Category Archives: Interviews

Patrizio Buanne, The Incredible International Singer in a Video Interview at the Friars Club

Patrizio Buanne, Friars Club, Neapolitan crooner, global entertainer

Patrizio Buanne at the Friars Club, NYC. Patrizio is appearing at the Highline Ballroom on October 22, 2016 at 7:00 pm. CLICK HERE FOR TICKETSClick here for Patrizio’s FB page. (photo by Carole Di Tosti)

How does one remain timeless as a musical performer? If you look at the greats, there are two qualities that come to mind. One element is the repertoire they sing; it speaks to everyone’s heart and resonates with passion. The second element that is required is a stellar, singular voice. In both instances Patrizio Buanne, who is an international entertainer with a heart toward eternal song classics that are loved globally, manifests both.

Patrizio’s multicultural heritage hails from Naples and Austria. When he moved back to Rome, he studied languages: he fluently speaks six. Patrizio, who sang and entertained family and friends as a young child, moved to turn professional in his teens after winning vocal competitions and after a music manager selected him to sing for the “Papal visit” (John Paul II) in Wroclaw, Poland. The song he sang which was half in Italian, half in Polish, had been written for the opening mass. With 85.000 people in attendance, Patrizio’s sudden popularity with the Polish public led to his first local record deal. Success followed success in Italy with a production company that produced shows for RAI and Mediaset. But Patrizio’s goals were expansive. The teenager wanted to be an international recording artist. And now he is.

He is globally known as an entertainer who sings stylistically as a crooner, but also sings pop, jazz, rock and popular international songs. He has a huge global fan base which has been exponentially growing since the first release of Patrizio (2009-Warner music), in Australia, New Zealand, Asia and South Africa. The album went platinum and resulted in a tour of Australia, New Zealand and Asia in May 2010.

On Patrizio’s birthday 2011 Patrizio (Concord records), was released in the US, and hit number 5 on the US Jazz Billboard charts. As most musicians, bands and artists must now do on the release of a recording, the album was followed by concert tours in Australia, New Zealand, Asia, South Africa and the USA.

My video interview with Patrizio at the Friars Club in NYC on Wednesday, 19 October.

Also in 2011 for his South African fan base, he released an album of South African hits interpreted by Patrizio’s incredible voice singing in Italian, English and also Afrikaans language. The album featured duets with South Africa’s most popular singers, “Dankie Sued Afrika” (Universal music).

While this album was going platinum, Patrizio prepared a German-focused album in 2012 Wunderbar (Warner music GSA), where he adds Italian songs and original compositions with the German and Italian language. Just so you realize, the extent of his talents, Patrizio gift for languages is prompting him to move into the South American markets in the next year.

Every time Patrizio releases an album he goes on a global tour, as he did with his fourth worldwide release Viva la Dolce Vita (2015 Universal Music), an album in which he is an “Ambassador for Italian song with unique and singular song interpretations. The album includes new material with an international flavor written especially for him. His CD Bravo Patrizio includes the release of his most popular songs for his first 10 years which he is following through with tours (2016, 2017), in the US, Australia, South Africa, Europe, Latin America and Asia confirmed by advanced sales.

In concert and as I found out in person as you will see in the video interview, Patrizio’s  charm, unforgettable persona and anointed voice allow him to revel in interpreting pop songs and Italian and international standards which have brought in millions of album sales globally. Currently wrapping up his US tour he will be in Richfield, Connecticut at the Ridgefield Playhouse (October 21st), NYC at the Highline Ballroom (October 22nd) and New Jersey at NJPAC (October 28t). CLICK HERE FOR TICKETS

 

Hillsong United Band: NYC Interview

Taya Smith, Jad Gillies, Dylan Thomas, Jonathan Douglass, Hillsong United: LET HOPE RISE, Langham Place NYC

Hillsong United Band members, Jad, Taya, JD, Dylan at Langham Place, press conference for the film ‘Hillsong: LET HOPE RISE.’ Photo by Carole Di Tosti

The wisdom that Themistocles the Greek general expressed, “Big things have little beginnings,” surely applies to Hillsong Church and Hillsong United band, both of which started in a small country church in Australia with about 60 people over twenty-five years ago. Hillsong church has now grown into a global phenomena with satellite churches dotting all of Australia (there are campuses in Sydney, Brisbane, Melbourne, Newcastle, Gold Coast and Noosa, etc.), and in cities like NYC, LA, Paris, London, Kiev, Moscow, Pretoria, Copenhagen, Marseilles, Barcelona, to name a few.

A reported 30,000 members attend services weekly. The Hillsong United band with its worship and praise music are the underlying thread that uplifts the worldwide membership with tours and Hillsong conferences that are nothing short of mind blowing, depression shattering, addiction obliterating. Hillsong music uplifts folks who attend their concerts/conferences because it captures their hearts with God’s love and grace reaching out to everyone, regardless of how small and repulsive, regardless of how rotten.

The band, like the church, are NO JOKE. Check out these stats:

  1. Hillsong UNITED’s single “Oceans (Where Feet May Fail)” topped Billboard’s Christian music charts for 45 straight weeks, with 59 non-consecutive weeks at No.1.
  2. “Oceans (Where Feet May Fail)” has sold more than 1.4 million copies resting in the Top 5, for more than 111 weeks.  
  3. Hillsong music has sold more than 16 million albums, kind of like Beyonce (16 million).
  4. The group’s 2013 album “Zion” debuted at No. 1 on iTunes’ overall album chart and cracked the Billboard Top 5 in the U.S.
Hillsong United: LET HOPE RISE, Michael Warren, Langham Place, NYC

Director Michael John Warren (an agnostic), captivated by Hillsong United created the film ‘Hilsong: LET HOPE RISE’ telling the band’s story. Photo by Carole Di Tosti

The filmmaker Michael John Warren (director “Jay-Z: Fade to Black”), got struck by a bolt of lightening when a friend brought the non-religious director to a Hillsong concert/conference in LA. Captivated, he felt the urgency to tell the band’s story and film the theatrical-musical concert experiences of the band and audiences in his film “Hillsong: LET HOPE RISE.” Ahead of the film opening in August, I had the opportunity to speak to band members Jad Gillies, Dylan Thomas, Taya Smith, and JD (Jonathon Douglass) with colleagues at a press conference at Langham Place in NYC. The interview has been tweaked grammatically.

How do you divide up who sings which songs?

J.D.  We put all the songs in a hat. (We laugh.)

I knew he was a trouble maker. He didn’t get his hair cut. (laughter)

J.D. That’s right.

Is it that who writes the songs sings them?

J.D. Well, when we write the songs, then it’s obvious. But we’ve been doing this for a while together and the beauty of what we do is that we’re really good friends which I think is really the strength of the band outside of the obvious things (their faith in God). And when we write a song, it happens really quickly. And we’re like ah…we can just hear Jad singing that or Taya. And often we’ll get a few of us to try it when we’re in the studio. And often a song will have two names on it. Like the first song we ever got Taya to do a project on was a couple of albums ago. We brought Taya in and said, hey, can you do the backup vocals for this. But it was the melody. We didn’t want to break her heart. It was a trial to do the lead vocals and it ended up that her backing vocals part was the lead on the album. We thought, we’ll have a go and if it sounds crappy, we won’t put you on. (laughter) It’s a pretty organic process.

JD, Hillsong United, Hillsong Church, Jonathan Douglass

JD wailing about the Lord and His love. Photo from the Hillsong United website.

So it’s really like a constantly evolving process which is phenomenal.

J.D. and Jad: Yeah.

You’re crediting it to a combination of factors. How did you get here, besides the fact that God ordained this before the foundation of the world (Biblical reference)? (laughter)

J.D. Love it. I was going to say an airplane. (laughter) I’m going to stop talking so someone gets the real answer. (laughter)

We saw the film. Is there anything in the film you could add to in terms of how the film evolved about how you evolved to this place and this time?

Dylan What’s crazy with the film is that we didn’t set about to make it. It was an idea from someone had who came to an event that we did in Los Angeles and he brought a friend of his who was a movie producer, a non-Christian guy. And he had an experience that he couldn’t explain and he wanted to portray that and put that experience into film. For us the whole experience is like, “I can’t believe this is happening.” And Tara and I were joking about that earlier. We were in the studio starting to record Empires and all of a sudden a bunch of cameras showed up and we were like, “Ahhh!!! They’re actually making a film. OK this is happening. Let’s do this.” And one thing happened after another and we went to the film screening for the first time and it was like, “This is the real thing.” And we never planned it. It wasn’t, “Hey let’s make a movie.” It just happened. And we’re here now and pitching it.

So how did each of you get involved with the group? We were hearing in the movie about the evolution of Hillsong, but how did each of you become involved? Talk about that process and how each person came to it.

J.D. In a nutshell, I grew up in a Christian home and my family started attending Hill Country Church when I was four years old. And I went to Sunday school in the church and grew up in the youth ministry and was always encouraged to use whatever gifting or talent that I had to exalt the name of the Lord and encourage people in their relationship with Him. So, for me, that was singing the music. So I started singing in their youth ministry as a thirteen-year-old young boy having no idea really. I didn’t really enjoy it because I was so nervous to sing in front of twenty or thirty people. It was like I was almost ready to throw up.

And that’s kind of part of the journey. Being faithful and trusting in God in that journey, we started writing songs. We’re like 15 years into the journey and Hillsong United church is thirty years into the journey, so it’s been a really authentic process. But I think just through that our story has been about bringing out who we are, with all the insecurities and all the rest of it. We’ve kind of felt we don’t have all that much to give and we’re just holding on during the ride and watching God do His thing.

Dylan Thomas, Hillsong United Band, Hillsong Church

Dylan Thomas, member of the Hillsong United band. Photo from the Hillsong website.

Dylan I started going to church when I was 10. I was taken to church. And bit by bit I got involved and I started playing music. I started playing in the kid’s church and that evolved and I grew out of playing in kid’s church and I started playing in youth ministry. And I think that Jad was the first to ask me to play on the first United album which is in 2005. And you couldn’t script it out and say I planned to do this. I just enjoyed playing music and wanted to play in the youth band. And the way it’s been, God’s just taken us on this journey. I would never sit here and say I planned this. Because I don’t think anyone of us would imagine doing any of this kind of stuff. Yeah, I just got involved. In my first tour I was the guitar player which was not very glamorous. I didn’t even know what to do. I was clueless. I didn’t even know how to set up a drum kit. And then I wasn’t the guitar player anymore. I was just trying to figure out what to do and things evolved.

Jad I grew up in New Zealand. And when I was twenty-one I moved to Australia to the Bible School in Hillsong which is called Hillsong International Regional College. Immediately, I got involved with the youth ministry and I basically was running a small group…a group of young kids. One day the guitar player couldn’t make it and asked if I could play. I said, “Yeah, whatever.”  And then that kept happening. And then a few months later, I was asked, “Hey can you roster the band.” I was like, “Yeah, whatever.” And then I was asked to sing a song and I sang a song and then they needed somebody to do something else, I did it. That’s pretty much how my involvement started. And here we are today. That’s not glamorous, is it…? (laughter)

Save the best for last, Taya.

Taya Yeah, it’s a similar story how this happened, not planned at all. I grew up in a Christian home, small country town. Moved to the city about 6 years ago, thinking I was going to do secular music. Though I was a Christian, I always wanted not only to attend church, but serve in the church. I made Hillsong Church my home and became planted in church and got involved also with the youth ministry and became a youth leader and was discipling six young girls. It was

crazy and amazing and I learned how to pastor people. And it was like the best experience ever. From there I got involved with the worship community’s youth ministry and then church. And then I was asked to come along and do backing vocals for one of the United projects. It was the craziest thing and that’s when we recorded Oceans. And if I’m honest, I probably told two people that I had something to do with that project because I didn’t even think the songs would actually make it onto the album. I didn’t want to be like, “I’m on the album…” and then it’s not there.

So then, yeah, a month later I had the best lunch of my life with our global creative pastor, Cass Langton. She said, “Hey. Would you quit your job?” I was doing retail at the time. I was like, “Yeah.” She was like, “Would you quit it today?” I was, “Yes.” She said, “We want you to come on staff at City Campus, and look after the vocals. You need to quit today because you’re going to be in South Africa next week with the United boys going on tour. I was like…balling my eyes out. Best day ever. It’s been the God journey the whole time. It’s been crazy that we’re here and there’s a film made about our church Hillsong United and we’re as astounded as anyone else. So yeah, it’s pretty cool.

Taya Smith, Hillsong United Band, Hillsong Church

Taya Smith, member of the Hillsong United Band. Photo from the Hillsong website.

For each of you, if there were a bio-pic on your band, which actors do you imagine portraying you? (laughter)

Russell Brand?  Katherine McKinnen  (from Ghostbusters)

Taya: I’ve heard that.

Brad Pitt (laughter)

Christopher Walken (laughter)

Meryl Streep

For Jad, a younger Stephen Bauer?

I went last night and it’s amazing how you hold the audience. Were the lyrics always shown from the beginning? Because that really cements people’s involvement.

Jad, JD, Dylan, Taya Yeah.

And was Hillsong as a group defined by the fact that the church had a tremendous audience and then you were able to pull the larger audience beyond the church? Or do you think the interaction beyond the band and the church grew both?

Jad We’ve always put the lyrics up. It’s intended to be inclusive. It’s intended to be interactive. We want people to sing. The songs were written for people to sing. And we like to think that we’re not performers. We want to lead people to a place where they can express themselves, where they can use the songs that were written to draw closer to God, or to gain encouragement or inspiration or whatever. So we’ll always put the lyrics up and it also helps people understand what they’re singing, what we’re singing, to process it. It helps people to express what they believe. With regards to Hillsong, thirty years ago, Hillsong was 65 people in a school hall. A week later, it was 50 or so people and a week later it was 48. And Pastor Brian figured out in the next six weeks there would be no people there. All that’s to say that it was small beginnings. What’s happened over thirty years is just a story of perhaps God doing amazing things with some pretty ordinary people. I mean if you were to ask about the global reach that Hillsong has now… thirty years ago, we would all be thinking you had rocks in your head…especially Pastor Brian and Bobby (his wife). They were just trying to do something significant and plan a church and do something with what they had. Years later with the opportunity that we see now, it’s all because of the fact that it came out of a local church. And that’s the truth of it.

Jad Gilles, Hillsong United, Hillsong Church, Australia

Jad Gillies, member of the Hillsong United Band. Photo from the Hillsong website.

Someone asked about the title of the church. It reminds me of a scripture that says something to the effect that Christ and Christians, should be like a city on a hill, shining their light. I have to say that’s what you do with songs. You allow the Lord to come through you, shining His light. (Matthew 5: 14 You are the light of the world. A city set on a hill cannot be hidden;  5:16, Let your light so shine before men so that they may see your good works and glorify your Father in heaven).

JD Well it definitely works for that…like in Matthew 5; it talks about put your light on a hill so that it will shine. The truth is the church was called Hills Christian Life Center when it started, there in the hills area in the suburb of Baulkham Hills, New South Wales. It was Hills Christian Life Center. When we started to do music really early on, it started to be Hillsong music. And the truth is that music traveled, though on the cassettes it still said Hills Christian Life Center. Then people just started identifying us as “that church from Australia, that Hillsong church.” It was over twenty-five years ago, that people identified us with Hillsong Church. And we said, they’re calling us Hillsong Church anyway so the title came about. But you know the way that God works is through paradox in so many different ways. That’s kind of how it happened.

