during his journey through the great war, Albert eventually enlists to try and find his beloved horse and bring him home. The story gained greater notoriety after playwright Nick Stafford adapted "War Horse" for the stage. The show was produced by the U.K.'s National Theater in 2007 and received critical acclaim for its stunning puppetry to bring the horses, including Joey, to life on the stage. Early this year, "War Horse" came to Broadway and in June won five Tony Awards including best play.
Spielberg became interested in bringing "War Horse" to the screen after longtime producing partner Kathleen Kennedy convinced him to see the London stage production. Speaking in New York over the weekend and less than a mile from where "War Horse" rides every night at Lincoln Center (and were the film's world premiere was), Spielberg says he was drawn to the project by Albert and Joey's story, not a chance to depict World War I.
"I also don't consider 'War Horse' to be a war movie," the "Saving Private Ryan" director notes. "It's not one of my war movies. This is more of a real story about the way animals can actually connect people together. And that's what Joey does. Joey's miracles are really in great sense of optimism and hope and all the people he brings this into their lives. This was much more focused I think on the characters. The war was certainly a horrendous backdrop providing tension and drama and the need to survive. But, the war was not in the foreground of 'War Horse.'"
In fact, Spielberg freely admits he didn't know much about World War I and found himself frustrated by his relative ignorance of the bloody and dark conflict. Spielberg says, "My first reaction every time I delve into an episode of history that I don't know very much about is anger that my teachers didn't teach me much about it. 'Why didn't I learn this in school?'"
Spielberg and his producing team were actually invited to go through the private archives of the Imperial War Museum which was an essential education in making the film. Of the visit, Spielberg adds, "I wasn't willing to bring it out in the film, because this wasn't meant to be a history lesson. There is nowhere in the film that says 4 1/2 million horses were killed in the first World War. [But,] it really informed us and gave us some gravitas when we worked with [screenwriter] Richard Curtis."
As you'd expect,the "Notting Hill" and "Love Actually" screenwriter made some essential and necessary changes as "War Horse" went from book to stage to screen. For instance, the novel is written from the horse's point of view which could have been problematic if there was, well, voice over in the movie. That was never an option in Spielberg's view.
"Instantly, the second Joey starts to speak it becomes a horse of a different color," Spielberg says smiling. "It becomes more of a real fable and I think you suspend your disbelief so radically when the horse starts to think out loud that there is no touchstones you can relate to. So, the first decision was not to let Joey think and speak, but just let Joey emote and exist inside these these sequences with these characters."
One of the things Spielberg did do was work with longtime cinematographer Janusz Kaminski in broadening the shots and point of view of the camera. The picture has more long shots and vistas than any Spielberg film in recent memory. Many cinephiles may assume Spielberg is using the subject matter to pay homage to such classic American filmmakers as John Ford or Howard Hawkes, but it wasn't foremost in the Oscar winner's mind (even with a final shot that screams "Gone with the Wind").
"The conscious thing I did was I made the land a character in the story," Spielberg says. "And simply by making the land a character and falling back to wide shots more than close ups to let the audience actually make choices about where and when to look, that was the dynamic of most movies that were made in the 1930's and 1940's. Not just by Ford, but by Kurosawa in the '50s, by Howard Hawkes. I mean, directors used what was before them. They celebrated the land and made the land a character and made spaces and environments characters in movies."
Spielberg continues, "I just thought of all the movies I'd made in recent years this offered the opportunity to include the land as a character which is a determining factor as to whether [Albert's] family is going to survive and either keep or lose their farm. And then the land becomes a bloody character as history tells us as occurred on the Somme, that occurred in No Man's Land."
"Empire of the Sun," one of Spielberg's previous war-themed and underrated films (yes, he may not think "Horse" a war film, but it is) marked the screen debut of a young, unknown actor named Christian Bale. For "War Horse," Spielberg wanted to make sure Albert was also played by a first timer. Needless to say, finding the perfect Albert wasn't easy.
"We saw hundreds of possible Alberts. Sometimes you see someone early and you say, 'Top this.' We didn't meet Jeremy Irvine until mid way through the process," Spielberg reveals. "Halfway through the process Jeremy came in. Totally untested and -- all I look for is honesty. Jeremy was the most real kid we saw."
But for many people, especially in the U.K., their first experience with "War Horse" will be the play. Spielberg has put in some nice nods to the play including a testy goose on Albert's family farm, but the film is a significantly different beast. Still, I asked Spielberg if he found any broader inspiration from the stage production for the movie.
"One of the catharses for me in also helping me tell the story to audiences in the film was something that was sort of hinted at in the play," Spielberg says. "There is a little moment when the Brit and the German are able to help Joey who is trapped in barbwire. It was a lovely moment in the play. A very fleeting moment in the play, but it made a profound impact on me. And that was a moment that Richard and I decided to expand and to go deeper with. That was something the play certainly inspired. But also, the great thing about theater is there are just some illusions that you can only create on the boards that you can never create on film now matter how many digital tools are at your disposal and that was the amazing moment in the play when the little Joey becomes the adult Joey. That incredible piece of visual theatricality and that you can never do in the film."
[For more on "War Horse" check out select clips from the film related to within this post. ]
"War Horse" opens nationwide on Christmas day.
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Welcome to the Rock Hall, baby: the Rock & Roll Hall of Fame will will induct Guns N’ Roses as one of its six honorees for the class of 2012.
Joining them will be the Red Hot Chili Peppers, Beastie Boys, ‘60s folksinger Donovan, singer-songwriter Laura Nyro, and the Small Faces.
An artist is eligible 25 years after his or her first album or single comes out.