Patty Clarkson's 2010 Triple: Cairo Time, Easy A and Shutter Island

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Patty and the NYC premiere
this summer

Earlier this month I met with Patricia Clarkson to discuss another fine year in one of the most pleasurable of modern character actor filmographies. Hers. I was waiting for the right opportunity to share it with you, and since Cairo Time is out on DVD, Academy voters are busy weighing the various Best Actress options, and today is Patty's 51st birthday, it was high time.

Through an unfortunate scheduling snafu I was less prepared when I met her than I am accustomed to being. I apologized with a wee warning that I'd be winging it. I bring this up because, as many of will remember, I have closely clocked her career. She came in at #2 in my 2005 countdown "Actresses of the Aughts" (yes we should revisit that list now that the decade has wrapped) and because I just want to share the unedited transcript. She was just so delightful to talk to. The punctuations and descriptions are my own of course to convey the flavor of the conversation. Happily, she's as vivacious and fun to interview as she is to watch onscreen.

Our conversation started by chatting about the NYC premiere of Cairo Time this past summer.

Nathaniel: Really enjoyed the movie. We didn't get a chance to talk afterwards at the banquet but you seemed very buoyant and happy that evening.

Patty: Yes. It was very nice night and it had been a long journey with the film. So... just up until then my mother and sister were in town. It was just a wonderful night to share it with my friends and my family [pause] ...and strangers.

[Laughter]

Nathaniel: Strangers like me sitting at the corner table. But it was wonderful to see you carry a whole movie for change.

Patty: It's a nice thing. It's rare. You know, I've been the female lead in a few things but it's rare to really kind of carry a film -- especially for me but it's even rare for women in general. We're always sharing top billing with somebody, you know what I mean? Or we're often the supporting people. It's beautiful that Ruba [Ruba Nadda the writer/director] wrote a film with a woman, almost 50, in the lead. That's how she wanted it. I'm very thankful to her for that always.

Patricia as Juliette.

Nathaniel: This character ["Juliette" in Cairo Time] has a really slow burn. I mean the character arc is very gradual.

Patty: Very! So gradual. It's really truly one of the most deceptively difficult parts I've ever played in my career. Not only because you're in every frame and you're shooting every day all day. But emotionally, oddly, it was... [her voice trails off thinking of the work]. It's a very, very quarter-inch by quarter-inch slow burn progression.

Nathaniel: In a situation like that do you have to have a lot of trust that the editing, for example, would bear you out since there's not that one scene? If you compare it to something like Far From Heaven where you can play a hairpin turn in the character that's just so devastating.

Patty: Right. Well that's also such a more forward character. This is... she [Ruba] wrote a very passive protagonist -- I found it very beautiful -- a very setback reluctant, for lack of a better world, woman at times. Antithetical to me and often to many characters I've played which are very forward and very gregarious and very present. This is a woman who is reserved, truly reserved. But I still think lovely and approachable in her own way.

Nathaniel: One thing I loved about the movie was the costume design.

Patty: Beautiful dresses, yes.

Nathaniel: They went along with the gradual arc so well. And the resolution of the movie -- those final scenes are just beautifully played.

Patty: Oh, thank you. It's the courage that Ruba had to really trust that those scenes would work, that they'd stay with the film and take this very, very subtle intimate --no bells and whistles! -- film and be around for the end and have the payoff. Most of the people I've seen have gotten it. They took the journey and were moved and transported. So...

Patricia & Alexander Siddig in the final scenes of Cairo Time

Nathaniel: Would you reteam with Alexander Siddig when you could let 'er rip more?

Patty: IN ANYTHING! There will be a sequel to Cairo Time. And it's just me and Alexander on a train. I've already written it. Ruba doesn't know about it but I've written it. And neither does Alexander.

[Much laughter]




Nathaniel: Speaking of actors who you don't get to get to see do leads enough...

Patty: He's such a beautiful stunning man. Ruba's next two projects are with Alexander and me. He's the lead in Ruba's next movie in Jordan, a beautiful story of a man whose daughter goes missing. And Ruba has another film for me that we'll shoot next January, a year from now. It's very exciting.

We're going to keep going with Ruba. [Laughter]

Whatever Patty Works... is magic

Nathaniel: Speaking of writer/directors... you've done two films with Woody Allen.

Patty: Yes, yes. I have high hopes for him; lovely unknown man.

Nathaniel: [laughter]

Patty: You know, it's an actor's dream to work with him and he doesn't disappoint. It was wonderful and I loved those parts that I got to play. Vicky Cristina Barcelona wasn't a large part but what was there was lovely and then Whatever Works was such a delicious divine part.

Nathaniel: You were the highlight.

Patty: Well... (giving credit away) Marietta! It's kind of a part I dreamed of playing, you know, just a big broad great southern lady.

Nathaniel: With Woody, you hear all sorts of contradictory things about him on the set. Some actors say he never speaks to them.

Patty: He's easy going but he's not chatty. This is why I really adore him. It's a very indulgent business; we are coddled and pampered so much. Woody just doesn't do that. It's all about the work. He doesn't care about your personal life. You show up. He wants you to be professional, know your lines, know what you're doing. Do your homework. He shows up and starts shooting at 9 AM, ready to go. He doesn't want drama. He doesn't want any of that. It's all about the work. I love that. I love that way of working.

