I'll say two things about Marc Jacobs. He designs beautiful clothes, and he has real screen presence in Henry Alex Rubin's engrossing Disconnect. I'm going to stop short of saying the fashion designer can act because he wasn't on screen long enough for me to reach any real conclusion. But...when he was on screen at an early preview that I saw, I couldn't take my eyes off of him. more »
Also in this afternoon's Biz Break: Almodóvar's next is up for grabs at Cannes, Liam Neeson to take a Walk, Elvira is looking for your horror films, and more...
Even without Mickey Rourke! "I remember meeting with a studio executive after he saw the movie and he said, 'You have a lot to learn about editing.' I said 'I’m sure I do, give me an example.' He brought up the roast beef sandwich scene. 'Well you’re going on and on with, "Are you gonna eat the sandwich, not eat the sandwich," just cut it and get on with the story.' I said, 'Well, that is the story.' It’s a way to talk about friendship. A lot of time you see movies and people are talking about, 'How long have we been friends?' Friends don’t talk about being friends. From the nature of their conversation, you know they’re friends. That was the point. We talk about problems with girlfriends in abstract ways, we get off the point, we get into arguments that are not essential to what the argument is really about. We’re always messy. That, really was the point of Diner." [Baltimore Magazine via The Awl]
Hint: Not a lot. "Rourke was leaving the gym in L.A. yesterday when he joked about using the movie as a torture device ... 'I'm gonna tie you to a chair and make you watch Moneyball all fucking night.'" [TMZ]
Alfred Hitchcock and Cecil B. DeMille might have been able to successfully redo their own movies, but more recent auto-remakes, especially ones that find directors cranking out a U.S. version of their own foreign-language hit, have been a motley crew. The best, like Michael Haneke's 2007 Funny Games and Takashi Shimizu's The Grudge, tend to be merely functional enterprises that revisit what worked the first time around with added English-speaking and possibly more famous actors. But others highlight in a painfully clear way the compromises that so often come with working in Hollywood. Ole Bornedal's wan Nightwatch lost the nasty edge of the Danish original and retained no other distinguishing characteristics, and George Sluizer's 1993 The Vanishing ditched the finale of his 1988 Spoorloos, an uncompromisingly bleak and great ending, for a studio-friendly happy one that undoes everything toward which the first film built.
Backstage at the Spirit Awards Saturday afternoon, Darren Aronofsky was in a jaunty mood. And why not? With Black Swan's two biggest Oscar rivals, The Social Network and The King's Speech, absent from competition at the penultimate awards show of the year (TSN excluded by budget, TKS relegated to the foreign film category), the night belonged to Aronofsky's stylish psychological ballet thriller. So after Black Swan took home Best Cinematography (Matthew Libatique), Best Actress (Natalie Portman), Best Director, and Best Feature, Aronofsky took to the winners' room to have some fun with the press.