THE BLACK SHEEP INTERVIEW: ROMAN COPPOLA

AND QUITE A MIND IT IS
An interview with Roman Coppola, writer/director of A GLIMPSE INSIDE THE MIND OF CHARLES SWAN III

“It’s not really my story to tell,” confides a hesitating Roman Coppola, when we spoke over the phone recently. Regardless, he told the story all the same. It was a random one about the difficulties Gene Hackman was having finding his character in THE FRENCH CONNECTION and it somehow involved William Friedkin and a donut. It is the kind of candid insider information that one could only know when one comes from Hollywood royalty and it would be difficult to define the Coppola family as anything other than that.

Roman is the son of Francis Ford Coppola (THE GODFATHER) and brother to Sofia Coppola (LOST IN TRANSLATION) but if you don’t know his name just yet, perhaps you soon will. Not only is he in contention for his first Academy Award this month (for co-writing MOONRISE KINGDOM with good friend, Wes Anderson), but his second feature film as a director, A GLIMPSE INSIDE THE MIND OF CHARLES SWAN III, hits theaters, and unsuspecting filmgoers, this month as well.

Charles Swan is played by none other than Charlie Sheen, in his first film role after his very public firing from his hit TV series, “Two and a Half Men”. Naturally, Sheen and Copoola have been old friends ever since Sheen’s father, Martin, worked with Coppola’s father on APOCALYPSE NOW. “Charlie came to the project near the end of a 5-year writing period. It took some convincing to get him on board but I’m really happy that he did.”

When you meet Charles Swan on screen, it may seem to you that the role was in fact written for Sheen from the start but Coppola insists otherwise. Swan, a successful advertising artist with too much money on his hands, has just ended the first real relationship of his life, after a string of meaningless women. He proceeds to get lost in delusion and drugs for our enjoyment.

“Do you know the guy from those Maxell commercials in the ’80’s?” Coppola asks me, out of nowhere. I do know him. Well, not personally. He was the dude who sat back in the chair with his sunglasses on and was blown away by the sound coming from the stereo. (Click here if you still don’t know who I’m talking about.) Coppola continues after I confirm that I do know to whom he is referring. “Well, I tried to imagine that guy’s story, had he just broken up with somebody.”

Coppola had in fact just broken up with somebody when he decided to write the follow-up to his debut feature, CQ. “It was a very confusing time,” he states, quite unnecessarily given that I’ve seen the film already. “I noticed this clear split between loving someone and hating that same person at the same time. I tried to write from that exact place.”

Academy Award nominee, Roman Coppola

What came out of that place is many a fantasy to avoid spending any time in the actual present. Whether he’s riding horseback through a desert trying to avoid the over sexualized female indians chasing him or just having your run of the mill “Who came to my own funeral fantasy?”, Swan is almost always trying to be somewhere he isn’t and spinning things his way.

Coppola divulges that this style of writing has both pros and cons. “It can be really freeing because you get to do whatever you want, more or less. But then, you have to figure it all out and somehow piece it together so that it all makes sense.”

Aside from a producer credit on his sister’s next outing, THE BLING RING (due this year), Coppola’s schedule is pretty light in the immediate future, after A GLIMPSE INTO THE MIND OF CHARLES SWAN III is released, that is. “I’m the kind of person who has to see something through to the end before taking on something else,” he tells me when I ask what’s next for him. “That’s actually just a really long winded way of saying I don’t have anything planned.”

He could always win an Oscar, I guess.

A GLIMPSE INSIDE THE MIND OF CHARLES SWAN III opens in the USA on February 8 and on February 15 in Canada. It co-stars Bill Murray, Patricia Arquette and Jason Schwartzman, who, incidentally, is Coppola’s cousin.

ReReview: MOONRISE KINGDOM

MOONRISE KINGDOM
Written by Wes Anderson and Roman Coppola
Directed by Wes Anderson
Starring Jared Gilman, Kara Hayward, Bruce Willis and Frances McDormand

Suzy: I think you’ve still got lightning in you.

