Showing posts with label Movies. Show all posts
Showing posts with label Movies. Show all posts

Monday, July 28, 2014

John Le Carré on Philip Seymour Hoffman / Staring at the Flame


MOVIES

Staring at the Flame

John Le Carré on Philip Seymour Hoffman

By John Le Carré
The New York Times, July 17, 2014



I reckon I spent five hours at most in Philip Seymour Hoffman’s close company, six at a pinch. Otherwise it was standing around with other people on the set of “A Most Wanted Man,” watching him on the monitor and afterward telling him he was great, or deciding better to keep your thoughts to yourself. I didn’t even do a lot of that: a couple of visits to the set, one silly walk-on part that required me to grow a disgusting beard, took all day and delivered a smudgy picture of somebody I was grateful not to recognize. There’s probably nobody more redundant in the film world than a writer of origin hanging around the set of his movie, as I’ve learned to my cost. Alec Guinness actually did me the favor of having me shown off the set of the BBC’s TV adaptation of “Tinker Tailor Soldier Spy.” All I was wanting to do was radiate my admiration, but Alec said my glare was too intense.

Come to think of it, Philip did the same favor for a woman friend of ours one afternoon on the shoot of “A Most Wanted Man” in Hamburg that winter of 2012. She was standing in a group 30-odd yards away from him, just watching and getting cold like everybody else. But something about her bothered him, and he had her removed. It was a little eerie, a little psychic, but he was bang on target because the woman in the case is a novelist, too, and she can do intensity with the best of us. Philip didn’t know that. He just sniffed it.

Philip Seymour Hoffman, left, and John le Carré, during the filming of “A Most Wanted Man,”
which opens on July 25.



In retrospect, nothing of that kind surprised me about Philip, because his intuition was luminous from the instant you met him. So was his intelligence. A lot of actors act intelligent, but Philip was the real thing: a shining, artistic polymath with an intelligence that came at you like a pair of headlights and enveloped you from the moment he grabbed your hand, put a huge arm round your neck and shoved a cheek against yours; or if the mood took him, hugged you to him like a big, pudgy schoolboy, then stood and beamed at you while he took stock of the effect.

Philip took vivid stock of everything, all the time. It was painful and exhausting work, and probably in the end his undoing. The world was too bright for him to handle. He had to screw up his eyes or be dazzled to death. Like Chatterton, he went seven times round the moon to your one, and every time he set off, you were never sure he’d come back, which is what I believe somebody said about the German poet Hölderlin: Whenever he left the room, you were afraid you’d seen the last of him. And if that sounds like wisdom after the event, it isn’t. Philip was burning himself out before your eyes. Nobody could live at his pace and stay the course, and in bursts of startling intimacy he needed you to know it.


A Most Wanted Man trailer
Philip Seymour Hoffman, with Rachel McAdams, in “A Most Wanted Man,” based on the John le Carré novel. Kerry Brown/Roadside Attractions




No actor had ever made quite the impact on me that Philip did at that first encounter: not Richard Burton, not Burt Lancaster or even Alec Guinness. Philip greeted me as if he’d been waiting to meet me all his life, which I suspect was how he greeted everyone. But I’d been waiting to meet Philip for a long time. I reckoned his “Capote” the best single performance I’d seen on screen. But I didn’t dare tell him that, because there’s always a danger with actors, when you tell them how great they were nine years ago, that they demand to know what’s been wrong with their performances ever since.



But I did tell him that he was the only American actor I knew who could play my character George Smiley, a role first graced by Guinness in the BBC “Tinker Tailor Soldier Spy,” and more recently by Gary Oldman in the big-screen adaptation — but then, as a loyal Brit, I was claiming Gary Oldman for our own.



Perhaps I was also remembering that, like Guinness, Philip wasn’t much of a lover on screen, but mercifully, we didn’t have to bother about that in our movie. If Philip had to take a girl in his arms, you didn’t actually blush and look away as you did with Guinness, but you couldn’t help feeling that somehow he was doing it for you rather than himself.


Our filmmakers had a lot of discussion about whether they could get Philip into bed with somebody, and it’s an interesting thought that when they did finally come up with a proposal, both partners ran a mile. It was only when the magnificent actress Nina Hoss appeared beside him that the makers realized they were looking at a small miracle of romantic failure. In her role, which was hastily bulked out, she is Philip’s adoring work mate, acolyte and steadying hand, and he breaks her heart.