Nathaniel: When you have to do a part that's heavily exposition as some supporting parts are, like in Shutter Island.

Patty: Yeah?

Nathaniel: How much of a challenge is that? It seems to me, from an outside perspective as I'm not an actor, that that would be both less rewarding and more difficult.

Patty: Well, Yes. At times it can be. But, remember, here I am. I'm working with Martin Scorsese who is divine and Leo... the two of them. They're a match made in heaven and they really make the best of an expositional circumstances. And it actually turned out to be, like, a real ride I had to take with that character and with Leo. And the cave. And my really ugly schmatte dress! And my wig!

[Much laughter]

You know it's like 'AAAAAHHH TROLL LADY!'

"People tell the world you're crazy and all your protests to the
contrary just confirm what they're saying."

It was -- it ended up being surprisingly difficult in good ways. It did challenge me. Leo is a deeply committed and passionate actor. And so is Marty. Both of them are like powerhouses coming at you. There's nothing laid back and cool and simple and easy. It's like [makes whooshing noise]... it's a conducive environment to do good and hopefully great work. It is about about the work also. With great directors, it always is.

Nathaniel:  High Art.

Patty: Great director.

Nathaniel: Lisa Cholodenko is having such a good year.

Patty: Beautiful year, yeah. I just saw her the other night at the Gothams.

Nathaniel: Her first couple movies, like High Art, were heavy and this one is really light and funny.

Patty: Although it's incredibly moving.

Nathaniel: Did you know she had that in her?

Patty: Yes, of course. She's just gifted. Great directors can just do anything. She has a marvelous sense of humor. She's very intelligent and I think she can -- because even in The Kids Are All Right there's pathos. I mean, there is. It's nuanced and hysterically funny but there is, you know,  still depth of emotion that will always be in her work.

Nathaniel: You yourself have a real gift for comedy. One of the things I would love to see you do, if they even made them anymore, is a rapid fire screwball comedy.

Patty: OHMYGOD. I  dream of that. You know,  I dream of standing in a room in a smart sexy suit or sitting on a couch with my legs crossed chatting with George Clooney... rapid fire. Yes! [laughter]

Nathaniel: You get to do little hints of that but I would love a big screwball.

Patty:  I do but I haven't done a kind of great balls-out real romantic comedy.

Tucci & Clarkson with Liza (!) at a Cairo Time event two weeks ago.

Nathaniel: You were a highlight of Easy A this year.
Patty: We had so much fun, Stanley and I.

Nathaniel: You have great chemistry.

Patty: We do. Stanley and I have known each other for so long. We're very close in a really great way. We just have a cool friendship, we do. And we're able to modify it slightly and bring it on as, like, a  married couple or whatever. We can take our friendship and mold it into what we need it to be whether that's for Blind Date or Easy A.

Nathaniel: I find in a lot of movies, a lot of times, the parent/child thing... you can't always see how the child would come from those parents.

Patty: Yes.

Nathaniel: And in that movie. You and Stanley were just -- it's like you genetically gifted all of your humor to her.

Patty: [Laughter]

Easy Mother and Grade A Daughter

Nathaniel: Because she had that same sort of lively...

Patty: Well, she is -- Emma Stone is sublime. You know, I hate this expression but she is a star. She is in the best sense. She's so beautiful and so multi-talented. She can do drama, comedy, action -- she's doing Spider-Man now. She's just really on her way and she should be. She should be. She's one of those new fabulous girls and she deserves to be.

Nathaniel: In terms of your public persona... do you get recognized a lot?

Patty: It depends on the city. If I'm in New York, oh god yes. If I'm in New Orleans oh god yes. In LA , yes. If I'm in Omaha, no. [Laughter]

Nathaniel: You've played such a wide range of roles. What do you think the perception of you is, generally?

Patty: I think it's shifted somewhat. [Reconsidering...] You know, I don't know.

Nathaniel: You don't think they come to you with any preconceived notions?

Patty: No. I think... Like in New York. It's like "oh, we love you. You're a New York actor." It's lovely. They claim me. 'Claim away, honey! As long as I keep working.'

I think people just think of me as, you know, just an actor. They're very flattering and complimentary most of the time. I'm trying to think -- I  don't think anybody has ever come up to me and said "I don't like you" but there's always tomorrow.

[Laughter]

Nathaniel: One of my favorite parts of yours in Elegy.

Patty: Ohhhh, Isabel Coixet. Look at the extraordinary directors I've worked with! She's a stunning woman. She speaks five languages. She's a genius. She's one of the smartest people I've ever met and I have really smart friends. Like Rich Greenberg who is a genius. But she's one of a kind. I love that film. It's kind of taken on a different life, a new -- well, it doesn't have a cult following exactly but I have had a lot more people talking to me about it now than when it came out.

Nathaniel: It's one of your fullest characters I think. You were just giving us a lot of information about the character's life in a handful of scenes. Are there any other roles you wish would be rediscovered?

Patty:  You know, I wish more people would see Blind Date. I know it's not for everybody but I love that film. I don't know if you've seen it?