We know what goes into the process of your creating music. What goes into your process of writing the lyrics? What is that experience like?

Dylan It’s different every time. I wish there were a set way to make music and create the songs. We work really hard on making sure that our lyrics obviously line up with scripture. And we have a couple of people in Sydney who make sure that theologically it’s true and that kind of stuff. We work really hard in making sure that we’re progressing both lyrically and musically so that we’re always listening to so much music. But we all get in a room and jam out a song. If it feels right we keep working on it and if it kind of flops we’re on to the next one. No one’s too precious about anything. It’s a pretty fun experience. And we’re such good enough friends now, that there’s not really any egos in the room. We shut each other down and encourage each other and we’re all friends at the end of the day.

Could you talk about the different kinds of songs each of you sing? You have a song that you know how to bounce to. You have a different tone that you’re singing and you have a power poppish song that seems to get the crowds going. Seeing you live was impressive.

Taya The strength of our team Hillsong United is actually the strength of each different person. I feel like we each bring different elements. In places where I would be weaker, people step in. That’s the best thing about our team. It would be weird if we were all exactly the same, doing the same things. I think we read things differently, also.

Jad A lot of people’s personalities go to create and embody the songs as well. So you know J.D. has a lot of energy and whatever he kind of flies that to, that becomes the song and the personality of the song. Same with Taya; she has enormous passion and range and so when she applies that, that becomes the song, just as much as the lyric and the music. That’s the cool thing. When you really invest yourself into a song, it takes on more of a life of its own.

The film Hillsong: LET HOPE RISE opens on September 16th in theaters near you.  FOR TICKETS, CLICK HERE.

Cynthia von Buhler and Speakeasy Dollhouse Productions: Interview Wrap Up

Cynthia von Buhler, Speakeasy Dollhouse, The Bloody Beginning, Wyelin, Brooklyn

The lovely Cynthia von Buhler. Photo courtesy of Speakeasy Dollhouse productions and Cynthia von Buhler.

I had the opportunity to briefly chat with Cynthia von Buhler in between her busy schedule producing her widely popular show in a new venue in Brooklyn. Amidst my attending indie movie screenings, Off Broadway and Broadway shows, wine tastings and doing interviews and write-ups, we finally agreed to an online interview.

Here’s a bit of information about the prodigiously talented Ms. von Buhler. Cynthia is the producer, director, playwright of Speakeasy Dollhouse Productions: The Bloody Beginning, The Brothers Booth, The Midnight Frolic and The Illuminati Ball. Each of these productions is a wild, immersive phantasmagoria where the audience not only gets to watch and enjoy but also becomes part of the action. The action is replete with the macabre, the beautiful, the damned in an intense, showy spectacular that turns traditional theater on its head and sparks your craving to see the productions again and again. Each night is different and spins out of control into an extraordinary evening of entertainment including drinks and food, if you so dare to purchase.

Extraordinary is the only way to describe the one-of-a-kind, multiple sense titillation you partake of going to a Cynthia von Buhler presentation. She is a great gal, adorable, ebullient, innovative. I have seen and reviewed two of her shows for Blogcritics. The reviews are at these links. Midnight Frolic Review.  The Brothers Booth. Here is my email wrap-up with Cynthia.

The Bloogy Beginning, Cynthia von Buhler, Speakeasy Dollhouse Productions,

‘The Bloody Beginning,’ a Speakeasy Dollhouse presentation conceived, directed, produced by Cynthia von Buhler. Photo courtesy of Cynthia von Buhler.

How did you evolve Speakeasy Dollhouse?

In 2011 I decided to do a Kickstarter to research the mysterious murder of my grandfather in 1935. The Kickstarter was for a book and a one night immersive play. The play was such a hit that it never stopped after all these years and it spawned three other plays.

Link to Cynthia’s KICKSTARTER CAMPAIGN

Link to a Teaser Trailer VIMEO of Cynthia’s production, Speakeasy Dollhouse, THE BLOODY BEGINNING

Getting Acquainted Link to Cynthia von Buhler’s The Speakeasy Dollhouse

Speakeasy Dollhouse, 'The Bloody Beginning,' Cynthia von Buhler, Wyelin, Brooklyn

From ‘The Bloody Beginning’ The Speakeasy Dollhouse. Photo courtesy of Cynthia von Buhler who conceived, directed and produced the show.

How does your style of theater differ from the mainstream. Why should people flock to your show in Brooklyn?

Immersive theater is interactive and exploratory. It engages the audience and transports them to another time and place. Rather than watch a play, the audience is in the play.
Ed. Note: (I would venture to say that the audience becomes the play. It’s a surreal Rene Magritte experience.)

Explain what your current show is about and how you have updated/perfected/workshopped it to precision.

Cynthia von Buhler, The Speakeasy Dollhouse: The Bloody Beginning

Photo from ‘The Speakeasy Dollhouse: The Bloody Beginning,’ conceived, directed, produced by Cynthia von Buhler.

This show is a return to my first immersive play, Speakeasy Dollhouse: The Bloody Beginning. It’s about the murder of my grandfather. The challenge this time was moving it to a new location. Weylin (the former Williamsberg Savings Bank), is absolutely gorgeous and sprawling, so the experience might even be better than when we did it at The Back Room.

How many years have you been producing the show?

Each show is a workshop of sorts, so it has been workshopped for five years.

Ed. Note: (She has produced it for 5 years since her Kickstarter campaign and that is how long she has been producing her shows.)

The Speakeasy Dollhouse: The Bloody Beginning, Cynthia von Buhler

Photo courtesy of Cynthia von Buhler from ”The Speakeasy Dollhouse: The Bloody Beginning’ at Weylin in Brooklyn.

In what way does the show turn male chauvinism on its head? Or does it?

That is an interesting question. Italians at that time period were often chauvinists. This is a period piece and the goal of the work isn’t about fighting that. My grandmother was a powerful woman though. She had a shotgun and she used to protect the ice truck filled with bootleg from the mafia when they went up to Canada to buy whiskey.

What is your training and background in the theatre, the arts, acting?

My training is in visual art. I have a Bachelor of Fine Art from The Art Institute of Boston and I studied art At Richmond College in England. I grew up in the Berkshires of Massachusetts surrounded by theater. I have been involved in creating theater since I was a child when I acted in your typical productions of Oklahoma, Peter Pan, West Side Story and the like. I can still do a rousing rendition of Oklahoma.

The Illuminati Ball, Cynthia von Buhler

‘The Illuminati Ball,’ conceived, directed, produced by Cynthia von Buhler. Photo courtesy of the production.

What have been some memorable performances given the wild, interactive style you embrace?

I’m enjoying my new show, The Illuminati Ball. It’s my most surreal and bizarre show yet. It’s an immersive excursion which means we transport our audience by limousine to a location for a transportive experience

Link to visuals of Cynthia’s The Illuminati Ball.

The Bloody Beginning at Weylin may be extended. Performance dates:

When: 7/22, 7/23, 8/12, 8/13

What: Speakeasy Dollhouse

Price: $60 (regular admission); $120 (Ten VIP admission – no waiting in line, table seating, champagne toast); $200. (2 VIM admission {Very Important Murder} – same as VIP with a murder role.

Purchase tickets at: http://www.brownpapertickets.com/event/2554772

Check back to see if the show is extended or the production is being presented at another venue.

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Talking With Ralph Fiennes About ‘A Bigger Splash’

Ralph Fiennes, A Bigger Splash

The irrepressible Ralph Fiennes press day NYC for ‘A Bigger Splash.’ Photo by Carole Di tosti

Ralph Fiennes was at the NYC press day held at the Park Hyatt to discuss A Bigger Splash. In the film which also stars Tilda Swinton, Matthias Schoenaerts and Dakota Johnson, Fiennes gives an energetic, profound, and spot-on portrayal as Harry Hawkes, music producer who seeks out his former love Marianne (Tilda Swinton), a rock star who is recuperating from voice surgery. Marianne and Paul (Matthias Schoenaerts), are luxuriating on sultry, wind-wily Pantelleria, the island between Italy and Africa. Pantelleria plays an intriguing and unpredictable character in the film, especially as a contrasting presence to the main characters who are well off and revel in their high-end getaway.

Fiennes’ Harry is an amazing personality. He is frenetic, electric, exciting with shades of irrepressible abandon. He is an admixture of winds, like those on the island: he is incapable of drawing lines of propriety when it comes to restoring his love with Marianne; yet he combines his desires for salvation by her with an acute and keen sense of authenticity and blunt truthfulness that is admirable. The character of Harry is quite unlike his film portrayal of Gustav, the honorable, reserved, always impeccable and soulfully noble concierge of The Grand Budapest Hotel. Fiennes’ virtuoso acting skills which are also legion on the stage, allow him to pull out all the stops in his complex, exceptional portrayal of Harry. He discussed Harry and entertained six of us with his effervescent story telling skills during the roundtable. The versatile stage and film actor is also a director and at the end of the interview, Fiennes shared his latest multiple endeavors.

Last time we saw you was in The Grand Budapest Hotel. You were wonderful. I was hoping that the film would receive the Academy Award. It was a phenomenal film.

(Ralph Fiennes shyly smiles.) Good, good. Thank you.

Tilda Swinton, A Bigger Splash

Tilda Swinton is Marianne Lane in ‘A Bigger Splash.’ At NYC press day. Photo by Carole Di Tosti

 

Great contrast in portrayals from The Grand Budapest to A Bigger Splash. It was an inspiration to see you move from that character to Harry Hawkes. Could you feel physically, the difference between these two characters?

Oh, Yes. Very much. In The Grand Budagest, there’s a sort of upright postural thing going on which I think I identified early on as I remember. And of course Harry moves completely differently.

They are like night and day.

It seems to me that they are. Everything about Gustav from his costume to his upright posture is different from Harry. Harry is a rock and roller. (Ralph smiles)

 

Could you talk about the shoot on Pantelleria as an intriguing location which created its own dynamic?

Yeah, Pantelleria. I didn’t know what I was going to encounter there. I had a sense of some place sunny in the Mediterranean. It’s quite an odd place because there is no other island near it, and it’s volcanic. It must be that it’s sort of on a massive finger of rock that sticks up because the water encircling it is very deep. There are no beaches. And it’s very windy. And it doesn’t feel like Italy. It’s closer to Africa, I think. Odd place, odd because it’s quite rugged even though there is this August summer holiday-like thing happening. But that’s only in August.

It’s quite an eccentric place and the winds are unsettling. They sort of nag at you. They tug at you. It’s not that restful. When the winds stop and you feel the heat, it can be very calm. But the winds change direction all the time. Constantly. Because there are no beaches, you’re conscious of there being these homes. Dammusi is the name. And a single house is a dammuso. And lots of wealthy Italians have their holiday homes there. Armani is famous for being there and has a house there and he’s there precisely for the whole of August.

Ralph Fiennes, NYC press day at the Park Hyatt. He plays Harry Hawkes in 'A Bigger Splash,' directed by Luca Guadagnino. Photo, Carole Di Tosti

Ralph Fiennes, NYC press day at the Park Hyatt. He plays Harry Hawkes in ‘A Bigger Splash,’ directed by Luca Guadagnino. Photo, Carole Di Tosti

I remember a couple of times I went out with this local fisherman called Mimo in his little boat composed of flakey wood. Mimo’s a classic local fisherman with his little bottle of wine, offering up some olives and bread. And we jumped over the    side into the water with our masks and the boat would chug, chug, chug along quite slowly.

Once we anchored in a little lagoon. Then suddenly I heard this sort of low throb of an engine. And there was this long, long, sleek, state of the art motor boat that drifted into view. There in the back was…gray hair…sunglasses…Giorgio. And there were all of these beautiful people, men and women, all sort of draped around the boat. And there they sat in the water (Ralph makes a purring noise of the boat engines…smiling at the humor of the incident). And Mimo said, (in Ralph’s best Italian accent), “Hey Gorgio.” And they sat and watched us, with me and a couple of friends looking a bit messy. They sat and hovered in the water (thrummmm), and went away again. Very funny to see all these sunglasses switching to a view in one direction. (we laugh at Ralph’s acutely humorous visual description and innate story telling skills)

Your character is not really likable. But he is charming and witty and is intelligent about a myriad of different subjects, but he’s so self-centered and narcissistic. What was it like reading him in a script and then portraying him on the screen? Do you like him?

I do like him. I like him for all the reasons you said. There’s an honesty about him. I think you can take the view that these four people are privileged people and are sitting in their own dysfunction. For Harry…there is something malign and something benign. He’s a sort of devil figure, like a satyr. He’s there to provoke people into self-recognition. He’s got his own demons. And I agree he is narcissistic to some extent. But I like the things he says. I love the lines where he says, “The men have had their chances. It’s the women’s chance to run the world now.” There’s another great line that he says, “We’re all obscene, but we love each other anyway.”

I think he wants no bullshit connection with people. But he’s also a muddled man. The best of Harry is someone who is very direct and doesn’t bullshit. He’s mercilessly honest. And though the film doesn’t show this, I believe he’s a very, very good music producer. Actually, in the room with an artist, he’s brilliant. He really knows his stuff. But he’s a bit of a lost soul. For all his verbosity and provocative antics, underneath, he’s actually a lost person. That’s why he wants Marianne to give him some kind of anchoring.

In the evolution of his character…how you evolved him through the film, when he first goes to the island, does he sense that there’s any impulse to destroy himself?

Good question. I think it might be unconscious (Ralph contemplates), unconscious. Because I think that it is quite a provocative thing to do. To push yourself in on someone’s private holiday. You have to really willfully ignore all the norms. I wonder what a psychotherapist would say about that sort of behavior? It strikes me that it’s unconsciously self-destructive.

You mention about how important it is that he’s a brilliant music producer. A music producer has a different role from a producer in a film. A music producer takes what’s buried in the music and takes what’s best about the musician and, not imposing his will, the producer gets the musician to channel the best performance      

He’s brilliant at that.                                                                                                                  

Ralph Fiennes, Dakota Johnson, A Bigger Splash

Ralph Fiennes and Dakota Johnson in ‘A Bigger Splash.’ Photo by Jack Engish, Twentieth Century Fox and Fox Searchlight.

Could you talk about what you might have learned from the role. If you met some music producers now, what questions would you ask as a result of the film?

My brother’s a music producer. I sat with him in recording studios and I’ve worked with music producers on films I’ve directed. I’ve seen music producers guide musicians with a language I don’t know, but I can see how they are shaping musicians. And when I was directing these two films, I was able to say, though I’ve not much musical or technical knowledge, I would be able to say, “Can it be more like this?” And they would understand what I was trying to say and they would have the skills to say, “No we need to do this or play that on a lower key, and don’t come in too quick on that.”

So I sort of got a sense of what that would involve. And I was reading these books about The Rolling Stones that were helpful background reading. One was about Keith Richards’ life and the other was a book called The True Stories of The Rolling Stones by an American journalist on the Altamont Tour. He was present at the Muscle Shoals’ recording of “Sticky Fingers” and he was there to hear “Wild Horses” being recorded and put down. That was very useful to connect my own little, tiny experience being in recording studios to understand, you know, how musicians go on and on and on playing, and have breaks, have a row and suddenly the magic is there. Or the producer says, “Try doing this,” or “Try playing in that key.” And I thought that’s what Harry’s really good at. Sadly, the film doesn’t show this. But it helped me to know it (Ralph laughs).