I was wrong and not only do I not mind saying that but rather I feel compelled to do so in the case of MOONRISE KINGDOM. I was quite excited to see Wes Anderson’s latest film when it debuted early in the summer, shortly after making its premiere to great fanfare at the Cannes Film Festival. In hindsight, I can see now that my initial reaction to the film, which was not a positive one, as you may have already gathered, or read for that matter, was likely tainted by two contributing factors. The first is that I had a major headache going into the screening that morning. The second, and arguably the more influential factor, would be that the film itself was not the film I wanted it to be. When I saw MOONRISE KINGDOM a second time though, and allowed it to be the film it actually is instead of what I had originally hoped it would be, I realized that not only was it Anderson at his absolute best, but it was also easily one of the finest films of the year.

What I wanted MOONRISE KINGDOM to be was an Anderson-esque comedy, featuring the bizarre antics of its incredible adult cast, including Bruce Willis, Edward Norton, Frances McDormand, Bill Murray and Tilda Swinton. What it truly is, is an exceptionally made, Anderson-esque masterpiece, about two troubled young people, Sam and Suzy (newcomers, Jared Gilman and Kara Hayward), who see the potential for solace and acceptance in the other. Sam, a sensitive orphan, cannot seem to fit in in any family scenario he is placed; while Suzy cannot seem to find her place within her own biological family, Murray and McDormand playing her also troubled parents. They both feel unwanted and without a proper home because the adults that are supposed to be taking care of and guiding them, are too consumed by their own lives and egos. Sam and Suzy try as they might to make a home for themselves but quickly learn that, unlike the physical journey they are on, the road to a successful relationship does not come with a map and compass. Thus, Anderson’s opus rounds itself out as a poignant and charming reflection on generational influence.

After six films, Anderson is only getting stronger and more focused in his colorful and distinct approach to filmmaking. While his earlier successes, like RUSHMORE and THE ROYAL TENENBAUMS, clearly outline his creative style, they can also be a bit cold for some. Anderson finds a warmth he has been building toward of late in MOONRISE KINGDOM. His past characters, with all their specific quirks, can fall prey to their own caricatured nature and get lost within their deliberate construction. Sam and Suzy are innocents though and their discomfort with the world around them, with each other and with their own selves, can palpably be felt on the screen. They are just as particular as any Anderson creation, if not more so at times, but their wonder about the world unfolding in front of them, gives them enough heart to not only make them some of the most real of any Anderson creation I’ve ever seen, but they also firmly ground Anderson’s lofty ambitions, a feat he lets get away from him from time to time. Simply put, if you are open to its charms, MOONRISE KINGDOM will wile you with delight and you will bear witness to Anderson’s crowning achievement. Also, its probably best not to watch it with a headache.

Click here to read my original MOONRISE KINGDOM review. You can also read previous Anderson reviews for THE DARJEELING LIMITED and FANTASTIC MR. FOX.

307. Moonrise Kingdom

307. (09 Dec) Moonrise Kingdom (2012, Wes Anderson) 52



Anderson's zaniness and intricate set pieces are back to being a mixed bag following his utterly delightful Fantastic Mr. Fox. Unfortunately, Moonrise Kingdom is only about half as charming as it thinks it is. That still makes for a fun, albeit overly cute movie that's far more accomplished than efforts like The Darjeeling Limited. Despite an all-star cast of adults, Jared Gilman and Kara Hayward give the best performances here. The breathless, rapid-fire gags wear thin quite quickly.

Moonrise Kingdom

Moonrise Kingdom, 2012
Directed by Wes Anderson

Again, it's been a while since I've posted! I watched this movie twice last week but was thrown up from writing this review until now because I got engaged over the weekend! Woohoo! I'd say thats a pretty legit excuse not to write up a review right away! Anyway, here is the review for Moonrise Kingdom!

Moonrise Kingdom is the story of a young girl and a young boy who fall in love and, hating the lives they have at home (or at khaki scouts in Sam's case), run away together, and the small island town scrambles to try and find them, throwing everything topsy-turvy.