Nathaniel: ... that one I haven't so I'm a little embarrassed that that's the one you name-check.[Laughter]

Patty: Noooo. You'll see it at some point. You can rent it. I hope people rediscover that. That's the one I hope for.

Nathaniel: I think the first time I saw you in a lead was [forgetting...] oh god...

Patty: The Dying Gaul.

Nathaniel: The Dying Gaul!

Patty's first top billing

Patty: Beautiful film. [Craig Lucas] is a sublime man. Deeply gifted, beautiful writer, and beautiful eye. He should be writing and directing. It's a wonderful film and that's been discovered in some ways. More people have seen it and say 'I love that movie... it's got that strange title...'

Nathaniel: Yeah, you had to prompt me too.

Patty: Yeah. But oh that white bikini. oh my god. [embarrassed high voice] WHOOOOO!!!

[laughter break]

Nathaniel: What's next for you Patty?

Patty: Not a white bikini !!!

[more laughter]

Nathaniel: Oh come on, you look pretty great in that dress in Cairo Time.

Patty: Beautiful dresses. What's next for me? I just did another movie with the Easy A director. This is a movie starring Mila Kunis and Justin Timberlake [Friends With Benefits]. And a small part in Lone Scherfig's new movie called One Day starring Anne Hathaway and Jim Sturgess. I play Jim's dying mother. It's me doing British which is very intimidating in front of entire British cast and crew. I thought 'oh my god  I am going to be dying by the end of this character.' 

But it's good to be frightened at 50 and it's good that people keep upsetting the apple cart.

Nathaniel: It was a pleasure to talk to you.  Thanks for bearing with me.

Patty: You didn't seem to be winging it.

Nathaniel: Well I've been watching since High Art.

Patty at the New Yorker Festival in October.

****

And with that we said our goodbyes.

Did you see Patty's triple this year? It's actually a quadruple as she had a role in Legendary but that one, alas, slipped by me. Which was your favorite of her recent roles? If you haven't seen Cairo Time, queue it up. But just make sure to turn off your phones. It's one of those movies that requires your full attention, all the better to appreciate Patty's careful modulation of that slow burn arc.

But then, you should always pay close attention to Patty's work. She rewards audiences again and again.
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FYC: Leonardo Island

One of the smartest FYC moves I've seen in terms of a screener making full use of its identity as an Oscar campaign is for Shutter Island. The disc didn't come with the typical eyebrow raising desperation of "please nominate us for every category that exists!", but narrowed its focus. The cover only suggests Picture, Director & Actor.

In fact, one might say that the packaging squints so hard to focus that it grows a the great crease of a worry line right before your eyes. All the better to remind you of its identical twin that Leonardo DiCaprio has grown between his eyes over the years. That worry line serves him so well in this anguished performance.

But, there's more. As you open it up -- remember this is a Shutter Island ad -- it becomes an orgy of Leos. Brilliant move, that. By charting his growth as an acclaimed child actor to massive adult star, all the way from that critically acclaimed leading debut This Boy's Life (1993) to 2010's Inception (sneakily swallowing up the vote splitting competition, in order to better serve Shutter Island) it basically uses the visual language of FYC: Career Tribute Nomination.

Given that Shutter Island came out very early in the year and that the Best Actor category still looks to be in flux, this could actually work. Unlikely sure but not out of the realm of possibility.

And hasn't 2010 actually been quite a year for him. Isn't he having a year comparable to Sandra Bullock's in 2009? The comparison doesn't spring up naturally, exactly. Leo's big year didn't feel like a breakthrough year since he had no career valley to bounce back from. Nor did he really have something to prove in terms of acting prowess. But consider the strange popularity correlations between Sandy's 2009 and Leo's 2010. For this exercize we have to forget all about All About Steve (2009)  but who would object to doing so?

1. Big Beloved Headliner Star
2. First movie of year  that's right in star's wheelhouse (romantic comedy The Proposal | Scorsese drama Shutter Island) opens and becomes big domestic hit in the 100+ range.
3. Riskier followup opens just five months later (Sandra's The Blind Side | Leo's Inception) and becomes a massive blockbuster in the $250+ range.

Isn't that... odd? Box office and timing between releases is pure coincidence you could say as devil's advocate. But how's this for an eery detail: If you compare Sandra's twin blockbuster 2009 grosses with Leo's 2010 double your difference of (domestic) bank is a miniscule $182,000. Isn't that crazy?

I'm not suggesting that Leo will suddenly become the golden boy who wins a surprise Oscar in February or that his marriage will fall apart in scandal directly afterwards (he's not even married!) so the comparison is strained. Furthermore, nobody expected Sandy to become an Oscar winner (until the happening was under way) and everyone has expected that about King Leo from day one. But beloved massive careers do have unifying elements no matter who the stars are; the industry and the public root for said star to succeed ...and to eventually win the most coveted movie prize of them all.

FWIW, Leo's best performances imho.

1. What's Eating Gilbert Grape? (1993)
2. The Aviator (2004)
3. The Departed (2006)
4. This Boy's Life (1993) 
5. Romeo + Juliet (1996)
6. Catch Me If You Can (2002)
7. Shutter Island (2010)
8. Titanic (1997)
9. Revolutionary Road (2008)
10. (Everything else blends together qualitatively for me, as something like charismatic coasting at regular best and callow confidence at irregular worst. So I eagerly await a full top ten. He's only 36. Decades of movie triumphs presumably await.)
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Film Bitch Awards - Early FYC Ads

Michael C here.

