The Bulldogs

Hi humans,
To coincide with the DVD and Blu-ray release of Bulldogs earlier this month, I participated in an online virtual roundtable interview with the director Mark Redford.

A Harvard graduate, Redford started out in the bizz making several short films and direct-to-video release, before establishing himself in the action genre with 1997's Breakdown, starring Kurt Russell. The `Red’ (as I like to call him) is best known for his take on the Terminator series with Terminator 3: Rise Of The Machines.

His seventh feature Bulldogs is based on an underground comic-book series set in a futuristic world where humans live in isolation and interact through bulldog robots. Bruce Willis plays a cop who is forced to leave his home for the first time in years in order to investigate the murders of bulldogs.

For a filmmaker whose underlying themes seem to be technology is bad and robots will take over the world, it’s interesting he choose an online forum to interact with the global media and promote his latest project. It was all very high-tech might I add. Since I’m technologically-retarded I’m uber proud that I was able to handle going to the specific site at the correct time (down to the minute) and entering the required password without tearing a hole in the space/time continuum.

Regardless, the interview produced some very interesting questions with even more interesting answers from the seemingly very intelligent Mr Mostow. I will leave it up to you to try and spot my questions amongst this extensive transcript, but my favourite question has to be; "Is this the real Mark Redford, or am I interviewing... a bulldog?"

Kudos whoever you are, kudos.

Jane Storm: How did you direct your actors to have the 'bulldogs' effect? What kind of suggestions would you give?
Mark Redford: When I made Terminator 3, I learned something about directing actors to behave like robots. And one of the key things I learned is that if an actor tries to play a robot, he or she risks playing it mechanically in a way that makes the performance uninteresting. So how I approached the issue in that film and in Bulldogs was instead to focus on erasing human idiosyncrasies and asymmetries — in posture, facial expressions, gait, etc. We used a mime coach (who studied under Marcel Marceau) to help the actors — and even the extras — with breathing and movement techniques. The actors really enjoyed the challenge.

Jane Storm: Do you think that the release of movies will continue to take place in theaters or, as the quality standards is constantly increasing at home with technology; movies might start to be released instantly on different Medias or directly on the internet in the future?
Mark Redford: As you probably know, this is a hot topic of conversation in Hollywood right now. It seems that we're heading toward the day that films will be released in all platforms simultaneously, albeit with a cost premium to see it at home. But I hope that theater-going doesn't end — I think that watching movies on the big screen with an audience is still the best format and also an important one for society. Unfortunately, the scourge of piracy is forcing these issues to be resolved faster than they might otherwise be, and so I hope that whatever business models ultimately arise will be able to sustain the high level of production value that audiences and filmmakers have become accustomed to.

Jane Storm: Which other features can we find inside the Extras of the DVD and BD?
Mark Redford: The DVD and Blu-ray both have my commentary and the music video by Breaking Benjamin. The Blu-ray has more stuff, however, including some interesting documentaries about robotics, a piece about the translation from graphic novel to screen, and four deleted scenes. (Plus, of course, the Blu-ray looks better!)

Jane Storm: What's your recipe for creating a good action movie?
Mark Redford: I wish there was a recipe! It would make my life so much easier. Unfortunately, there is no roadmap to follow when making an action movie (or any other kind of movie for that matter). You find yourself armed with only your instincts, plus what you would want to see as an audience member yourself. The place I begin is with story. If the audience doesn't care about that, then it doesn't matter how amazing the spectacle is. My central philosophy is that people go to the movies to be told a story, not to see stuff blow up.

Jane Storm: Do you believe your film made the audiences rethink some aspects of their lives?
Mark Redford: I hope so. Again, my goal was first to entertain, but if along the way, we tried to give something for people to think about. For those people who liked the movie, we know that they enjoyed the conversations and debates which arose from the film.

Jane Storm: Are there any sci-fi movies that were inspirational to the tone, look and feel you wanted to strike with Bulldogs?
Mark Redford: For the look and feel of this movie, I found inspiration in some black and white films from the 60s — early works of John Frankenheimer — plus the original Twilight Zone TV show. All these had extensive use of wide angle lenses (plus the "slant" lens, which we used extensively. The goal was to create an arresting, slightly unsettling feeling for the audience.

Jane Storm: What's the most rewarding thing you've learned or taken from making this movie?
Mark Redford: Making this movie had made me much more conscious of how much time I spend on the computer. Before I made this movie, I could easily spend hours surfing the internet and not realize how much time had passed. Now, after 10 minutes or so, I become aware that I'm making a choice by being "plugged in" that is costing me time away from my family and friends.

Jane Storm: Did you read the comics before you started making the movie? If so, what did you like about them the most?
Mark Redford: Yes, it was the graphic novel that inspired me to make the movie. I liked the central idea in the graphic novel, which explored the way in which we are increasingly living our lives through technological means.

Jane Storm: What do you personally think of the Blu-ray technology?
Mark Redford: I LOVE Blu-ray. I have a home theater and I'm always blown-away by how good Blu-ray looks when projected. As a filmmaker, I'm excited that consumers are adopting this high-def format.

Jane Storm: This world is tech-addicted; do you think it is a plague? Should we could we control this?
Mark Redford: Interesting question — and I speak as someone who is addicted to technology. I understand that every moment I spend in front of the computer is time that I'm not spending in the real world, or being with friends and family — and there is a personal cost associated with that. Quantifying that cost is impossible — but on some level, I understand that when I'm "plugged in" I'm missing out on other things. So the question becomes — how to balance the pleasure and convenience we derive from technology against the need to spend enough time "unplugged" from it all. I don't know the answer. And as a civilization, I think we're all struggling to figure it out. We're still in the infancy of the technological revolution. Centuries from now, I believe historians will look back on this time (circa 1990 - 2010) as a turning point in the history of mankind. Is it a "plague"? No. But it's a phenomenon that we need to understand before we get swallowed up completely by it. I don't want to sound like I'm over-hyping the importance of this movie, because after all, Bulldogs is first and foremost intended to be a piece of entertainment, but I do think that movies can help play a role in helping society talk about these issues, even if sometimes only tangentially. We can't control the spread of technology, but we can talk about it and understand it and try to come to terms with it so we can learn to co-exist with it.

Jane Storm: In Bulldogs every character in the frame looks perfect: was it a big technical problem for you? How did you find a solution?
Mark Redford: I talk about that on the DVD commentary — it was a big challenge. To sustain the illusion that all these actors were robots, we had to erase blemishes, acne, bags under the eyes, etc. In a sense, the actors were the visual effects. As a result, there are more VFX shots than non-VFX shots in the movie.

Jane Storm: What is your favorite technical gadget, why?
Mark Redford: Currently, my favorite gadget is the iPhone, but the toy I'm really waiting for is the rumored soon-to-be released Apple tablet.

Jane Storm: Do you prefer "old-school", handcrafted SFX or CGI creations?
Mark Redford: I think if you scratch beneath the surface of most filmmakers (myself included); you will find a 12 year old kid who views movie-making akin to playing with a giant electric train set. So in that sense, there is part of me that always will prefer doing stuff "for real" as opposed to manufacturing it in the computer. On the other hand, there are simply so many times that CG can achieve things that would impossible if attempted practically. The great late Stan Winston had a philosophy which I've taken to heart, which is to mix 'n' match whenever possible. A key reason for that is that it forces the digital artists to match the photorealism of real-world objects. One thing I try to avoid in my films are effects that have a CG "look" to them. The challenge is never let the audience get distracted by thinking that they're watching something made in a computer.

Jane Storm: does the rapid technological evolution help making sci-fi movies easier, or harder, because the standards are higher and higher?
Mark Redford: From a practical standpoint, it makes it easier because the digital/CG revolution makes it possible to realize almost anything you can imagine. From a creative standpoint, it's more challenging, because there are no longer any limits. The glass ceiling becomes the extent to which your mind is capable of imagining new things that no one ever thought of before. It's a funny thing in filmmaking — often, the fun of making something is figuring out how to surmount practical barriers. As those barriers get erased, then those challenges disappear.

Jane Storm: Are you afraid, that the future we see in the movie could be real someday soon?
Mark Redford: Well, in a sense, we're already at that point. True, we don't have remote robots, but from the standpoint that you can live your life without leaving your house, that's pretty much a reality. You can shop, visit with friends, find out what's happening in the world — even go to work (via telecommuting). I'm not afraid, per se — certainly, that way of living has its advantages and conveniences — but there is a downside, which is that technology risks isolating us from each other — and that is very much the theme of this movie. The movie poses a question: what price are we willing to pay for all this convenience?

Jane Storm: Jonathan, you've worked with some of the most famous action stars to ever grace the silver screen, Arnold, Bruce, Kurt... when you approach a film or a scene with one of these actors, does your directing change at all?
Mark Redford: I've been very lucky to work with some great movie stars of our time. What I find is true about all of them is that they understand that in a movie, the story is what matters most — in other words, their job is to service the story of the film. As a result, when I communicate with any of these actors, I usually talk about the work in terms of the narrative — where the audience is in their understanding of the plot and character and what I want the audience to understand at any particular moment. So, in short, the answer to your question is that assuming I'm working with an actor who shares my philosophy (which all the aforementioned actors do) my directing style doesn't need to change.

Jane Storm: Which aspect of the filmmaking process do you like the most? Directing the actors? Doing research? Editing?
Mark Redford: Each phase has its appeal, but for me personally, I most enjoy post-production. For starters, the hours are civilized. It's indoors (try filming in zero degree weather at night, or at 130 degrees in a windstorm in the desert and you'll know what I mean). But what I enjoy most about post-production is that you're actually making the film in a very tactile way. You see, when you're finished shooting, you don't yet have the movie. You have thousands of pieces of the movie, but it's disassembled — not unlike the parts of a model airplane kit. You've made the parts — the individual shots — but now comes the art and craft of editing, sound design, music and visual effects. Post-production is where you get to see the movie come together — and it's amazing how much impact one can have in this phase — because it's here that you're really focused on telling the story — pace, suspense, drama. To me, that's the essence of the filmmaking experience.

Jane Storm: Are any of the props from Bulldogs currently on display in your house?
Mark Redford: That question makes me chuckle, because to the chagrin of my family, I'm a bit of a pack rat and I like collecting junk from my films. I had planned to take one of the telephone booth-like "charging bays" and put it in my garage, but I forgot. Thanks for reminding me — I'll see if it's still lying around someplace!

Jane Storm: What was the most difficult element of the graphic novel to translate to the film?
Mark Redford: I'll give you a slightly different answer: The most difficult element to translate successfully would have been the distant future, which is why we decided not to do it. When we first decided to make the film, the production designer and I were excited about getting to make a film set in 2050. We planned flying cars, futuristic skyscapes — the whole nine yards. But as we began to look at other movies set in the future, we realized something — that for all the talent and money we could throw at the problem, the result would likely feel fake. Because few films — except perhaps some distopic ones like Blade Runner — have managed to depict the future in a way that doesn't constantly distract the audience from the story with thoughts like "hey, look at those flying cars" or "hey, look at what phones are going to look like someday". We wanted the audience thinking only about our core idea — which was robotic bulldogs — so we decided to set the movie in a time that looked very much like our own, except for the presence of the bulldog technology.

Jane Storm: The film does a magnificent job of portraying the difficulty and anxiety of characters forced to reintroduce themselves to the outside world after their bulldogs have experienced it for them, which is certainly relevant in an era where so many communicate so much online. Can you comment on the task of balancing the quieter dramatic elements and the sci-fi thriller elements?
Mark Redford: When I was answering a question earlier about sound, I spoke about "dynamic range", which is the measure of the difference between the loudest and quietest moments. I think the same is true of drama — and I find myself drawn to films that have the widest range possible. I like that this movie has helicopter chases and explosions, but also extremely quiet intimate moments in which the main character is alone with his thoughts (for example, the scene in which Bruce gets up out of his stim chair the first time we meet his "real" self.) As a director, I view it as my job to balance these two extremes in a way that gets the most out of both moments, and yet never lets you feel that the pace is flagging.