That suited Philip just fine. His role of Günther Bachmann, middle-aged German intelligence officer on the skids, did not allow for enduring love or any other kind. Philip had made that decision from Day 1 and to rub it in, carried a well-thumbed paperback copy of my novel around with him — and what author of origin could ask more? — to brandish in the face of anyone who wanted to sex the story up.

Mr. Hoffman, right, on that film’s set with the director, Anton Corbijn, far left, and Willem Dafoe.Kerry Brown/Roadside Attractions

The movie of “A Most Wanted Man” also features Rachel McAdams and Willem Dafoe, and opens in a cinema near you, I hope, so start saving now. It was shot almost entirely in Hamburg and Berlin, and numbers in its cast some of Germany’s most distinguished actors in relatively humble roles, not only the sublime Nina Hoss (the film “Barbara”), but also Daniel Brühl (“Rush”).

In the novel, Bachmann is a secret agent on his uppers. Well, Philip can relate to that. The character’s been whisked home from Beirut after losing his precious spy network to the clumsiness or worse of the C.I.A. He has been put out to grass in Hamburg, the city that played host to the 9/11 conspirators. Its regional intelligence arm, and many of its citizens, are still living with that embarrassment.



Bachmann’s self-devised mission is to put the score straight: not by way of snatch teams, waterboards and extrajudicial killings, but by the artful penetration of spies, by espousal, by using the enemy’s own weight to bring him down, and the consequent disarming of jihadism from within.

Over a fancy dinner with the filmmakers and the high end of the cast, I don’t remember either Philip or myself talking much about the actual role of Bachmann; just more generally, about such things as the care and maintenance of secret agents and the pastoral role incumbent on their agent runners. Forget blackmail, I said. Forget the macho. Forget sleep deprivation, locking people in boxes, simulated executions and other enhancements. The best agents, snitches, joes, informants or whatever you want to call them, I pontificated, needed patience, understanding and loving care. I like to think he took my homily to heart, but more likely he was wondering whether he could use a bit of that soupy expression I put on when I’m trying to impress.


Mr. Hoffman as a German intelligence officer on the skids in “A Most Wanted Man.”Kerry Brown/Roadside Attraction




It’s hard now to write with detachment about Philip’s performance as a desperate middle-aged man going amok, or the way he fashioned the arc of his character’s self-destruction. He was directed, of course. And the director, Anton Corbijn, a cultural polymath in Philip’s class, is many wonderful things: photographer of world renown, pillar of the contemporary music scene and himself the subject of a documentary film. His first feature,“Control” in black and white, is iconic. He is currently making a movie about James Dean. Yet for all that, his creative talents, where I have seen them at work, strike me as inward and sovereign to himself. He would be the last person, I suspect, to describe himself as a theoretical dramatist, or articulate communicator about the inner life of a character. Philip had to have that dialogue with himself, and it must have been a pretty morbid one, filled with questions like: At which point exactly do I lose all sense of moderation? Or, why do I insist on going through with this whole thing when deep down I know it can only end in tragedy? But tragedy lured Bachmann like a wrecker’s lamp, and it lured Philip, too.

There was a problem about accents. We had really good German actors who spoke English with a German accent. Collective wisdom dictated, not necessarily wisely, that Philip should do the same. For the first few minutes of listening to him, I thought, “Crikey.” No German I knew spoke English like this. He did a mouth thing, a kind of pout. He seemed to kiss his lines rather than speak them. Then gradually he did what only the greatest actors can do. He made his voice the only authentic one, the lonely one, the odd one out, the one you depended on amid all the others. And every time it left the stage, like the great man himself, you waited for its return with impatience and mounting unease.

We shall wait a long time for another Philip.