Now that the first Oscar ads of the season are upon us we dedicated Film Experience fans know what that means. Time to start getting excited about The Film Bitch Awards.

I'm guessing I speak for a lot of you when I say I've found myself anticipating them as an essential part of the awards season because A) Nathaniel has taken the time to see the films in question unlike some voting bodies I could name and B) he actually approaches the bestowing of honors with some thoughtfulness and imagination, honoring worthy elements from otherwise average movies and not paying any mind to group think momentum. Also, Oscar doesn't have a category for best sex scene. Just sayin'.

So I thought it would be a bit of fun on a Sunday evening to give a shout out to our own 2010 favorites before the year end films completely dominate the conversation. I'll get the ball rolling...

FYC - The Runaways for Best Poster

I've read a lot of praise for the striking design on posters for The Social Network and For Colored Girls but the stark simplicity of this design for The Runaways is still tops of 2010 for me. In the wake of the play-it-safe banality of The King's Speech's justly derided one sheet it's worth holding this up as an example of what one can accomplish with some daring and confidence. The actual movie didn't hold much interest for me but this image has had my thoughts returning to the film all year.

FYC - Ben Kingsley in Shutter Island for Best Line Reading

"You blew up my car. I loved that car."

The last thing I was expecting when Leo reached the top of that lighthouse was this laugh line from Kingsley. For all the mad scheming of the his character that was one bit of collateral damage he just did not see coming. Kingsley, of course, nails the deadpan delivery and also makes it seem like a bit of sly commentary on the convoluted plot. The story is about to spiral through a half dozen more heated twists, but first things first.

FYC - Hereafter for Best Action Sequence

I was clearly on the side of the underwhelmed when it came to Eastwood's shadowy psychic drama, but there is no denying the impact of the opening Tsunami scene. Who would have guessed that after Emmerich and Bay spent the better part of their careers destroying the planet dozens of times over, Clint would come out of nowhere and show them how it's done. More than any disaster sequence I've scene this communications that queasy pit-of-the-stomach panic accompanying the realization that escape isn't an option.

FYC - Douglas Urbanski in The Social Network for Best Limited Role 

Every cast member gets there share of killer lines in Sorkin's script, but nobody knocked them out of the park with more consistency than Urbanski as Harvard President and former Treasury Secretary Larry Summers. The confrontation with the "Winklevii" is a sustained comedic high point. His Summers may miss the scope of the issue at hand but he is right on target when it comes to sizing up the two young men across the desk from him and how they managed to claim three minutes of his time. Urbanski nails that mixture of obliviousness and perceptiveness.

FYC - The Ghost Writer for Best Ending

Here's a rare occurrence in modern films - the twist ending that feels completely earned and holds up to the scrutiny of repeated viewings. Over the past decade it felt like story redefining twists were the fashionable thing to tack on to screenplays whether they were supported by the material or not. The ending here not only shifts our perspective on everything that just occurred but brings the whole movie in for a flawless landing with the perfect few grace notes and a final image that sticks in the memory.

FYC - Winter's Bone for Best Individual Scene

A lot of Winter's Bone succeeds as a mood piece. Images and textures stand out as much as sequences - the dismembered squirrel, the sound of Ree screaming to be heard in the slaughterhouse, the trampoline. Yet director Debra Granik does stage a beautifully tense standoff between John Hawkes and the state trooper that deserves mention as a stand alone set piece. All through the film we are trying to get a handle on Teardrop's menacing character. All we know for certain is that he is dangerous and if he is making a threat it would be foolish to assume he's bluffing. Granik squeezes every last drop of suspense out the scene. It's a pleasure to see a potentially violent encounter play out without the characters on action movie autopilot.

I'll turn it over to you guys. What movie moments would you like to see remembered after the end-of-the-year deluge of prestige pictures? Here's a refresher on the categories if you need one.

A Postcard from the Edge of Shutter Island.

Thought I'd share a fun little trivia nugget from a recent interview with the actress Robin Bartlett. You may remember Bartlett from her recurring role on TV's Mad About You or as the unusually named "Aretha" from Postcards from the Edge.

"Are you black?"
"...no."

Robin: I loved playing Aretha. That was another good piece of writing. Carrie Fisher is no slouch in that area.

Bartlett has appeared in two Streep movies (she's also in Sophie's Choice) and now she's taking over a role many viewers will automatically associate with the great one herself. She's currently in rehearsals for the mammoth "Mother Pitt" role in Angels in America (it's actually six roles on stage). The classic play is getting a New York revival this fall. Tickets go on sale on August 3rd. (I've just finished a magazine piece on the revival -- yes print still exists.)

During our chat we talked briefly about her big scene in Shutter Island earlier this year. Leo is questioning all the asylum crazies and we see Robin madly scribble something dramatic into his notebook before sliding it his way, all sneaky like.