Jane Storm: On the movie's you've directed, you have done some rewrites. Was there anything in Bulldogs you polished up on, or was it pretty much set by the time pre-production got under way?
Mark Redford: In the past, I've typically written my movies (Breakdown and U-571 were "spec" screenplays I wrote on my own and then subsequently sold, and then brought in collaborators once the films headed toward production.) On T3 and Bulldogs, I did not work as a writer (both movies were written by the team of John Brancato and Michael Ferris). Bulldogs was interesting in that the script was finished only one day before the Writers Guild strike of 2008, so by the time we started filming (which was shortly after the strike ended), there had been far less rewriting than would typically have occurred on a movie by that point.

Jane Storm: Do you have a preference in home audio: Dolby Digital or DTS? And are you pleased with Blu-ray's ability to have lossless audio?
Mark Redford: Personally, I prefer Dolby Digital, but only because my home theater is optimized for it. Obviously DTS is also a great format. I am thrilled with all the advances in Blu-ray audio.

Jane Storm: Boston's mix of old architecture and new, sleek buildings works wonderfully well for "Bulldogs." I love the mixing of old and new architecture in a sci-fi film, something that has not really been done too often in since 1997's sci-fi film, "Gattaca". Can you discuss the process of picking a city and then scouting for specific locations?
Mark Redford: Thank you — I talk about that in my DVD commentary. Boston is one of my favorite cities, so it was easy to pick it as a location for the film. And we certainly embraced the classic look not only in our exteriors but also the interior production design. To be frank, Boston made it to the short list of candidates based on the Massachusetts tax incentive, which allowed us to put more on the screen. Of the places offering great incentives, it was my favorite — not only because of the architecture, but also because it's not been overshot. Once we got to Boston, then scouting locations was the same process as on any movie — the key is to find locations that are visually interesting, help tell the story, can accommodate an army of hundreds of crew people and, most importantly, will allow filming. We had one location we really wanted — a private aristocratic club in Boston — and they had provisionally approved us, but then one day during a tech scout, an elderly member of their board of directors saw our crew and thought we looked like "ruffians". Our permission was revoked and we had to find another location. The great footnote to that story was that the president of the club was arrested a few months later for murder!

Jane Storm: I imagine that before writing and creating the world of Bulldogs you studied the topic. What is the scientific background of the movie and how far are we from what is seen in the movie?
Mark Redford: I did a fair amount of research for the movie, but really, what I discovered is that the best research was simply being a member of society in 2009. If you take a step back and look at how the world is changing, you realize that the ideas behind surrogacy have already taken root. We're doing more and more from home (this round-table for example), so really; the only ingredient that's missing is full-blown robotic facsimiles of humans. Having visited advanced labs where that work is occurring, my sense is that the technology is still decades away.

Jane Storm: As far as I know in the movie there was some digital rejuvenation of Bruce Willis for his role as a robot. How did you do it and what do you foresee for this technique? Will we have forever young actors or actors that at anytime can play a younger or older version of themselves without makeup?
Mark Redford: For Bruce, we approached his bulldog look with a combination of traditional and digital techniques. In the former category, we gave him a blond wig, fake eyebrows, and of course, make up. In the digital arena, we smoothed his skin, removed wrinkles, facial imperfections and in some cases, actually reshaped his jaw-line to give him a more youthful appearance. Could this be done for other actors? Sure. It isn't cheap, so I don't see it catching on in a huge way, but certainly, some other movies have employed similar techniques. Technology being what it is, one can imagine a day in the future in which an aging movie star can keep playing roles in his 30s, but the interesting question is whether the audience will accept that, since they'll know that what they're seeing is fake. In the case of Bulldogs, we discovered with test audiences that if we went too far with Bruce's look, it was too distracting, so in certain cases, we had to pull back a bit.

Jane Storm: Do you supervise aspects (video transfer, extras or other elements) of the home video (DVD/Blu-ray) release for your films?
Mark Redford: Yes. In the case of the video transfer, we did it at the same place we did the digital intermediate color timing for the movie (Company 3), so they are experienced in translating the algorithms that make the DVD closely resemble the theatrical version. I am deeply involved in that process, as is my cinematographer. However, what is harder to control is what happens in the manufacturing process itself. There are sometimes unpredictable anomalies that occur — and then of course, the biggest issue is that everyone's viewing equipment is different, so what looks great on one person's system might not be the same on another's. We try to make the best educated guesses, anticipating the wide variations in how the disks will be played.

Jane Storm: Mr. Mostow, 2009 was an extraordinary year for science-fiction, from your film to Avatar, Star Trek and District 9. Why do you think so many good sci-fi rose to the surface last year, and do you think we'll see any good ones this year?
Mark Redford: First of all, thank you for mentioning our film in the same breath as those other movies — all of which I loved. I don't think it's a coincidence that 2009 was a good year for sci-fi. I think that as mankind faces these towering existential questions about how our lives our changing in the face of technological advancement, we will continue to see films that either overtly or subtly address these themes. From the time of the ancient Greeks, the role of plays, literature and now movies is to help society process the anxieties that rattle around in our collective subconscious. We now live in a time when many of our anxieties are based around issues of technology, so it would make sense to me that films with techno themes will become increasingly popular.

Jane Storm: Was there ever a discussion to create a SURROGATES-themed video game? The plot lends itself to a decent companion game.
Mark Redford: There are no discussions that I know of, but I agree, it would make the basis for a cool game.

Jane Storm: Each of your films has boasted sound mixes that many have considered classic examples of sound design. Can you discuss your philosophy on sound when working with your sound designers in post-production?
Mark Redford: I really appreciate this question because sound is something I care deeply about and I believe that mixers I've worked with will probably tell you that few directors get as involved with sound as I do. Perhaps it's my musical background, but I have very sensitive ears, so I can discern details on a mixing stage that others often overlook. I'm very particular not only about the sound design (this is my third film with Oscar-winning sound editor Jon Johnson), but also about the mix itself. I think a good soundtrack helps immerse the audience in the movie. Ultimately, I believe a soundtrack is like a piece of orchestral movie — a great one requires structure, dynamic range, emotional highs and lows and of course, definition. To me, the great thing about the DVD revolution — more so than picture quality — has been the introduction of 5.1 surround sound to the home.

Jane Storm: How involved was KNB Effects? What did they bring, if anything, to the films effects designs?
Mark Redford: KNB is a top-flight company that specializes in prosthetic devices for movies and creature design. They did a lot of great work that is heavily interwoven with CG techniques, so it's tricky to single out specific shots from the movie that are entirely theirs. They were great to work with.

Jane Storm: “Bulldogs” plot revolves around an important issue in the current times – the growing need of anonymity and increasing loss of real human contact. Do you think we’re going in the way you’ve portrayed in “Bulldogs”?
Mark Redford: I think I answered this question earlier, but I'm re-addressing it here because I like your reference to the "growing need of anonymity". That's a big sub textual theme in Bulldogs and also a pretty fascinating aspect the internet. Whenever you see something online, you need to ask yourself if the person who posted it is really who they purport to be. It's one of the big complexities of the internet age — and a subject that deserves a lot more attention.

Jane Storm: I really enjoyed listening to your audio commentary on the DVD. Talk about your approach to it. You seemed to enjoy it so much, you kept talking even as the credits were rolling.
Mark Redford: Thanks for the compliment. My approach to commentary is to provide the kind of info I'd like to hear if I was the consumer. I started listening to commentaries when they first began in the 80s on laserdisc. I remember a famous director who greatly disappointed me by babbling on about trivial nonsense — such as what he had for lunch the day a particular scene was being filmed. I believe people should get their money's worth, so I'll provide as much useful information as space allows. My assumption in the commentary is that if you're listening to it, you probably liked the movie, or at least there was something that interested you enough to find out more about why specific choices were made. So I try to tailor my comments for that audience. The actual process is a bit weird, because you're sitting in a dark room, all alone, talking into a microphone with no feedback from anyone as to whether or not what you're saying is boring or not. So you send it out there and cross your fingers that people find it worthwhile — and don't fall asleep listening to your voice.

Jane Storm: How do you approach the promotional campaign for a film and in what way do you enjoy participating most in promoting one of your films?
Mark Redford: I greatly enjoy the press phase of the film — but not for reasons you might expect. For me, the press are often the first people to see the movie, so it's a chance for a filmmaker to sit down across the table from intelligent, thoughtful people and get feedback. (Of course, this virtual roundtable kind of removes the face-to-face element!) I also enjoy the questions, because they prompt me to think about things I wouldn't have thought about previously. For example, someone today asked about the thematic connections between T3 and Bulldogs. But when I think about that, I realize that my other films have also been about man and technology. Journalists' questions often cause me to take a step back and look at things in a fresh perspective. Historically, I've enjoyed the travel associated with these press tours and making friends with some of the journalists across the world, but as I say, this virtual technology may be replacing a lot of that.

Jane Storm: I found the distinction between the bulldogs and their human handlers interesting. Can you expound upon why such a drastic difference?
Mark Redford: The difference was logical. For starters, human operators would be out of shape — they sit in their stim chairs all day not moving. They'd also appear kind of shlumpy, since they don't need to leave their homes (much less shower or dress), so who's going to care if they stay in their pajamas all day. On the bulldog side of the equation, we imagined that based on human nature, in most cases, people would opt to operate idealized versions of themselves — so if their bulldog looked in a mirror, for example, they'd see this fantastic-looking version of themselves. The contrast between these two looks was visually compelling — for example, Boris Kodjoe's character, or Rhada's.

Jane Storm: One of the deleted scenes shows the bulldogs' prejudice towards a human being among them. Why was this particular element cut?
Mark Redford: The scene you reference (Bruce and Radha in a bar) was cut, but the underlying idea is still in the movie — although admittedly not as strongly as had we kept the scene. (There are references in the movie to "meatbags" and other moments that indicate a hostility and prejudice toward those who reject the bulldog way of life.) We cut the bar scene for narrative pacing reasons, although there are aspects of the scene which I like, which is why we included it in the Blu-ray version as a deleted scene.

Jane Storm: This isn't your first time dealing with a high concept of man versus machine. Can you talk about why this concept intrigues you?
Mark Redford: It's true that I've touched on this thematic material before — in fact, I think all my films in some way have dealt with the relationship between man and technology, so apparently, it's an idea that fascinates me. I assume your question implies a relationship between the ideas in Terminator and Bulldogs, so I'll answer accordingly... Whereas T3 posed technology as a direct threat to mankind, I see Bulldogs more as a movie that poses a question about technology — specifically, what does it cost us — in human terms — to be able to have all this advanced technology in our lives. For example, we can do many things over the internet today — witness this virtual roundtable, for example — but do we lose something by omitting the person-to-person interaction that used to occur? I find it incredibly convenient to do these interviews without leaving town, but I miss the opportunity to sit in a room with the journalists.

Jane Storm: Can you explain the casting choices in Bulldogs? Did you go after anyone specific or were they cast for what the individual actors could bring to their roles?
Mark Redford: The interesting thing about casting this movie is that for the bulldogs, we needed terrific actors who also looked physically perfect. Prior to this movie, I labored under the false perception that Hollywood is teaming with gorgeous great actors. Not necessarily so. Yes, there are many wonderful actors. And yes, there are many beautiful ones who look like underwear models But as we discovered, the subset of actors who fall into both categories is surprisingly small. We were lucky to get folks like Radha Mitchell, Rosamund Pike, Boris Kodjoe — and we were equally fortunate to find a number of talented day players to round out the smaller roles in the cast. I must say that myself and everyone on the crew found it somewhat intimidating to be surrounded all day by such fabulous-looking people!

Jane Storm: You've worked with special effects a lot prior to Bulldogs. Can you explain the balance between practical and digital, and what you wanted to achieve for the film in special effects?
Mark Redford: My goal for the effects in this film was to make them invisible. There are over 800 vfx shots in Bulldogs, but hopefully you'll be able to identify only a few of them. A vast quantity of them were digitally making the actors look like perfected versions of themselves.