John le Carré is the author of “A Most Wanted Man” and, most recently, “A Delicate Truth.” “A Most Wanted Man” will be in theaters on Friday.
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Wednesday, February 1, 2012

Oscar nominations 2012 / What the critics say

 Oscar nominations 2012

WHAT THE CRITICS SAY


Has the Academy chosen wisely? What about the glaring omissions? And who will win? Our panel of experts review the shortlist – and dare to give some predictions

Billy Crystal

The host this year, Billy Crystal, will give us some old-fashioned vaudeville schtick, but who will win what? Photograph: EPA

Flattery will get you everywhere in Hollywood. So it is that the films leading the nominations haul for this year's Oscars – to be presented on Sunday 26 February – are both love letters to movie making.
Martin Scorsese's Hugo is, essentially, about the need to preserve film history, couched in a kids' adventure that pays homage to George Méliès, the early effects pioneer. Michel Hazanavicius's The Artist is a paean to old Hollywood itself, to the silver screen, to studio moguls and to old-school Beverly Hills glamour. Academy voters in their retirement homes must be lapping it up – art telling old artists their art was important, and still is.
After a few years wringing its hands over Iraq, in documentary and feature form, the Oscars recently touched on the financial crisis and the internet but they have clearly decided – in rewarding The King's Speech over The Social Network last year – that the past is a more comfortable country. Of this year's nine best picture nominees, only three – The Descendants, Moneyball and Extremely Loud and Incredibly Close – could be said to be set in anything like the present. (I'm not counting the framing devices in The Tree of Life or Midnight in Paris – both are about characters retreating into the past.)
I thought we lived in a futuristic age, the era of 3D, Sony 4K, Imax, digital distribution, iPads and Netflix. But try telling that to the Oscars. Not even Andy Serkis's motion-capture performances in The Adventures of Tintin or Rise of the Planet of the Apes have been recognised, either as feats of modern acting or as game-changing special effects.
Veterans such as Scorsese, Spielberg, Woody Allen and Terrence Malick are back on top. Hell, even "negro" house servants are providing the entertainment – Help us, indeed. There's not a shred of the experimental about the Oscars this year, nothing daring, nothing new, except a counting system that leaves us with nine nominations for best picture, a move that ends up looking like someone's made a clerical mistake.
The Artist and Hugo are both excellent films that I like very much, but I don't think they can compare even with Scorsese's own work in Taxi Driver, Raging Bull or Goodfellas. What these two leading nominees do is, I suppose, remind viewers that character and story are of utmost importance amid any technological advancement, that man is more significant than machine, that time will get the better of us all, and that charm still has a currency in the digital age.
Even the host this year, Billy Crystal, will give us old-fashioned vaudeville schtick. As they tell us year after year, the Oscar show needs to halt declining ratings. Yet what teenager in Nebraska, or even South Central, is going to watch this and cheer on some unknown Frenchies?
What the Oscar nominations evidence is the entrenched lines now drawn in Hollywood between the blockbusters, franchises and multiplex fillers – movies audiences actually go to see – and the "quality" films for adults with a veneer of intelligence; though even here the two most crowd-friendly films involve the Disneyfication of the first world war and the civil rights struggle.
Obviously, the nominations bring good news for Demián Bichir, the unknown actor grouped with the best actors, and Rooney Mara, whose Lisbeth Salander is just the sort of young, internet cyberpunk you'd have thought the Academy fears. Bet she could even hack into the Pricewaterhouse Coopers computers and leak the results.
But wouldn't it be a relief if the blockbusters got better and were able to be considered come Oscar time? That would be Hollywood really waking up to some kind of new cinema. For now, things have got so bad over there that a black-and-white French pastiche by complete unknowns can come in, silently, and steal off the biggest prize, without breaking sweat.
George Clooney in The Descendants