Did you collaborate with Mick Jagger?

No, no I didn’t. I understood that the material was sent to them, meaning their representatives. And they knew about it and we got notes on the story. And they were happy for us to, as it were, incorporate the story for Harry. But it was based on a true story of a producer’s. The name I can’t remember right now, but it is a true story. This producer did say, “Try playing the percussion on the trash can in the recording in Dublin for Voodoo Lounge.”

A Bigger Splash, film poster

Poster of ‘A Bigger Splash,’ courtesy of the film. Photo by Carole Di Tosti, taken NYC press day at the Park Hyatt.

Did you and Tilda work out the characters’ history? It’s such a long and toxic tumultuous relationship.

We talked about it a bit. But I don’t remember talking about it at huge length. We would share our own sense of what our backstory was. But it was quite clear from the script what it was. I think we did talk about it, but it just fell into place quite quickly. All four of us quite quickly seemed to be playing who we are. Luca is not one, and I think he would agree with me, he’s not one given to exhaustive analysis and discussion. There are directors who will pick away in detail at the backstory. I think Luca just got his cast and wants to let the energy unfold between them and doesn’t want to interfere too much.

How do you see your relationship with Penelope? Is he using her to get back on Marianne? There is a lot of ambiguity between them but at the same time there is a good dynamic also.

He believes, as I imagined it, that this is his daughter as a result of an affair or a fling he had 18 years before. I’m not sure whether Harry knows her real age. I imagine the daughter said to her mother, “I want to meet my father.” She had been a model or whatever…Penelope/Dakota had her backstory. Anyway, the mother rings up, we have a daughter of 18 years, or maybe he knows about the daughter but he’s never met her.  It moves to “Our daughter wants to meet you.” So he says, “Cool. Fine. Let’s meet.” He’s been with Penelope the last month or so traveling around Italy. And I think he’s enjoying the experience. Harry is someone who’s open to what that experience will be and who she is. He hasn’t pushed her away or closed her off. And I think he’s gotten to like her, finds her interesting. She challenges him and he says in a scene…of course she’s sexy, a young, sexy girl and he can deal with that.

I don’t think he’s tried anything transgressive or incestuous with her, but I think because they’ve never experienced each other as a child or baby or young adolescent, I think they enjoy this slightly flirty vibe that they have. But I don’t think it’s fucked up in any way. I think, as you say, it’s ambivalent. Dakota and I seemed to find it quickly whatever this thing is. She’ll sing “Unforgettable” with him and she’ll enjoy the vibe of sort of flirtatious proximity. I don’t think that Harry’s trying to get into bed with her. Not at all. Not remotely. In fact I think he likes to feel that energy, but he will never cross that line. I think he’s actually quite protective of her.

Any more directing for you?

Yeah. I’m developing some screenplays to direct, but it won’t be for a while.

Any chance you’ll come to Broadway? I’ve seen everything you’ve done there and loved it.

Well, I was hoping to come to Broadway this autumn with The Masterbuilder.

Great.

But actually the producers…well, it’s a sellout in London.

Of course. I’ve read that it is.

I don’t know. I think it will come here in the next couple of years.

I hope so.

 

This article first appeared on Blogcritics.

Michael Urie (Ugly Betty) Talks About 911 and His Breakout Film Debut in ‘WTC View’

Michael and Elizabeth Kapplow in 'WTC View,' directed by Brian Sloan about the aftermath of 911 and its impact on New Yorkers.

Michael and Elizabeth Kapplow in ‘WTC View,’ directed by Brian Sloan about the aftermath of 911 and its impact on New Yorkers. Photo courtesy of the film.

After screening the fine indie film WTC View directed by Brian Sloan which is being re-released on iTunes March 3rd, I spoke via phone with Michael Urie (Ugly Betty, Drama Desk winner for Buyer and Cellar). Urie enjoyed his breakout film debut in WTC View which was released in 2005. Michael Urie originated the role of Eric in the play WTC View at the Fringe. Like the play, the film WTC View is about Eric who places an online ad in the Village Voice for a roommate to share his spacious two bedroom apartment in Soho. It is Sunday evening, September 10, 2001. The next day the earth shifted on its axis and none of us were the same again. When Eric is able to return to his apartment which is below 14th street in what was the “frozen zone,” he comes back physically ready to interview and show the apartment to prospective roommates. Emotionally and psychically he is suffering and barely able to cope or deal with the situation. He is in denial and struggles as the days pass and no one rents the apartment which has a view of the World Trade Center’s smoking debris cavern. How Eric eventually is helped and who helps him is a tour de force sprinkled with humor, poignancy and powerful performances by the ensemble cast with Urie as the brilliant, masterful actor at the helm.

Pat Addiss adores your work as your producer on Buyer and Cellar. I am friendly with her and will send this interview over to her when it is up. She will appreciate it. I really loved you in Buyer and Cellar and I love you in this film.

Thank you so much.

You’re hearing it all the time, I’m sure, Michael. (I laugh)

It never gets old.

You remind me of what Emily Blundt said to me when I said she was superb in The Young Victoria, then apologized for being tiresome. She said, “Well, it’s much better than saying ‘I hate you.’

Way better.

You auditioned for the play WTC View and you originated the character of Eric. Were there any challenges when you did the play and then when you switched over to filming WTC View?

Michael Urie, actor, director, producer. Photo taken from his webpage.

Michael Urie, actor, director, producer. Photo taken from his website.

Well, it was a big part and he was in every scene. In the play there was a lot to carry. It wasn’t anything compared to Buyer and Cellar (It was long before Buyer and Cellar). It was a hard play. It was a really hard play to do. Emotionally, physically there was a lot…a lot going on. But it was a great experience, extremely rewarding. The play really meant a lot to people. It hadn’t even been two years since 911 when we did the play. So it was still very fresh in people’s minds, especially in New York. And 9 months later we made the film, which is crazy. It is so rare that things like that happen that you do a play and then it is turned into a film and you’re in both.

But doing it on stage even in the little theater we were in, it was called The Bottle Factory Theater which has 15 seats or something, even in a theater like that sometimes people are 20 feet away from you and you have to turn what’s happening to you, especially in my character who does so much listening to other people’s stories, I had to turn what I was feeling into behavior for the stage so that people could get it. Then when we made the film, such behavior could be read just by looking at me in the eye. That is the idea of the film. You don’t have to turn what you’re feeling into behavior because it could be read on your face because the camera picks it up. So I had to learn that. It was challenging. I trusted Brian Sloan the director and the DP. And of course, you have to trust the editor to pick up the right emotions and looks and make you seem truthful.

Well you were truthful in the film and there is a complex range of emotions. There’s everything from humor and comedy and whimsicality and then of course the emotional scenes when you break down. I thought this arc of emotions you did really, really well.

Thank you.

It’s amazing because when I saw you in Buyer and Cellar, of course, the arc was different as the character was different. But you are an actor of nuance and I was seeing that in WTC View. What did you learn from the experiences of the play and the film to carry that over to something like Buyer and Cellar.

At the Seattle Film Festival. (L to R) A fan of the actor and director, Michael Urie and Brian Sloan. Photo courtesy of this site.

At the Seattle Film Festival. (L to R) A fan of the actor and director, Michael Urie and Brian Sloan. Photo courtesy of this site.

When I did Buyer and Cellar, I had to relearn how to maintain that energy and sustain it, you know to keep the ball in the air, because that was so much of my job in the play in WTC View, to keep the ball in the air, and to keep the momentum going forward. It was really Eric’s story and he also facilitated the story of all the other great characters. And so when I did Buyer and Cellar, more so than any other previous experience, I was back to my WTC View memories and those muscles, that muscle that keeps you up and keeps you inflated, for want of a better word. You have stay in it, stay a part of, you have to stay in the moment, stay emotionally connected and keep the audience with you following you, excited and thrilled. There weren’t that many similarities between the two projects but I would say that would be the big one.

In what way do you think that Eric might be an Everyman?

He is kind of an Everyman. That is an interesting way to put it. I think he represents… we get to know a lot of characters in WTC View, but Eric is the only one we spend time with privately. I think that is a wonderful way to bring someone into a character; that is to spend time with them privately…certainly in the film. We spend a lot of time with him alone and we get into what it is that he is going through. I think because of that, he feels like all of us and also because he is going through what all of us really went through after 911. We all felt frightened and alone and in need of comfort after 911 whether we had loved ones nearby or not. I think we all went through that. I did certainly.

I thought it was an amazing point of character that he was so reactive to various things that are commonplace, like loud street sounds, like the sirens which would set him off.

Yeah. And that paranoia that we were all feeling, maybe not to the same extent that Eric was feeling in the play or the movie but he kind of represented that for us and I feel that people can really relate to that. And for people who are not old enough to remember 911, I think that the film is a great way to see what it was like. Of course anybody who was not around for 911 still knows all about it. You know what happened. You can watch the videos, but you don’t know what it was like being a citizen of the world following it. How things changed, especially in New York. The play/film is really a microcosm of what it was like to be in New York after 911 and what it was like to deal with and relate to strangers.

Is that one of the most vital points of the film, do you think?

Michael Urie as Eric in 'WTC View,' directed by Brian Sloan. This film was his breakout film debut. Photo courtesy of the film.

Michael Urie as Eric in ‘WTC View,’ directed by Brian Sloan. This film was his breakout film debut. Photo courtesy of the film.

I think so. It’s that we took care of each other. Everyone felt isolated and paranoid, but we came together and took care of each other, even strangers. And in the end, he does have one of his closest friends try to help him. But other than that, everyone in the film that he meets is a stranger, except for his closest friend played by Liz Kapplow who is wonderful…Josie. But I think what the film says about strangers is that sometimes a stranger can be more beneficial than a close friend or loved one. In the film, it isn’t Josie, ultimately, who helps him…not really. It’s others. He really grows and changes and learns and recoups thanks to the kindness of strangers, not so much from the people that are closest to him. I guess because what we knew wasn’t really helping us. What we knew wasn’t helping us to avoid 911. The known wasn’t helpful. It was the unknowns that we had to rely on. I think that’s part of why strangers became so important to us.

Where were you Michael when the 911 attacks happened. Were you at Julliard?

Yeah. It was my second day of my third year and I was actually living in Queens. I was on my way to school when I noticed on TV that one plane had hit. I went ahead to the subway, knowing that when I got to the platform it would be above ground and I would be able to see the World Trade Center. And when I got there and looked both were on fire. So between leaving my house and getting to the train the second plane had hit. Somebody turned to me on the platform and said they got the other one. That was the first time I realized that it was intentional.

Where in Queens? Astoria?

Yeah, Astoria.

(I receive a signal that the interview time is up.) Michael, it was great talking to you.

Give Pat Addiss a squeeze for me.  (Pat Addiss is producer on Buyer and Cellar which Michael is starring in at the Menier Chocolate Factory in London from March 12-May 2nd)

I will! Well, thanks so much and good luck in all of your projects and with the re-release of the film WTC View on iTunes (March 3rd). By the way, I love your web series (What’s Your Emergency).

Thank you. We’re going to do another season, hopefully.

Well, all Right! Director, producer, actor, what more can you want? (Michael laughs.)

10th Anniversary First-Time Digital Release

WTC View is available now on iTunes. Click here for purchase or rental.

This interview first appeared on Blogcritics.

Johanna Hamilton, An Interview With The ‘1971’ Director

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‘1971’ directed by Johanna Hamilton. Photo taken from the film website.

The documentary ‘1971’ screened in a World Premiere at the 2014 Tribeca Film Festival. I screened the film and later reviewed it giving it 5 stars. The amazing documentary chronicles a time in our history that has tremendous currency and importance for us today. In fact, Laura Poitras (she directed CitizenFour which is about Edward Snowden’s revelation of the US massive surveillance program), is one of the co-executive producers of the film. As Snowden’s revelations were coming out, Hamilton (who also produced), her co-writer and editor, Gabriel Rhodes, producers Katy Chevigny, Marilyn Ness and others were stunned to see that the events of 1971 were being played out but this time on a global stage with Snowden. The chilling question was, since technology had gained huge strides that few comprehended, was it even possible to know how long and to what extent the government’s security programs were covertly vitiating American citizens’ constitutional rights? Snowden’s revelations and the events in 1971 (revealed for the first time in the film), are most likely the “tip of the iceberg.”

Hamilton’s documentary is a superb and thrilling true account of how 8 very ordinary and very brave American citizens, calling themselves The Citizen’s Commission to Investigate the FBI, risked their lives, their family’s well being, and their freedom  to expose the unconstitutional, covert surveillance program COINTELLPRO. In the film Hamilton explores how and why The Citizen’s Commission felt there was a moral imperative at stake: they esteemed the principles of freedom in the Bill of Rights. Their beliefs and our American principles were held in the balance when they went to the Washington Post with FBI files that they had taken, files that were “secret,” and revealed surveillance of average Americans who did not adhere to the politics and philosophy supporting the Viet Nam War. Would the Washington Post prevent publication, in effect censoring the files? Or would they publish the damning documents? Hamilton reveals the fascinating account of what happened in its entirety and includes the identities of the 8 heroic and unassuming Americans who wanted to uphold the constitutional foundations of the country they believed in.

Johanna Hamilton, director of '1971.' Photo taken from the website.

Johanna Hamilton, director of ‘1971.’ Photo taken from the website.

I had the opportunity to interview Johanna Hamilton via email and ask her about the film which is opening on February 6th in Cinema Village in New York City and on March 13th in Los Angeles.

The film tells a fascinating story of individuals who broke the law. It is revelatory about our segments of the government which in effect exceeded their powers to push forth a political agenda that was damaging to our country. Why/how is this story especially relevant for us today?

Sometimes people have to do things that are courageous and even controversial in order to stimulate conversations about checks and balances that are the lifeblood of democracy. I think this film is relevant today because a number of people acknowledge that post-9/11 we have lost a lot of those check and balances. And that was perhaps understandable in that moment but, perhaps, in hindsight we lost too many and maybe it’s time for a fresh look. That was true even before the Snowden revelations; and then he gave us empirical proof just as the Citizens’ Commission to Investigate the FBI did back then.

Is the country in better or worse shape than it was in 1971, politically, ethically? Today, do you think that citizens might be less likely to take a stand as these individuals did as a collective group remaining quiet about their actions? Why or why not?

There is so much to say and this subject has filled many books; I feel like you’d need a dissertation to encapsulate the first part of the question! Without doubt, the country is very different than it was in 1971; that was pre-Watergate. Today it is probably more politically polarized than it was then. The Citizens’ Commission to Investigate the FBI is unusual in that it was a relatively large group who all had to work together and then keep a secret for a very long time. Back then this type of collective political action was less unusual. Most often people who are leaking information work alone, precisely to minimize the risk to others. I’m not sure a group of people would do it today. Then it was very easy to feel very directly affected by the Vietnam War, for example, because of the draft. You wondered whether the person next to you was an informant. Today, there’s no draft and although in this Digital Age the surveillance capabilities are much more vast they are also more ephemeral. It’s much more difficult for the general public to feel directly affected by surveillance. It’s more personally invasive today, but you don’t necessarily feel it.

Johanna Hamilton director/producer/writer of '1971.' Photo courtesy of Tribeca Film Festival.

