Well, it's only two minutes, right? The film itself could be better, right?
Yes, this is a real thing that is actually happening.
Based on Nick Flynn's acclaimed memoir, 'Another Bulls--t Night in Suck City'
'Miss Peregrine’s Home For Peculiar Children' sounds right up his alley
Their voice-over directions? ''Run and jump and growl, and grab the stand and Grr and more wolf-y ...''
Playing two of the series' werewolves, Julia Jones and Boo Boo Stewart back up Taylor Lautner's Jacob in "Breaking Dawn: Part One" -- even if much of their screen time is spent as computer-generated wolves. We spoke with Jones and Stewart in Los Angeles about getting into the appropriately animal mindset in the voice-over booth, being cold and the universal pain of young werewolves in love.
You guys have this great subplot about all the internal politicking, and friendships, in the wolf pack; you get to do these great dramatic scenes ... and then you get to be large computer generated wolves.
Stewart: Finally someone got it right. Everyone keeps asking us, 'What was the makeup process?'
At the same time, that's kind of a compliment to the movie magic of it all; people think its real. How do you as an actor prepare for that whether its in a voiceover booth or walking around a rainforest in not much clothing, getting ready to get your werewolf on?
Stewart: I think I prepare for it by running and trying to get warm before the scene, and embarrassment in the ADR room making werewolf noises. Just weird noises that I wouldn't think a wolf would make.
Jones: There are experts. They know exactly was the sound is. I didn't prepare for it. I didn't realize what was going to be asked of us. Sure enough there we are in the studio like, 'Okay, run and jump and growl, and grab the stand and Grr and more wolf-y.'
'I asked about the squirrel ... because I wanted to crack his chest out and look right at his heart.'
With his inimitable voice -- both in speaking and as a film maker -- and blunt approach to the large and free-ranging places his work and curiosity take him, Werner Herzog is one of moviemaking's most fascinating figures -- a serious intellectual and a smart showman, a charmer who can make you feel a chill in your veins. In his superb and affecting latest documentary "Into the Abyss," Herzog looks at the life, crimes and impending execution of Texas death row resident Jason Burkett, slated to die in 8 days at the time of filming. More intriguingly, Herzog makes no claim to 'objectivity' -- stating from the outset to prisoners and wardens, guards and relatives that he is dead set against the death penalty, as a human and, historically, as a German. The end result is part sociology, part provocation, part Elmore Leonard noir crime story and mainly a disquieting meditation on the most unanswerable question of all time: Why do we kill? We spoke with Herzog in person in L.A.
Watching the film it's interesting -- and not to get really hung up on sort of picking at details when somebody's talking about life and death -- but how problematic is it to get a microphone rig and clearance papers in to somebody who's on death row eight days away from execution? How much paperwork and explanation was required in getting in microphone pack in the cell with Jason Burkett?
Herzog: With the paperwork it's obvious -- you have to write to the inmate, he has to invite you, the warden has to agree. But getting a microphone to him, because normally it's this old fashion telephone, and you hear squeaky voices and the inmate is behind a bullet proof glass wall, and you can't hear them. But the guards, who are pretty much all pro-capital punishment, respected me really from the first moment. I was very straightforward with them and they liked me. They would hand a microphone and a remote pack to the inmate, which they hardly ever do.
And that was something you hadn't arranged? That was just something the guards did?
Herzog: No, but I spoke to the guards and I made my position clear, that I had a probably a different opinion on capital punishment. They said, 'Yes we are pro-capital punishment,' and I said, 'I actually disagree,' and I made my quick explanation as a German with a different historical background -- of course they understood immediately. I had a way to communicate, to somehow find the right tone immediately, and I found the right tone with the guards immediately and the inmate.
A romantic comedy of downsizing, second chances and making friends at community college
"Larry Crowne" (Universal), directed and co-written by and starring Tom Hanks, just wants to be liked. Hanks plays a department store salesman who gets downsized in the economic climate and enrolls in community college to get a degree and a new start and he's as sweet and unassuming and genuine a fellow as you'll see in a film this year. Of course he's just the guy to pull his speech teacher (Julia Roberts) out of the funk of career burnout and a miserable marriage (Bryan Cranston, a procrastinating writer who spends his days searching vintage porn).
Hanks wants to tap into the zeitgeist of the era -- Larry is just another hard working citizen upended in the culture of economic instability and career turmoil -- but the script (co-written with Nia Vardalos, who has a way of softening any material to inoffensive mush) lacks any sense of gravity. Hanks has too much moxie to let little things like unemployment and an underwater mortgage get him down and good old Larry lets go of everything with so little anxiety that it's like he was never invested in the first place.
What the film has going for it mostly is the company. Larry is so unthreatening that the cutest girl in school (Gugu Mbatha-Raw) makes him her new BFF, much to the frustration of her would-be boyfriend (Wilmer Valderrama), and he ends up charming the entire motor-scooter club. That's right, it's community college and these guys buzz around on buzzing little scooters. That's how this film rolls.
On super-heroic colors, 'True Blood' fans and the 'electrifying effect' of a low budget ...
One of the breakout stars of HBO's "True Blood," Ryan Kwanten gets to display a more whimsical -- but no less nocturnal -- side in the independent "Griff the Invisible," which sees him playing Griffin, an office drone who walks by night as a self-styled superhero. With a candy-colored palate and a bold day-glo sensibility, "Griff the Invisible" is now on DVD; we spoke with Kwanten by phone.
When you read the script for 'Griff the Invisible,' was it hard to see the degree of visual whimsy that was going to be in it?
Kwanten: I've got a very vivid imagination, and I thought the script in and of itself was very visual, and not one of the easiest reads, but certainly one of the more pronounced in terms of how it affected me. So that in itself gave me a pretty good indication of what it was going to be like working with Leon (Ford, director). We were very much simpatico when it came to sort of the visual sense. I was still surprised at how it turned out, and only on the positive side.
Looking at the film, would it be wrong to suggest that one of the biggest influences on it is Warren Beatty's 'Dick Tracy' just in terms of a lot of the great primary color stuff that happens with your character?
Kwanten: Yeah particularly in the superhero world, there's 'Dick Tracy,' there's a little bit of Manga in there too. Then there's 'Batman' illusions there too, even when Griff is alone sitting on top of the building kicking his feet back and forth. Although a lot of the action in and of itself is Batman-like, the situation and the emotional state with where he is, is very similar to that. There were definite odes to famous superhero movies, and it followed the formula for what a superhero movie would be, but it was a very unique type of superhero movie.