Moonrise Kingdom is a quirk of a movie. While I had heard of it before, most of what I knew was that all the hipsters on their blogs and tumblr dressed up as Sam and Suzy for Halloween. And that all the gifs on tumblr told me was that Sam says "I love you but you don't know what you're talking about" to Suzy. And something about them being "married".

Overall, I was expecting something extremely quirky and hipster. Which is more or less what I got.

However, I found the movie extremely endearing, and extraordinarily cute. Sam Shakusky is an adorable little boy, Suzy such a pretty girl. Scout Master Ward was hilarious, and Bruce Willis's character was so un-Bruce Willis. Yes, the movie was highly quirky and weird, but it was my kind of humour and stuff I really appreciate. Dopey kind of humor.

This movie was also quite well acted. The boy playing Sam Shakusky was really great. And of course with the star-studded adult cast, you can't go wrong.

And what I appreciate is that Wes Anderson gave the two young kids depth, and problems. Suzy is being thought of as "a very troubled child" by her parents, lashes out at kids at school, and hates her parents. Sometimes she steals library books to make her feel better. Sam's parents died a long time ago so he's been in and out with foster homes, but never really fitting in with anybody. The movie was not simply artificial and shallow, but most of the characters had problems and they had a bit of depth to them, which is what makes this movie so good.

Upon first watch of this, I wasn't a huge fan. I found it a little dull, and not quite what I was expecting (though I wasn't sure what to expect either). I picked up the movie a second time 2 days later and watched it with my mum, and found I enjoyed it a lot more, knowing what was coming and what to expect.

While Moonrise Kingdom is a charming film, I don't see the potential of Best Picture in it. If it were nominated I'd probably do a fist pump and laugh a lot cause such a quirky hipster movie that not everyone likes is up, but I just don't see that happening. It's biggest category will be in Original Screenplay, in which I think this has a good chance of not only being nominated, but I wouldn't be surprised if it won (though does have the strong competition of Django Unchained).

8/10

HYDE PARK ON HUDSON

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Alternate Best Actor 1993: Results

5. Jeff Bridges in Fearless- Bridges shoots for the sky but never quite reaches the heights that his performance wants to reach.

4. Kevin Costner in A Perfect World- Costner in a very atypical fashion dominates his film well, as well as gives a moving portrait of a man wounded by abuse.

3. David Thewlis in Naked- Thewlis gives an outstanding performance that is a fascinating portrayal of drifter, that is extremely watchable.

2. Bill Murray in Groundhog Day- This is just a great performance by Bill Murray that is both a hilarious joy that makes this film enjoyable to watch all the way through, but as well does realistically portray his character's life changing realizations.

1. Michael Douglas in Falling Down- I must say although I certainly very much enjoying watching and reviewing these great performances foolishly ignored by the academy, I have to say just like last year this was an insanely difficult one to choose since I love Douglas, Thewlis and Murray equally in their roles. This again is not so much a win, but rather just a current decision I really feel a rewatch of any of three could tilt the scales. Nevertheless at the moment I give to Douglas who gives both an incredibly viscerally effective performance that pierces through every scene, but he as well shows a moving portrait of a man completely lost in the ills of modern society.

Overall Ranking of the Year:

1. Michael Douglas in Falling Down
2. Bill Murray in Groundhog Day
3. David Thewlis in Naked
4. Liam Neeson in Schindler's List
5. Daniel Day-Lewis in In the Name of the Father
6. Jeff Daniels in Gettysburg
7. Robert Duvall in Falling Down
8. Kevin Costner in A Perfect World
9. Clint Eastwood in In the Line of Fire
10. Harrison Ford in The Fugitive
11. Anthony Hopkins in The Remains of the Day
12. Sam Neill in Jurassic Park
13. Tom Cruise in The Firm
14. Kurt Russell in Tombstone
15. Al Pacino in Carlito's Way  
16. Jeff Bridges in Fearless 
17. Johnny Depp in What's Eating Gilbert Grape
18. Christian Slater in True Romance
19. Tom Hanks in Philadelphia
20. Laurence Fishburne in What's Love Got To Do With It
21. Denzel Washington in Philadelphia

The Next Year Will Be 1985

Alternate Best Actor 1993: Bill Murray in Groundhog Day

Bill Murray did not receive an Oscar nomination for portraying Phil Connors in Groundhog Day.