Nathaniel: Is that your actual handwriting?
Robin: If that was my handwriting, you wouldn't be able to read it.
Nathaniel: [Laughter] The magic of the movies!
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Halfway Mark: Best Performances (Thus Far)

Hey there 2010. You'd best step it up. Time's a wastin'.

The talk of the 'net right now is Inception but that's not open yet, nor have I seen it. In Contention's Kris Tapley has written a lengthy piece about its Oscar prospects that I'm sure you'll want to read/have already read. You'll recall that I gave Inception a major vote of prediction approval back in April and I shan't be altering that much when I update the rest of the Oscar predictions, since my suspicion was correct that people would love it. Nevertheless, I am confused by some of the buzz for its actors. No matter how good DiCaprio and Marion Cotillard may well be, effects pictures only very very rarely lead to acting nominations (Sigourney Weaver, Jeff Bridges and Ian McKellen are rarities, not the norm) so I haven't suddenly pretended it will move into the Acting categories.

Speaking of acting...

Though the year's films have been somewhat lacking, the following performances did something for this moviegoer so I wanted to give them a glance. They're the performances I'll personally be contemplating from the year's first half when it comes time to whip up awardage for the full year. It goes without saying that most won't be in the Oscar hunt. Oscar has a limited range of flavors they like and a minimum amount of fame that they require but I hope some more adventurous voters will try to see everything that people say... hey there, this performance is good. Since some of these aren't yet released, I've allowed myself 7 contenders in each category. How many of them will be handily trounced by [ominous music] That Which is To Come?

FAVORITE PERFORMANCES THUS FAR
Click on the links to go to the Oscar predix which is an ENTIRELY different conversation.

Best Actor

• Jay Baruchel, The Trotsky
• Anthony Deptula, One Too Many Mornings *not yet released*
• Leonardo DiCaprio Shutter Island
  Robert Duvall, Get Low *not yet released*
• Ryan Gosling, Blue Valentine *not yet released*
• James Rolleston, Boy *not yet released*
• Andy Serkis, sex & drugs & rock & roll
  

There's not much of note so far in theatrical release for the leading men. John C Reilly and Jonah Hill were fun in Cyrus but "Best"? RDJ was his usual charming self but how much of a challenge was a second round with Iron Man? Leo barely held on to the edge of this list. I liked him a lot in certain Shutter Island scenes but that gothic gaullimaufry left me wanting in nearly every way, including within the cast. It's dangerous to assume one's own reaction to a movie is shared by Oscar voters, but combined with the early release date and the lack of true and enduring "this movie is awesome!" hoopla, I sincerely doubt we'll see Shutter Island anywhere near the Oscar competition in the winter.

Unless of course, 2010 keeps offering up blah movies. Then it's anyone's game and some crazy things might start happening.

Best Actress

• Annette Bening, The Kids Are All Right
• Annette Bening, Mother & Child
• Min-Seo Chae, Vegetarian *not yet released*
• Jennifer Lawrence, Winter's Bone
• Paprika Steen, Applaus *not yet released*
• Tilda Swinton, I Am Love
• Michelle Williams, Blue Valentine *not yet released*

While nothing of note has yet happened in the Best Actor category, we may already have three or four of our acting nominees. Jennifer Lawrence in Winter's Bone (if she's lucky), Mark Ruffalo (if he's lucky) and both women from The Kids Are All Right (though one will surely be demoted to supporting). Julianne Moore just missed this top 7. She's fun and endearing in The Kids but it's The Bening who delivers in a career best way or something in the general vicinity -- one of her best at any rate.)

Haven't Yet Seen: Hye-ja Kim in Mother and sex goddesses Amanda & Julianne in Chloe.

Best Supporting Actor

• Joel Edgerton, The Square
• <--- John Hawkes, Winter's Bone
• Shanti Roney, Applaus *not yet released*
• Mickey Rourke, Iron Man 2
  
• Mark Ruffalo, The Kids Are All Right
• Michael Shannon, The Runaways
• Jimmy Smits, Mother & Child
  

I'm already dreading the Oscar campaign / possible make-up win for Bill Murray in Get Low. He's been great before and he's fine if anachronistically modern in this old-timey picture as a funeral director, but I fail to get why anyone thinks it's a career best for him. Seems more like an enjoyable but nothing particularly special star turn. Of course the Supporting Actor category is almost by eight decades of ballot practices the Nothing Particularly Special category (the last few winners excepted).

Haven't yet seen: Michael Fassbender in Fish Tank (long story. I'm still dying too)

Best Supporting Actress

• <--- Marisa Berenson, I Am Love
• Dale Dickey, Winter's Bone
• Ann Guilbert, Please Give
• Rebecca Hall, Please Give
• Anne Marie-Duff, Nowhere Boy
  
• Kristin Scott Thomas, Nowhere Boy
  
• Mia Wasikowska, The Kids Are All Right

A small note of gratitude to Helena Bonham-Carter who singlehandedly got me through Alice in Wonderland. Apologies to Amanda Peet and Ari Graynor who I enjoyed in Please Give and Holy Rollers, respectively. Finally, please don't ask me where Chloe Moretz is for Kick-Ass. She seems to be able to act approximately one thing: smartass. See also (500) Days of Summer. I'll wait for more range before I join the growing chorus of praise.

