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Morgan Freeman said that "The Shawshank Redemption" (1994), dir. by Frank Darabont, was "an absolutely delightful script", certainly among the top best scripts he had ever read. He contacted his agent and said: "It doesn't matter which part it is - I want to be in it." He was...

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Quentin Taratino said Lawrence Fishburne’s performance in King of New York was so incredible he thought - “he could be the greatest actor of his generation”. He explains: "As great as Christopher Walken is in this movie. To me, it's Larry Fishburne's movie - it was the rock that becomes a diamond aspect of the movie. It's why I could defend this movie against all comers, because to me, Fish's performance in this movie was comparable to a young Brando. It was the most exciting performance by an actor of his generation that I'd seen in a movie of that time. And I thought, well, that's it. There is a new Marlon Brando, and his name is Larry Fishburne - it was amazing, it was mesmerizing… He is the first hip hop gangster in movie history. That character had never been done before this. He invented that character. And he invented it as something to do. It wasn't in the original script. He came up with that himself… The three big Fishburne moments to me, is his opening sequence with…Tito. That's it, with Tito - black glove dude. And his reunion with Frank. And then it's the chicken scene (see below). Those are his three big arias. Not only that though - expressions that I would later hear for the rest of the decade, I actually heard for the first time in that scene. I'd never heard the expression; “I'll slap the black off you” before. That was the first time I heard it when Fish says it to Snipes. I've since heard it many times… And that was actually the first time I ever heard, “fuck you very much”. And I would proceed to hear that for the rest of the 90s. But those were the first times I'd ever heard those expressions… As terrific as he has been in other things - the level of excitement that I had over him when this movie was over, I have never had that excitement again. I thought, with this, he could be the greatest actor of his generation. That was an actual, real fucking thing. He could be the greatest actor of his generation after seeing this." Quote comes from The Rewatchables podcast

Gangster Cinema Central

657,018 просмотров • 2 месяцев назад

Gena Rowlands explains the reason why "A Woman Under the Influence" (1974, Cassavetes), which was first written as a play, was made into a movie: "Rowlands: John wrote it as a play. He said, “Hey, I wrote you a play.” And I said, “Great, let’s read it.” I read it and I said, “John, I couldn’t do this every night and twice on Wednesday and Saturday. I wouldn’t be able to last two weeks. I’d die.” It was a very hard play to do every night. And he said, “Don’t worry. Don’t even think about it, you’re right. I hadn’t thought of that.” He said, “Just forget it.” Then in about two weeks he said, “Okay. I solved the problem. I wrote a different play for you.” He said, “So you won’t have to carry all of it every night. I used the same characters but I enlarged different parts of the scenes.” He changed it generally to make it humanly possible. And I said, “Oh, that’s a miracle, let me see it.” And I read it and I said, “Listen, you must know a lot of strong actresses!” [laughs] I said, “I still wouldn’t be able to do it. This is really hard.” She has a nervous breakdown—there’s a lot of things that are hard emotionally to do. So he said, “Okay. I’m going to write it as a picture.” I said, “I think I can get through it once.” [laughs] “But I’m not making any guarantees.” He thought that was funny and then he wrote it thinking like an actor too instead of just a writer. I think he took that into consideration. And it is, of course, much easier to do a film when you’re doing an extremely emotional part than it is doing it onstage over and over especially. Interviewer: Do you consider that to be your most challenging role? Mabel? Rowlands: Well, yes, it was my favorite. I loved doing that. And it was challenging. Interviewer: Since John gave you so much freedom to do what you liked as a character, how would you go about finding them? Was it something that was instinctual for you, from the script? Rowlands: I read the script, you know, 50 times. And I thought about it. And then I did it. [laughs]" (Gena Rowlands' interview with Colleen Kelsey, Interview Magazine, 2016) P.S: Remembering the great American Actress Gena Rowlands on her 96th birthday!