Johanna Hamilton director/producer/writer of ‘1971.’ Photo courtesy of Tribeca Film Festival.

How did this film evolve? Where did you receive the impulse to dig deep to find the people and recreate the events?

I consider myself very fortunate to have known Betty Medsger, the journalist at the Washington Post, to whom they leaked the documents in 1971 and who wrote the first stories. She and I have been friends for a long time, long before this professional collaboration. She was writing and researching her book that is now The Burglary: the Discovery of J. Edgar Hoover’s FBI.

(In her Director’s Statement, Hamilton says, “…we agreed to share all our primary research materials. I benefited enormously from her many years of research, including access to the 34,000 pages of the FBI investigation.)

I implored her to let me know when she was ready to make the film! Several years went by and one day she asked me if I was serious, whereupon she helped arrange a meeting with several of the members of the Citizens’ Commission and their lawyer David Kairys. We met and a couple of days later they let me know that were ready to go on camera. In terms of the recreations, I immediately thought to recreate the events of that night. Cinema is an immersive experience and I wanted people to be able to put themselves in their shoes. Plus, they left nothing from that night, no notes, no photos, nothing, just memories. I loved the sense of being able to create a nonfiction heist movie or film noir. Without them, it might have been a short film.

In what way did making this film impact you? What did you learn?

I learned a lot about civic courage. And I learned an enormous amount of the inner workings of both the protest movement in the late 60s and early 70s as well as the FBI under J. Edgar Hoover.

Friends, Johanna Hamilton director/producer of '1971,' and Laura Poitras, Co-Executive Producer. Photo courtesy of Tribeca Film Festival.

Friends, Johanna Hamilton director/producer of ‘1971,’ and Laura Poitras, Co-Executive Producer. Photo courtesy of Tribeca Film Festival 2014.

Laura Poitras is a co-producer of the film. In what way did the making of this film have an impact on her making CitizenFour? The two films have similar concepts. In what way are they very different? What would you like audiences to see and understand about that time (1971) and our time now?

Laura is a Co-Executive Producer on the film. She and I have been friends and colleagues for a long time. She was one of the very first advisers on the film. She was already making a film about contemporary surveillance when I started working on 1971. So my film did not influence her, but she did know the story. Then in March 2013, she sent me an email asking me how I was doing on the film and reiterated her willingness to help. I found out about Edward Snowden with the rest of the world in June of that year. She was already in touch with Ed when she sent me that email in March; clearly she was drawing the analogy between the two stories and the two eras. Our films are similar in that they deal with people who have taken a stand at great risk to themselves by leaking information (in analogue and digital ways), but that ended up benefiting democracy. They both have a thriller element. But they could not be more different in that CitizenFour unfolds in real time; much of it is cinema verite. 1971, a story in the past, had to be reenacted in order to bring it to life.

In her director’s statement, Hamilton solidifies the wide ranging nature of what The Citizen’s Commission to Investigate the FBI accomplished for the country.

“The break-in is a little-known but seminal event in contemporary American history. The decision by the Washington Post to publish the documents was a defining moment for investigative journalism. We know about COINTELPRO, and the FBI’s dirty tricks targeting Martin Luther King, the Black Panthers, and many others, but we only know about them because of the stolen documents and the actions of The Citizens’ Commission to Investigate the FBI, as the burglars called themselves. They didn’t look for the spotlight. Their mission a success, they returned to their normal lives.”

It also may have indirectly eased the way for the Washington Post to adopt a prominent investigative role during the Watergate scandal which too, began with a break-in, and ended with the resignation of a President.

This interview first appeared on Blogcritics.

Faireset/Parole de Chat: Une Interview

Une vidéo de Faireset/Parole de Chat

Mes amis de France et la langue française! Se il vous plaît pardonnez-moi. Je ne parle bien le le français, et je ne écris pas bien le français. Mais je aime le videos de Faireset/Parole de Chat. Et je pense qu’il devrait être reconnu pour ses efforts merveilleux. Donc, si je fais des erreurs, si je me humilier, ce est pour une bonne cause. Je le fais avec l’aide de Google; je peux tourjours mettre le google du blâme. (mauvaise blague)

Cet entretien avec Faireset/Parole de Chat a été menée par email. 

Ce qui est sa formation pour videos et cinema? O at-il appris s’amusant? At-il appris par essais et erreurs?

Je suis totalement auto-didacte ! J’ai appris sur le tas, en m’aidant de tutoriels trouvés sur Internet. Ce qui est très enthousiasmant c’est de se dire qu’aujourd’hui n’importe qui peut produire son propre programme. Si on a la bonne idée, le temps et l’énergie, tous les outils sont là pour réaliser nos idées.

Faireset est très drôle, talentueux, intelligent. Qui cinéastes et comédiens t-il préfèrent? Qui lui inspire?

Merci pour le compliment ! Pour Parole de chat, ma plus grande inspiration vient de “La vie privée des animaux” de Patrick Bouchitey, mais j’ai aussi une grande admiration pour un américain qui a lui-même sa chaîne Youtube : “Talking animals” (Klaatu42).

Il y a tellement d’artistes et d’acteurs qui ont nourri mon enthousiasme au fil des ans: Georges Méliès, Charlie Chaplin, Louis Jouvet, Louis de Funès, Alexandre Astier, Freddie Wong, Hugh Jackman ! Je pourrai continuer de citer des dizaines d’autres noms, toute époque et tout genre confondu. Je suis également un grand fan de séries américaines (How I met your mother, Dexter, MadMen, The Walking dead, Games of Throne, etc. la liste est trop longue !)

Faireset est très populaire. Certaines vidéos sont allés virale parce que ils sont brillants et rendent les gens heureux. Ce qui ne Faireset comme de faire les vidéos? L’acte de création? La réponse des fans? Les chats? La collaboration avec d’autres artistes? Le risque? Le plaisir? Autre chose?

Je reste incrédule devant les millions de vues. Je regarde les chiffres comme si ce n’était pas moi qui avait fait ces vidéos, comme si j’étais incapable de faire ça. Du coup je lis tous les commentaires, j’essaye de répondre du mieux que je peux aux questions, je reviens plusieurs fois par jour sur Facebook, Youtube, twitter ou Instagram, juste pour être sûr que tout ça est bien réel! Et là où ça devient magique c’est quand je vois l’impact que certaines de mes vidéos peuvent avoir sur les gens qui les regardent. Par exemple à la fin des “chats ninjas” quand je dis : “Il y en a peut-être un derrière vous, en ce moment même !”, beaucoup de personnes se retournent vraiment pour vérifier. Et le plus drôle c’est que souvent il y a leur chat, assis sur le canapé, qui lève la tête d’un air de dire “Ah, ah, tu fais moins le malin maintenant !”

Quelles sont ses films o videos préférés… la comédie o drame? Ce qui est quelques exemples de chaque?

Je suis un fan absolu de Louis de Funès ! J’ai dû voir certains de ces films… je ne compte pas, mais beaucoup de fois ! “Rabbi Jacob”, “La folie des grandeurs”, “La soupe au choux”, la série des “Fantomas”, “Hibernatus”, etc. Mais je suis aussi un très grand amateur de films SF ou fantastiques : “Star Wars”, “Matrix”, tous les films de Super-héros, etc.
Et comme j’aime bien faire le grand écart, je prends toujours énormément de plaisir à voir ou revoir de grands classiques en noir et blanc, des films avec Audrey Hepburn ou Marilyn Monroe, ou Louis Jouvet pour qui j’ai une admiration sans borne ! (regardez “Un revenant” ou “Docteur Knock”).

Il y a quelque temps on a revu en famille “Mon nom est personne”, avec Terence Hill et Henri Fonda. Ce film est génialissime ! Et côté video je suis abonné, à des personnes comme Cyprien, Norman, SLG, WTC, toute la WhyTeaFam que j’apprécie beaucoup, GonzagueTV également, la liste est longue ! Les gars de Corridor Digital aux Etats-Unis font un travail incroyable ! Et j’ai aussi beaucoup d’admiration pour Zach King.

Je pense que Faireset est un artiste du peuple…qui profiter des chats et le rire, oui, mais un artiste du peuple sur un niveau plus profond. Qu’il a écrit un scénario? Aimerait-il? Quels sont ses plans pour l’avenir?

Il y a un projet qui me tient à coeur depuis longtemps: produire une Websérie !  Le jour où on réussira à avoir le budget pour pouvoir commencer la production des épisodes (qui sont déjà écrits), je réaliserai là un rêve d’enfant 😉

J’aimerais savoir pourquoi vous avez choisi l’identité de Faireset ? Était-ce à cause de l’ influence Charlie Chaplin?

Oui en parti, mais c’est surtout en référence à Georges Méliès, à qui l’on doit notamment le “voyage sur la lune”. Georges Méliès est connu (surtout en France) pour avoir été l’inventeur des effets spéciaux au cinéma (il appelait ça des “trucages”). C’était un magicien de l’image 😉

Les vidéos de Faireset inclus ici sont quelques-uns de mes favoris. Voici un pour la route

Click here for the interview in English which first appeared on Blogcritics

Julianne Moore 2015 Golden Globe Winner for ‘Still Alice’ Talks up Role Challenges

Julianne Moore, Red Carpet for 'Still Alice,' at the 22nd HIFF. Photo by Carole Di Tosti

Julianne Moore, Red Carpet for ‘Still Alice,’ at the 22nd HIFF. Photo by Carole Di Tosti

The “Closing Night Film” of the 22nd Hamptons International Film Festival was the U.S. premiere of Wash Westmoreland’s and Richard Glatzer’s film Still Alice, starring Julianne Moore, who last night won the Golden Globe Award for her stunning lead performance.  Including Moore’s best actress Golden Globe, Still Alice has, so far, won 16 awards. (My Blogcritics review of  Still Alice can be found by clicking this link.)

After the screening, Julianne Moore, director/writer Wash Westmoreland and producer Christine Vachon spoke with David Nugent the Artistic Director of the 22nd Hamptons Internation Film Festival. This segment of the lengthy Q. and A. highlights the evolution and challenges Julianne Moore and Wash Westmoreland faced making this amazing film about a linguistics professor who has Early-Onset Alzheimer’s. The film centers on Alice Howland and her family as she realizes what is happening to her and she reaches out for love and support from her family. Together they try to find solutions, staying close to one another as Alice gradually confronts the daily loss of beautiful memories, brilliant acumen, exceptional verbal skills and her very identity.

David Nugent (Artistic Director, 22nd Hamptons International Film Festival): How different an experience was making this film?

Julianne Moore: At the end of the day, the job is the same. You have to create people. You have a story to tell. You have constraints, you have problems and you just solve them. And that’s how I approached it honestly. I just felt like, you have to make this movie and Wash Westmoreland and Richard Glatzer are a team. And one of them can talk and one cannot. And that’s how we did it.

Alec Baldwain and Julianne Moore in 'Still Alice.' Photo from the film.

Alec Baldwain and Julianne Moore in ‘Still Alice.’ Photo from the film.

Christine (Vachon), you produced one of my all time favorite films, Safe which also stars Julianne Moore in which she is suffering from an unnamed disease. How was it working with on this compared to that? In a certain way it has a similar subject matter. That was 20 years ago. Is that right?

Christine Vachon: It’s such a privilege that we have worked together and we are still working together and made Still Alice. And one of the things that I am honored by is that Safe is brought up as kind of a reference point. We are all entangled together. Todd Haynes (he directed Safe), is a close friend of all of ours so his work informs what we do and our work informs what he does. And it’s awesome to be able to be here. The thing about Safe, here’s a plug about the filmit’s about to come out as a Criterion Collection in December with lots of fantastic extras including an interview with Julianne and an interview with me and new stuff and old stuff. And one of the things that is extraordinary about that film is that when it did come out, people didn’t really see what it was. And it is one of those movies that has really stood the test of time in its own way…which goes to show that you don’t always know when a movie comes out if it will resonate.

Julianne Moore smiles at the audience applause: Q & A for 'Still Alice,' the 22nd HIFF. Photo by Carole Di Tosti

Julianne Moore smiles at the audience applause: Q & A for ‘Still Alice,’ the 22nd HIFF. Photo by Carole Di Tosti

Julianne, I’m curious. Had you read the book of Still Alice first or did you read the script first? How did that come together?

Julianne Moore: No I hadn’t read the book. I read the script first. Richard and Wash and I were talking about another project. We had a really wonderful meeting and we talked back and forth for a while and I said, “Nah, I don’t think that is for me.” And they said, “Well, we have something else.” And they sent me the script right away and I read it and I was like, Wow!” I literally said, “I’ll do this”…immediately. I was in Montauk. I said, “This, I’m going to do.” And then I went and bought the book and when I went to Barnes and Noble it was on the favorites table. And I thought, well, OK. This is like a wildly popular book. I was struck by the narrative right away and the strength of the story and the emotional impact. And I was really blown away by it and terribly frightened because it seemed like a huge undertaking and one that we couldn’t accomplish in like 90 minutes, like a short movie. But I felt privileged to have the offer, frankly.

So what is terrifying in a case like that. Is it capturing the character is it telling the story in 90 minutes?

Julianne Moore: Well, clearly, this is something that’s true; it’s a true story. This is a disease affecting so, so many people, so many individuals, so many families. So there’s a degree of it where you want to get it right as an actress and then there is a narrative issue where you want to be able to tell the story in 90 minutes and bring people into an entertainment. So there are a million obstacles. But at the base of it what was most interesting to me is about what Wash discussed with me in the beginning. He said that it’s about how you face this terrible disease and what is your essential self? You know, it’s asking who are we? Who are we behind our jobs and our clothes and our friendships and our relationships? Who are we at the very core of it? How do you get that right? I didn’t know how to do that. Lisa Genova in her novel kind of depicts it beautifully and she goes in, in, in with this character, but as an actor, I didn’t know if I was going to be able to do it, frankly.

Julianne Moore answering a question about 'Still Alice.' Q & A at the 22nd HIFF. Photo by Carole Di Tosti

Julianne Moore answering a question about ‘Still Alice.’ Q & A at the 22nd HIFF. Photo by Carole Di Tosti

You did it. (the audience applauds in approval and confirmation)  Speaking of Lisa Genova who wrote the book, do you know if she has seen the film?

Wash Westmoreland: Lisa saw the film for the first time at the Toronto Film Festival and she was extremely happy which made us all extremely happy. And she was a complete supportive partner in the whole process. When you’re taking someone’s book and adapting it, there’s all kinds of things…it’s like going into a creative mine field because they have a certain idea of how things are meant to be. The film just has to be allowed to be something different…and at the same time it has to be faithful to the spirit of the book. When we sent off the first draft to Lisa, we were nervous. We didn’t know her. We didn’t know how she’d respond and she wrote back this rapturous email, “I’m so grateful to you for taking my vision further.” She has just been this incredible cheer leader. But we felt a responsibility to people who knew the book to embody the spirit of what’s written on the page. And I also feel like we had to make a film that allows Still Alice to become a cinematic experience. So I hope people who know the book get into the film because we wanted the correlation between the two to be very close.

Julianne was there any particular process for preparing for this role that you undertook?

Julianne Moore in 'Still Alice.' Photo courtesy of the film.

Julianne Moore in ‘Still Alice.’ Photo courtesy of the film.