George Clooney in The Descendants

Best actor

NOMINATIONS
Demián Bichir – A Better Life
George Clooney – The Descendants
Jean Dujardin – The Artist
Gary Oldman – Tinker Tailor Soldier Spy
Brad Pitt – Moneyball
Philip French: For once all five nominated actors (one of them British, one Mexican, one French, two American) give substantial performances in films of some quality. Only the Mexican, Demián Bichir in A Better Life and the Frenchman, Jean Dujardin in The Artist, are unfamiliar faces. The other three – Gary Oldman (Tinker Tailor Soldier Spy), George Clooney (The Descendants), Brad Pitt (Moneyball) – have been considered contenders for years. Pitt has the big advantage of being in a movie about money and baseball.
• Should win: Jean Dujardin. Will win: Brad Pitt.
Sally Hawkins: George Clooney will win. I do love watching him. He has the Midas touch, everything he does turns to gold. But it would be wonderful to see Gary Oldman step up to the podium. Does it get any better than Oldman? He is so special.
• Should win: Tom Hardy for Warrior or Gary Oldman. Will win: George Clooney.
Jason Solomons: Thrilled to see Gary Oldman in here and delighted for Brad because he's great in Moneyball, perfectly cast. But Clooney's been around the Oscar block and he's admirable in The Descendants, reminded me of Jack Lemmon.
• Should win: George Clooney. Will win: George Clooney.
Bidisha: Gary Oldman will win for his dry-skinned performance in Tinker Tailor Soldier Spy, a shadowy film full of underhand men talking about men's things in a manly undertone. Beige macs never looked so mysterious. I'd like Jean Dujardin to win for his turn (and twist, and shimmy, and jazz hands) in The Artist. He can pop his eyes, sigh and glide across a sprung floor in a way that's so Valentino-meets-Beetlejuice.
• Should win: Jean Dujardin. Will win: Gary Oldman.
Mariella Frostrup: I suspect George Clooney will win best actor for The Descendants because they've failed to recognise him for better previous roles like Syriana and Up in the Air. But for me Clooney as a downbeat cuckolded husband is just too great a stretch of the imagination. My choice would be Gary Oldman, who I felt was quietly, powerfully brilliant as George Smiley in Tinker Tailor Soldier Spy. Ryan Gosling has had a spectacular year with Drive and The Ides of March, which hasn't been recognised in best actor nominations.
• Should win: Gary Oldman. Will win: George Clooney.
Meryl Streep as Margaret Thatcher in The Iron Lady

Meryl Streep in The Iron Lady

Best actress

NOMINATIONS
Glenn Close – Albert Nobbs
Viola Davis – The Help
Rooney Mara – The Girl with the Dragon Tattoo
Meryl Streep – The Iron Lady
Michelle Williams – My Week with Marilyn

PF: Five American performers are in contention, three playing Europeans, and only Rooney Mara appearing in a movie generally considered of the first rank, though she's playing a role famously created by a Swede in The Girl with the Dragon Tattoo. The Help, a mediocre tearjerker about racism in the deep south 50 years ago, has a touching performance by Viola Davis. But the real acting competition is between remarkable impersonations of 20th-century icons in second-rate pictures – Michelle Williams's convincing Marilyn Monroe in My Week with Marilyn and Meryl Streep's uncanny Margaret Thatcher in The Iron Lady.
• Should win Meryl Streep. Will win Meryl Streep.
SH: From the list, Meryl should and will win. But then she is a goddess and has an ability to transform. But I would have loved to have seen the beautiful Olivia Colman and Tilda Swinton on that list too, and Kirsten Dunst for Melancholia.
• Should win Meryl Streep. Will win Meryl Streep.
JS: Everyone who isn't called Meryl is just turning up for the party. For all her record-breaking nominations, Streep hasn't won much and her Thatcher is a towering achievement. Voters do love Viola Davis and her admirable dignity nearly rescues The Help. Michelle Williams is lovely but frankly she's no Marilyn Monroe.
• Should win Meryl Streep. Will win Meryl Streep.
B: It'll go to Meryl Streep for her pining in a belittling tribute to the niceness of Denis Thatcher. I preferred Michelle Williams for her nuanced My Week with Marilyn. Or Glenn Close as a cross-dressing butler in Albert Nobbs. Women get Oscars for doing something interesting before being brutalised and dying.
• Should win Michelle Williams. Will win Meryl Streep.
MF: The academy loves Meryl Streep and there is a huge mythology in America about Margaret Thatcher. Out of their list I think she best deserves the gong for The Iron Lady. But it will most likely go Viola Davis for The Help, to make up for the lack of black actors who've won an Oscar to date.
• Should win Meryl Streep. Will win Viola Davis.