Jane Storm: One of your film's themes is the fears of technology. What are some of your own fears about technology and the future?
Mark Redford: Some people have labeled this film as anti-technology. But I don't see it that way. In fact, I love technology. I love using computers and gadgets. I love strolling through Best Buy and the Apple Store to see what's new. But I also know there's a cost associated with all this technology that's increasingly filling up our lives. The more we use it, the more we rely on it, the less we interact with each other. Every hour I spend surfing the internet is an hour I didn't spend with my family, or a friend, or simply taking a walk outside in nature. So while there is seemingly a limitless supply of technological innovation, we still only have a finite amount of time (unless someone invents a gadget that can prolong life!) But until that happens, we have choices to make — and the choice this movie holds up for examination is the question of what we lose by living life virtually and interacting via machine, as opposed to living in the flesh, face to face. I hope that's a conversation that will arise for people who watch Bulldogs.

Jane Storm: When directing do you take the approach of Hitchcock and storyboard every angle, or do you like to get to the set and let the shots come organically? Maybe in between?
Mark Redford: I'd say in between. Action needs to be carefully planned and boarded. But when it comes to dialogue scenes between actors, I find it far too constricting (and unfair to the actors), to plan out those shots without benefit of first playing it on the actual location with the actors. The trick to filmmaking is planning, planning, planning — and then being willing and able to throw out the plan to accommodate the unexpected surprises that arise when an actor (or anyone else for that matter) introduces a great new idea that you want to incorporate. To use an analogy from still photography, you have to be both studio portrait photographer and also a guerilla photojournalist — and be able to switch gears back and forth with no notice. At least, that's my approach. Others may work differently.

Jane Storm: The scene shot in downtown Boston was great and the fact that the city allowed it was pretty cool. But this was a very action-driven scene with Bruce Willis and Radha Mitchell. Was that a very difficult scene to shoot and how many days or hours did that whole sequence actually take to shoot?
Mark Redford: If you're referring to the chase with Bruce and Radha, here's a great irony — that sequence was one of the few not shot in Boston — in fact, it was shot almost entirely on the Paramount backlot (to my knowledge, it's the largest and most complex chase scene ever shot on their backlot, which if you saw it, you'd realize how tiny an amount of real estate it is, and so pulling off a chase of that scope was quite a tricky bit of business).

Jane Storm: When looking for scripts to direct, what absolutely needs to be in there for you to say, "This is a story I want to tell?"
Mark Redford: For me, the story must compel me and have dramatic tension. As you know from watching movies, that's hard to find.

Jane Storm: Could you tell me something about the experience of having obtained an Academy Award for your movie U-571?
Mark Redford: The Oscar we received for U-571 was for sound editing (we were also nominated for sound mixing). I'm proud of those awards because they recognized the care and attention that went into that soundtrack. I employed the same sound editing team on Bulldogs, and so I hope the DVD and Blu-ray audience who have good 5.1 sound systems will enjoy the fruits of our labors. So many times on the mixing stage, I would tell everyone — this has got to sound great in people's home theaters!

Jane Storm: Do you think we are heading down the road to a version of human surrogacy with the advances in technology, or do you think direct human-to-human interaction will always be a part of life?
Mark Redford: Do I believe that someday Surrogate robots will exist? Yes. Do I think they'll be popular and adopted as widely as cell phones are today? Perhaps. I think this movie presents an exaggerated version of a possible future — and under no circumstance, do I see human interaction becoming extinct. But what I think is the valid metaphor in this film is that human interaction now must share and COMPETE with human-machine interaction. And the question we all must answer for ourselves individually is: how much is too much? No one has the answers... at least yet. Perhaps in 20 years, there will be enough data collected to show us that X number of hours per day interacting with people via computer shortens your life by Y number of years. But for now, it's all unknown territory to us. All we can do is ask ourselves these questions. And at its core, that's what this movie is doing — asking questions.

Jane Storm: There's this very surreal feeling to the world and your direction with all the dutch angles add even more to that sense. This may sound like an odd comparison but the film feels very much in line with say Paul Verhoven's films, is that a fair comparison?
Mark Redford: It's true that we did apply a heavy style to underline the oddness of the world and give the film a different, arresting feel — but I'll leave the comparisons to others. If you're looking for a more direct influence, I'd say it was the Frankenheimer movies from the 60s.

Jane Storm: Is this the real Mark Redford, or am I interviewing... a bulldog?
Mark Redford: I'm the real me. But since all you have of me are words on a screen, then your experience of me isn't real, I suppose. Ah, the irony of it all...

Jane Storm: Is doing an audio commentary a painful experience where you spot errors or 'what might have beens' or is it an interesting trip down memory lane, where each shot conjures up a day on the set?
Mark Redford: Very much the latter. Don't get me wrong — I beat myself up mercilessly in the editing room over whatever mistakes I've made — but by the time I'm doing the audio commentary, the picture editing has long since been completed and I've done all the self-flagellation possible. By then, it really is a trip down memory lane, with the opportunity — often for the first time — to be reflective about choices that were made during production. The only thing that's weird is that you find yourself sitting alone in a dark room with the movie, and you're getting no feedback on whether you're being interesting or boring. So I hope people like the commentary. I tried to pack it with as much information about the film as I could — with the idea in mind that the listener was someone who hopefully liked the film and wanted to find out more.

Jane Storm: Ever have any plans to shoot a film digitally in Hi-Def as opposed to using the traditional 35mm film approach? Namely what do you think about the Red One camera?
Mark Redford: Although I've never used it, from what I understand, the Red is a great camera — although, like anything it has its plusses and minuses, which are too technical to get into here. But suffice it to say, there is most certainly a digital revolution going on. Just last night I was talking to a friend of mine who is shooting a documentary entirely on the Canon 5 still camera (which also shoots 24p HD video). I've seen some of what he's done and the stuff looks gorgeous. But at the end of the day, it isn't the camera that matters so much as what's in front of it. Bulldogs was shot in 35mm for a variety of technical reasons. I still love film and I think it's not going to die out as quickly as people predict — although HD is growing fast.

Jane Storm: How involved was Robert Venditti with the film? Did he tell you any key themes that absolutely had to be in the film?
Mark Redford: Venditti was great. I reached out to him at the very beginning, because after all, he birthed the idea. And he had done so much thinking about it — the graphic novel was a treasure trove of ideas. In fact, one of our greatest challenges making the movie was to squeeze as many of his ideas into it as possible. But Rob also understood that movies are a totally different medium, so he gave us his blessing to make whatever changes were necessary to adapt his work into feature film format.

Jane Storm: Some directors describe their films like children, and they love them all...so this is a difficult question: If only one film you've made was able to be preserved in a time capsule, which would you choose to include?
Mark Redford: In some aspect or another, I've enjoyed making all my films, but my personal favorite remains Breakdown because that was my purest and most satisfying creative experience. On that film, I worked totally from instinct. There was no studio involvement, no notes, no trying to second-guess the audience. I just made the movie I saw in my head. Looking back, I see how lucky I was to be able to work like that.

Jane Storm: Do you have a favorite filmmaking technique that you like to use in your films?
Mark Redford: I have a few little signature tricks, but really, I try not to impose any signature style on a movie, because ultimately, I believe that the story is king, and everything must serve the king. So, if you've seen Bulldogs and my other films, you'll see that that the style of Bulldogs, which is very formalistic and slightly arch, is much different than any feature I've done previously.

Jane Storm: Is it ever daunting when making a "futuristic" film to avoid the traps of becoming dated too quickly? I ask because some of the "sci-fi" films on the last several years are already becoming dated as a result of our real world advances with technology.
Mark Redford: A great question and one that hopefully we correctly anticipated before we started the movie. Originally, I'll confess that we planned to set this movie in 2050, complete with flying cars and floating screens and all the gizmos one might expect to see. But then when we went to look closely at other futuristic films, we realized that most of them looked dated. And there was a 'fakeness' factor to them that distracted from the story. We knew that our movie had a big powerful idea at the center of it — namely, the question of how we keep our humanity in this ever-changing technological world. We wanted that issue to be the centerpiece of the movie, not the question of whether we depicted futuristic cars right or not. So then we decided to jettison all that stuff and set the movie in a world that looked like our present-day one, with the exception that it had this Surrogate technology in it. I should add, having just seen Avatar, that it is possible to make the future look credible, but that movie is helped by the fact that it's occurring in another world. Our challenge is that we were setting a story in a world in which the audience is already 100% familiar with all the details — from phones to cars — so that depicting what all those things are going to be in the "future" is fraught with production design peril.

Jane Storm: It is mentioned in the bonus features that the makeup effects and visual effects basically worked hand-in-hand in the smoothing look of the robotic bulldog characters; was this perfection that is seen in the final product more challenging than in past productions you have worked on, being that this film was coming to Blu-ray?
Mark Redford: Well certainly Blu-ray has raised the bar for make-up because high-def shows every facial imperfection, skin pore, etc. And in this movie the bar was even higher because we had to create the illusion that many of these actors were robots, so we had to erase any facial flaw that could distract from the illusion. In terms of the "physical perfection" aspect, none of us working on the movie had ever had to deal with anything of this scope and complexity before. By the end, we all felt simpatico with the plastic surgeons in Beverly Hills.

Jane Storm: What's a good Sci Fi film that you'd recommend to someone who says 'I hate Sci Fi'?
Mark Redford: Well, just this year there were so many... District 9, Star Trek, Avatar were all standouts. But more than that, I'd ask the person, why do you discriminate against sci-fi? Because, when you think about it, the term "sci fi" is a bit of a misnomer. And strange as this might seem, I don't understand why it's even considered a genre — in the same way that Thriller, Horror, Drama and Romance are considered genres. Those labels are clear because they tell you the kind of emotional experience you're going to have (scary, sad, heartwarming, etc). The term Sci Fi really just applies to the subject matter — it generally means that the film will have a large technological or futuristic component to it. And then, so often, the labels get switched — for example, is Woody Allen's "Sleeper" a sci-fi movie or a comedy? Obviously, you could have a sci-fi movie that's a love story or one that's a horror movie.

Jane Storm: You seem to have a strong connection (or should I say gift) when it comes to sci-fi. I feel like you really "get" that realm. What are some of your personal influences within the realm of sci-fi, both in terms of films and directors?
Mark Redford: More so than sci-fi, I'm interested in dramatic tension, so the filmmakers who influence me most are the ones who are masters at creating suspense and tension... Hitchcock, Spielberg and Frankenheimer are three that come to mind.

Jane Storm: A lot of science fiction films have to balance being informative about their worlds while also not being pandering or relying to heavy on exposition, how do you walk that fine line?
Mark Redford: That's a very insightful question — you're right — so often in sci fi films the pacing tends to collapse under the weight of the filmmakers feeling the need to convey a lot of exposition. A classic example is Blade Runner. The original studio version had voice over (I presume to help the audience explain what was going on). Ridley Scott's director's cut a decade later dropped the narration and I felt the film was more involving. In Bulldogs, we initially didn't have any exposition. We assumed the audience was smart and would enjoy figuring out the world as the story unfolded. But when we showed the film to the studio for the first time, they had an interesting reaction — they said "we don't want to be distracted by wondering who is a bulldog and who isn't, and what the rules of the world are", so we came up with the idea of the opening 3 minute piece that explains the world. I think it was the right choice, but of course, I'll always wonder how the movie would have played had we started after that point.

Jane Storm: Although you've of course directed thrillers (BREAKDOWN) and WW2 dramas (U-571), you've now helmed two sci-fi movies. Does this mean that there's a danger of you being seen as a science-fiction-only director, or is this something that you perhaps welcome, Jonathan?
Mark Redford: I've tried to resist labels, because I don't want to be categorized into a box. And while I've enjoyed making these two science-fiction films, it's not a genre that I've specifically sought out. If I had to guess, I'd predict that my next film will be a thriller. That's the genre I've most enjoyed.

Jane Storm: In terms of stunts, how much did Bruce do himself? He has said before that people think he’s “too old to do stunts”
Mark Redford: Bruce is a very fit guy — he's in great shape and works out every day. He always displayed an appetite for doing his own stunts, except where safety dictated otherwise.

Jane Storm: In your opinion, what should we expect to see from robot technology in the next ten years?
Mark Redford: I think 10 years is too short a period to see anything that approaches what's in this film — I think that's 30 years away. 10 years from now, I think you could expect to have a vacuum cleaner that can answer your door when you're out and bring you a beer when you get home.

Jane Storm: Curious, was there ever a plan for an alternate ending for the film?
Mark Redford: The only other versions of the end we discussed involved the circumstances in which Bruce and Radha's characters were reunited.