Well, whenever you do something that’s based on the truth, you know when there’s research to be done…golly, I had so much help. I started with the Alzheimer’s Association. They sent me to Mount Sinai where I talked to researchers and they set me up with several women around the country who had been diagnosed with Early Onset and I went from there to the New York Alzheimer’s Association and support groups. I talked with people who had been recently diagnosed and talked to the people who worked with the families there and ended up in a long term care facility, so there’s always somewhere to go. And each person referred me to the next. And their generosity was extraordinary. I was in a long term care facility and I talked to a woman about her mom because I had been sitting near a window and the people were singing and doing workshop stuff and this woman told me that I should get away from the draft. She was a patient. She said, “Get out of the draft…it’s cold.” And the woman’s daughter was there; she was my age, and she said, “Oh, yeah. My mom worries about people catching cold.” And she talked about her experience with her mother. Everyone was very, very anxious to tell me their story, tell me what their personal experience was, as someone who was dealing with the disease, someone who had a parent, or friend, or whatever. The access I had was really unparalleled. The research I got was really extraordinary.

Julianne Moore, Q & A for 'Still Alice' 22nd HIFF. Photo by Carole Di Tosti

Julianne Moore, Q & A for ‘Still Alice’ 22nd HIFF. Photo by Carole Di Tosti

Questions from the audience, for Julianne: Have you had any personal experience with Alzheimer’s?

I haven’t, actually, with the exception of the people I met. It’s interesting.  There is a woman I became very close to who lives in Minneapolis and was one of the very first people I talked to. She was diagnosed at 45 and I saw her on a Skype call. And she looks like me. She has red hair and she’s fair skinned and slender. I was like, “Sandy you could be a sister.” And she ended up consulting with me the entire film and had her 50 birthday on the set. She was on the set the day we did the Alzheimer’s Association speech. So in that sense I felt like I had a connection to someone with Alzheimers, but no, actually I didn’t.

(David Nugent interrupts) Tell them about the article in the New York Times that we were discussing.

There’s an article in the New York Times today that scientists have found a way to create an Alzheimer’s brain in gel. So they can kind of do a facsimile of what an actual brain with Alzheimer’s looks like and they can now test drugs within this so it’s a real breakthrough for treating Alzheimers, so that was exciting. (applause)

Julianne Moore and director Wash Westmoreland at 22nd HIFF US Premiere of 'Still Alice.' Photo by Carole Di Tosti

Julianne Moore and director Wash Westmoreland at 22nd HIFF US Premiere of ‘Still Alice.’ Photo by Carole Di Tosti

Audience Question: How did you find it when you didn’t speak toward the end of the film. What was the hardest part about not being there. I was impressed when you were quiet…changed from the way you were before

What is interesting for me as an actor, on the one hand it was, “Yeah I have no lines.”  But what I observed was that the days I was the most exhausted were the days that I was in the decline of Alice’s life. But what I noticed when I went to observe people in the long term care facilities is the amount of energy it takes for someone to pay attention and to be present and to connect when they are suffering from this really difficult disease. It is extraordinary. I would see this in films with Alzheimer’s patients: how hard it is for them to concentrate, how hard it is for them to be present. I would even see it with people opening their eyes really wide. So the idea that someone is not present or zones out or goes away or goes somewhere else, I found not to be true at all. In fact what I saw was people working very, very hard to concentrate and to hold on to what they understood and to try to be as connected and as alive as possible. So those were the days that were the most exhausting and I was kind of surprised by it. There was a woman I met in a long term care facility who is 65. She was non verbal. I sat down next to her and talked to her about what was going on. She leaned toward me and she copied my expressions and if I gestured somewhere, she’d look over there and she was taking all her emotional and intellectual clues from what I was doing and she was trying very, very hard to stay connected to me. And I was really touched by it because you realize it’s not about people going away. It’s about people trying to stay present.

Audience question: How do you come down to such an emotional role like that? Is it a process. I can’t imagine being in your shoes playing a person with Alzheimers and then going home and moving on.

My children help. I have a 12-year-old and a 16-year-old. They don’t care what you’re doing. When you come home you just have to kind of get back to it. But that did help in a way. This is a movie about mortality and about who we are and what lives we’re living and who we’re connected to. So I have that experience all day long about what does it mean to be alive, what does it mean to feel things slipping away? When you go home, it’s like, this is what it means to be alive. I have my 16-year-old, he needs this. My 12-year old needs this and my husband needs this and I have to empty the dishwasher and the dogs have to go out in the yard. So all of that stuff actually brings it home because you’re like, “Well, that’s what it’s about.” And in a way that’s a gift.

Julianne Moore, Golden Globe Winner for 'Still Alice,' at the Q & A for the 22nd HIFF US Premiere. Photo by Carole Di Tosti

Julianne Moore, Golden Globe Winner for ‘Still Alice,’ at the Q & A for the 22nd HIFF US Premiere. Photo by Carole Di Tosti

Audience Question: I found the scene with the butterfly folder so incredibly moving. I was just curious how you approached it and how you felt as you were going through that…you know when you discovered it again.

Wash Westmoreland:  I’ll just set it up by saying that that scene was so crucial in the structure of the movie, because the changes in Alice are very gradual. I think it’s not until you see that scene that you witness the true power of Julianne’s performance to understand how the changes are so dramatic over that period of time that we’ve been following that character. It’s Julie acting with herself…Alice in the past, Alice in the present. The scene really condenses and crystallizes so much about the changes happening in that character in so many ways and the loss that we see.

Julianne Moore: Yeah, it’s so interesting because what we find valuable in certain points in our lives is not necessarily what we’ll find valuable somewhere else. So Alice before she’s more declined believes that she is not going to want to live in this different state. And what you find later you see it with Alec and Ally, and Ally asks, “Do you still want to be here,” and she says “I’m not finished yet. She’s not done with her ice cream…it’s a beautiful metaphor…and she’s not finished yet either with her life. So why would that be any less valuable where she is now? What I loved about that was the juxtaposition. We have an assumption that there is only one way to be when in fact, there are many ways to be and they are all valuable.

Audience Question: Beautiful film. Do you see this film being shown in communities for fund raisers in helping Alzheimer’s research?

Julianne Moore: Yes, hopefully. We have a co-producer on the film who is very closely associated to the Alzheimer’s Association, and she is hoping to work with them to bring to communities in conjunction with the release of the film so that it’s seen regionally and that one of its core audiences is really supported. That’s the hope for it.

Wash Westmoreland:  What the book gave us was this emotional template that’s so strong about how to get through one of the most difficult things that life can throw your way. And I think if people can see this movie in time and take strength from it… maybe they’re dealing with someone in their own family who has Alzheimer’s or another disease and the film inspires them to say, “I want to be Lydia (Alice’s daughter played by Kristen Stewart), I want to be that person whose there for that person,” then we’ve done our job as filmmakers and we’ve done our job with the film.

This article first appeared on Blogcritics.

 

‘The Interview’ Controversy: A Chat With Hadrian Belove of Cinefamily

'The Interview' speaks for itself.

‘The Interview’ speaks for itself.

The media blitzkrieg surrounding The Interview appeared to be the finest hype any PR agency could fabricate. However, truth be told, the events of the last week were grounded in a frightening scenario: a foreign nation attempting  to spread its hegemony of fear and repression with material threats. SONY was hacked and decided to pull the opening of the film on Christmas day fearing death, injury and litigious reprisal if bomb threats against theaters were realized as hackers said they would be. The rest is history. When smaller theaters showed their mettle and contacted SONY and after President Obama chided SONY, the company relented. Theaters screened The Interview as Google and others offered to support the film via streaming (thus far the film is SONY’s largest online earner).

Cinefamily a “non profit organization of movie lovers devoted to finding and presenting interesting and unusual programs” was waiting in the wings for a situation like the one The Interview and SONY presented. Founded in 2007 by brothers Dan and Sammy Harkham and Hadrian Belove of Cinefile Video, it is one of the few cinematiques (boutique cinemas), that clamored to screen The Interview. It’s midnight showing of The Interview was sold out and it was perhaps the premiere showing in the nation. Afterward, other theaters came on board.

I had an opportunity to speak to the current Executive Director of the Cinefamily, Hadrian Belove about the tumultuous events concerning The Interview events which have since quieted down.

Could you just tell me what it has been like the last couple of days with the screenings of The Interview?

It has been great. Attendance has been really solid and all the shows have been doing really well. The media circus has died down, so it’s just a very well done run at this point and we’ve had a lot of new people who have never come to the theater before which is nice.

When Seth Rogan and James Franco showed up, did you know they were coming?

James Franco didn’t come. It was Seth Rogan and Evan Goldberg, c0-directors of The Interview. And yes, we did know they were coming. They came twice. They came for the opening, the very first show and once the next day. They were touring on a bus to all the theaters showing The Interview to say “Hi,” to folks.

Did they introduce the film?

They introduced the film but didn’t stay for Q and As. They had a tight time line because they wanted to go to as many theaters as possible on Christmas. And on Christmas Eve our show was at 12:30 am. I think just coming out and saying “hello” was the main point. The movie didn’t end until like 3:00 am, so that was a lot.

I went to the theater in my area, a little theater that shows Indies. They were showing The Interview. The police were out front. They checked our bags and when I spoke to the employees, they said that they had received threats and that it was necessary to beef up the security.

We also did the bag checks. The police were kind enough to come every day that was Christmas Day and sort of hang out and come back. We did hire security for the opening. We did bring in professionals to make sure everybody felt safe and showing that we were doing due diligence.

Could you explain the mission of Cinefamily?

Cinefamily is a nonprofit cinematique. Part of its non profit mission is to revitalize the film going experience. We feel that exhibition has its own very special role in the health of the arts and movie going and that people should want to go to the movies. We feel that when you build a community, an audience for films, that is the best way to support the arts. So we show wild, weird, wonderful films from around the world. Overlooked, underrated, strange and beautiful things, but we put an equal emphasis in how we do it and how we cultivate our community. So  the how we do it is everything from our membership system which lets people come for free so they can check out more shows to our added value events (for example Willem Dafoe stopped by on November 16 and spent an evening, discussing various and sundry about himself and his films). All of these things are carefully considered to try to create regulars, so that when we do show a film that we believe in, they listen to us. We also put an emphasis on the quality of the films we show…that every film is like a recommendation. While some nonprofits might emphasize diaspora or films they feel need to be seen, we always put it out there that we are making a promise to our audience and that we are going to deliver on our promise. For the long term, we think it’s best for the films. And there are a variety of other things like this. But our big success, you know the key ideas have been community, quality and range. And that has helped us show all kinds of movies and it’s been really great.

Love to see you expand to New York. But I can stream your films, right?

No (he laughs), but we’re working on it. Though we do think that what Cinefamily does could be appropriate online, it is really important that there is a brick and mortar location because it’s about getting people together as much as anything else.

I grew up in an age where I sat in a movie theater as a kid and I saw Lawrence of Arabia on a big screen. There’s nothing to compare with that. If I had to see All is Lost, I’d prefer to see that on a big screen rather than a mobile device, although the other is very useful, I have to say.

Well, both have their place and just are dependent upon one’s different needs.

So you’re telling me that the ticket sales are doing really well. How did you decide to show The Interview?

We decided to screen it because other theaters weren’t doing this. We felt that our mission is to support the arts. Freedom of speech is crucial as is artistic expression. Both would apply in this case. So we thought that this is a film that needed our support. As soon as we heard that other theaters weren’t going to show it, we put out the word that we wanted to. So that was pretty straightforward. And how we got it is part of the national story. We lobbied, we signed a petition along with the other art houses, we had friends of the theater write emails. These were supporters who we felt had some sway or leverage. We asked them to send direct emails to SONY on our behalf. These were guys like Phil Lord who directed the 21 Jump Street movie, or Evan Goldberg himself who co-directed The Interview, Hannah Minghella…these people sent emails on our behalf to SONY reps saying that this was an important theater for it to play at.

You know, it’s almost like this whole event was made for you guys.

(laughing) In some ways. One thing that is true is that part of our approach to the arts to keep people excited, is
that we have a big tent approach. We have a really broad range of what we call the arts. We’re very welcoming. It really wasn’t that unusual for us to show something like The Interview on the same calendar like obscure Danish documentaries or Tarkovsky films. That is very much the spirit upon which this place was founded…to not ghettoize different kinds of films, but to make it one big happy family.

Would you show a film like the Color of Pomegranites? I screened it at the New York Film Festival in its revival series and then reviewed it for Blogcritics.

I would. In fact we’ve been asking for it. I think over the holidays we’ve been having a difficult time hearing back from them, but we’re actually trying to book that film. Love it.

(December 5-8, Cinefamily held a retrospective called “Truth and Soul, Inc.: the films of Robert Downey, Sr.” Hosted variably by Robert Downey Sr. in conversation with his son, Robert Downey, Jr., Paul Thomas Anderson, Lewis C.K., with Alan Arkin also appearing, the selections included Chafed Elbows & Two Tons of Turquoise to Taos Tonight, Greaser’s Palace, Putney Swope to name a few.)

You held the Robert Downy retrospective showing his innovative, maverick work. Have you held other such retrospectives or film festivals?

We’ve done retrospectives and things like that. We’ve done small festivals. We just did an animation festival that we called “Animation Breakdown” that we put together in November. There’s the “Everything Is” festival which is kind of a found footage arts and comedy festival. The nature of the building we’re in, the size, to some extent limits us. But yeah, I would love to host and support and program film festivals as well. I love those and I think we’d be pretty darn good at it.

You show documentaries…

We love documentaries. Honestly, we’re probably the most wide-ranging cinema in the world. There is no genre or era we don’t touch. We’re all over the map. The only through line is what we think is awesome and great.

Conclusion

What is certainly a boon is that Cinefamily is bringing together film fans to experience the best that film has to offer. It is rather like taking advanced courses in cinema offering unusual and amazing cinematic experiences that join people together and offer a community to viewers of all ages and stripes. And let’s face it, The Interview was an unusual viewing experience.

This article first appeared on Blogcritics.

 

 

 

 

 

Roundtable Talk With Kevin Kline and Israel Horovitz About The Film, ‘My Old Lady’

Kristen Scott Thomas and Kevin Kline in 'My Old Lady.' Photo from the film.

Kristen Scott Thomas and Kevin Kline in ‘My Old Lady.’ Photo from the film.

Sitting at a roundtable with other journalists at the Cohen Media Group office (NYC) with Kevin Kline and Israel Horovitz to discuss their work on Horovitz’s directorial debut film, My Old Lady was a pleasure. I am familiar with Kline’s acting career from his work with John Houseman and Julliard’s The Acting Company in the early 1970s (Kline is a founding member), to the present. I am less familiar with Israel Horovitz’s plays, though I have seen some of the award winning films he has written and/or collaborated on. Both men who are close friends are superb masters of their craft in film and the theater arts. Kline has won a staggering number of awards, accolades and nominations for his stage performances (Tonys, Drama Desks, Obies, Outer Critics Circle, et. al.), and his film work (an Oscar, SAG award, Emmy and numerous other nominations). Israel Horovitz has been a globally celebrated, award winning playwright for decades, having written 70 plays which have been translated in over 30 languages; he is also an award winning screenwriter (The Strawberry Statement, Author, Author! Sunshine-collaboration, among others). Kline and Horovitz were delightful companions to us, generously offering a bit of time to discuss aspects of the film including its conception, the cast of My Old Lady, the working relationships and other interesting tidbits.