Haven't yet seen: Jacki Weaver in Animal Kingdom

Are you excited about any of these performances or do you have your own pets from January to June screenings? And how are you feeling about the Acting Oscar races -- my predictions are updated? Do you think we're on our way or we haven't yet begun?
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DVDs: SHOWGIRLS and The Proud Book of Tears From Paris Island

DVD releases have been slim picking as of late. Here's a sample of the new titles from the past couple of weeks. I'd allow you to vote for a DVD writeup but I'm three movies behind. Next time, next time...

• The Book of Eli - Tough guy Denzel Washington kicks apocalyptic ass.
  
• Cinema Pride Collection - June is gay pride month so this collection offers up ten movies and it goes like so: (60s) The Children's Hour, (70s) La Cage Aux Folles, (80s) My Beautiful Laundrette, (90s) The Adventures of Priscilla Queen of the Desert, The Birdcage, Bent, The Object of My Affection, Boys Don't Cry, (00s) Kissing Jessica Stein, Imagine Me and You. I'm letting you know about all of them because...
  
  
  • I find it so weird that a "pride" collection features The Children's Hour and Kissing Jessica Stein even though I actually like both movies.
  • they were kind enough to send me the whole box set.
  • I'm excited to revisit Boys Don't Cry.
  • My Beautiful Laundrette is one of my favorite films from the 80s entire and now I can revisit Daniel Day-Lewis with punk blonde 'do any time I like.
    
  
  I just did an bullet point list within a bullet point list. I am so fancy.
  
  
• Coach - Hugh Dancy goes straight to DVD in his latest romance. Mmmm, Dancy.
  
• From Paris With Love - Jonathan Rhys Meyers & John Travolta play CIA Agents in the city of love. If this were about JRM making love to Parisians I'd be interested but I'm assuming both stars are just shooting people. Zzzz.
  
• Happy Tears - Parker Posey and Demi Moore have trouble with dad Rip Torn
  
• Mary & Max - I highly recommend you check out this odd animated pen pal romance from Australia. Toni Collette and Philip Seymour Hoffman provide voicework and the whole movie is entirely its own thing. That's always a compliment.
  
  
• Shutter Island - in which Martin Scorsese obsesses over insane people. I wish he hadn't opened the movie with DiCaprio all sweaty/disoriented. Too easy. I don't understand the appeal of this movie so tell me what I missed.
  
• When in Rome - My friend Luca is in this Kristen Bell vehicle and I shamefully skipped. Perhaps I will risk it on DVD despite the reviews? Will Kristen Bell get a feature worthy of her or should she go back to prime time series work. What say you?
  
• Youth in Revolt - In which Michael Cera argues with himself. Not about whether or not he should do an Arrested Development movie. Well, duh, shouldn't he?
  

Which will you see/have already seen?

My apologies... I buried the lead.

<--- This arrived by UPS at the door just yesterday and I nearly squealed but for the man standing in front of me asking me to sign for it. Inside I was squealing, mind, and also criss crossing my hands in front of my face in homage to Nomi's famous dance move. What she learned you can't teach in any school!

Yes, it's the 15th anniversary blu-ray of total classic Showgirls (1995). It used to be a Bad Movie We Love and now it's just a Movie We Love Unconditionally and I am proud to say that I went on opening weekend in Salt Lake City even though they weren't allowed to advertise the movie in the paper. Way too naughty for the Mormons. Can't wait to see it for the umpteenth time though these extras "finding your inner stripper" and lap dance tutorial sounds suspect. We'll see.

The Links Are All Right

The Telegraph Tim Robey on the Berlinale fest, The Kids Are All Right and more
Serious Film on the not entirely hidden politics of The Hurt Locker
/Film Pixar working on a secret dinosaur related project?
And the Winner Is... interviews polarizing Oscar genius Harvey Weinstein
Vanity Fair overheard at Shutter Island. the stars talk
Slate really amazing review of Shutter Island

Shutter Island and More

Leonardo DiCaprio and master auteur Martin Scorsese have previously collaborated on depictions of brutal 19th century gang violence (Gangs of New York), 30s Hollywood glamor and psychosis (The Aviator) and contemporary Boston crime wars (The Departed). For their fourth duet, they're lighting a match to explore the dark corridors of 50s era insane asylums. Leo is strongest as an actor when he's unraveling -- you can keep the cocky default mode, which plentiful other actors do just as well -- and Scorsese seems to understand this, keeping Leo continually off balance in the creepy Shutter Island. The film opens with a closeup of DiCaprio's seasick terror (sea travel is the only way this federal marshall can get to the island) and he almost never catches a break from there. For the next two hours of his investigation of the disappearing murderess, he'll be sweating, hallucinating, crying, paranoid and beset from all sides by possible dangers as well as his own troubled past.


Read the rest of my weekly column @ Towleroad

Are you seeing Shutter Island this weekend or taking in another new(ish) release. I'm most interested in The Ghost Writer on account of Polanski & Ewan McGregor but Happy Tears? The casting of Parker Posey and Demi Moore as siblings intrigues me. I can see it, looks wise but spiritually speaking, bizarre. right? If you're all anxious for that Celine Dion documentary, please don't tell me! Some things should be kept private.

