On the afternoon before the 20th anniversary screening of The Last Days of Disco, starring Kate Beckinsale and Chloë Sevigny with Chris Eigeman, Matt Keeslar, Robert Sean Leonard, Tara Subkoff, Mackenzie Astin, Matt Ross, Burr Steers, Michael Weatherly, Jaid Barrymore, and Jennifer Beals, at the Film Society of Lincoln Center, Whit Stillman sat down with me for a conversation.
The director of Metropolitan, Barcelona, Damsels In Distress, and Love & Friendship and I speak about the importance of locations, props and Alfred Hitchcock, Christian Kracht's The Dead, Lady And The Tramp in The Last Days Of Disco and the film's costume designer Sarah Edwards.
Josh (Matt Keeslar) with Alice (Chloë
At the Crosby Street Hotel in SoHo before meeting with Simon Baker for a conversation on his film Breath, I was greeted by Pepper, his agent's lovely dog, who is also friendly with Ben Mendelsohn. When Simon joined us I told him that I had just come from an interview with Whit Stillman on the 20th anniversary of The Last Days Of Disco. Simon is also in Fabien Constant's Blue Night, starring Sarah Jessica Parker with Jacqueline Bisset, Renée Zellweger and Gus Birney.
Elizabeth Debicki (who was in Jean Genet's The Maids at
The third film in the director’s “Doomed-Bourgeois-in-Love series” follows what today we call “frenemies,” Alice Kinnon (Chloë Sevigny) and Charlotte Pingress (Kate Beckinsale), as they spend their days working their way up the ladder at a New York publishing house and their nights dancing and romancing at a Studio 54-style nightclub.
Cinephiles on both coasts and London (with more screenings to come) have that rare opportunity to see Disco with the filmmakers in person. The Film Society of Lincoln Center kicks off the summer tour with Stillman, Chloë Sevigny, Michael Weatherly, and Mackenzie Astin
The production is significant all-around. Ray Meets Helen marks Rudolph’s sixth collaboration with Keith Carradine, as well as Sandra Locke’s first role in almost two decades.
One might think of Whit Stillman’s minor hit debut as the uptown, Eastside answer to Richard Linklater’s Slacker, which was also released in 1990. Between them they set the template for many a late-century indie: a loose and unfocused narrative peopled by an array of flawed characters discussing life, love, inclusion and exclusion, human existence and God.
The plot ostensibly concerns our sort-of-hero, Tom Townsend (Edward Clements), as he attends a series of preppy parties in various posh apartments in Manhattan. But Tom can’t share a taxi home with the others. He is – gasp! – a “Westsider”, which to a UK audience means he’s not quite as ridiculously wealthy as his friends. This isn’t a late-teen friendship group we normally see on screen. Remember that brilliant tennis club scene in Trading Places?
"They're out there..."
That first meta-statement comes from Naomi (Emily Browning), an Australian twentysomething with a work visa, a temp gig as an archivist's assistant and the sort of youthful bloom that attracts both wanted and unwanted attention. The reply is from Nick (ex-Beastie Boy Adam Horowitz), her married fortysomething employer who's currently doling out the latter; he finishes the sentence with "... and I could take you to one some time," which suggests that underneath his nice-guy facade, something potentially toxic this way lies.
“I loved being around actors,” Gerwig says. “I managed to con my way into the ‘Varsity Show,’ ” Columbia’s satirical musical theater troupe, around the time that Jenny Slate and Kate McKinnon were members. “I was never as funny as they were, but I was always enthusiastic.”
While she was still in college, something seismic happened to the film industry. Digital technology made cameras cheaper, and aspiring directors who never could have financed their films before suddenly found it possible to experiment.
“I saw Andrew Bujalski’s film ‘Funny Ha Ha’ at the Cinema Village, and I think I watched it three times in a row,” she
“I’m born and raised in La, so it’s a world that I know pretty well,” she said. “I lived in the city when I was a child and then I spent most of my young-adult years in the suburbs, so the city was always this mythical thing to us in the suburbs.”
“It Happened in L.A.” follows thirtysomething Annette (Morgan), her boyfriend, Elliot (Jorma Taccone), and her Bff, Baker (Dree Hemingway), as they navigate the perils of the bleak dating scene in Los Angeles. Is there such a thing as a perfect couple, or is that an urban myth?