First, a few paragraphs about the film: this is not a spoiler alert, but a general thematic discussion. From start to finish My Old Lady is a ride of pleasure, pain, joy, irony, sadness, self-recriminations, forgiveness, restitution and reconciliation. The emotional ups and downs follow a storyline that cannot be anticipated or easily unraveled. Against the backdrop of beautiful Paris, Horovitz has created a masterpiece of storytelling that is real and visceral with a soupcon of madcap fun and poignant humor. The comedic is underlined with serious revelations about problematic aspects of human nature with which we may easily identify. Yet, the film is filled with hope that restores our faith in possibilities if there is the readiness to overcome the tragicomedy of a life lived in regret and stasis.

Israel Horovitz, prolific and celebrated playwright and award winning screenwriter directed his first feature, 'My Old Lady.' Photo by Carole Di Tosti

Israel Horovitz, prolific and celebrated playwright and award winning screenwriter directed his first feature, ‘My Old Lady.’ Photo by Carole Di Tosti

The tragic “clown”of this wonderful film who rides the emotional Ferris wheel in the City of Lights and comes out on top is New Yorker Mathias Gold. Mathias inherits a viager (French real estate which comes with intricate strings attached), from his estranged father. In Paris Mathias learns that his inheritance (a stately old house), which he badly needs to sell as he is financially bankrupt, cannot be sold until occupant Madame Girard (Dame Maggie Smith) dies. While Mathias attempts to resolve the situation and take what is “rightfully his by American laws,” his destitution forces him to stay with Madame Girard and her daughter Chloe (Kristin Scott Thomas), because has no money and nowhere to go. Residing with them to work things out, he eventually confronts the pain and sorrow of his own failures while he wrangles with Madame Girard and Chloe about the viager (a symbol of more than a real estate agreement).  During this process he learns the hidden secrets of how his own life has been tied up with theirs.

The stunning revelations nearly drown him in misery and deep regrets. However, he is in the right place at the right time and the wheel changes direction moving upward in hope. The emotional torrent that would have killed him in any other place on earth with any other two women on earth,  is transformed. From the swirling emotions spring a fountain of life and love which refreshes and brings healing to Mathias’ parched soul. His transformation provides a satisfying and uplifting resolution for Madame Girard and Chloe and all are able to make a new way for themselves. The intricacy, humor, pathos and magic of how Horovitz and the cast brilliantly bring it all together to effect the stark beauty of life thematically defies description.

Kevin Kline stars in 'My Old Lady,' directed by Israel Horovitz. Photo by Carole Di Tosti

Kevin Kline stars in ‘My Old Lady,’ directed by Israel Horovitz. Photo by Carole Di Tosti

 At the beginning of the Interviews:  (Someone commented and mispronounced Israel Horovitz’s name.)

Israel Horovitz: (with a smile) Can I just say that my name is pronounced HoroVitz not Horowitz.

Kevin Kline: Very well. He lived on my block.

Israel Horovitz: Did he really?

Kevin Kline: He did.

Horovitz:  I met Horowitz (the famous pianist Vladamir Horowitz) once in my life on a plane. They took me to his seat then they realized their mistake and took me out of his seat.  (Israel laughs)  The only time I met him and he’s staring at me like I did that on purpose. (laughs)

I note that Kevin Kline, deferring to Israel in a quietly spoken undercurrent half to himself and half to Israel comments humorously for Israel to hear. It is a way they have with each other.  It is obvious these two are very close, sometimes finishing one another’s thoughts. It’s fun to watch their ease and the great trust between them.

Maggie Smith in Israel Horovitz's 'My Old Lady' Kevin Kline is down right. Photo from the film.

Maggie Smith in Israel Horovitz’s ‘My Old Lady’ Kevin Kline is down right. Photo from the film.

Horovitz: The movie is based on a play of mine called My Old Lady. And Kevin may not know this but I was at a point in my life when I wanted to do something that would really scare me because I’ve done a lot of plays. So I thought directing a film would really scare me and it was a matter of choosing one. I was in Moscow seeing the play at the Moscow Art Theatre and as I don’t speak a word of Russian, I was daydreaming. It was in that moment that I thought…boy, Paris is really missing from this three character ,one room play. Is this the love letter to Paris that I set down to write when I wrote it?

I thought it should be a movie and I wrote the first draft of a screenplay based on the play. I won a prize (from a screenplay competition in 2008 that was sponsored by the Writers Guild of America and the Île de France Film Commission). Part of the prize was going to Paris for six weeks and living in a 16th century abbey outside of Paris. The prize was set up to award a screenplay that had French and American cultural exchange. Another part of the prize was that the Isle de France Film Commission took me location scouting every day for this first draft of the script. It was then that I started to really see the film. When I revised the script a little bit, my first thought was to include my “cousin” Kevin (they are very close friends). Kevin was famously known as Kevin “de-cline” But he said “yes,” right away…uncharacteristically, I’m told. Then I roped him in to readings of the play in my house. Then I brought on board Miss Maggie and the others.

(Israel Horovitz shares a story to illustrate an important point about what his concept and intentions were in making the film.)

The Pope once came to Paris. And people were very upset because they thought there should be a division between church and state by the government. They were holding a protest. He was a little, little old man, it was just before he died and when he arrived, the first thing he said was, “It’s a pleasure to arrive somewhere in this life as an unambitious guest.” People were so disarmed by this.

Making this film, I was an unambitious guest. I didn’t do this movie because I wanted to build a big movie career. I did this movie because I wanted to make a beautiful movie, period. And Kevin joined this and signed on to this. And I knew I wanted to get great actors. I was too old to do a movie that might come and go without anybody seeing it. And I wanted it to be really significant. So Kevin was my only choice and Maggie was my only choice and by God they said “Yes.”

I met with Maggie, the first time I went to London and had lunch with her after she said, “Yes.” It was then she told me, “I’ve had 25 scripts that have been sent to me. You want to know why I chose yours?”  I said that I wasn’t sure I wanted to know (laughs). Then I said, “OK, tell me why.” And she said, “Because I don’t have to die at the end of your movie.” I hope this is not spoiling it for your readers. And I can say simply that directing Kevin and Maggie and Kristin Scott Thomas and Dominique Pinon, is like telling the sun to give light. It kind of knows already (laughs) that it’s supposed to give light.

Kevin Kline and Maggie Smith in 'My Old Lady,' directed by Israel Horovitz. Photo from the film.

Kevin Kline and Maggie Smith in ‘My Old Lady,’ directed by Israel Horovitz. Photo from the film.

QUESTION: All of you had worked in theater. How did that inform your relationship? Theater is very alive and I saw that translation in the film. I loved the film.

Isreal Horovitz: I love hearing you say that. (we all laugh)

QUESTION: Did working in theater make it easier? Had you worked with Kevin before?

Horovitz: I don’t think so. Certainly, Kevin and I knew each other for a hundred years.

Kline commented about a long time ago in their past when they either knew each other at Julliard.

Horovitz: But that was kind of like the dark ages.

Kline: With theater actors, they are all trained for the stage, or “housebroken.” It’s a cliche that there is a shorthand for stage actors. There isn’t.

Question: But isn’t “moment to moment life” required onstage? (the implication is that you have the editor and the director controlling the shots)

Kline: It’s the same in film and keeping it together between takes and being ready for the next take…we have little time…for 2 or three.

Horovitz: The thing I noticed is that we all knew each other’s work from theater for so many years that establishing intimacy took about 12 seconds. We all had stories to share and friends… and we had this trust that everybody knew what they were doing. There was no movie star who happened to have had a role that matched up so perfectly that they couldn’t do anything else

Kevin Kline made a wry, ironic comment about Maggie Smith’s complaining about the catering (it was a joke…the last thing that Dame Maggie would do). With great good humor, Kline indicated that all the actors were a professional team supportive of the project and there was no necessity for “egos.”

QUESTION: As a first time film director, how involved were you with the editing process?

Horovitz: I was there every day all day. It was endless. I was very involved. I can tell you that Kevin Kline in particular as an actor gives you what you want as a director with the first take and then shows you five other things that come into his mind, so when you’re editing you’ve got all this material. We could have done a straight up comedy. We could have done a very dark drama but he really understood the kind of thing I love which is comic and tragic in the same work which is like life is.

QUESTION: What lenses did you use for interior scenes?

Kevin Kline: The great thing about having a first time director, though in broad strokes there are two types of first time directors. Those who just got out of film school who want to “direct” the actors and those directors who know how to let the actors do their work and do not interfere. These know when to interject when it’s appropriate, if you’ve gone astray and they need to “put you back on track” or they may inspire a variety of things. For example we were on the quay, on the set in the scene when the opera singer is singing. Israel says, “Why don’t you sing back to her.” And it was like, “Yeah, fine.” And the crew got the lyrics to the aria and I sang a mini duet with the singer. Whereas a filmmaker who is just out of film school in my experience is like, “Well, we have to stick to just what we’ve got here.” They are keen on telling the actors what their motivation is, you know, nonsense like that. They don’t have experience with directing the actors. It’s all about how to trust the cinematographer.

Kevin Kline in 'My Old Lady.' Photo from the film.

Kevin Kline in ‘My Old Lady.’ Photo from the film.

Horovitz: We had a great, great DP (Director of Photography), a guy named Michel Amathieu. I told him 18 months before we shot the movie, “You’re the guy.” And it was all about fitting the schedules of the three main actors and this guy. I knew his work and I knew him intimately and he knew that he was heading for this. I am glad I can’t tell you the number of the lens because I could tell him what I wanted, the look that I wanted, and he could translate it.

Kline: (speaking to Israel) And you saw it in the frame. Israel was right there on the set and he saw what the camera would see. Not like many directors who are in another room watching on a monitor. He was there with the actors and knew everything that was being framed.

Horovitz: This may interest you. I don’t like generally film adaptations of plays. They seem not to be plays and they seem not to be movies. They’re some weird thing in between. And I knew that I had to make a movie that was a movie. I knew that when I was writing the movie and certainly when I was directing the movie that Paris was a missing character in the play. That’s why I saw the movie as I saw it and this shaped how I was directing the movie.

Kristin Scott Thomas and Kevin Kline in 'My Old Lady.' Photo from the film.

Kristin Scott Thomas and Kevin Kline in ‘My Old Lady.’ Photo from the film.

Could you talk about working with Kristin Scott Thomas?

Kline: I remember one of the first days working with Kristin. I love it when the director doesn’t say cut because we’ll see what happens after the written scene. Maybe there’s some improvisation we may use (Kevin Kline laughs). I remember Kristin was done with her lines and I’m still talking. Kristen says, “Aren’t we finished?” (laughter) But then she adapted to that and said, “Oh, I see.” She hadn’t worked that way before, apparently. Maggie also…slightly different generation…

Horovitz: Yeah, it’s just a different training.

Kline: Yes, it’s the British school of acting. I found that when I worked with British stage actors they are very professional. There isn’t a lot of nonsense about the inner subtext. It’s like “let’s get on with it…and come on let’s go.” But I like that. I had British teachers growing up and there is a strong work ethic, there’s something about it.

Horovitz: But Kevin was an American in the film so he could be quite different from Maggie and Kristen who have played mother and daughter three times now.

QUESTION: Did anything surprise either of you about the final cut?

Kline: (to Horovitz) You saw it so many times.

Horovitz: Well I saw every infinitesimal moment of the film every day of my damn life for months and months and months. There were no surprises in the final cut unless it was a mistake, a technical mistake. But Kevin saw it pieced together pretty close to the end.

Kline: And I think I told you when I saw it near the final cut, it was like a ballet without the music…it was with the temporary music, but the music is very important. But when I first saw it, I think I told you how I’ll see this four or five more times but it was not what I expected. And I don’t think it’s what anyone can expect. There are so many loops and surprises and textual colorations of comedy and drama and romance that are all intertwined in a very unexpected way. I was just surprised and delighted and I think I told you, I have to see it again to see if I have the same feeling. I guess I will.

QUESTION: What question are you asking in the film?

Horovitz: I started out to write a love letter to Paris and not surprisingly midway through I had to say to myself well, isn’t it interesting where this is taking me, and I went with it. And I think the question in this film is why do people do that to their children? And in our lives we hear people who are 50, 60 years old talking about their parents. And one piece of your brain is saying, “Oh get over it. And another piece of your brain is saying, you can’t get over it. You know you can’t get over it. There’s such serious damage done. So I think it’s thrilling in this film with these two people…I always knew that with these two people, his character knew her pain like nobody else would know her pain, and her character knew his pain like nobody else would ever know his pain. And I think it’s a relief and thrilling when these two people get together. It’s more than just a love story, a romance. It’s really profound when they get together and whew, they can lighten up a little bit.

After the Roundtable With Kevin Kline

Kevin Kline is Mathias Gold in Israel Horovitz's 'My Old Lady. Photo by Carole Di Tosti

Kevin Kline is Mathias Gold in Israel Horovitz’s ‘My Old Lady. Photo by Carole Di Tosti

After the Roundtable, I had the opportunity to tell Kevin Kline that the first time I had seen him perform was in The Knack and How to Get It at The Saratoga Performing Arts Center. This was  in the early 1970s when The Acting Company summered there and performed a variety of plays hosted by Artistic Director John Houseman. Kline is a founding member. Kevin Kline discussed an interesting fact about that particular production. It was with The Knack that cast members commented about his talent for comedy and his “being funny.” Prior to that role, he was only interested in performing serious dramatic parts. He never imagined himself in comedies. Their comments and his success in The Knack were a revelation.

That role (Kline was amazing, memorable, so vibrant, his actions fluidly natural), opened up another world of opportunity and opened his eyes and talents to new considerations. Of course, as he grew in repertory, this led him to develop his talents in comedic roles. Each experience in a comedic role led to gaining additional experience in another and that experience in another. He was stretching his talent and avoiding what Houseman often counseled against, falling into the typical Hollywood style  of allowing oneself to be typecast, getting “stuck” in the “same old parts.”

Kline’s early successes and the development of his talent to constantly stretch his abilities eventually led to his stellar, award winning  comedic performances in film and on stage: an Oscar for Otto in A Fish Called Wanda, and Tonys for the pirate in The Pirates of Penzance and Falstaff in Henry IV, and On the Twentieth Century to name a few. Of course these are in addition to his having received Drama Desks, Outer Circle Critics awards a Lifetime Achievement Award and an induction to the Theatre Hall of Fame. And we haven’t even discussed his prolific body of Shakespearean performances and performances in other classics and a slew of film nominations. The man is exhausting to keep up with and indefinable…prodigious might be a descriptor. Maybe not…too limited.

Kline mentioned that he tells student actors to try everything and not pigeonhole (my word) themselves that they should only do one type of role or genre. He is passionate about actors opening up their talents and continually taking risks. Though he didn’t clarify, I would imagine Kline would think this especially so for actors in repertory or those who are part of a theater company. Truly, repertory seems to be the finest way an actor can grow, learn and stir up his or her abilities. Thankfully, there is Julliard.