The Artist is tipped for an Oscar
The Artist


Best film

NOMINATIONS
War Horse, The Artist, Moneyball, The Descendants, The Tree of Life, Midnight in Paris, The Help, Hugo, Extremely Loud & Incredibly Close
PF: An unusually interesting and varied list of nominees, though they can't be said to touch on any urgent topical interest peculiar to 2011. It is most remarkable of course for featuring Michel Hazanavicius's The Artist, a Franco-Belgian film about the coming of sound to Hollywood, that is both funny and silent, and an American film, Martin Scorsese's Hugo, set in Paris, that is funny and about the silent cinema. Both are likely to take their place as classic films about the cinema itself.
• Should win: The Artist. Will win: The Artist.
SH: The Descendants will get it, but I would love The Tree of Life to win. Because it's Terrence Malick and he is a genius.
• Should win: The Tree of Life. Will win: The Descendants.
JS: Having just nine films is like admitting they couldn't find 10 good enough. Sort this category out – if you're tinkering, allow docs and foreigns in. The Tree of Life is too ethereal to be bound by such earthly matters as a film competition; lovely to see Woody back in but Midnight in Paris isn't even one of his own nine best.
• Should win: The Artist. Will win: The Artist.
B: War Horse. Not since Seabiscuit came out have I been so excited about a film. War Horse features amazing equine method acting – it's as though the old nag really thinks it's going to war and is slowly developing post-traumatic stress disorder! – all coloured in a brown haze from the syrup Spielberg's poured over it. Please, turn those Hollywood horses into Pritt Stick. • Should win: The Artist. Will win: War Horse.
MF: The Artist seems to have been a critical crowd-pleaser, and it has novelty on its side as well as being beautifully realised. My guess is it will beat the other favourite, The Descendants. Forced to choose from the academy's list I would be tempted by Hugo, which showed an altogether more whimsical side to Martin Scorsese. But very importantly I much preferred The Ides of March, which could certainly stand its ground for best picture.
• Should win: Hugo. Will win The Artist.
From Hell and Back Again
From Hell and Back Again

Best documentary

NOMINATIONS
Hell and Back Again, If a Tree Falls: a Story of the Earth Liberation Front, Paradise Lost 3: Purgatory, Pina, Undefeated
{PF: All five nominated films touch on current social and political issues – errors in the American criminal justice system, environmentalism, the Afghan war, the underfunding of public education – except for Pina, Wim Wenders's
rather beautiful 3D tribute to the late German avant-garde choreographer Pina Bausch. The war film, Danfung Dennis's harrowing Hell and Back Again, about a badly injured US marine corps sergeant adjusting to stateside life, makes bold use of feature film techniques to take us into the man's experience.
• Should win: Hell and Back Again. Will win: Hell and Back Again.
SH: Pina by Wim Wenders is such a beautiful film about such a unique and beautiful artist, Pina Bausch. I loved it.
• Should win: Pina. Will win: Pina.
JS: As ever, the Academy's choices are baffling. Undefeated seems the wrong Sarah Palin doc (not Nick Broomfield's) and If a Tree Falls is surely too green for Hollywood. Every time I see scenes from Wim Wenders's Pina, I just think, wow.
• Should win: Pina. Will win: Hell and Back Again.
B: It'll probably go to Hell and Back Again, a doc about an American soldier wounded in Afghanistan returning home. Yep, it's hard when you're a dispensable trained macho killing machine and another country's dispensable trained macho killing machine gets the better of you when you fully expected to Show Them, Bigstyle. I'd like some recognition for Pina, Wim Wenders's doc about the pioneering choreographer Pina Bausch. It's exciting, accessible, vital and visually stunning and pays tribute to a woman of genius. Which is why it won't get no Oscar.
• Should win: Pina. Will win: Hell and Back Again.
MF: Hell and Back Again looks the most likely winner. But I loved If a Tree Falls for its original storyline and timely look at what inspires acts of terrorism, whether in the Middle East or middle America.
• Should win: If a Tree Falls. Will win: Hell and Back Again.