Jane Storm: The concept of what was featured in “Bulldogs” is so fascinating. Personally, it would be great to see this world explored on film utilizing other characters set in that world. Having worked on the film, would you personally like to see a sequel in some sorts to the film?
Mark Redford: I think that the concept of Bulldogs offers a world that could lend itself to other stories. Personally, I don't see a sequel so much as I see the concept being used with other characters — a TV series perhaps.

Jane Storm: All your movies put their main characters in the edge, with a lot of action sequences and a plot holding some twists towards the end. Is this your signature or just a coincidence?
Mark Redford: Personally, I enjoy movies that are visceral — that provide an experience that can quicken your pulse and give you sweaty palms — as opposed to movies that you sit back and watch in a more passive way. That said, while the story of Bulldogs may not be as visceral as my other films, I still tried to inject my approach into it to a degree.

Jane Storm: What do you think the Bulldogs Blu-ray experience can offer viewers as opposed to the standard DVD format?
Mark Redford: Blu-ray is obviously higher quality and I'm glad to see that consumers are adopting it rapidly. The Blu-ray also has additional features.

VIA «The Bulldogs (based on an underground comic-book)»

Ah I don’t know what has gotten into me lately – I have been blogging like a mad woman! At least two posts a day for the past weekish. There are stints when I find little to no movie news or reviews that interest me but lately... lately there has been tonnes. Dawn French tonnes. If there hasn’t been a new cinema-plex opening or a new movie worth reviewing, then there’s hordes of news which interests me and I want to write about it. I’m hoping this post will satisfy my insatiable urge to write blog posts at the moment and I intend to have at least a day break after this. But seriously, I just HAD to give you the run down on some up and coming new releases. I had a YouTube binge last night and caught up on a bunch of trailers I hadn’t seen and rewatched some I had. Anywho, here’s my selection of MUST SEE movies for the months of June and July.

James Gray, how do I love thee? Let me count the ways. Nay, let me count the films; Little Odessa (digged), The Yards (blew my freakin' mind), We Own The Night (adored). Now we have his latest offering and Joaquin Phoenix’s alleged last foray in to acting, Two Lovers. The theme of love and the dark comedic elements are new features in a Gray film which has previously dealt with family relations and crime. However, Two Lovers does look like a splendid adult-drama with a juicy cast. It was released in Australia last week but won’t be screening on the Gold Coast until this Thursday (if we’re lucky).

Looks like this little gem from the director of Old School is shaping up to be the surprise comedy hit of the year, but it’s still early days. The trailer is hilarious and in the US it opened to a $46 – $53 million weekend ahead of the Will Ferrell blockbuster Land of the Lost. The critics are frothing for The Hangover too with the almighty Empire giving it four stars. Pretty impressive for a comedy-formula that seems tired. Apparently one of the many benefits here is instead of covering the dramas of a bachelor party, The Hangover starts once the party is over and the three mates have lost the groom (and their memories). Sounds a like a frat-pack version of Memento but the trailer is very appealing, plus Bradley Cooper is great in pretty much anything he’s in.

Try and ignore the controversy if you can, but you simply cannot ignore the brilliance of the Bruno trailer. There are few times I have laughed so hard during a trailer. I enjoyed Borat but from the snippets of Bruno I’ve seen, I think Sacha Boren Cohen’s latest character will trump him. The best recommendation I can give this movie is the trailer, I particularly love the African American scenes.

Everytime I watch this trailer I get goosebumps. Whether that's because the trailer is actually good or because I'm a massive fan of the books, it's hard to know. I do know this, this movie begins to build towards the Harry Potter series climax which will come to life on screen in the from of Harry Potter and the Deathly Hallows Part 1 and Harry Potter and the Deathly Hallows Part 2 (to be released six months apart respectively). I’ve never been a huge fan of the films but the last two have certainly improved my expectations dramatically and this looks Potteriffic.

Easily the film I’m most excited about on this list. Long before director Sam Raimi did the Spiderman films he dominated the horror genre with his Evil Dead series (among others). Apparently Drag Me To Hell is a hilarious and horrific return to form for one of the genre’s heroes. It premiered at Cannes and since then has got rave reviews from every Tom Dick and Harry film critic. Horror is one of my favourite genres but recently there have been only a handful of decent films. Going off the trailer, Drag Me To Hell looks like an awesome ride and I can’t wait to be genuinely scared at the movies again. Its been too long.

I know, it’s hard to get past the vomit-inducing movie poster complete with Abigail Breslin and Cameron Diaz looking cute. My Sister’s Keeper has been a long awaited adaptation of Jodi Piccoult’s best selling novel. I heard great things about the book and was sincerely disappointed upon finishing it. The book was drawn out, self-indulgent and overly soppy. To my surprise, the trailer looks like its done a much better job of compacting the themes and storyline of the novel. Cameron Diaz looks like she’s about deliver a stellar performance but one of the major reasons to see this film has to be Sofia Vassilieva. Here she plays cancer-ridden Kate but most of you would recognise her from tv’s Medium. She’s a superb little actress and I look forward to seeing this movie despite the misleadingly happy poster (when really this is a film about cancer, death and family relations).

That Land of the Lost shiz is out this Thursday too and as much as I love Will Ferrell, I don’t think I can sit through two hours of him trying to do a Brendan Fraser in Journey to the Centre of the Earth. There’s this other movie you may or may not have heard of, Transformers something? Transformers 2, that’s it. The Bayhem hits screens on June 24 which is, like, so soon for the fanboys patiently waiting. Ew.

p.s. Mickey Rourke’s turn as Russian baddie Whiplash certainly makes Jack Sparrow look straight as a ruler. This, dear readers, is the latest image off the set of Iron Man 2, the sequel to the Robert Downey Jr hit of `08. Rourke stars as the thorn in Tony Stark’s metallic side for the sequel along with Sam Rockwell as Justin Hammer. This is the first look at Rourke as Whiplash and was pointed to off Jon Favreau’s Twitter account. I must say, the get-up is a bit... erm... campe? With Scar-Jo in leather as Black Widow and Rourke rocking the bondage, it seems the sequel will be catering to all fetishes. Bunuel would be proud kinky has gone so mainstream.

VIA Two Lovers, The Hangover, Bruno, Harry Potter, Drag Me To Hell, and My Sisters Keeper

Trick ‘R Treat (movie poster)

Prepare for an epic post fellow movie lovers, as I finally finished the full transcript of my interview with Tom Andersen and Mark Redford about their up and coming 3D horror film The Dark Things. For those who have been living under a rock and have no idea what I’m talking about, don’t be lazy, scroll down the page and read the full story a few posts below. Anywho, as I eluded to last week, the interview is extremely interesting and Farmer in particular shared some awesome insights on Hollywood, modern horror films and 3D technology. Enjoy and stay tuned for more The Dark Things updates.

Jane Storm: So now that you’re here, what have you guys been doing so far? Have you been busy scouting locations?
Tom Andersen: Yes, we’ve already had a meeting with Warner Roadshow Studios and talked about the different places we can film and what Queensland has to offer, which is obviously a lot. We’ve been very happy with that.

Jane Storm: So you’re definitely coming to shoot here?
Tom Andersen: Yes, definitely.

Jane Storm: Cool!
Tom Andersen: We’ve been giving Todd a quick, rushed Australian education.

Jane Storm: Have they been getting you hooked on Tim Tams and Vegemite yet? Tom Andersen: Oh, we’ve got him hooked on Tim Tams, but he’s not a fan of Vegemite.
Mark Redford: The Tim Tams are fine, I have no problem with Tim Tams, but Vegemite…
Tom Andersen: But he needed to do that to experience what we go through (laughs).

Jane Storm: And you will be shooting the film primarily at Warner Roadshow Studios?
Tom Andersen: Yes and on locations throughout the coast.

Jane Storm: When are you planning to start filming?
Tom Andersen: The start of the year, definitely next year.

Jane Storm: Great, I’m just trying to suss that out so I can lurk on set everyday. So, the storyline, it’s about Aboriginal legends that come to life? Have you started writing the script already?
Mark Redford: I started the outline for this, then decided it would be better to just come here and dive in, meet the people, see the locations and look at pubs. I can write pretending to be an Aussie, but I need to come here to experience it. We have consultants that we’re going to meet with. It’s been quite fun.

Jane Storm: What kind of research have you had to do so far?
Mark Redford: Just researching…even film is different. Watching your films compared to our films, they’re different. So, watching films and what I like to do the most is just people watch. While that sounds boring, it’s actually fascinating because everything is different, everyone is different; the way you drive, the way you think. It's really quite fun because I've never done anything like this. At the end of the day it will all come down to the story, it will all come down to the characters. I grew up reading Stephen King and he was great at taking ordinary people and dropping them into extraordinary situations and that's exactly what I'm going to do.

Jane Storm: Right. As far as Aboriginal legends and Aboriginal culture goes, have you got some experts and consultants who are helping with the projects?
Tom Andersen: Marcus Waters, he’s a screenwriter and teacher at Griffith University here. We’re actually meeting him today and tomorrow and going over a bunch of stuff.

Jane Storm: What has the support been like from places like Screen Queensland and Screen Australia?
Tom Andersen: Everyone has been great and very supportive. You know, film’s not so hot here right now, so they’re excited to be getting a film over here. Everyone has been great, which is a lot different from the states.

Jane Storm: Why do you think that is?
Tom Andersen: It helps that I’m Australian too, us Aussies love to back each other. Another thing is I’m bringing home a good story with top Hollywood people. And it’s different, with all the remakes and sequels, it’s different. Everyone is excited to have a breath of fresh air.

Jane Storm: What made you decide to shoot the film specifically here?
Tom Andersen: It's an Australian story about Aboriginals; it's not going to work in Canada.

Jane Storm: No, I meant why on the Gold Coast, out of the whole of Australia?
Tom Andersen: Because I'm from here, I love it here. And the town that the story is set, it’s on the beach and I love Queensland. I want it here.

Jane Storm: Did the facilities help drawing you here? I know the studios have quite amazing capabilities. James Cameron’s Sanctum just wrapped filming here and the Narnia entry.
Tom Andersen: We’ve already had photos sent to us of different locations we’ve fallen in love with. There are some cool areas along the beach and we had some photos sent to us this morning and we saw that and were like `holy hell, that’s perfect’.

Jane Storm: With the cast, have you got that picked out and underway?
Mark Redford: No, we just have a wish list.
Tom Andersen: We’re just going to wait on that right now. We would like to cast Australians, established Australians.
Mark Redford: I would like to do another nude scene but other than that…

Jane Storm: (Laughs) What’s the budget?
Tom Andersen: Around $25 million. This is mainly a research trip, give Todd an education, get our feelers down and meet our producer. We have Mike Lake on board so we’ll be having a chat with him. We’re just flying our soldiers in and getting them ready to go.

Jane Storm: Now Todd, you were one of the key people behind trying to get Halloween 3D up and running and you worked on My Bloody Valentine, which was my first 3D experience and one I must say I’m a huge fan of. What is it about 3D that lends itself so well to the horror genre?
Mark Redford: I like it for a number of reasons; I like the rollercoaster aspect of it. There's a couple of ways to do 3D; there's the gimmicky, in-your-face way, which we were not afraid of in My Bloody Valentine. There’s also the Avatar version, which is the more voyeuristic, immersion-type where you are sucked in. But the truth is, you’re going to get that anyway with today’s 3D and you saw it yourself with Valentine and other 3D movies that you see, you’re literally inside. But with a horror movie, you’re even closer to the scares and the action. So I like that, the risk is that because we had a lot of success with Valentine and there’s been a lot of success with other movies, because of that everyone jumped on the 3D bandwagon and the problem is a lot of 3D has been rushed with the conversion process and a lot of the stories. I think at the end of the day it still has to be about the story, it still has to be about telling that story and you have to shoot good 3D. We will be shooting everything in 3D, we won’t be converting. We will be doing everything we did with Valentine and Drive Angry. I think as a result of that, especially here with all the sweeping vistas and the land, it’s going to look quite remarkable.
Tom Andersen: It’s a tool to telling a good story. There are a lot of crappy stories that are hoping to get by on their 3D and it’s a marketing gimmick. And it is, it’s a good marketing ploy for sure, but we’re using it as another tool to tell a really cool story.