 

 

 

 

 

 

 

 

Sitting at a roundtable with other journalists at the Cohen Media Group office (NYC) with Kevin Kline and Israel Horovitz to discuss their work on Horovitz’s directorial debut film, My Old Lady was a pleasure. I am familiar with Kline’s acting career from his work with John Houseman and Julliard’s The Acting Company in the early 1970s (Kline is a founding member) to the present. I am less familiar with Israel Horovitz’s plays, though I have seen some of the award winning films he has written and/or collaborated on. Both men who are close friends are superb masters of their craft in film and the theater arts. Kline has won a staggering number of awards, accolades and nominations for his stage performances (Tonys, Drama Desks, Obies, Outer Critics Circle et. al.), and his film work (an Oscar, SAG award, Emmy and numerous other nominations). Israel Horovitz has been a globally celebrated, award winning playwright for decades having written 70 plays which have been translated in over 30 languages; he is also an award winning screenwriter (The Strawberry Statement, Author, Author! Sunshine-collaboration, among others). Kline and Horovitz were delightful companions to us, generously offering a bit of time to discuss aspects of the film including its conception, the cast of My Old Lady, the working relationships and other interesting tidbits.

First, a few paragraphs about the film: this is not a spoiler alert, but a general thematic discussion. From start to finish My Old Lady is a ride of pleasure, pain, joy, irony, sadness, self-recrimination, self-forgiveness, restitution and reconciliation. The emotional ups and downs follow a storyline that cannot be anticipated or easily unraveled. Against the backdrop of beautiful Paris, Horovitz has created a masterpiece of screenwriting that is real and visceral with a soupcon of madcap fun and poignant humor. The comedic is underlined with serious revelations about our own worst aspects of human nature. Yet, the film is filled with hope that restores our faith in possibilities if there is the readiness to overcome the tragicomedy of a life lived in regret and stasis.

The tragic “clown”of this wonderful film who rides the emotional Ferris wheel in the City of Lights and comes out on top is emotionally and financially bereft New Yorker Mathias Gold. Mathias inherits a viager (French real estate which comes with intricate strings attached), from his estranged father. In Paris Mathias learns that his inheritance (a stately old house), which he badly needs to sell as he is financially bankrupt cannot be sold until occupant Madame Girard (Dame Maggie Smith) dies. While Mathias attempts to resolve the situation and take what is “rightfully his by American laws,” his destitution forces him to stay with Madame Girard and her daughter Chloe (Kristin Scott Thomas).  He has no money and nowhere to go. Residing with them to work things out, he eventually confronts the pain and sorrow of his own failures while he wrangles with Madame Girard and Chloe about the viager (a symbol of more than a real estate agreement).  During this process he learns the mysteries of his own life and theirs.

The stunning revelations leave him breathless and drowning. However, he is in the right place at the right time and the wheel changes direction upward toward hope. The emotional torrent that would have killed him in any other place on earth with any other two women on earth,  is transformed. Voila, it becomes a fountain of life. It is this fountain that refreshes and brings coolness and healing to Mathias’ parched soul. His transformation provides a satisfying and uplifting resolution for Madame Girard and Chloe and all are able to make a new way for themselves. The intricacy, humor, pathos and magic of how Horovitz and the cast brilliantly effect the stark beauty of life thematically revealed in the film defies description.

 At the beginning of the Interviews:  (Someone commented and mispronounced Israel Horovitz’s name.)

Israel Horovitz: (with a smile) Can I just say that my name is pronounced HoroVitz not Horowitz.

Kevin Kline: Very well. He lived on my block.

Israel Horovitz: Did he really?

Kevin Kline: He did.

Horovitz:  I met Horowitz (speaking of the famous pianist Vladamir Horowitz) once in my life on a plane. They took me to his seat then they realized their mistake and took me out of his seat.  (Israel laughs)  The only time I met him and he’s staring at me like I did that on purpose. (laughs)

I note that Kevin Kline, deferring to Israel in a quietly spoken undercurrent half to himself and half to Israel comments humorously for Israel to hear. It is a way they have with each other.  It is obvious these two are very close, sometimes finishing one another’s thoughts. It’s fun to watch their ease and the great trust between them.

Horovitz: The movie is based on a play of mine called My Old Lady. And Kevin may not know this but I was at a point in my life when I wanted to do something that would really scare me because I’ve done a lot of plays. So I thought directing a film would really scare me and it was a matter of choosing one. I was in Moscow seeing the play at the Moscow Art Theatre and as I don’t speak a word of Russian, I was daydreaming. It was in that moment that I thought…boy, Paris is really missing from this three character ,one room play. Is this the love letter to Paris that I set down to write when I wrote it?

I thought it should be a movie and I wrote the first draft of a screenplay based on the play. I won a prize (from a screenplay competition in 2008 that was sponsored by the Writers Guild of America and the Île de France Film Commission). Part of the prize was going to Paris for six weeks and living in a 16th century abbey outside of Paris. The prize was set up to award a screenplay that had French and American cultural exchange.  and it won a prize. Another part of the prize was that the Isle de France Film Commission took me location scouting every day for this first draft of the script. It was then that I started to really see the film. When I revised the script a little bit, my first thought was to include my “cousin” Kevin (they are very close friends). Kevin was famously known as Kevin “de-cline” But he said “yes,” right away…uncharacteristically, I’m told. Then I roped him in to readings of the play in my house. Then I brought on board Miss Maggie and the others.

(Israel Horovitz shares a story to illustrate an important point about what his concept and intentions were in making the film.)

The Pope once came to Paris. And people were very upset because they thought there should be a division between church and state by the government. They were holding a protest. He was a little, little old man, it was just before he died and when he arrived, the first thing he said was, “It’s a pleasure to arrive somewhere in this life as an unambitious guest.” People were so disarmed by this.

Making this film, I was an unambitious guest. I didn’t do this movie because I wanted to build a big movie career. I did this movie because I wanted to make a beautiful movie, period. And Kevin joined this and signed on to this. And I knew I wanted to get great actors. I was too old to do a movie that might come and go without anybody seeing it. And I wanted it to be really significant. So Kevin was my only choice and Maggie was my only choice and by God they said “Yes.”

I met with Maggie, the first time I went to London and had lunch with her after she said, “Yes.” It was then she told me, “I’ve had 25 scripts that have been sent to me. You want to know why I chose yours?”  I said that I wasn’t sure I wanted to know (laughs). Then I said, “OK, tell me why.” And she said, “Because I don’t have to die at the end of your movie.” I hope this is not spoiling it for your readers. And I can say simply that directing Kevin and Maggie and Kristin Scott Thomas and Dominique Pinon, is like telling the sun to give light. It kind of knows already (laughs) that it’s supposed to give light.

QUESTION: All of you had worked in theater. How did that inform your relationship? Theater is very alive and I saw that translation in the film. I loved the film.

Isreal Horovitz: I love hearing you say that. (we all laugh)

QUESTION: Did working in theater make it easier? Had you worked with Kevin before?

Horovitz: I don’t think so. Certainly, Kevin and I knew each other for a hundred years.

Kline commented about a long time ago in their past when they either knew each other at Julliard when Kevin was taking classes.

Horovitz: But that was kind of like the dark ages.

Kline: With theater actors, they are all trained for the stage, or “housebroken.” It’s a cliche that there is a shorthand for stage actors. There isn’t.

Question: But isn’t “moment to moment life” required onstage? (the implication is that you have the editor and the director controlling the shots)

Kline: It’s the same in film and keeping it together between takes and being ready for the next take…we have little time…for 2 or three.

Horovitz: The thing I noticed is that we all knew each other’s work from theater for so many years that establishing intimacy took about 12 seconds. We all had stories to share and friends… and we had this trust that everybody knew what they were doing. There was no movie star who happened to have had a role that matched up so perfectly that they couldn’t do anything else

Kevin Kline made a wry, ironic comment about Maggie Smith’s complaining about the catering (it was a joke…the last thing that Dame Maggie would do). With great good humor, Kline indicated that all the actors were a professional team supportive of the project and there was no necessity for “egos.”

QUESTION: As a first time film director, how involved were you with the editing process?

Horovitz: I was there every day all day. It was endless. I was very involved. I can tell you that Kevin Kline in particular as an actor gives you what you want as a director with the first take and then shows you five other things that come into his mind, so when you’re editing you’ve got all this material. We could have done a straight up comedy. We could have done a very dark drama but he really understood the kind of thing I love which is comic and tragic in the same work which is like life is.

QUESTION: What lenses did you use for interior scenes?

Kevin Kline: The great thing about having a first time director, though in broad strokes there are two types of first time directors. Those who just got out of film school who want to “direct” the actors and those directors who know how to let the actors do their work and do not interfere. These know when to interject when it’s appropriate, if you’ve gone astray and they need to “put you back on track” or they may inspire a variety of things. For example we were on the quay, on the set in the scene when the opera singer is singing. Israel says, “Why don’t you sing back to her.” And it was like, “Yeah, fine.” And the crew got the lyrics to the aria and I sang a mini duet with the singer. Whereas a filmmaker who is just out of film school in my experience is like, “Well, we have to stick to just what we’ve got here.” They are keen on telling the actors what their motivation is, you know, nonsense like that. They don’t have experience with directing the actors. It’s all about how to trust the cinematographer.

Horovitz: We had a great, great DP (Director of Photography), a guy named Michel Amathieu. I told him 18 months before we shot the movie, “You’re the guy.” And it was all about fitting the schedules of the three main actors and this guy. I knew his work and I knew him intimately and he knew that he was heading for this. I am glad I can’t tell you the number of the lens because I could tell him what I wanted, the look that I wanted, and he could translate it.

Kline: (speaking to Israel) And you saw it in the frame. Israel was right there on the set and he saw what the camera would see. Not like many directors who are in another room watching on a monitor. He was there with the actors and knew everything that was being framed.

Horovitz: This may interest you. I don’t like generally film adaptations of plays. They seem not to be plays and they seem not to be movies. They’re some weird thing in between. And I knew that I had to make a movie that was a movie. I knew that when I was writing the movie and certainly when I was directing the movie that Paris was a missing character in the play. That’s why I saw the movie as I saw it and this shaped how I was directing the movie.

Could you talk about working with Kristin Scott Thomas?

Kline: I remember one of the first days working with Kristin. I love it when the director doesn’t say cut because we’ll see what happens after the written scene. Maybe there’s some improvisation we may use (Kevin Kline laughs). I remember Kristin was done with her lines and I’m still talking. Kristen says, “Aren’t we finished?” (laughter) But then she adapted to that and said, “Oh, I see.” She hadn’t worked that way before apparently. Maggie also…slightly different generation…

Horovitz: Yeah, it’s just a different training.

Kline: Yes, it’s the British school of acting. I found that when I worked with British stage actors they are very professional. There isn’t a lot of nonsense about the inner subtext. It’s like “let’s get on with it…and come on let’s go.” But I like that. I had British teachers growing up and there is a strong work ethic, there’s something about it.

Horovitz: But Kevin was an American in the film so he could be quite different from Maggie and Kristen who have played mother and daughter three times now.

QUESTION: Did anything surprise either of you about the final cut?

Kline: (to Horovitz) You saw it so many times.

Horovitz: Well I saw every infinitesimal moment of the film every day of my damn life for months and months and months. There were no surprises in the final cut unless it was a mistake, a technical mistake. But Kevin saw it pieced together pretty close to the end.

Kline: And I think I told you when I saw it near the final cut, it was like a ballet without the music…it was with the temporary music, but the music is very important. But when I first saw it, I think I told you how I’ll see this four or five more times but it was not what I expected. And I don’t think it’s what anyone can expect. There are so many loops and surprises and textual colorations of comedy and drama and romance that are all intertwined in a very unexpected way. I was just surprised and delighted and I think I told you, I have to see it again to see if I have the same feeling. I guess I will.

QUESTION: What question are you asking in the film?

Horovitz: I started out to write a love letter to Paris and not surprisingly midway through I had to say to myself well, isn’t it interesting where this is taking me, and I went with it. And I think the question in this film is why do people do that to their children? And in our lives we hear people who are 50, 60 years old talking about their parents. And one piece of your brain is saying, “Oh get over it. And another piece of your brain is saying, you can’t get over it. You know you can’t get over it. There’s such serious damage done. So I think it’s thrilling in this film with these two people…I always knew that with these two people, his character knew her pain like nobody else would know her pain, and her character knew his pain like nobody else would ever know his pain. And I think it’s a relief and thrilling when these two people get together. It’s more than just a love story, a romance. It’s really profound when they get together and whew, they can lighten up a little bit.

After the Roundtable With Kevin Kline

After the Roundtable, I had the opportunity to tell Kevin Kline that the first time I had seen him perform was in The Knack and How to Get It at The Saratoga Performing Arts Center. This was  in the early 1970s when The Acting Company summered there and performed a variety of plays hosted by Artistic Director John Houseman. Kline is a founding member. Kevin Kline discussed an interesting fact about that particular production. It was with The Knack that cast members commented about his talent for comedy and his “being funny.” Prior to that role, he was only interested in and performing serious dramatic parts. He never imagined himself in comedies. Their comments and his success in The Knack were a revelation.

That role (Kline was amazing, memorable, so vibrant, his actions fluidly natural), opened up another world of opportunity and opened his eyes and talents to new considerations. Of course, as he grew in repertory, this led him to develop his talents in comedic roles. Each experience in a comedic role led to gaining additional experience in another and that experience in another. He was stretching his talent and avoiding what Houseman often counseled against, falling into the typical Hollywood style  of allowing oneself to be typecast, getting “stuck” in the “same old parts.”

Kline’s early successes and the development of his talent to constantly stretch his abilities eventually led to his stellar, award winning  comedic performances in film and on stage: an Oscar for Otto in A Fish Called Wanda, and Tonys for the pirate in The Pirates of Penzance and Falstaff in Henry IV, and On the Twentieth Century to name a few. Of course these are in addition to his having received Drama Desks, Outer Circle Critics awards a Lifetime Achievement Award and an induction to the Theatre Hall of Fame. And we haven’t even discussed his prolific body of Shakespearean performances and performances in other classics and slew of film nominations. The man is exhausting to keep up with and indefinable…prodigious might be a descriptor. Maybe not…too limited.

Kline mentioned that he tells student actors to try everything and not pigeonhole (my word) themselves that they should only do one type of role or genre. He is passionate about actors opening up their talents and continually taking risks. Though he didn’t clarify, I would imagine Kline would think this especially so for actors in repertory or those who are part of a theater company. Truly, repertory seems to be the finest way an actor can grow, learn and stir up his or her abilities. Thankfully, there is Julliard. Would there be more repertory companies to offer such opportunities!

 

 

excerpt:

What’s not to find joyous about roundtable interviews with award winning actor Kevin Kline and celebrated playwright Israel Horovitz who discussed their collaboration on Horovitz’s directorial debut of his brilliant film ‘My Old Lady?’ Not only did we learn interesting bits about the making of the film, we had the opportunity to watch these close knit friends (Horovitz refers to Kline as his cousin) in rare form. When “cousin” leaves off commenting, the “cousin” seamlessly picks up the anticipated rejoinder. They were loads of fun, but they were also deep folks, deep. If you blinked, you missed it.