Groundhog Day is a very enjoyable film that tells the story of a weatherman who covers the groundhog ceremony in Punxsutawney, but finds he is reliving the same day over and over again and he is the one who knows it.

Groundhog Day is much like It's Wonderful Life, and even more so like A Christmas Carol in that it is about the main character having a growing realization, and change for the better. Bill Murray performance entails the journey of this realization of Phil Connors, but since it is Bill Murray pre-Rushmore he is going for laughs all along the way as well. Here Murray screen persona of the time is perfect for this role, and from the beginning he could not be better as the snarky meteorologist prima donna who thinks very very little of his assignment to a small time to cover an event he has absolutely no respect for whatsoever.

Murray really is a master at playing a jerk in the film. What works so well about his portrayal is the fact that he most certainly does not avoid portraying the more negative qualities, and his smug and cynical behavior is always on full view. What is interesting though is that even though he avoids being a jerk in the role, Murray still manages to be likable nevertheless and very funny. Murray plays the moments when Phil is suppose to be obnoxious such as when he is constantly ridiculing the idea of the Groundhog Day with perfect wit and sarcasm that he both still fits what his character needs to be doing as well as still not being ever actually obnoxious at all.

Eventually though the story springs into action and Phil finds himself reliving the same day over and over and over and over again and again and again. Murray is excellent in this process and he brings us right in there with him as this is one of the very best examples of Murray's particular charm. Yes of course he was smug man just minute ago, but since Murray played that with humor he still is very easy to follow along the rest of the way. Murray particular comedic presence is perfect for this situation, since unlike many comedians Murray's whole style rarely has him act out in just a look at me sort of fashion, even when he screams Murray still makes it grounded within a character.

Murray makes his way through every one these days with excellent precision. Early on when he is mostly just confused by this very strange thing that is happening to him, Murray does actually realistically portray this. He shows that Phil is not horrified, since after all this is not a horrible day, but Murray appropriately convinces us just how taken aback he is by the entire process. In the early days Phil just decides to exploit the day since he faces no consequences for whatever he does. Murray here simply has a lot of fun, and is consistently funny as Phil just does random stuff for the thrill of it.

In the middle though he sets on his sight on his kind but in some ways no nonsense producer Rita (Andie McDowell), and tries to gain knowledge from an infinite amount of encounters to try to seduce here. Again Murray is terrific here as he shows Phil has pretty much just a one track mind, but also more deeply this is quite the shallow pursuit at the moment. There is no want for a deeper connection here just more of a chance to score pretty much, and Murray makes no excuses. Interestingly despite the fact that the group of moments are technically repetitive they never get boring because Murray consistently keeps them fresh with his always enjoyable reactions and little jokes he makes in every realization.

After his repeated failures we have a set of scenes in which Phil commits suicide in various ways to try to end the cycle, but finds he has absolutely no results. This actually here is an outstanding achievement on Murray's part because not only do these never seem in bad taste their in fact hilarious all because of Murray's portrayal. What is fascinating though is Murray even does show the depression fittingly for his situation, but nevertheless his well for the lack of a better word delivery of the suicide scenes are pitch perfect hilarity. Everyone of these could have gone terribly wrong, but Murray makes everyone go absolutely right.

Once his suicides all fail to end the cycle, he finally instead just tries to better himself, and be the best that he can actually be. What works about this is Murray does not really show it to be Phil becoming a new man, but rather making a transition to really what he always could have been. Murray is excellent here because he does not become boring, but frankly his wit is still there is just comes to serve better things. It is a realization that Murray portrays not a change. Murray genuinely shows that Phil simply does find the beauty, and the joy  to be had of his surroundings that was always there.