The Oscars are only three weeks away (!) so soon it'll be 2010 proper, as in New Film Year! We probably haven't seen anything yet that has nominations in its future next year -- though some may hope for some Fish Tank recognition in a year -- but maybe something soon?

Books @ the Movies, Shutter Island

As you may have noticed with recent Mad Men & Project Runway posts I've become enamored of references to movies in other mediums. I thought I'd share them as they occur to me. On that note, I recently picked up Dennis Lehane's mystery thriller Shutter Island which is set in the 50s on an island for the criminally insane. Figured I had time to read it before the movie version arrives given its abrupt move to February 2010. The jacket blurb claims that it's "instantly cinematic" and for once the blurb ain't shamelessly overstating. Not only does the book read like a zippy movie-movie, it mentions movies, too. Here's one example.

page 168...
Rachel Solando (to be played by Emily Mortimer) and Teddy Daniels (to be played by Leonardo DiCaprio) meet. This is not a spoiler ~ please DO NOT post spoilers in the comments!

"Are you accusing me of being a Communist?" Her back came off the pillows and she bunched the sheet in her fists...

"A Communist, ma'am? You? What man in his right mind would think that? You're as American as Betty Grable. Only a blind man could miss that."

She unclenched one hand from the sheet, rubbed her kneecap with it. "But I don't look like Betty Grable."

"Only in your obvious patriotism. No, I'd say you look more like Teresa Wright, ma'am. What was that one she did with Joseph Cotton, ten-twelve years ago?"

That'd be Hitchcock's Shadow of a Doubt and if Hitch' were alive, he might've wanted to adapt Shutter Island himself. I giggled at the patriotism line and hoped it made it into the screenplay. Then I thought 'Does Emily Mortimer look anything like Teresa Wright?'

You be the judge.

Emily in 2007 at 36 years of age | Teresa in 1943 at 25 years of age
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Shuffled Island, Scorsese's Schedules

I neglected to mention the news of Shutter Island's shift to 2010 when it spread across the internet Friday (I swear, if you don't have your laptop grafted onto your body these days...). This shuffling happens to movies every year and everyone (including myself sometimes) acts surprised and put out as if it's never happened before. We have agreed to collective amnesia.

Dennis Lehane's 6th novel Mystic River was on screen two years after it

was published. His 7th, Shutter Island, is taking longer to crossover.

Generally speaking such schedule switcheroos prompt three distinct reactions each year

1. The studio lacks confidence in the movie and/or the movie isn't any good (suggesting that good = Oscar which it doesn't but that's another story)
   
2. This movie wasn't going to be AMPAS's cuppa anyway, no matter when it opened. Might be a good decision financially.
   
3. Yay. Something that's not total garbage is going to open in the early months of the year!

Hollywood is Pavlov and we are the dogs. Each of these groupthink reflexes has been carefully conditioned in us. They've trained us to expect junk in the first quarter, blockbusters and counterprogrammers in the second and third, prestige films in the final. Anything that appears to be in its wrong season -- as if there should be wrong seasons for things as wonderful as movies -- is immediately suspect whether it be an f/x epic, a romantic comedy, or a film from a major auteur.

--> Scorsese at Cannes with his genius editor Thelma Schoonmaker in Cannes in May to celebrate The Red Shoes (directed by Thelma's late husband Michael Powell). Thelma & Marty have made 16 narrative features together, plus documentaries and shorts.

The truth about Martin Scorsese's Shutter Island could lie anywhere. I'm leaning towards #2. I was anxious to see this hallucinatory potboiler, too, but think of the bright side: We've got more time to read the novel before the movie arrives on February 19th, 2010.

And finally, it's worth noting: Scorsese isn't exactly speedy. Who knows what's happening in Post. If the film is complete that doesn't mean he won't decide to tinker. Didn't Gangs of New York even appear in winter magazine previews for 2001 before being pushed back 12 months for December '02? We're always talking about release dates when it comes to Oscar... but what of release dates when it comes to filmmakers? Is there any consistency with Scorsese? Let's look at his 20 narrative features, release dates and Oscar's reaction (Best Picture nominees are in red).

• The Departed | Oct 6th, 2006 | 5 noms, 4 wins
  
• The Aviator | Dec 17th, 2004 | 11 noms, 5 wins
• Gangs of New York | Dec 20th, 2002 | 10 nominations
• Bringing Out the Dead | Oct 22nd, 1999 | ignored
• Kundun | Dec 25th, 1997 | 4 nominations
• Casino | Nov 22nd, 1995 | 1 nomination
• The Age of Innocence | Sept 17th, 1993 | 5 noms, 1 win
• Cape Fear | Nov 13th, 1991 | 2 nominations
• Goodfellas | Sept 19th, 1990 | 6 noms, 1 win
• The Last Temptation of Christ | Aug 12th, 1988 | 1 nomination
• The Color of Money | Oct 17th, 1986 | 4 noms, 1 win
• After Hours | Sept 13th, 1985 | ignored
• The King of Comedy | Feb 18th, 1983 | ignored
• Raging Bull | Dec 19th, 1980 | 8 noms, 2 wins
• New York, New York | June 21st, 1977 | ignored
• Taxi Driver | Feb 8th, 1976 | 4 nominations
• Alice Doesn't Live Here Anymore | Dec 9th, 1974 | 3 noms, 1 win
• Mean Streets | Oct 14th, 1973 | ignored
• Boxcar Bertha | June 14th, 1972 | ignored
• Who's That Knocking At My Door? | Sept 8th, 1968 | ignored
  

Yep, he's an "Autumn" all right... though you can see how much more fluid Hollywood once was with prestige movie scheduling the further back in time you go. His only previous February openings, The King of Comedy and Taxi Driver, happen to be my two favorites, no fooling. Does this mean I should be very very very excited for Shutter Island or should I stop being so superstitious about release dates?