 

 

 

 

Sitting at a roundtable with other journalists at the Cohen Media Group office (NYC) with Kevin Kline and Israel Horovitz to discuss their work on Horovitz’s directorial debut film, My Old Lady was a pleasure. I am familiar with Kline’s acting career from his work with John Houseman and Julliard’s The Acting Company in the early 1970s (Kline is a founding member) to the present. I am less familiar with Israel Horovitz’s plays, though I have seen some of the award winning films he has written and/or collaborated on. Both men who are close friends are superb masters of their craft in film and the theater arts. Kline has won a staggering number of awards, accolades and nominations for his stage performances (Tonys, Drama Desks, Obies, Outer Critics Circle et. al.), and his film work (an Oscar, SAG award, Emmy and numerous other nominations). Israel Horovitz has been a globally celebrated, award winning playwright for decades, having written 70 plays which have been translated in over 30 languages; he is also an award winning screenwriter (The Strawberry Statement, Author, Author! Sunshine-collaboration, among others). Kline and Horovitz were delightful companions to us, generously offering a bit of time to discuss aspects of the film including its conception, the cast of My Old Lady, the working relationships and other interesting tidbits.

First, a few paragraphs about the film: this is not a spoiler alert, but a general thematic discussion. From start to finish My Old Lady is a ride of pleasure, pain, joy, irony, sadness, self-recrimination, self-forgiveness, restitution and reconciliation. The emotional ups and downs follow a storyline that cannot be anticipated or easily unraveled. Against the backdrop of beautiful Paris, Horovitz has created a masterpiece of screenwriting that is real and visceral with a soupcon of madcap fun and poignant humor. The comedic is underlined with serious revelations about problematic aspects of human nature with which we may easily empathize. Yet, the film is filled with hope that restores our faith in possibilities if there is the readiness to overcome the tragicomedy of a life lived in regret and stasis.

The tragic “clown”of this wonderful film who rides the emotional Ferris wheel in the City of Lights and comes out on top is emotionally and financially bereft New Yorker Mathias Gold. Mathias inherits a viager (French real estate which comes with intricate strings attached), from his estranged father. In Paris Mathias learns that his inheritance (a stately old house), which he badly needs to sell as he is financially bankrupt, cannot be sold until occupant Madame Girard (Dame Maggie Smith) dies. While Mathias attempts to resolve the situation and take what is “rightfully his by American laws,” his destitution forces him to stay with Madame Girard and her daughter Chloe (Kristin Scott Thomas).  He has no money and nowhere to go. Residing with them to work things out, he eventually confronts the pain and sorrow of his own failures while he wrangles with Madame Girard and Chloe about the viager (a symbol of more than a real estate agreement).  During this process he learns the mysteries of his own life and theirs.

The stunning revelations leave him breathless and drowning. However, he is in the right place at the right time and the wheel changes direction upward toward hope. The emotional torrent that would have killed him in any other place on earth with any other two women on earth,  is transformed. Voila, it becomes a fountain of life. It is this fountain that refreshes and brings coolness and healing to Mathias’ parched soul. His transformation provides a satisfying and uplifting resolution for Madame Girard and Chloe and all are able to make a new way for themselves. The intricacy, humor, pathos and magic of how Horovitz and the cast brilliantly bring it all together to effect the stark beauty of life thematically defies description.

Kevin Kline stars in 'My Old Lady,' directed by Israel Horovitz. Photo by Carole Di Tosti

Kevin Kline stars in ‘My Old Lady,’ directed by Israel Horovitz. Photo by Carole Di Tosti

 At the beginning of the Interviews:  (Someone commented and mispronounced Israel Horovitz’s name.)

Israel Horovitz: (with a smile) Can I just say that my name is pronounced HoroVitz not Horowitz.

Kevin Kline: Very well. He lived on my block.

Israel Horovitz: Did he really?

Kevin Kline: He did.

Horovitz:  I met Horowitz (speaking of the famous pianist Vladamir Horowitz) once in my life on a plane. They took me to his seat then they realized their mistake and took me out of his seat.  (Israel laughs)  The only time I met him and he’s staring at me like I did that on purpose. (laughs)

I note that Kevin Kline, deferring to Israel in a quietly spoken undercurrent half to himself and half to Israel comments humorously for Israel to hear. It is a way they have with each other.  It is obvious these two are very close, sometimes finishing one another’s thoughts. It’s fun to watch their ease and the great trust between them.

Maggie Smith in Israel Horovitz's 'My Old Lady' Kevin Kline is down right. Photo from the film.

Maggie Smith in Israel Horovitz’s ‘My Old Lady’ Kevin Kline is down right. Photo from the film.

Horovitz: The movie is based on a play of mine called My Old Lady. And Kevin may not know this but I was at a point in my life when I wanted to do something that would really scare me because I’ve done a lot of plays. So I thought directing a film would really scare me and it was a matter of choosing one. I was in Moscow seeing the play at the Moscow Art Theatre and as I don’t speak a word of Russian, I was daydreaming. It was in that moment that I thought…boy, Paris is really missing from this three character ,one room play. Is this the love letter to Paris that I set down to write when I wrote it?

I thought it should be a movie and I wrote the first draft of a screenplay based on the play. I won a prize (from a screenplay competition in 2008 that was sponsored by the Writers Guild of America and the Île de France Film Commission). Part of the prize was going to Paris for six weeks and living in a 16th century abbey outside of Paris. The prize was set up to award a screenplay that had French and American cultural exchange.  and it won a prize. Another part of the prize was that the Isle de France Film Commission took me location scouting every day for this first draft of the script. It was then that I started to really see the film. When I revised the script a little bit, my first thought was to include my “cousin” Kevin (they are very close friends). Kevin was famously known as Kevin “de-cline” But he said “yes,” right away…uncharacteristically, I’m told. Then I roped him in to readings of the play in my house. Then I brought on board Miss Maggie and the others.

(Israel Horovitz shares a story to illustrate an important point about what his concept and intentions were in making the film.)

The Pope once came to Paris. And people were very upset because they thought there should be a division between church and state by the government. They were holding a protest. He was a little, little old man, it was just before he died and when he arrived, the first thing he said was, “It’s a pleasure to arrive somewhere in this life as an unambitious guest.” People were so disarmed by this.

Making this film, I was an unambitious guest. I didn’t do this movie because I wanted to build a big movie career. I did this movie because I wanted to make a beautiful movie, period. And Kevin joined this and signed on to this. And I knew I wanted to get great actors. I was too old to do a movie that might come and go without anybody seeing it. And I wanted it to be really significant. So Kevin was my only choice and Maggie was my only choice and by God they said “Yes.”

I met with Maggie, the first time I went to London and had lunch with her after she said, “Yes.” It was then she told me, “I’ve had 25 scripts that have been sent to me. You want to know why I chose yours?”  I said that I wasn’t sure I wanted to know (laughs). Then I said, “OK, tell me why.” And she said, “Because I don’t have to die at the end of your movie.” I hope this is not spoiling it for your readers. And I can say simply that directing Kevin and Maggie and Kristin Scott Thomas and Dominique Pinon, is like telling the sun to give light. It kind of knows already (laughs) that it’s supposed to give light.

Kevin Kline and Maggie Smith in 'My Old Lady,' directed by Israel Horovitz. Photo from the film.

Kevin Kline and Maggie Smith in ‘My Old Lady,’ directed by Israel Horovitz. Photo from the film.

QUESTION: All of you had worked in theater. How did that inform your relationship? Theater is very alive and I saw that translation in the film. I loved the film.

Isreal Horovitz: I love hearing you say that. (we all laugh)

QUESTION: Did working in theater make it easier? Had you worked with Kevin before?

Horovitz: I don’t think so. Certainly, Kevin and I knew each other for a hundred years.

Kline commented about a long time ago in their past when they either knew each other at Julliard when Kevin was taking classes.

Horovitz: But that was kind of like the dark ages.

Kline: With theater actors, they are all trained for the stage, or “housebroken.” It’s a cliche that there is a shorthand for stage actors. There isn’t.

Question: But isn’t “moment to moment life” required onstage? (the implication is that you have the editor and the director controlling the shots)

Kline: It’s the same in film and keeping it together between takes and being ready for the next take…we have little time…for 2 or three.

Horovitz: The thing I noticed is that we all knew each other’s work from theater for so many years that establishing intimacy took about 12 seconds. We all had stories to share and friends… and we had this trust that everybody knew what they were doing. There was no movie star who happened to have had a role that matched up so perfectly that they couldn’t do anything else

Kevin Kline made a wry, ironic comment about Maggie Smith’s complaining about the catering (it was a joke…the last thing that Dame Maggie would do). With great good humor, Kline indicated that all the actors were a professional team supportive of the project and there was no necessity for “egos.”

QUESTION: As a first time film director, how involved were you with the editing process?

Horovitz: I was there every day all day. It was endless. I was very involved. I can tell you that Kevin Kline in particular as an actor gives you what you want as a director with the first take and then shows you five other things that come into his mind, so when you’re editing you’ve got all this material. We could have done a straight up comedy. We could have done a very dark drama but he really understood the kind of thing I love which is comic and tragic in the same work which is like life is.

QUESTION: What lenses did you use for interior scenes?

Kevin Kline: The great thing about having a first time director, though in broad strokes there are two types of first time directors. Those who just got out of film school who want to “direct” the actors and those directors who know how to let the actors do their work and do not interfere. These know when to interject when it’s appropriate, if you’ve gone astray and they need to “put you back on track” or they may inspire a variety of things. For example we were on the quay, on the set in the scene when the opera singer is singing. Israel says, “Why don’t you sing back to her.” And it was like, “Yeah, fine.” And the crew got the lyrics to the aria and I sang a mini duet with the singer. Whereas a filmmaker who is just out of film school in my experience is like, “Well, we have to stick to just what we’ve got here.” They are keen on telling the actors what their motivation is, you know, nonsense like that. They don’t have experience with directing the actors. It’s all about how to trust the cinematographer.

Kevin Kline in 'My Old Lady.' Photo from the film.

Kevin Kline in ‘My Old Lady.’ Photo from the film.

Horovitz: We had a great, great DP (Director of Photography), a guy named Michel Amathieu. I told him 18 months before we shot the movie, “You’re the guy.” And it was all about fitting the schedules of the three main actors and this guy. I knew his work and I knew him intimately and he knew that he was heading for this. I am glad I can’t tell you the number of the lens because I could tell him what I wanted, the look that I wanted, and he could translate it.

Kline: (speaking to Israel) And you saw it in the frame. Israel was right there on the set and he saw what the camera would see. Not like many directors who are in another room watching on a monitor. He was there with the actors and knew everything that was being framed.

Horovitz: This may interest you. I don’t like generally film adaptations of plays. They seem not to be plays and they seem not to be movies. They’re some weird thing in between. And I knew that I had to make a movie that was a movie. I knew that when I was writing the movie and certainly when I was directing the movie that Paris was a missing character in the play. That’s why I saw the movie as I saw it and this shaped how I was directing the movie.

Kristin Scott Thomas and Kevin Kline in 'My Old Lady.' Photo from the film.

Kristin Scott Thomas and Kevin Kline in ‘My Old Lady.’ Photo from the film.

Could you talk about working with Kristin Scott Thomas?

Kline: I remember one of the first days working with Kristin. I love it when the director doesn’t say cut because we’ll see what happens after the written scene. Maybe there’s some improvisation we may use (Kevin Kline laughs). I remember Kristin was done with her lines and I’m still talking. Kristen says, “Aren’t we finished?” (laughter) But then she adapted to that and said, “Oh, I see.” She hadn’t worked that way before apparently. Maggie also…slightly different generation…

Horovitz: Yeah, it’s just a different training.

Kline: Yes, it’s the British school of acting. I found that when I worked with British stage actors they are very professional. There isn’t a lot of nonsense about the inner subtext. It’s like “let’s get on with it…and come on let’s go.” But I like that. I had British teachers growing up and there is a strong work ethic, there’s something about it.

Horovitz: But Kevin was an American in the film so he could be quite different from Maggie and Kristen who have played mother and daughter three times now.

QUESTION: Did anything surprise either of you about the final cut?

Kline: (to Horovitz) You saw it so many times.

Horovitz: Well I saw every infinitesimal moment of the film every day of my damn life for months and months and months. There were no surprises in the final cut unless it was a mistake, a technical mistake. But Kevin saw it pieced together pretty close to the end.

Kline: And I think I told you when I saw it near the final cut, it was like a ballet without the music…it was with the temporary music, but the music is very important. But when I first saw it, I think I told you how I’ll see this four or five more times but it was not what I expected. And I don’t think it’s what anyone can expect. There are so many loops and surprises and textual colorations of comedy and drama and romance that are all intertwined in a very unexpected way. I was just surprised and delighted and I think I told you, I have to see it again to see if I have the same feeling. I guess I will.

QUESTION: What question are you asking in the film?

Horovitz: I started out to write a love letter to Paris and not surprisingly midway through I had to say to myself well, isn’t it interesting where this is taking me, and I went with it. And I think the question in this film is why do people do that to their children? And in our lives we hear people who are 50, 60 years old talking about their parents. And one piece of your brain is saying, “Oh get over it. And another piece of your brain is saying, you can’t get over it. You know you can’t get over it. There’s such serious damage done. So I think it’s thrilling in this film with these two people…I always knew that with these two people, his character knew her pain like nobody else would know her pain, and her character knew his pain like nobody else would ever know his pain. And I think it’s a relief and thrilling when these two people get together. It’s more than just a love story, a romance. It’s really profound when they get together and whew, they can lighten up a little bit.

After the Roundtable With Kevin Kline

Kevin Kline is Mathias Gold in Israel Horovitz's 'My Old Lady. Photo by Carole Di Tosti

Kevin Kline is Mathias Gold in Israel Horovitz’s ‘My Old Lady. Photo by Carole Di Tosti

After the Roundtable, I had the opportunity to tell Kevin Kline that the first time I had seen him perform was in The Knack and How to Get It at The Saratoga Performing Arts Center. This was  in the early 1970s when The Acting Company summered there and performed a variety of plays hosted by Artistic Director John Houseman. Kline is a founding member. Kevin Kline discussed an interesting fact about that particular production. It was with The Knack that cast members commented about his talent for comedy and his “being funny.” Prior to that role, he was only interested in and performing serious dramatic parts. He never imagined himself in comedies. Their comments and his success in The Knack were a revelation.

That role (Kline was amazing, memorable, so vibrant, his actions fluidly natural), opened up another world of opportunity and opened his eyes and talents to new considerations. Of course, as he grew in repertory, this led him to develop his talents in comedic roles. Each experience in a comedic role led to gaining additional experience in another and that experience in another. He was stretching his talent and avoiding what Houseman often counseled against, falling into the typical Hollywood style  of allowing oneself to be typecast, getting “stuck” in the “same old parts.”

Kline’s early successes and the development of his talent to constantly stretch his abilities eventually led to his stellar, award winning  comedic performances in film and on stage: an Oscar for Otto in A Fish Called Wanda, and Tonys for the pirate in The Pirates of Penzance and Falstaff in Henry IV, and On the Twentieth Century to name a few. Of course these are in addition to his having received Drama Desks, Outer Circle Critics awards a Lifetime Achievement Award and an induction to the Theatre Hall of Fame. And we haven’t even discussed his prolific body of Shakespearean performances and performances in other classics and slew of film nominations. The man is exhausting to keep up with and indefinable…prodigious might be a descriptor. Maybe not…too limited.

Kline mentioned that he tells student actors to try everything and not pigeonhole (my word) themselves that they should only do one type of role or genre. He is passionate about actors opening up their talents and continually taking risks. Though he didn’t clarify, I would imagine Kline would think this especially so for actors in repertory or those who are part of a theater company. Truly, repertory seems to be the finest way an actor can grow, learn and stir up his or her abilities. Thankfully, there is Julliard. Would there be more repertory companies to offer such opportunities!