This is a terrific achievement by Bill Murray because he not only is a great comedic performance, but it does actually is a emotionally convincing one as well. He is the perfect jerk as well as the charming romantic lead, even though I should say his chemistry with McDowell works a great deal because it is not overly romantic, but that really is the perfect tone for the relationship. Really if the lead actor was not someone who is such a joy with to be with through everyone of the groundhog days the film would have not worked. Murray brings this joy to every scene though with his truly memorable work here that is probably his personal best.

Alternate Best Actor 1993

And the Nominees Were Not:

Kevin Costner in A Perfect World

Michael Douglas in Falling Down

Jeff Bridges in Fearless

Bill Murray in Groundhog Day

David Thewlis in Naked

MOONRISE KINGDOM

MOONRISE KINGDOM
Written by Wes Anderson and Roman Coppola
Directed by Wes Anderson
Starring Jared Gilman, Kara Hayward and Bruce Willis

Captain Sharp: Even smart kids stick their fingers in electrical sockets. It takes time to figure things out.

Wes Anderson is an auteur, through and through. His style is unmistakable – from the deliberate cinematography, wide angled and colourful, to the soundtrack, usually folksy and reasonably obscure. He even works with the same actors on a frequent basis (Bill Murray and Jason Schwartzman, most notably), which only further strengthens the definition of the Wes Anderson universe. His latest, MOONRISE KINGDOM, employs all of these familiar elements but something is missing this time. Aside from Owen Wilson (who has been in every single Anderson film except this one), what is most noticeably absent in MOONRISE KINGDOM, is a point. I mean, there is one; it just hardly seems worth all the trouble.

Working with his regular writing partner, Roman Coppola, who last worked with Anderson on a favourite of mine, THE DARJEELING LIMITED, Anderson weaves yet another quirked out tapestry of a story. Perhaps Anderson’s previous foray into children’s film inspired him to continue trumpeting the youth voice as his two main protagonists here are both barely old enough to watch the majority of Anderson’s repertoire. Sam and Suzy (Jared Gilman and Kara Hayward, both complete unknowns), fall for each other one night while he, having broken away from his scout troop while attending a church play about Noah’s Arc, stumbles upon her in her dressing room before her cue. There is an unspoken understanding that they are both outsiders – well, I assume there is anyway, otherwise I don’t know why else these two would gravitate towards each other – and they agree through correspondence that they should abandon their lives and live in the woods together. They both live on an island in the middle on nowhere and it’s 1965 so I guess that means this sort of arrangement is actually feasible. The kids do well with the morose, disaffected acting style Anderson pulls from all his actors but it sure is bleak to see future generations looking so hopelessly lost.

Aesthetically, Anderson never misses a beat. Every detail, and there are plenty of them, is tended to with great care. Sometimes, this leads to an absurdity that is both uproarious and insightful. At other times though, his films, despite the warmth in the colour tones themselves, can come across as quite cold. MOONRISE KINGDOM suffers from this. As the kids fight for their relationship, their parents and guardian types (the aforementioned Murray, as well as Frances McDormand, Bruce Willis and Edward Norton) bumble around trying to find them and keep their own lives from falling apart. The most I took away from this is that parents should check themselves because their kids are watching them and subsequently learning how to live and love from them at all times. The killer cast does their best to maintain the intrigue and mood but the simplicity of the themes left me wondering if Anderson is running out of things to say. Fortunately, for now, he still knows how to make whatever little amount he has to say look awful pretty.

Is Ghostbusters the Greatest Comedy?

I thought this post at Obsessed With Film was good enough to repeat the link, check this out:
50 Reasons Why Ghostbusters just might be the greatest movie of all time and maybe one reason why it isn't

I wouldn't go as far in my accolades but it is a very funny spoof of science-fiction films and religions, directed by Ivan Reitman, and starring Bill Murray, Dan Akroyd, Harold Ramis, Rick Moranis,