A Separation
A Separation. Photograph: Sportsphoto Ltd/Allstar

Best foreign film

NOMINATIONS
Bullhead, Footnote, In Darkness, Monsieur Lazhar, A Separation
PF: This patronising, ill-conceived award should be reconsidered or abandoned. Films submitted by 63 countries were assessed by an academy committee on the way to a short list. Some notable directors didn't get their films nominated by their national organisations; most that did didn't get on the short list. The only film of the five put to the vote that I'd heard of is Asghar Farhadi's admirable A Separation, a story of a marital break-up and the desire to get out of Iran. It's a film of considerable merit, much admired here when it opened last summer.
• Should win: A Separation. Will win: A Separation
SH: I'm disappointed not to see Troll Hunter or Pedro Almodóvar's The Skin I Live In nominated. I also liked the look of the Canadian film Monsieur Lazhar.
• Should win: Monsieur Lazhar. Will win: A Separation
JS: Good to see Joseph Cedar's Talmud comedy Footnote in here but even I think it's too Jewish to win. Poland's In Darkness has vote-winning Holocaust credentials (shoah-business, they call it) but A Separation has to be favourite, even just to soothe America and Iran's relationship.
• Should win: A Separation. Will win: In Darkness
B: A Separation should and hopefully will win. Made by Asghar Farhadi, this is a stunning masterpiece about marriage, parenthood, family, gender, class and religion, a triumph of acting, writing and direction, a naturalistic urban thriller and psychodrama and a pitch-perfect paragon of contemporary Iranian cinema. Unforgettable.
• Should win: A Separation. Will win: A Separation
MF: A Separation was really wonderful and in this category I'm hoping the Academy and I concur, unlikely though that is. The wonderful Catalan entry Black Bread should have been included in the shortlist and I'd love to have seen the hilarious Irish film The Guard nominated too. The Guard doesn't stand a chance in hell against the big guys, but it's insulting to define it as English, and in the foreign film category it could wipe out the competition. Brendan Gleeson was mesmerising and so funny.
• Should win: A Separation. Will win: A Separation
Tilda Swinton and Jasper Newell in We Need to Talk About Kevin.
We Need to Talk About Kevin

Overlooked

PF: Sad to see no recognition for Kenneth Lonergan's intelligent, thoughtful Margaret, a flawed movie about life in a troubled, divided post-9/11 New York. Completed in 2007, long in post-production, and eventually re-edited by Martin Scorsese, it has excellent performances by Anna Paquin (she shared the London Film Critics' best actress award with Meryl Streep) as a disturbed teenager, Lonergan's wife J Smith-Cameron as her divorced mother, and some splendid writing. It will outlive many other nominees.
SH: Tyrannosaur? Where is it? Paddy Considine for best director? Similarly We Need to Talk about Kevin? It is a masterpiece. Lynne Ramsay is simply remarkable and should be coming home with armfuls of little golden men. But not even a whisper of a nomination?
JS: Tinker Tailor Soldier Spy should have been among best films, Tilda Swinton and Kristen Wiig among best actresses, and Michael Fassbender in there for Shame. Ryan Gosling will come again but surely Senna is the best film not to make the starting grid.
B: All the women. We Need to Talk About Kevin? Wuthering Heights? Bridesmaids? New director Angelina Jolie's excellent Bosnian war drama In the Land of Blood and Honey? Dee Rees and her brilliant, cool, powerful film about black-American lesbian life, Pariah? Kelly Reichardt's neo-western, Meek's Cutoff? Oh, and guess what, Madonna's W.E. is a thousand times better than royal borefest The King's Snooze, in which a man spends two hours overcoming a speech impediment while Helena Bonham Carter looks on. W.E. actually has proper roles for women in it – and, sorry haters, Madonna can direct. Oh, and whither Steve McQueen, director of Shame? Hollywood strongly prefers war-haunted horses to black people or women.
MF: I'm disappointed that Senna isn't included in documentary feature and stunned that Tinker Tailor Soldier Spy isn't on the best film list. Clearly the Academy didn't have the stomach for Shame and Michael Fassbender's performance but I think it was brave, honest and a brilliant piece of work that will become a cult classic. It certainly deserved a nod.

http://www.guardian.co.uk/film/2012/jan/29/oscars-2012-critics-nominations-artist


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Sunday, October 2, 2011

Kisses / The Best Love Scenes from Movies


Picture by Triunfo Arciniegas

Kisses
The best love scenes from movies
By Sammy Yackally

Music: Woods of Chaos by Rob Costlow

A compilation of movie clips showing the best love scenes, in my opinion, you don't have to agree. I tried to pick the absolute best ones, but there are a lot more of them, of course. This is my first video where I mixed clips, so it's not perfect. I hope you will enjoy it!
This video is just for fun. I do not own the clips.
Music: Woods of Chaos by Rob Costlow.
List of movies (in the closing titles): Atonement, Australia, The Illusionist, The Incredible Hulk, The Notebook, The Painted Veil.








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