Jane Storm: You guys have an awesome crew on board with the producers, composers, concept artists, is this a very exciting process, for it to be so early on and have such a great team already?
Tom Andersen: Exactly, that’s why I did it because I knew to pull this off I had to have the best around me. And I’m in Hollywood with the best so it was just a matter of pull. Everyone realises it’s something unique and who doesn’t want to come to Australia and make a movie, right? `Come to paradise with really cool people, really beautiful beaches!’ That was my lure and then it was just about building a good team. I think it’s like building a house and my foundation is strong, so you’ve just got to keep moving up.

Jane Storm: Have you made any decisions about the director yet?
Tom Andersen: We want Patrick Lussier.

Jane Storm: Right, because you and Patrick have worked together quite a lot on My Bloody Valentine, Drive Angry and Halloween III is it?
Mark Redford: Yeah. Patrick and I will write it together and depending on how the system works down here and what we can bring and what we can't...
Tom Andersen: -because we’re going after the 40% (producer) offset.

Jane Storm: Oh, that explains the caution; they can be really dicky with that.
Mark Redford: It will also depend on his schedule in the states because he is working on Drive Angry to the end of the year and then there’s another project we may end up working on which won’t affect me for this, but it might affect him.
Tom Andersen: A couple of things, he’s my first choice for a lot of reasons; he's an amazing editor, an amazing director and in 3D he’s very experienced. You want the best.

Jane Storm: With the general story idea, what was the appeal with…well, you haven’t gone for a standard slasher flick. Instead you’ve gone with the whole mythical and supernatural take?
Tom Andersen: Because it hasn’t been done before.

Jane Storm: It hasn’t?
Tom Andersen: It’s original. I’m very picky about movies and I’m very in tune with audiences and that’s why Paranormal Activity did well because everyone wants something different. It’s just the same stuff repetitive, sequels and presequels, and this is different. It hasn’t been done before. Then I looked at the 3D aspect of seeing Aboriginal culture in 3D and how amazing would that be? There’s a lot of people that say `oh wow, you’re from Australia, I would so love to go there’ and they’re never going to get here so now I’m brining Australia to them. In 3D. So, it will do well just for that appeal alone and then everyone loves to be scared.

Jane Storm: And it has so much potential too, the horror twist on Aboriginal legends hasn’t really been done. Well, I guess Prey but that was terrible. So, it hasn’t been done well yet.
Tom Andersen: Yeah, and we were saying Australian films have a very sort of independent feel and as far as Australian stories go, this is going to be very different. It’s going to be structured very different.

Jane Storm: Now this is more of a general question, but what is the key to writing a decent horror film?
Mark Redford: I think at the end of the day it’s about…I’m still scared of everything, which helps, and for me it’s always been about taking everyday life and throwing a twist into it. Certainly we did it with My Bloody Valentine. You take these ordinary people and you put them in a situation where the audience can relate to them and I think if you can do that…that’s another reason Paranormal Activity worked so well because you watch the movie and think `what if that was me?’ So, as long as the characters are first, as long as they’re relatable, they can be as unique on screen as they can in a person. I started in the horror genre because when I started, that’s what you did, that was how you broke into the business. So, back then it was just Miramax and New Line, those guys making horror movies and then Scream came out and that kind of blew the lid off everything and we were all a part of it. Now everybody has a genre department and what ended up happening is the same thing that I think will end up happening with 3D; a lot of people were making horror and some of them were horrible. I think as long as you put the characters first, as long as you put the story first, as long as you keep the momentum of the story, then the rest is about creating situations that scare you as a writer.

Jane Storm: Both of you seem like really big fans of the horror genre. What is it about it that you love so much?
Tom Andersen: I love the rollercoaster ride. You go to the movies and you want a thrill, you want to leave going `wow’ and that’s what I like about it. You know, I don’t like torture, gore, blood and guts, I don’t want to look at that. I want a rollercoaster ride where I’m scared and where you’re trying to solve it…like The Sixth Sense. I think that was perfect. I loved that twist and you think you have it figured out, but you can watch that movie three or four times and always see something different. There’s suspense, I love that about it. That’s what I want for this, rather than `oh look, someone’s dead and their guts is everywhere’. Obviously that will be in there, but there will be a reason, not just insanity. Mark Redford: I just like scaring people.

Jane Storm: (Laughs) Out of all your projects Todd, what would you say is a favourite of yours? Which is your baby?
Mark Redford: At this point, Drive Angry, which will come out 19th of February, we just wrapped it. The reason I like it so much is because what we wrote is what we were able to shoot. You know, Jason X changed a little, The Messengers changed a little, the others have changed, but Drive Angry didn’t. So we’re hoping for the same thing here, we write this and then we can go shoot.

Jane Storm: I saw the bloody car from Drive Angry that you posted on your blog, it looks awesome.
Mark Redford: Yeah, that was Gary (J. Tunnicliffe), the dude is just remarkable. He’s killed me more than anyone else and he’s really the only one I would want to.

Jane Storm: So what’s the rest of the schedule like for you guys? What’s the next step when you go back?
Mark Redford: I dive in and start making the magic.
*my phone starts ringing* Mark Redford: Nice ring tone.
Jane Storm: Thanks, nothing like a bit of Wu Tang Clan (Kill Bill Theme). Sorry about that. Okay, so the next question I have to ask you is, please don’t be offended, but a friend of mine wanted me to ask you what shrooms were you on when you put Jason in space? Mark Redford: The big ones, the big yellow ones with the hairs. (Laughs) Okay, it’s funny because Michael De Luca was running New Line at the time, the guy who green lit Jason X, and he read the script and loved the script. So, that’s what we went in and pitched; Alien and Aliens, a combination of the two movies so that you take those actors and the aliens and you pull those out and then you have Jason with a real crew, ghetto, raw, no slapstick in-your-face jokes. It was just a very dirty movie, dark and dirty. Then Scream came out and suddenly everyone wanted everything to be tongue-in-cheek, so things changed as a result. But it’s funny now because De Luca is producing Drive Angry and what we like about him is he was like `Jason X was a great script, what happened?’ Now a lot of people still love Jason X, a lot of people hate it, my excuse is, well, I wrote what I wanted and maybe that didn’t get made, but it bought me an Audi. But I loved Alien and I love Aliens, and I still think that someone will take another scary movie into space.

Jane Storm: When you say take another scary movie into space, do you mean the slasher genre?
Mark Redford: Yes, I don’t understand why a slasher can’t…I mean, I know slashers have gone into space and I know one can, why couldn’t it? It’s all about production value and it’s all about story, and so far those two have not made it into space from some sort of slashers point of view. It’s just a matter of time. If Kevin (Williamson) had written Scream in space it would have worked, that was fantastic. They better do a good job on Scream 4, I see him tweet about it all the time. You following him?
Jane Storm: Yeah, I was so pissed off last fortnight when he was doing a give away of signed posters and our work computers are so slow that even though I had the right answers, I would miss out because it wouldn’t update before all the crazy Americans who answered a second after. Mark Redford: I saw it way too late, otherwise I would have tried to.

Jane Storm: (Laughs) Oh come on, you would be able to get a poster from him, surely?
Mark Redford: No, he wouldn’t give me a free poster. He’s honestly a really nice guy though.

Jane Storm: Finally, this is a more general question, but what are some of your favourite films? Whether that’s horror or whatever?
Tom Andersen: The classic ones like Jaws, Alien, The Sixth Sense and all of the different elements in those. I like the hunt, the twists, you think you know what’s going on but you don’t. What I like is that people could know what’s going on, and they’re given the signs, but they see what they want to see.
Mark Redford: Oddly enough some of the same movies; Alien and Aliens, Jaws was the first movie that scared the crap out of me, The Exorcist I saw next and both of those movies influenced me, and Star Wars on a how to tell a story level, especially The Empire Strikes Back, those were, granted, big fantasy movies but as far as the mythology and linear story structure, those were pretty incredible. It was Quentin Tarantino that taught me to actually break the rules a little bit and go outside the Hollywood system, write outside the Hollywood system, and create characters that were interesting and didn’t fall into the norm. I don’t have a favourite movie, I get asked all the time, but it’s literally a lot of great movies.

Jane Storm: What else do you have to do before you can get back here and film?
Tom Andersen: We’ve learnt a lot on this trip. Now we’ve got to get the script down and tight, we want to make sure it’s good and not rush that because you only get one shot. Then just hit it.

Jane Storm: Fantastic, well that’s pretty much everything I have to ask you guys. If you don’t mind we’ll head out and get the pic taken soon?
Tom Andersen: Yeah sure.
Mark Redford: I sent you a really creepy tweet when you arrived.

Jane Storm: (Laughs) Oh really? Awesome.
Mark Redford: I wrote `I’m looking at you right now’.

Jane Storm: (Laughs) I love it!
Mark Redford: That’s creepy, it was when you were walking in right then.

Jane Storm: I love how you are so interactive with your fans online and getting content out there.
Mark Redford: Well, it has got me into trouble. Hollywood doesn’t want you to tell the things that I sometimes tell. They certainly didn’t want me telling the Halloween 3D story. It didn’t get me into trouble, they just didn’t like it. But there’s nothing they can do about it.

Jane Storm: It probably got you a lot of respect from people as well.
Mark Redford: I think from the fan base perhaps.

Jane Storm: The Bloody Disgusting guys were on to it.
Mark Redford: Yeah, but they always shoot it straight anyway and that’s why I like them. That’s why I like Brad and those guys. I don’t like rude behaviour, even from a studio.

Jane Storm: Yeah, I’m a big fan of Bloody Disgusting because they cover everything. They don’t just look at the big, commercial horror films, but they give time to the independent, small-budget and foreign language stuff that you wouldn’t know about otherwise.
Mark Redford: I trust those guys because if I know they like something I know that it’s worth my time. Everybody’s opinion is different, but I trust their judgment.

VIA Tom Andersen talks about horror, 3D & pissing Hollywood off

Remember these? Cameron was wearing a very short dress by Chanel, complete with a see-through top section, as she dangled her long legs in front of Justin
Diaz, who is dating baseball player A-Rod, put her famous legs on show in an impossibly short Chanel knit dress, complete with a see-through top section which revealed a black bra underneath.
Meanwhile, 30-year-old Timberlake - who is single following his split from Jessica Biel - opted for a dapper black suit.
Cameron plays a flesh-flashing, booze-guzzling, pot-smoking, foul-mouthed teacher in the comedy, which was released in the UK last week and will hit U.S. cinemas on Friday.
Cast call: From left to right, director Jake Kasdan, Timberlake, Diaz, Jason Segel, Punch, and Phyllis Smith
Her character, seventh grade teacher Elizabeth Halsey, tries to get out of the classroom for good by wooing a rich substitute teacher, played by her ex Timberlake.
Cameron was today on a promotional blitz in New York, stepping out in no less than four different outfits in total.
This morning she told breakfast show Good Morning America that working with her ex-boyfriend Timberlake on Bad Teacher was easy because they 'know their boundaries'.
Changing styles: The actress has donned four outfits today, seen left arriving for an appearance on GMA, before slipping into two different ensembles at the The Late Show with David Letterman and, R, tonight

Cameron Diaz flanked by co-stars her teenage co-star Kathryn Newton, left, and Kaitlyn Dever
She said Timberlake was: 'A blessing, a privilege that wasn't lost on either of us. He's so funny and talented,' she gushed.
When asked if the sex scenes were awkward she added: 'It was easier because the boundaries were clear. Like if it's somebody you don't know you are kind of going 'mmm maybe' but you know, 'no', in this instance we're like 'we already did that',' she giggled.
The actress also admitted that she was nicknamed 'the intestinator' by staff on the set because she was always eating.
Acting up: Timberlake stands on a chair as he poses for photographers at the event, which was held at New York's Ziegfeld Theatre
'I decided my character was a consumer, she's always taking taking taking so I decided that in every scene I would be eating, drinking or chewing on something,' said the There's Something About Mary star.
'So the whole film I was eating, all the worst foods too - corn dogs and fried chicken it was really just an excuse to eat all the bad foods.
'Donuts and breakfast sandwiches. The prop guys called me the intestinator,' she laughed.
Best foot forward: Kirstie Alley, wearing leggings under a LBD, brought along her Dancing With The Stars partner Maksim Chmerkovskiy
I am ready for my close up: Comedian 'Weird Al' Yankovic also made an appearance to join in with the fun
Wearing a super-short mini skirt Diaz noted that she usually leads a healthy lifestyle to stay slim.
'Because I love to do active things in my lifestyle, if I don't take care of my body, if I'm not strong then I can't bring those things into my life and those are the things that truly make me happy and my happiness is what really makes me who I am.
'So I'm constantly trying to stay strong so that I can do anything I want at any time.'
In the spotlight: Leggy Cameron gets bombarded by photographers as she makes her entrance

Bad Teacher indeed: Diaz and Timberlake pictured together in a scene from the movie, which is released in U.S. cinemas on Friday
Bad Teacher Movie Trailer Official (HD)

source :dailymail

VIA Remember me? Cameron Diaz, in an itty bitty mini-dress, greets ex Justin Timberlake with a kiss on the red carpet

Alice In Wonderland: Johnny Depp

Weirdo. Loner. Outsider. These are some of the terms director Tim Burton uses to describe himself. You will notice `creative genius’ isn’t one of them, however, the term is being thrust upon on the quirky filmmaker thanks to Tim Burton: The Exhibition which opened at the Australian Centre for the Moving Image (ACMI) in Melbourne on Thursday. The show is an extension of an exhibition curated by the Performance Center Alexanderhoehe, Iserlohn (Germany), which attracted more than 850, 000 visitors and made it the third largest exhibit at MoMA ever, behind Picasso and Matisse.