DepressedBergman

67,361 просмотров • 1 месяц назад

François Truffaut on why he got more pleasure in directing a child actor than an adult in his debut film, "The 400 Blows" (1959): "To shoot a film with children is very enticing beforehand, entails a lot of panic while it is happening (because it is a fearsomely challenging business that is always slipping through one’s fingers), and is immensely satisfying afterwards. Even when I have a feeling that everything is going adrift, there is always something that is salvageable, and no matter what happens, it is always the child who comes across best on the screen. I also think that I get more pleasure from directing a child than an adult because I am just starting out as a director, whereas adults have already had experience at acting. I tend to be intimidated by their “seniority,” and when they don’t want to do what I tell them, I sometimes give up the struggle, or else allow myself to be pulled along when they do their thing, and I am never sure I’m right. A child’s sincerity is something I think I can feel absolutely. For example, through the whole length of the film, I had to wrestle with Jean-Pierre Léaud. He was terrific, but he was scared that he was going to come across as unlikeable, which meant that he continually wanted to smile. For three whole months I prevented him from smiling … and I’m sure I was right. That said, I was amazingly lucky to come across that kid. He was the character. Better still, he improved the film. I had been seeing Antoine as more fragile, more timid, less aggressive, whereas Jean-Pierre gave him his robustness, his truculence, his courage. He was an invaluable collaborator. He was able to find the right gestures spontaneously, he adjusted the script, always for the better, and he used the words that he wanted to use." (Truffaut's interview to Arts, 1959) P.S: On this day, 67 years ago, "The 400 Blows" (1959) premiered at the Cannes Film Festival.

DepressedBergman

25,571 просмотров • 3 месяцев назад

Samuel L. Jackson explains how he landed the role of Jules in Pulp Fiction, and what it was like seeing the film for the first time on the big screen: “Pulp Fiction and I came together in a very strange kind of way. I remember auditioning for Quentin for Reservoir Dogs in New York (for the role of of Detective Jim Holdaway, Mr. Orange’s police contact). And apparently I didn't get that role. But I was at Sundance the year that he screened it for the first time. I was sitting there and I watched that movie - I was awed by it. I mean, there were people running up the aisles when Michael Madsen was cutting the cop's ear off. People were going, "Oh my God, this is horrible!" All these “auteurs” were running out of the theatre. I was like, "This is good. This is happening. This is different." So after the film, I walked up to Quentin and said, "This film's amazing, man. It's great." And he looked at me and said, "Hey! How'd you like the guy who got your part?" And I was amazed that he even remembered who I was - but he remembered me. A year or so later, I got a phone call saying Quentin Tarantino wants to have dinner with you, because he'd seen Jungle Fever and he liked that Gator character. When we had dinner, we were sitting there talking. We started talking about Hong Kong films and cartoons and foreign movies and obscure things that we watched, horror movies. We found out we liked the same kind of stuff. And he told me he was writing this thing, and he was writing this part with me in mind. He was going to send it to me. I went off to do another film. I was in the backwoods of Virginia somewhere doing a film, and the script came. A little plain brown wrapper from Jersey Films. And Jersey's got these gangster images on the logo. And it said, "If you show this script to anybody, two guys named Ernie and Luigi will come and break both of your legs." Whatever. I went, "Yeah, right." So I sat down and read it. Boom. I read this thing. It's like, "Oh my God. This is awesome." And then I said to myself, "Nobody writes a script this good. There's no way that this script is as good as I thought it was." I closed it. I opened it again. I read it immediately. Okay. This is great - If whoever produces this film lets him shoot exactly what I just read, if they stay away from it, they don't try to edit any of this stuff out - this is going to be a great film. It's going to be kind of audience-specific, because I like that kind of stuff. I have friends that I knew would like it. It was a generational kind of film. I never thought it would cross over and do all this stuff. We shot it. We had a great time doing it. And the first time I actually saw the film was at the Cannes Film Festival. That night, it screened, and I was sitting there watching the film. The audience was loving this movie, loving it. About halfway through, I realized there were subtitles at the bottom of it. So I said, "Hey, these people are reading it, and they're getting it. This might be special. This really might be something special." And actually, by the time it was over, there were tears running down my face. I was just so pleased that I was part of that particular film… I never felt that satisfied, and that kind of full about a performance and about being part of something as I was in that particular moment.” Quote comes from an Interview with the American Film Institute 2010

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