Movie Trivia:The extras in the group lunch at the Lion’s Club in Take Shelter were only told they would get free lunch and be in a movie. They had no idea the scene would escalate to a physical fight and psychotic rant.<sa
Refn: Um… I think the best way for me to answer that is to say I can’t answer that because… it’s easier for me to answer what I don’t like about movies. And for me to answer that is just to say… nothing.
Gosling:Well, I think, not to keep harping on the same note, I think… well, for instance when I was in the fourth grade, maybe even… I forget what year, but it was sometime in junior school that I first saw First Blood and it kinda put me under a spell. I believed I was Rambo, and I filled my Fisher-Price Houdini Kit up with steak knives and took it into school and tried throwing them at some of the kids during recess. I didn’t hurt anybody, thank god, and I learned my lesson, you know, I’m sorry that I did it… but films have such a powerful effect on me, they always have done. I’ve tried to control that but I don’t think I’ve ever really managed to. But I don’t think I’m alone in recognising that.
“A few years ago, when a potential PTA director’s series was first mentioned, I immediately had my hand up for this one. Everything about There Will Be Blood is precisely my cup of tea - the time period, the sweeping desolation of the landscape, the soundtrack, Daniel Day-Lewis, etc. I didn’t immediately come to the idea of an over-sized stock certificate but the more thought that went into it the more perfect it seemed as a visual embodiment of the film.
I’ve also wanted to go all-in on something resembling a 19th century engraved note for quite some time so this seemed like as good an excuse as any. All told I spent over 100 hours on the illustration - it’s still only about half as involved as I think it should be but after 6 weeks I felt like it needed to be put to bed. .”
“There is something deeply and indefinably interesting in the swinish race,” the novelist Nathaniel Hawthorne wrote, in 1841, from Brook Farm, the Massachusetts commune where he was helping to care for pigs and other livestock. “They appear the more a mystery, the longer you gaze at them; it seems as if there was an important meaning to them, if you could but find out.”
A viewer of Shane Carruth’s new movie “Upstream Color” may come away with a similar feeling. In Carruth’s movie, two lovers are mysteriously linked to each other, and to two pigs. The lovers may even care a little more for the pigs than for each other. The nature of the link is so gruesome that I spent a fair part of the movie’s first twenty minutes yelping, writhing in my chair, and covering my eyes—to the mortification, I suspect, of the other patrons in the movie theatre, who took in the scenes with the equanimity typical of supercool Williamsburg. If, like me and unlike hipsters, you’re squeamish about subcutaneous creepy-crawlies and the erosion of the self, exercise caution.
Andrew Lincoln (Love Actually); Sarah Wayne Callies (Prison Break); Emma Bell (Final Destination); Jon Bernthal (Eastwick); Jeffrey DeMunn (The Green Mile); Laurie Holden (Silent Hill); Michael Rooker (Slither); Norman Reedus (The Boondock Saints).