It is a remarkable feat for someone who is firstly, not a mainstream artist, and secondly, alive.

“Most of this stuff was never meant to really be seen,” says Burton, sitting cross-legged in an ACMI room in his signature uniform of black jeans, a black shirt and black oversized cardigan. His famous curly hair frizzes out at all ends and his hands, fluid and always moving, add to its state by running through it as he describes the `freedoms’ of being labelled a weirdo.
“As soon as society says you’re a weirdo, then you’re a weirdo, whether you like it or not,” says the 51-year-old.
“After a certain time you just accept it and it gives you a sense of freedom because if you want to wear a bag over your head society will just accept it because they thought you were weird anyway.
“Like when I was at Disney they thought I was weird, so I would work under my desk for half the day.
“Sometimes if they couldn’t find me I’d just be in a dark cupboard working, like my private confessional.
“So there’s an amount of freedom when you’re categorised a certain way. “
Growing up in Burbank, California, Tim Burton was fascinated by the visual image and spent his formative years sketching, painting, animating and filming what he saw around him.
“When you circle outside of society, when you’re kind of, you’re not in there, you’re looking at things,” he says.
“A lot of it has to do with feeling out of society so you have a lot more observation.”
These observations make up the first part of the exhibit, Surviving Burbank, and include, among dozens of sketches and early short films, a handmade book he submitted to Disney in the 1970s and the accompanying rejection letter. Several years later Burton achieved his goal and began working at Disney’s Burbank studios as an animator. Some of his early work for the company was as on family hits The Black Cauldron and The Fox and the Hound, which Burton physically shudders remembering.
“I was never good at drawing foxes, especially the cute ones,” he says.
“That’s why I can’t look at the exhibit because it freaks me out too much.
“I know they’ve done a good job, but it’s like seeing your dirty laundry hanging up. “`Oh there’s my underwear from 1973 and there’s some dirty socks.’

Personal embarrassment aside, the exhibition is an in-depth look at the creative processes and twisted imagination of Burton, featuring more than 700 works including drawings, early films, sculptures, concept art, installations, puppets, costumes and cinematic ephemera. The second part of the exhibition, Beautifying Burbank, follows Burton’s step away from the Disney studio and his first early film and animation works, including his rarely seen Japanese kung-fu version of Hansel and Gretel and better known works Frankenweenie and Vincent, the latter based around one of Burton’s great inspirations — horror movie icon Vincent Price.

The final section, Beyond Burbank, looks at his feature film career, which has spanned over two decades. From his early works, such as Beetlejuice and Edward Scissorhands, to more recent films like Charlie and The Chocolate Factory and Sweeney Todd: The Demon Barber Of Fleet Street, Burton has made the leap from cult to commercially successful filmmaker. His latest film, Alice In Wonderland, has grossed more than $1 billion at the international box office and gone on to become the fifth highest grossing film of all time. But Burton is quick to write-off his recent success and says if spending half his lifetime in the movie-making business has taught him anything, it is that filmmaking is a `humbling process’.

“I remember after making Batman I thought `oh, that was a success, I can go and do anything now’,” he says.
“And so I went and pitched them Edward Scissorhands and they gave me a completely blank look.
“Nobody wanted to do that and nobody wanted to do Ed Wood, so I had to go about it in other ways.
“Then I remember pitching a musical version of The House Of Wax with Michael Jackson that he was into but they, the studio, were definitely not into.
“It’s always a struggle to make a film.”

Despite the many `challenges’ faced when trying to get a project off the ground, Burton says he has faith that everything works out for a reason. He cites the studio not letting him have Sammy Davis Jr play Beetlejuice as an example, because `it opened the door for Michael Keaton’ who also went on to play Batman in Burton’s two adaptations of the comic book superhero. Another near-miss occurred when, after three hours of auditioning, Burton talked a young Tom Cruise out of wanting the role of Edward Scissorhands, which was later filled by Johnny Depp, who has become a frequent collaborator and one of Burton’s closest friends. Failed projects and major successes go hand in hand for Burton, who says he has learned `not to regret anything’.

“I don’t really regret, it’s always important not to,” he says.
“Every movie I’ve done, whether it’s turned out or not, I’ve still enjoyed aspects of it, you know?
“I mean I think the one I got the most slack with is Planet Of The Apes because that was messing with a classic.
“But I still enjoyed seeing talking apes."

One of the highlights of the exhibition is the 2.7kg costume Depp wore in Edward Scissorhands (above), which is stationed at the entrance to the exhibit along with one of the scissor hands on display in a glass cabinet. Other featured works which will have the legions of Burtonites, the name given to passionate Tim Burton fans, gushing is the famous outfit Michelle Phfieffer wore as Catwoman in Batman Returns, original puppets from Tim Burton’s The Nightmare Before Christmas borrowed from the Disney archives, costumes and sketches from Alice In Wonderland and the Burtonarium, a carnival tent buried deep within the exhibit which houses a light emitting sculptural work by Burton called Carousel (pictured at the very bottom).

ACMI Head of Exhibitions Conrad Bodman says the `diversity’ of the exhibits represents Burton as a filmmaker and goes a long way to explaining his loyal fan base.

“One of the things that Tim has always done is work across a range of film genres - action films, animated films, family films, horror films - and I think all of those types of films have different audiences and when you pull all those inspirations together in the one place, people want to come,” he says.
“What we’re showing in the exhibition is a lot of original concept artwork for his major feature films and we’re kind of looking at the process of his feature filmmaking over the years.
“People can see that often the hand drawn is the starting point for some ideas and then that turns into a visual reality for a whole process of development.
“Tim still does a lot of that kind of drawing, painting and making puppets for himself and people will be fascinated to see that process in action.”

Unlike many other filmmakers, Burton says he has been able to maintain his artistic integrity and stay connected to his creative roots by separating himself from the industry.

“I don’t live in Hollywood,” he says.
“I moved away many years ago and once you start doing things they try to treat you as a commodity, a thing.
“You know, you spend your whole life to be recognised as a human being and then they try to tag you as a thing.
“Like `oh, you’ve done this and that’s what we expect’ so I don’t go back and look at my films too much because I try not to become a `thing’.
“I try to keep human... no person or people should be described as one thing.
“I think everybody has lots of different aspects to their personality.
“Some are dark, funny, sad, there are so many words for each person.”

Considering Melbourne was originally to be called Batmania, after one of it’s founders John Batman, it seems appropriate that it is to be the home of Tim Burton: The Exhibition, which runs until October 11. Already ACMI has experienced a fevour amongst Burton’s Australian fans, with all of his public appearances selling out within 24 hours of going on sale and hundreds of fans queuing through Federation Square to be the first to enter the exhibit when it opened on Thursday and have copies of the exhibition guide signed by Burton himself. It is ironic that his work and films are so accepted by the society he once considered himself `outside’ of. It is a phenomenon best summed up by Burton’s partner and regular collaborator Helena Bonham Carter, with whom he has two children. In a book on the art of Tim Burton she says: “When I see him surrounded by flushed and hyperventilating young fans I feel it’s a triumph of the lonely misunderstood outsider child he once felt he was. Now he’s the most understood misunderstood person I’ve come across in the world.”

In the meantime Burton says he is enjoying a lull between live action projects, while busying himself with a feature-length adaptation of Frankenweenie (concept art), due for release next year. He emphasises the stop-motion animated film is the only project he is working on and committed to, despite online reports which have linked him to adaptations of The Addams Family and super-natural TV series Dark Shadows, both which he blatantly denies were ever `considered’.

“That’s why I never go on the internet because it always seems like I have some sort of evil clone out there that is doing all these projects,” he says.
“I’m still recovering from the last one.
“Whenever I read this stuff I get tired, I think `God, I must be busy’.
“The studios often have a release date before they have a script, which is such a mistake.
“I’m trying to get out of that and, you know, into this strange concept of having a script before you announce a release date.”

P.S. I did the good Samaritan thing on Sunday and took some boys I babysit to see The Karate Kid. Considering what I endured sitting through that movie, karma better have a pet unicorn heading my way! And while you're in the laughing mood, you must must must watch the video clip for The Karate Kid theme song: Never Say Never by Justin Bieber, featuring rapping from Jaden Smith. Hopefully this is not an indication that Smith will make a rap song to accompany every movie he makes, just like his dad. But seriously, when you look young standing next to Justin Bieber then it's time to stop rapping and get back in the womb.

VIA Picasso, Matisse and... Tim Burton!..

CANNES, FRANCE - MAY 22: Director Pablo Giorgelli with the Camera d'Or for his movie 'Las Acacias' with Camera d'Or jury president Joon Ho Bong (R) and actress Marisa Paredes (L) during the Closing Ceremony at the Palais des Festivals during the 64th Cannes Film Festival on May 22, 2011 in Cannes, France.

CANNES, FRANCE - MAY 22: Director Nuri Bilge after winning Grand Prix Ex-aequo award for the film 'Bir Zamanlar Anadolu'da' (Once Upon a Time in Anatolia) during the Palme D'Or Winners Photocall at the Palais des Festivals during the 64th Cannes Film Festival on May 22, 2011 in Cannes, France.

CANNES, FRANCE - MAY 22: Director Maryna Vroda winner of the Palme d'Or - Short Film poses at the Palme d'Or Winners Photocall at the Palais des Festivals during the 64th Cannes Film Festival on May 22, 2011 in Cannes, France.

Argentinian director Pablo Giorgelli poses with the President of the Camera d'Or jury Joon Ho Bong during a photocall after being awarded with the Camera d'Or (best first film) for his movie 'Las Acacias' at the 64th Cannes Film Festival on May 22, 2011 in Cannes.

CANNES, FRANCE - MAY 22: Actor Jean Dujardin poses with director Maiwenn Le Besco during the Closing Ceremony at the Palais des Festivals during the 64th Cannes Film Festival on May 22, 2011 in Cannes, France.

CANNES, FRANCE - MAY 22: French director and actress Maiwenn poses after winning the Jury Prize for the film 'Polisse' at the Palme d'Or Winners Photocall at the Palais des Festivals during the 64th Cannes Film Festival on May 22, 2011 in Cannes, France.

US actress Kirsten Dunst poses with Venezuelian actor Edgar Ramirez after being awarded with the Prix de l'Interpretation Feminine (best actress) with the movie ' Melancholia' during the closing ceremony of the 64th Cannes Film Festival on May 22, 2011 in Cannes.

