elaine, 27, film student always, and the last to leave the theatre.

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April 22nd
20:39
Via

Chris, why do you feel like Captain America is the perfect hero for our times?

15:30

Am I A Good Person? I Think I’m A Good Person

Interview published 9/12/12 during the International Toronto Film Festival where Chris Evans’ was promoting his film “The Iceman”.


MIKE RYAN: Last time I spoke to you, we were talking about “Sunshine,” and you said, “No one sees my good movies.”
CHRIS EVANS: I know. No one does.

MR: Was this one of your good movies?
CR: I can’t chuck other movies under the bus. [Laughs] It’s not like some of my other movies. Yeah, I’ll say it’s one of the better ones.

MR: It does have a superhero title to it, though.
CR: I know. Everyone’s like, “Iceman! So, what are you? Are you the Iceman? What, are you doing another superhero?”

MR: Just say, “yes.”
CR: Oh, shit. Just doomed to be in a costume.

MR: This is actually my last interview of this whole festival.
CR: Is it? Man, it’s your last interview? Fuck you. I wish this was my last interview.

MR: I’ve been doing this since Thursday, just nonstop. Like, four of these a day.
CR: Wait, excuse me? You say four a day? Come on, dude.

MR: You just flipped me off.
CR: I did, dude. Yes, [speaks into the microphone] I fucking gave him the bird because this is, like, 45 today. I mean, literally. This was all day. Four a day? I’ll take four a day. Four a day? Oh, that’s a good gig.

MR: Other than this one, I have to be prepared.
CR: Yeah, that’s true. You have to ask the questions.

MR: You can say anything you want. I can’t flip you off, but you flipped me off.
CR: No. So help me God, I’ll put this recorder through the wall. Can you imagine?

MR: You can drink beer during your interview.
CR:True. Well, I really can’t, but I’m doing it anyway. Because this is interview number 45 and, after 45 interviews, you get a beer. It’s good. And I don’t have to think. They just bring me places.

MR: And people like you.
CR: Do they?

MR: I get looked at like, “What’s this guy’s angle?” But on your side you get to drink beer and laugh. Who wouldn’t want to interview you?
CR: [Laughs] This is my favorite interview today.
…..
MR: Was that a wig you were wearing [in The Iceman]?
CR: Yeah. Wasn’t it good?

MR:  It’s really good. I didn’t recognize you at first.
CR: Good.

MR:  It takes a while for you to show up in this movie. I was getting worried, because I knew I had to talk to you. I’m like, I’ve got to talk to him for this movie. He’s not in it.
CR: [Laughs] “Where is the guy?” Well, I am in it very briefly. I mean, like, 20 minutes, maybe.

MR:  But it’s an important role.
CR: There’s your title. “It’s an important role.”

MR: "Chris Evans: It’s an Important Role."
CR: [Laughing] Chris Evans on his important role.

MR:  And in my lede, I’m going to start out with …
CR: "It’s a fucking movie."

MR: You and Michael Shannon seem like opposite people.
CR: Yeah, right?

MR:  He’s got this onscreen rage.
CR: Well, it depends. Because, once you wrap, we would leave set and go to dinner — sweetest guy in the world. You know, laughing, joking, nicest man on the planet. On set, he is focused and lasered in and dedicated and that type of conviction and commitment kind of breeds an allegiance. You know, you watch him do this and you’re like, “You’re right. Hey, come on, everybody, this guy is in a zone and let’s get in this zone.” His dedication, it’s infectious. But, off set, he’s a different guy. I think I’m a little more, you know, “Heeeey!!!!” I mean, I wear my emotions on my sleeve. There’s no filter.

MR:  Yeah, I know. That’s what I like about you. Has anyone warned you that you might want to stop doing that?
CR: A lot of people are like … but I don’t understand that.

MR:  Like your publicist? Those are the people who don’t like that too much.

CR: Oh, my God! But that’s the problem:You’re around that too much and then you start thinking about that shit and then you start caring about that shit. And you’re like, “I can’t live my life this way.” If I’m going to be an actor, I can’t do every fucking interview … you just think, Am I a good person? I think I’m a good person.

