Sometimes junkets can drag on forever. The "talent" may take it's time or things simply take longer than expected. Not so with the Middle Men affair last Sunday. Two interviews, in and out, nobody gets hurt. A quick paced and lighthearted affair, much like the movie it was promoting.
Someone told me later that Luke Wilson wasn't feeling well, but the man hides it well. Besides a little cough here and there, and the way he glared knives at the publicity person's dog before we started the interview, I wouldn't have known the difference.
Cutting these later on I could tell that his energy level's a little low, but it was a pleasure to meet him. I'm a longtime fan. We talked about his character and what is was like to work with James Caan again years after Mr. Caan was so kind as to appear with him in "Bottle Rocket." Their roles in this movie are similar to "Bottle rocket" and it really gave me a nagging sense of Deja-Vu throughout, until I realized that I was actually remembering them from that film.
I am frankly surprised there weren't snipers watching me closely during this interview.
I'm guessing Sony just never bothered to read my website, "Terrible Thoughts I've Had About Eva Mendes.com," and thank goodness for that. Even so, she had a dog the size of a small horse by her side during the entire interview, and that's probably for the best. She came across as funny and smart and, yes, insanely gorgeous, a welcome addition to the sausage party that was the rest of "The Other Guys" press day.
Drew: It’s funny... I’ve heard a couple of people talking, and it seems like the response has been fantastic to the picture. I’ve heard a couple of people say, "Oh, my God, I can’t believe Eva Mendes is that funny."
Drew: I’m a fan of "All About the Benjamins," though, so it’s not a surprise. The first thing I saw you in was a comedy.
Eva: Nice. That was one of my first things ever. That was like my first year acting basically.
Drew: So this feels like, "Ah, good. I knew that and there it is."
Eva: Oh, that’s awesome. I was crazy in "Benjamins."
Drew: I thought not using the sort of comedy ensembles they’ve used in the past and branching out and using people who were really, funny but who aren’t known for it first opens this one up. And whether it’s true or not, I’m starting the campaign online to say that there’s going to be a Best Original Song nomination for 'Pimps Don’t Cry.'
We interrupt "Flipped week" to bring you a "TRON: Legacy" bulletin.
Don't get me wrong, "Flipped" looks like it's going to be a great movie, but there is not a single film that I am more excited about this year than TRON: Legacy. I could easily say that my 10 thru 14 year old self has watched the original TRON on VHS tape close to 100 times and my much older, more mature self has watched it.. ooh a few times more than once on DVD.
I spoke to director Joseph Kosinski at Comic Con (Article coming soon) and according to him the movie lived in his VCR as well, so all signs point to the project being in the right hands.
(Mr. Kosinski should be especially happy today as it was announced that Disney has picked up the film rights to "Oblivion" his Sci-Fi "Illustrated Novel" that he developed at Radical Press.)
Disney released this new picture on the TRON Facebook page, depicting a double-disk'd gladiator either falling or suspended on a clear surface. (we see a bit of this sequence in the new trailer around minute 2:03, The orange highlights tell us this is a bad guy… maybe Clu himself?)
The design and the framing show the filmmakers have a keen eye for precise symmetry. Kosinski brought in industrial designers and other techs to help with the production design. The director also studied architecture in school and the image shows an appreciation for angles if nothing else.
Also captured at the Con was the interview above with Garrett Hedlund, who plays Sam Flynn, the hero of the new chapter. Gregory Ellwood tries to get him to talk about the cool new weapons in the pic, but we mostly just get enthusiasm. Hey, we can't really ask for much more at this point
“Tron Legacy” opens nationwide and in IMAX on Dec. 17.
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We wrap up our "Flipped" coverage with the interviews Drew did with the director and the stars of the coming of age pic.
Although you wouldn't know it from the trailer, the film is a much grittier look at the early sixties than Mr. Reiner's previous nostalgic visit to the period in "Stand By Me." This was very much a conscious choice.
"We wanted it to be a very honest look at what actually happens to kids when they first fall in love… and that families (of the period) were not "Leave it to Beaver." There are fathers who have been disillusioned, there are families that are struggling to make ends meet and don't have enough money to do what they need to do. These are the real things that families had to deal with." Said Reiner.
Rob Reiner's new film "Flipped" is a beautiful piece of work, simple and sincere and wise, featuring a great ensemble cast ranging from their early teens to their seventies. It's great to see Reiner make a film that is every inch as warm and human and enjoyable as the films he made his name with in the early part of his career. It may be based on a novel, but Reiner wrote the adaptation himself, and his voice as a filmmaker has rarely been this crystal-clear.