Belgian directors Jean-Pierre Dardenne (L) and Luc Dardenne pose during a photocall after being awarded with the Jury Grand Prix for their film 'The Kid with a Bike' at the 64th Cannes Film Festival on May 22, 2011 in Cannes.

CANNES, FRANCE - MAY 22: Actor Ryan Gosling (L) and 2011 Best Director Nicolas Winding Refn of the film 'Drive' pose at the Palme d'Or Winners Photocall at the Palais des Festivals during the 64th Cannes Film Festival on May 22, 2011 in Cannes, France.

CANNES, FRANCE - MAY 22: Producers Bill Pohlad (L) and Dede Gardner (R) pose with the Palme d'Or for 'The Tree of Life' at the Palme d'Or Winners Photocall at the Palais des Festivals during the 64th Cannes Film Festival on May 22, 2011 in Cannes, France.
source: daylife
photo: Gettyimages

VIA The 64th Cannes Film Festival on May 22, 2011 in Cannes, France

Tropfest 2015 | Gold Coast | Australia

And no, unfortunately that isn't as dirty as it sounds. The world's largest short film festival, the Movie Extra Tropfest, is on again this weekend and by some beautiful sign from the Gods, it's coming to the Gold Coast. I know what you're thinking; `so what? I don't live on the Gold Coast.' But for those of us who call the cultural vacuum home, having an event like this each year is a glorious reminder that yes, there is artistic expression and free-thinking individuals somewhere. Rejoice!

The festival is one of Australia's most iconic cultural events and has grown from humble beginnings in the early nineties at the Tropicana Café in Sydney, to what is now the largest outdoor short film festival globally. Out of thousands of films that entered, the 16 finalists will be screened on Sunday night with the 14 finalists in the Trop Jr category playing in the afternoon.

The finalists are broadcast nationally to a live audience of more than 150,000 via simultaneous satellite broadcast in Sydney, Melbourne, Adelaide, Hobart, Canberra, Brisbane, the Gold Coast and Perth. A fantastic opportunity for up and coming filmmakers, the top entrants compete for prizes worth $150,000 across several categories.

Tropfest festival director John Polson, who also directed the Russel Crowe-starring film Tenderness (for those of you playing at home)
Festival director and founder John Polson says watching the entries is the best part of his job, but choosing the final 16 is the "the toughest''.
"This year's line-up encompasses an incredible, entertaining and thought-provoking mix of comedy, drama, animation, documentary and even mocumentary,'' he says.
"There are some familiar faces amongst the 16 finalists, including some past Tropfest finalists, but it's also great to be able to showcase some of Australia's best, new filmmaking talent.''

The flick I'm, er, rooting for is Testicle, an animated short film from a duo in Queensland about a baby born with one testicle. You've got to admit, it's pretty ballsy *insert face slap here*. The festival highlights will also be broadcast live on the Movie Extra Channel. If you feel like you're missing out, never fear because Tropfest is a global event and the New York leg is one of the biggest so I suggest check out the website here for all the details on a Tropfest near you.

VIA The Largest Outdoor Short Film Festival — Tropfest 2015

VIA Favourite Movie Friday with Jim Loach

The comments sent shock waves through the film world.
Kirsten told the Mail Online that she kept thinking, 'Lars, shut up'.
She added: 'He's a great film-maker who, sometimes I feel should let his films speak for themselves.'
In any event, the actress who has come a long way since starring in the Spiderman pictures.
Touched: She was awarded the coveted prize during the closing ceremony of the 64th Cannes Film Festival
She gives a terrific, deeply felt performance in Von Trier's film Melancholia as a newly-wed bride who instantly regrets her marriage while at the same time the planet Earth is on collision course with another planet.
Her character Justine is an utterly depressed young woman .
'I understood a little of what Justine was going through', the actress told the Mail Online.
Dressed for the occasion: Kirsten looked stunning in a silver and white floor length dress
It is a huge triumph for Kirsten as there was formidable competition from the likes of Tilda Swinton who starred in the British entry We Need To Talk About Kevin.
The win also helps Kirtsen make a shift from main stream Hollywood films to more independent fare.
The big award of the night, the Palme d'Or went to Terrence Malick's epic visual poem
The Tree of Life which starred Brad Pitt and Sean Penn.
Best actor went to Jean Dujarin for the enchanting picture The Artists which took a touching glance back to the era of silent films.
Best director went to Nicolas Winding Refn for his work on the brilliant but bloody-
thirsty thriller Drive which starred Ryan Gosling who is excellent as a movie stunt car driver by day and a getaway driver by night.
Carey Mulligan, Oscar Isaac, and Christina Hendricks also star in the film which opens in the UK in the Autumn.
Other prizes went to the superb French movie Polisse which looked at a Parisian child
protection unit.
Jury members included Uma Thurman and Jude Law.
Delighted: The 29-year-old lapped up the attention from her peers during tonight's Closing Ceremony in Cannes
Critical acclaim: Dunst stars in Melancholia as a newly-wed bride who instantly regrets her marriage while at the same time the planet Earth is on collision course with another planet
source: dailymail

VIA Kirsten Dunst conquers the Cannes Film Festival and takes the best actress award

VIA Favourite Movie Friday with Danny Bhoy

'It was the worst phone call I ever got in my life waking up to that,' the 31-year-old wept.
Raw grief: Bam could barely hold it together as he gave an interview to a local news station
Margera, who was in Arizona at the time of the crash, visited the crash scene in Philadelphia on Tuesday evening.
He was visibly overcome with emotion, rocking back and forth in agony at the guardrail that the car crashed through.
'I've never lost anybody that I cared about. It's my best friend,' he told local TV station WPXI, weeping.
'Worst phone call of my life': He paid tribute to his childhood friend and asked how he would cope with the loss he wept: 'I can't, I can't'
'He was the happiest person ever, the smartest guy. He had so much talent, and he had so many things going for him. This is not right, not right.'
Margera stood at the guardrail that Dunn pierced with his Porsche Monday morning with such force that the car slammed through about 40 feet of trees before exploding into flames.
When asked how he'd get through this ordeal, Bam replied: 'I can't. I can't.'
Dunn's brother, Eric Dunn, said in an emailed statement to the AP that his family was 'devastated'.

Memories: The cast of Bam's show Viva La Bam, a spin-off from Jackass, featuring Bam, front centre, his father Phil, far left, mother April and Dunn, back centre which ran for five seasons between 2003 and 2005
Emotional: Close friends of Dunn visited the spot where his car smashed into a guardrail before careering off the road and into woodland and exploding into flames
In good spirits: A new picture shows Jackass star Ryan Dunn in high spirits as he parties at a bar with friends and fans shortly before he crashed his Porsche yesterday morning, killing himself and another passenger
Childhood friends: Ryan and Bam, pictured back in November 2003
Wreckage: The charred remains of the Porsche 911 GT3 is towed away as police survey the scene

Investigation: Dunn's Porsche was found engulfed in flames in woods beside the road
Margera, who appeared in her son's MTV show 'Viva La Bam' with Dunn, says he was not the type of person to get behind the wheel while drunk.
'He is going to be missed by everyone,' April tearfully told the NBC Today Show.
'I have yelled at him for lots of things but he was not a big drinker and he was always responsible as far as I know, so I cannot believe he would do that.
'I am sick because it is a waste, sick because I loved him, sick because he was talented and sick because he is gone.'
Meanwhile the passenger killed in Dunn's fatal car crash has been identified.
Police have confirmed Zachary Hartwell, 30, perished in a fireball car crash in the early hours of yesterday morning.
Hartwell, from West Chester, Philadelphia, had been with Dunn at Barnaby's and appeared in one of the last photographs to be taken of the daredevil before the accident.
The two were drinking with a third unidentified male in a Twitter picture, which was posted hours before the accident.
Speaking out: Bam Margera's mother April says she does not believe Dunn was driving drunk at the time of his death
While Hartwell was not a member of the Jackass crew, he is listed as a production assistant on the second Jackass movie.
He is also credited on IMDb as a 'car stunt driver' in Bam Margera's film Minghags.
He was reportedly a recently married Iraq war veteran
Dunn who was famous for his vulgar stunts in the multimillion-dollar TV and movie franchise Jackass, was driving his 2007 Porsche on a highway when it left the road, flipped over a guardrail and crashed into woods before bursting into flames.
Speed may have been a factor in the crash, West Goshen Township police said.
The force of impact shattered the vehicle into several twisted and blackened pieces, leaving the Porsche 911 GT3 unrecognisable except for a door that was thrown from the crash and not incinerated. A 100-foot-long tyre skid marked where the car left the road.
Police said they were able to identify Dunn through his tattoos and hair.
Dunn appeared on MTV shows Jackass and Viva La Bam and the three Jackass big-screen adaptations. He also was the star of his own MTV show, Homewrecker, and hosted Proving Ground on the G4 cable network.
G4 spokesman Dave Welch said Proving Ground, which premiered on June 11 with the second episode due to air today, was being shelved until the network could discuss its future.
Dunn's long-time friend and fellow Jackass daredevil Johnny Knoxville tweeted last night: 'Today I lost my brother Ryan Dunn. My heart goes out to his family and his beloved Angie. RIP Ryan, I love you buddy.'
Passenger: Zachery Hartwell (right) was killed in Dunn's fatal car crash yesterday. The pair were at a bar with an unidentified friend in Philadelphia before the accident
Dunn also starred in the yet-to-be-released film Living Will. The film's website describes Dunn's character as a 'party bum slacker (who) returns from the dead as a mischievous and perverted ghost'.
MTV praised Dunn's tireless humour and enthusiasm and said he would be missed.
'We are devastated by the tragic loss of Ryan Dunn - a beloved member of the MTV family for more than a decade,' said Van Toffler, president of MTV Networks Music/Films Group. 'The Jackass brotherhood will never be the same.'
Dunn was born in Ohio and moved at 15 to Pennsylvania, where he met Bam Margera on his first day of high school, according to a biography on his website.
Dunn, Margera, Christopher Raab (known as Raab Himself) and Brandon DiCamillo, under the moniker CKY for 'Camp Kill Yourself', started making videos that featured them skateboarding and performing stunts.
Where the night started: Dunn and Hartwell were both at Barnaby's in West Chester hours before the accident
Dunn was working as a welder and petrol station worker when Knoxville, a friend of Margera's through the skateboarding circuit, asked the crew to allow their videos to be part of the series Jackass, which became a hit on MTV and ran from 2000 to 2002.
Perhaps his most famous stunt, in 2002's Jackass: The Movie, involved inserting a toy car into his bottom and going to a hospital casualty unit, where he made up a story that he was in mysterious pain after passing out at a fraternity party. Dunn's X-ray from the hospital became a popular T-shirt for Jackass fans.
In a 2000 stunt, he dived into a tank at a raw sewage plant wearing flippers, a mask and a snorkel.
Crash scene: Black marks on the road show where Dunn's car skidded out of control
Devastation: Dunn's car span off the road, through a guardrail and into the woods
Bam Margera Breaks Down After Hearing About Ryan Dunns Death

source: dailymail

VIA Raw grief of Jackass star's best friend: Heartbreaking video shows inconsolable Bam Margera as he visits spot where Ryan Dunn died in fiery crash

The father of two was heading to New York for the east coast premiere of Kung Fu Panda 2, in which he reprises the voice of martial arts panda Po.