How is the move to 2010 sitting with you? Or are you eternally impatient when it comes to Oscar season? I'm guessing you're ready to get the party started. I know I am.
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Padded Link

<--- Last week Rope of Silicon shared the creepy teaser poster for Shutter Island (previously discussed here) and now JA is all hyped up. Has Scorsese made a picture as brutal and scary as Cape Fear since? I'm not thinking "Whatever Happened to Patient 67?" So much as "Is Emily Mortimer Patient 67? And if so, will people finally realize how versatile and quite awesome she is?" I know that's not quite how the marketing folks wanted me to react but I'm a special case. I think only of actresses whenever possible. I guess I really need to read Dennis Lehane's novel before this picture opens.

links
Tapeworthy shares the news that Friday Night Lights has been renewed for two more seasons. Grand news for any fans of quality television.
The Big Picture wonders about the idealogical inconsistencies of snubbing movies because of an actor's politics.
Empire on the girlpower casting of Zach Snyder's Sucker Punch. I was going to say Snyder doing a movie with female leads? ... but then I remembered the wonderful Sarah Polley and she sure as hell anchored and powered Dawn of the Dead. May one of his new actresses can do the same for this film.


Boy Culture points us to an inspiring new site inspired by Harvey Milk's activism.
MightyGodKing finds the difference between Pixar and Dreamworks Animation
My New Plaid Pants wishes Ewan McGregor a sweet birthday. I miss Ewan. Please make lots of good movies very soon.
Extra Criticum offers some excellent DVD rental ideas on that "10 Characters" meme I struggled through earlier today.
Cinemavistaramascope enthuses about the trailer to Taking Woodstock. He worked on the film.
The Exploding Kinetoscope RIP Andy Hallett, Angel's colorful demon host "Lorne".
MTV News Eastern Promises sequel? I am totally willing to go back for seconds although I can't imagine what plot point could get Viggo Mortensen completely starkers again. Bummer.

We Can't Wait #6 Shutter Island

Directed by Martin Scorsese
Starring Leonardo DiCaprio, Mark Ruffalo, Emily Mortimer, Ben Kingsley, Michelle Williams, Max von Sydow, Elias Koteas, Jackie Earle Haley and Patricia Clarkson
Synopsis: Marshals Leo & Mark attempt to find murderous Emily! She escaped from Ashecliffe Asylum where Dr. Ben & Max both work!! She might be hiding on Shutter Island!!! (I'm gagging on multiple exclamation points because it sounds like such a pulpy thriller. Wheee)
Brought to you by the novel by Dennis Lehane by way of Paramount Pictures
Expected Release Date October 2nd

In our mad rush to complete the We Can't Wait series, my blog buddies and I zoomed right by Scorsese and Co. So, there's no conversation. Still and all... I doubt you need any convincing. A Scorsese picture is an event and when you combine what sounds like addictive actorly narcotic (insane asylum setting!) and a cinema friendly plot with this enticing cast ... well, it's an embarrassment of (potential) riches, isn't it?

What we have here is a highly anticipated picture but it could also be an Oscar hopeful, too. How sweet would it be to see Mortimer & Clarkson taking up the semi-annual 'two supporting actress nominees from one film' tradition? And how far ahead of myself am I getting!? Too far. Pull it back, pull it back. (whew. it's not time for that yet. April 1st Nathaniel, April 1st)

Ruffalo, Haley, Williams and DiCaprio on set (photos from Just Jared)

Not that Shutter Island (also known by its alternate title Ashecliffe) will have to bear the weight of golden expectations. The Departed finally put that "Give Scorsese the Oscar!!!" cause to rest. Finally we can get back to the more important business of enjoying his mad cinematic skillz. Great movies (and we hope it is one) are their own reward.

On the other hand, aren't we going to run out of Lehane novels to adapt pretty soon?

In case you missed any entries they went like so...
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We Can't Wait:
#1 Inglourious Basterds, #2 Where the Wild Things Are, #3 Fantastic Mr. Fox,
#4 Avatar, #5 Bright Star, #6 Shutter Island, #7 Scott Pilgrim vs. The World
#8 Imaginarium of Dr. Parnassus, #9 Nailed, #10 Taking Woodstock,
#11 Watchmen, #12 The Hurt Locker, #13 The Road, #14 The Tree of Life
#15 Away We Go, #16 500 Days of Summer, #17 Drag Me To Hell,
#18 Whatever Works, #19 Broken Embraces, #20 Nine (the musical)
intro (orphans -didn't make group list)
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