Reiner and his co-screenwriter Andrew Scheinman retained the unusual structure of the book by Wendelin Van Draanen, and the result is unconventional enough that the trailers for the film never even tried to explain it. "Flipped" is the story of Bryce Loski (Callan McAuliffe) and Juli Baker (Madeline Carroll), two kids who meet when the Loskis move into the house across the street from the Bakers. When they first move in, we see the memory from the perspective of Bryce, complete with voice-over narration. Ten minutes or so into the film, we jump back to the beginning, and this time we see everything from Juli's perspective, complete with voice-over.
The entire film is divided like that, and at first, it just seems like a clever way of setting up some tension in a story of first love. Bryce thinks the little girl across the street is weird, while she looks at him and sees her first kiss hiding in there somewhere. The easy version of this film would just be concerned with getting them to that kiss. Not "Flipped," though. Reiner's far more concerned with those two kids, and the role community plays in the way character evolves.
It has been a few months of sleepless nights, cold sweats and stress induced skin rashes, but we can all rest easy now: It's being reported that Stephen Sommers will return to direct the sequel to "G.I. Joe." Whew!
After conflicting reports from the post production period of "Rise of Cobra" about Sommers being locked out of the editing room, The Wrap is reporting that all conflict has been resolved, the studio likes the draft of the script that "Zombieland" scribes Rhett Reese and Paul Wernick turned in, and all is right with the world. As an added cherry to this sundae of news, Channing Tatum is reportedly returning to reprise his role as "Duke." OK, setting snark to "off."
As a youngster, this writer realized early on that although the G.I. Joe cartoons were lots of fun, they were also slipping through a loophole in the laws that prohibited excessive commercials being shown to children. By producing a show featuring their toys, Hasbro had managed to get half hour commercials for their products on the air. It's a tribute to the writers and animators at DIC and other producers of the cartoon series that so many of us grew to love those characters and consider them our own.
One of the advantages of living in a major metropolitan area is the availability of smaller art-house theaters where you can catch movies that don't make it to the multiplexes. It's debatable if they're worth putting up with the pollution and traffic, but I digress.
Often astounding is the star power that these indie pics can wield. How can a movie have names like these two as well as Bill Murray and Lucas Black and yet we never hear about it? It's rarely due to the quality of the film and usually due to money, politics and perceived trends in "the market" as to whether or not these films see the light of day.
These things are not news, I'm sure, but I'm reminded of them when I hear of movies such as "Get Low," which are just so charming on their surface as to make you shake your head and make a "tisk-tisk" noise with your mouth over the unfairness of it all.
Every now and then, you ask for an interview and things come together just right.
I saw Rob Reiner's new film "Flipped" a few months ago, and I was charmed by it immediately. At that point, I started asking Warner Bros. to put me together with Reiner for a long-form interview like the one I conducted last year with Terry Gilliam at Comic-Con.
That may sound like an easy request, but these days, it's really not. You're typically given ten or fifteen minutes, and since they're typically interested in talking about the new movie or TV show or book or whatever, and since you've got publicists hovering nearby to suggest that you keep the conversation somewhat on-topic, you rarely get a chance to just relax and discuss the full body of someone's work.
In this case, I couldn't imagine doing this interview with the typical restrictions in place. I've met Reiner once or twice in passing over the years, but I've never really been able to talk to him at length. I'm not sure how many more opportunities I'll ever have to do this sort of comprehensive interview with him, especially timed to a film I like as much as "Flipped."
So when I got the call, I dropped everything I had planned for last Friday and I got up early so I could drive out to Reiner's Malibu home by 10:30. I met his wife and sister-in-law on their way out the door, then sat down with Mr. Reiner, the sound of the surf breaking on the shore a few yards away like a constant drumbeat during our entire conversation:
One day, I hope the Smithsonian has an exhibit that features the brain of Adam McKay in a jar, because I truly think his grey matter is a national treasure.
He has a relatively short filmography as a director, and each of his four feature films seems to me to be a further exploration of certain types of characters and conversations. "Anchorman," "Talladega Nights," "Step Brothers," and now "The Other Guys"... McKay is drawn to characters living these outsized lives, turned to their very own radios. He's explored the psyche of the wildly successful jackass in his first two films, and with "Step Brothers," he examined the permanently arrested jackass. One would expect, then that "The Other Guys" is just a new variation on the same thing, giving the jackass a gun this time. But since one of the first things the movie does is take away one character's gun, even that isn't quite what you're going to get. Just when you think he's going to zig, McKay just made a major zag.