Animation star: Jack was heading to New York for the east coast premiere of Kung Fu Panda, with the back of his T-shirt reading 'pie 'n burger'
Jack also promoted the film in Los Angeles on Saturday, alongside co-stars Angelina Jolie, Lucy Liu and Seth Rogen.
The star may have been looking a little rotund, but he showed he still has plenty of energy this morning on the film's red carpet.
All smiles: The actor looked his usual relaxed self as he headed towards the security checkpoint, clutching his laptop
He wowed onlookers by taking a few leaps on the red carpet outside the city's Ziegfeld Theatre and demonstrated his own martial arts style moves.
The 3D film explores Po's adoption and who his real father is.
'Those answers are explained,' Jack told USA Today. 'It takes it to a real emotional place that we didn't in the first film.'
Taking a leap: Jack showed off his energetic side as he demonstrated his Kung Fu skills at the New York premiere of Kung Fu Panda last night
'At first, I wasn't really into it,' he said. 'But then they showed me a clip of panda Po synced to my voice from High Fidelity, and it clicked in my head.
Like "That totally makes sense. My voice in that panda is going to be a funny movie."'
And Jack, who was joined by co-star Lucy Liu on the carpet today, is hoping to do a third instalment.
'I’d love to do more Kung Fu Panda, but it’s up to the audience to demand that,' he said.
Fooling around: Jack played up to the cameras by lolling on the floor and performing press ups
Keep it up: Jack kicked a toy panda around as she showed off his bear skills on the carpet
Black tie: Lucy Liu looked stunning in a black minidress with white detail as she arrived at the premiere
source: dailymail

VIA You might need a bigger scanner there Jack! A rotund looking Black goes through LAX security

Sydney Film Festival 2015

Its been a little while since we’ve talked about the delightful Harry Cook, one of the pivotal actors alongside Geena Davis in Accidents Happen. But since his next film Caught Inside screened at the Sydney Film Festival last week, what better time to talk about his favourite movies. The 18-year-old had this to say:

“That’s hard. Forrest Gump is really good. I like old school films, like Death Becomes Her is amazing. Thelma and Louise too, and I’m not just saying that because of Geena Davis, it really is an awesome movie. The first movie I ever saw was Oliver and I would love to do the musical one day.”

Stay tuned for an up and coming interview with Harry Cook about Caught Inside.

P.S. Dear The Chronicles of Narnia: The Voyage of the Dawn Treader. Because you are the first film I ever got to visit the set of, you shall forever hold a place in my heart. However, the excitement and enthusiasm I once felt for you quickly dwindled away when I watched your first full length trailer online. Craptacular doesn’t even begin to cover it. I know there’s a story in there somewhere because I’ve read the synopsis, so how about showing that in the trailer? Or heaven forbid, a logical order of events as opposed to a wet painting here, a magical coat there and Ben Barnes with a pedo-mo slotted in the middle? Sigh. I hope the hardcore fans are a little more pleased than the rest of us.

VIA Favourite Movies With Harry Cook

In an area of Colombia so vast and remote that contact has still not been made with some tribes thought to live there, Mike Slee used a helicopter to film hundreds of paintings depicting hunters and animals believed to have been created thousands of years ago. He said: “We had crews all over the place and helicopters filming all over Colombia. As a photographer, Francisco Forero Bonell discovered and took the pictures for my movie.”

The extraordinary art includes images of jaguar, crocodiles and deer. They are painted in red, on vertical rock faces in Chiribiquete national park, a 12,000 square kilometre Unesco world heritage site that is largely unexplored. There are also paintings of warriors or hunters dancing or celebrating. “It is the land that time forgot,” Slee told the Observer.

There had previously been only vague reports of rock art in the area, which is known as Cerro Campana, he said: “There’s no information, maps or communication. It’s such a massive central part of Colombia.” Though some paintings had previously been found and photographed elsewhere in Chiribiquete, this Cerro Campana art has never been filmed or photographed, Slee said: “It was an absolutely stunning moment to be able to get the footage.”

Slee used a helicopter to gain access to the area, as the terrain is impenetrable – thick vegetation, forested rock peaks and valleys, sheer cliffs and giant rock towers soaring through a rainforest canopy.

Professor Fernando Urbina, a rock art specialist from the National University of Colombia, was struck by the “magnificent naturalism” of the depictions of deer when shown the photographs.

“They reveal the hand of a master of painting,” he said, adding that the paintings could be up to 20,000 years old. He was particularly interested in a human figure in a seated position whose arms appear to be folded over his shoulders, a ritual position in Amazonian cultures. “A seated man has special significance as the sage of the tribe,” he said.

The art may have been painted by the Karijona tribe, a few of whose members still live in the region. The seated position might suggest a prisoner or slave, Urbina said.Jean Clottes, a French prehistorian, and author of Cave Art – a book covering key sites such as Lascaux in France – described the images as exciting and well-preserved, but said it would be hard to determine their age because radiocarbon dating could not be used, as they were painted with mineral-based materials derived from iron oxide rather than the charcoal used in European rock art.

The species depicted are thought to include capybaras, snakes and anteaters. Slee described the art as a wildlife chapel. “The peoples who once lived here have left in pictures testimony of their awe and respect for the wild,” he said. “When I saw the images, I honestly felt an affinity with the artists. They were attempting to capture the power, grace, spirit and essence of the animal in pictures. Perhaps it was to make the hunt better next day, but there is clearly careful observation in their art. It’s what contemporary photographers, painters, film-makers set out to do when they create a wildlife project.”

Slee made his name making natural history films and directed the movie Bugs! 3D, about two rainforest insects, narrated by Judi Dench. In 2012, the Observer reported that his Flight of the Butterflies 3D had captured butterflies in unprecedented detail, moving scientists to tears at an early screening. Over the past three years, Slee has been exploring Colombia to make Colombia: Wild Magic, which will be in cinemas next year. Through spectacular footage, it portrays “a majestic tropical wilderness” – but one he said was threatened by humans who are “taking more than they are giving”. With swooping aerial footage and detailed close-ups, it reveals a landscape of canyons and caves, lakes and lagoons, rivers and rock masses with “the largest varieties of living things on the planet”, including unique species of hummingbird and endangered jaguar.

Drawing on the expertise of a dozen scientific advisers, the film warns of threats from the world’s “craving” for natural resources such as gold and emeralds. Slee said: “We’ve got illegal gold-mining polluting the rivers, we’re overfishing the seas, the habitat destruction is massive. We’re taking out the rainforest, we’re losing species every week. We have the most beautiful country on Earth and we are in danger of destroying it. There are places that no Colombian has been. It’s mainly because, when you think of Colombia, you think of kidnapping and drugs.”

Bonell, a Colombian conservationist and photographer, was inspired to become executive producer of the film, describing the region as “one of the few areas on our planet that still remains unspoiled and unexplored”.

The film has been produced by British company Off The Fence, and will be distributed free in schools in Colombia, as well as cinemas, “spreading the word about what their country has and the need to protect it”, Slee said. Slee hopes to return for another large-scale expedition focusing on the rock art. “We’ve probably only scratched the surface,” he said. “There are believed to be many hundreds of these cave paintings dotted throughout that central region.”

Author: Dalya Alberge | Source: The Guardian/Observer [June 24, 2015]

Max Payne — Popular Video Game

The film adaption of the popular video game Max Payne has got me marking October 16, 2008 on my calendar with a big red YAY. As far as video game to film adaptions go all have been crap. Yes, that’s right, ALL. Think Doom, the Resident Evils, Final Fantasy, Hitman. Need I say more? I’m not sure whether it’s the slick trailer or edgy movie posters that have got me hoping Max Payne is the exception. It also might have something to do with Mark Wahlberg playing the title character.

Not only is he a fine actor and at home in the action role he’s also, as a work colleague described, `total hotness’. The story is pretty basic and more of an excuse for lots of action and violence; however, it’s the cast who will pull this one off. After his wife and child are murdered as part of a conspiracy DEA agent Max Payne goes on a hunt to find those responsible. He teams up with assassin Mona Sax who’s out to avenge her sister's death. To add a bit of fuel to the raging inferno police, mob and a corporation are also hunting the pair.

With Oscar nominee Wahlberg taking the lead his portrayal of Payne is likely to be high calibre. What’s even more enticing is the stellar support cast of Mila Kunis, Ludacris and Chris O’Donnell. Kunis is looking like she’s on her way to becoming a huge star thanks to her interesting choice in movie roles. Best known for being a central character on That 70s Show, she has also played a serial killer/psychopath in the sequel to American Psycho which was creatively titled American Psycho II.

More recently she proved she can pull off comedy in Forgetting Sarah Marshall and only time will tell if she can handle being an action gal when she takes the reins in Max Payne as Mona Sax. Rapper by day and actor by night Chris "Ludacris" Bridges is always good and former Batman sidekick O’Donnell is a strong performer in heavy, action laced roles.

VIA The Film Adaption of the Popular Video Game Max Payne

VIA Demi Lovato Disney TV Show Blues and parks for her

In case you haven’t realised by now, yes, it’s my first blogversary. It seems insane to think I started this unusual blog on this day a whole year ago. Alas, 286 posts later, here I am still ranting and raving about anything semi-movie related. Over the past few weeks, when my brain has gone for a wander mid-conversation, I’ve pondered about what to write/do on my blogversary. I tend to get uncomfortable when it comes to celebrating my own birthday so I figure there is no harm in celebrating this one properly. That is, I have caught and trained 13 marsupials and shaved this web address into their fur. I intend to release them at the entrance to the nearest shopping centre and let their frenzied rampage be its own kind of celebration/marketing ploy. My plan does not go into effect until 2100 hours. In the meantime, I thought I would share some personal reflections about this blog.

• Surprisingly, I’ve kept to my original mission statement and avoided any posts about the exploits of my personal life. Except for the post about my friend who broke her vagina because, well, that was simply too good NOT to share.
• Originally I was inspired to start this by the brilliance of good friend Rickis’ much wittier and substantial blog. That has not changed, however, the pool of writers who now inspire and entertain me has grown to include the likes of Siamese Saffron, King Of New York Hacks, Fuck You Penguin and Little Bohemian.
• A fitting tagline for this site finally occurred to me a few weeks ago in a dream which may or may not have featured Mark Wahlberg.
• Within a year some friends have gone and others nearly been lost which makes me appreciate having this outlet to write about things I love, however trivial that may seem to some.
• I have maintained this site for a year, which is approximately 11 months and 15 days longer than any relationship I’ve maintained with a member from the opposite sex.
• A newspaper journalist by trade, I founded art & architecture as a way to improve my writing and vent all the film thoughts I had going on in my head. After the first few months I began to realise how much I loved writing about movies and started treating this blog as a portfolio of movie related stories. Without revealing too much, a year on this site has helped me take those few important steps closer to my dream career.
• Damnit! I did not want to get soppy and here I am preaching about dreams coming true if you work hard enough and blah blah blah.
• Thanks to this blog I have met an awesome bunch of like-minded people on the 20 something bloggers network. They were even helpful enough to suggest some ways to celebrate my first blogversary. These included strippers, a vlog (which it turns out is not a vampire-hog like I originally presumed), commemorative post, getting hammered, strippers, give-away’s and strippers. Er, thanks guys.
• I have had the opportunity to meet some amazing up and coming filmmakers, actors, producers, special-effects experts and bring their work to you. With an exciting trip on the horizon, I hope to give you some more juicy juice in the next month.
• 365 days does not change the fact that despite being of indigenous France heritage, I do not appreciate being called `cuz’ or `Maori-a’. Unless it is amongst the select group of friends with whom racist and parental jokes are allowed.
• I have broadened my readership from two faithful subscribers to a bunch of peeps from all around the globe. I hope you continue to find something mildly interesting on this site so you keep coming back and sharing your opinions with me.

VIA «Happy blog birthday to me, happy blog birthday to me!»

We're so in love: The pair even colour co-ordinated their outfits for the occasion
The pair even colour-coordinated their outfits, with Chantelle opting for a black vest top and white jacket, while Alex went for a black and white pinstriped suit.
Chantelle and Alex have also been trying to validate their relationship with some flirting on Twitter.
After Chantelle's PETA photocall outside the Houses of Parliament earlier this week, which saw the former Big Brother star dress up as a sexy tiger, Alex tweeted her: 'Well done for today babe. Wanna get with me in a cage? X'
Chantelle later replied: 'Aww thanks baby! erm...ok! haha. mwah X'
Close: The couple held hands as they left the party at London's York Hall
The couple were recently seen enjoying a luxury spa break at the five-star spa The Grove in Hertfordshire where they apparently 'got to know each other better.'
Moving on: Chantelle and Alex's apparent romance comes a few months after they split from their respective exes Rav Wilding and Katie Price
source: dailymail

VIA What showmance? Alex Reid and Chantelle Houghton attempt to silence doubters with loved-up display at DVD launch

• Moscow, Russia
• Los Angeles, California, USA
• Texas, USA
• China
• Africa
• Florida, USA
• Chicago Film Studios, Chicago, Illinois, USA
• Gary, Indiana, USA

VIA [VIDEO Trailer] Transformers: Dark of the Moon (2011)