“It Happened in L.A.,” which was Morgan’s feature directorial debut, premiered at the 2017 Sundance Film Festival
Sitting down at the DGA theater in Los Angeles, Gerwig participated in a talk with Spike Jonze. In preparing for the film, Gerwig would call up directors — including Jonze, Mike Mills, Rebecca Miller, Wes Anderson, Todd Solondz, Whit Stillman, and, of course, Noah Baumbach — and talk to them for hours about a variety of questions she had. So, this was a reunion of sorts for Jonze and Gerwig as they discussed the advice that was given.
Allied (Robert Zemeckis)
That thing we can’t take for granted: a film whose many parts – period piece, war picture, blood-spattered actioner, deception-fueled espionage thriller, sexy romance, and, at certain turns, comedy – can gracefully move in conjunction and separate from each other, just as its labyrinthine-but-not-quite plot jumps from one setpiece to the next with little trouble in maintaining a consistency of overall pleasure. Another late-career triumph for Robert Zemeckis,
“In an age where the modus operandi of love-seeking is ever-changing, a film can feel immediately dated on its journey from script to screen, yet Morgan’s voice feels like one of the freshest on this particular topic in some time,” I said in my review. “Eschewing the insufferable nature of the bulk of today’s romantic comedies, It Happened in L.A. stands apart with
“That night I was offered the role, and I went out to a premiere after party that Harvey Weinstein was also at,” she told Variety. “He motioned for me to come over to him, and then grabbed me to sit me on his lap. I was so surprised and shocked I couldn’t stop laughing because it was so awkward. But then I could feel that he had an erection. I got quiet, but got off his lap quickly. He then asked me to come outside with him and other things I don’t want to share, but it was implied that if I did not comply with doing what he asked me to do that I would not get the role that I
“Just imagine the first sentence of the pitch,” said Vack, over lunch at Soho House. “‘It’s about two people who share an anal fetish, and I’m thinking of my sister to play the lead.’ I knew this particular endeavor was not something I’d be able to find investors for.”
The movie, by the way, was called “Assholes.” It premiered at the SXSW Film Festival, where it won the inaugural Adam Yauch Hornblower Award (a prize reserved for unique filmmaking visions); it also jolted audiences and critics alike,
Declaring 2007 to be the year mumblecore came of age would be equally as fair as labeling it the year mumblecore collapsed. The signs of ascendance and coalescence—group coverage in high-profile publications, series programmed at art houses,
Featuring canonical classics such as Some Like It Hot, Dr. Strangelove, Annie Hall, Duck Soup, Playtime, and more in the top 10, there’s some interesting observations looking at the rest of the list. Toni Erdmann is the most recent inclusion, while the highest Wes Anderson pick is The Royal Tenenbaums. There’s also a healthy dose of Chaplin and Lubitsch with four films each, and the recently departed Jerry Lewis has a pair of inclusions.
Check out the list below (and my ballot) and see more on their official site.
100. (tie) The King of Comedy (Martin Scorsese,
Likely to premiere at Telluride before heading to Toronto and Nyff, Gerwig has worked with a number of talented directors — including Noah Baumbach, Mia Hansen-Løve, Whit Stillman, Todd Solondz, and Rebecca Miller — so it’ll be curious to see what form this debut takes. Check out the new images above and below, along with Nyff‘s synopsis.
Greta Gerwig’s directorial debut is a portrait of an artistically inclined young woman (Saoirse Ronan) trying to define herself in the shadow of her mother (Laurie Metcalf) and searching for an escape route from her hometown of Sacramento.
He then elaborated on the need for a change. “I needed a little bit of that after the ‘Spider-Man’ thing, where there’s so many expectations,” he said. “This was really fun to make, and low stress. It was a bunch of people in a room messing around, having a lot of fun.”
The premiere was held by Amazon Studios and Roadside Attractions, and Webb said he appreciates that Amazon lets their movies have a theatrical run before they hit the Amazon
The company will release Woody Allen’s “Wonder Wheel” without bringing in a distribution partner. The film opens in theaters on Dec. 1, 2017, and is expected to be an Oscar contender.
Amazon began buying and producing films in 2015, working with filmmakers such as Whit Stillman and Spike Lee, and earning Academy Awards for last year’s “Manchester By the Sea” and “The Salesman.” However, it has relied on independent studios such as Bleecker Street, Roadside Attractions, and Lionsgate to bring its film to theaters.
Amazon, Retail Behemoth, Taking Smaller Steps Into Hollywood
With their deep pockets and big ambitions, Amazon and Netflix have upended the film distribution landscape, although they have taken different approaches. Netflix is solely focused on servicing its streaming service subscribers. Amazon believes in premiering movies in theaters before offering them on its Prime digital
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.