MR: Now that’s my headline.
CR: [Laughs] Make it the question first. “Am I a good person? I think I’m a good person.” But if you think you’re a good person —

MR: I might do that, I’m picturing it.

CR: Remember that “Seinfeld” episode with Cary Elwes? “Am I upset? Yes. Do I wish I was with her? Of course.” But if you think you’re a good person, then you have nothing to hide. It’s such a freeing thing. I tell you what:I used to have a lot of stress and anxiety doing these interviews. And, for me, I’m much more stressful when I feel like I’m trying to be something or just putting on a … anything. Like, if you go into it just being like, “Ask me anything,” I’ll give you the honest answer.

MR: While having a Stella.
CR: Yeah! I’ll just tell you exactly what I’m thinking, and since I think I’m a good person …

MR: What if you were a bad person?
CR: Well, if you have an agenda — believe me, I know plenty of actors who do — then you have to tailor your answers and you’re concerned how you appear. And I don’t give a shit how I come across, because I don’t think I’m a bad guy. And, you know, I’m just gonna tell you what I think.

MR: So you were really clear that on the first “Captain America” movie, you weren’t always happy, and on “The Avengers” you were happy because you didn’t have to be on set all of the time. But now you’ve got to go back and do another one where you’re the main guy again. Are you looking forward to that?
CR: Yeah, I’m looking forward to it because the movies were so good.

MR: That’s true, but you weren’t as happy on the first as you were on “Avengers.”
CR: Well, I wasn’t happy in the first “Cap’” because — well, not that I wasn’t happy. I was just nervous, you know what I mean? I had taken a role that I was just nervous about. And it was a lifestyle change, and there were a lot of factors on the first “Cap’.” I was just nervous, man. It was a big lifestyle, whatever.

MR: Now, it’s becoming old hat.
CR: And now it’s like, “I got it.” I got it. It’s OK. No one’s fucking kicking down my fucking door. I can still walk around. I can still go to a movie. I think I was just so scared that, like, “This is it. I just signed my death warrant; my life’s over. I can’t believe I did this. This isn’t the career I wanted.” That didn’t happen. None of that shit happened. I’m fine, fine.

MR:  You seem fine.
CR: I’m fine! I’m fine! I’m fine. You know, I didn’t have a meltdown and I didn’t lose my fucking mind. And the movies were good. And the biggest thing I worried about was making shitty fucking movies. I don’t want to make shitty movies and be contractually obligated to make garbage.

MR: And then have to talk about it.
CR: And then be like, “This is why you should see a piece of shit!” And they were great. And so now, it’s kind of like, “All right, well, let’s go try and make this one even better.” I feel comfortable in the role. I love Marvel and I’m actually, dare I say … excited.

MR: That will be the second part of the headline. “Dare I say…”

CR: "Dare I say! Excited!"

12:11

"Six movies can be spread over ten years, and you’re making a decision for a decade, and it’s not just a decision for you. If your lifestyle changes to a point where your anonymity is compromised, then it’s really not your right to complain anymore. So if all of a sudden someone in your family ends up in a hospital, and you’re going in and out everyday and someone’s taking pictures of you and you complain, everyone’s going to say, "Too bad. You made this bed, sleep in it." And that’s a shame. And that’s a decision you make and prepare for. This ripple effect isn’t just going to be about me, and that’s scary. And you know, is there another way to get what I want to get without this?..If the strings attached are six movies, that’s a scary loss of control that I was not ready to process." - Chris Evans.

April 20th
10:17
Via
April 19th
23:44
Via

Sebastian Stan photographed by Nigel Perry

April 18th
15:30
Under the Skin (Jonathan Glazer, 2014)

Under the Skin (Jonathan Glazer, 2014)

April 17th
18:30

Happy Birthday, Edgar Wright.

April 15th
21:30
Via
"

"Time Zones" could well be one of those "Mad Men" episodes that drives people to complain that nothing happens, but I actually think that the viewers who regularly lobbed that complaint at this drama are gone by now.

We’re down to the core fans now, those who accept that what “happens” on this show has a particular flavor, mood and style. Those “happenings” can consist of a significant look, a weighted silence or a crushing realization. Things often “happen” when the camera is focused on the back of a character’s head. This is a show that loves ambiguities, digressions and oblique angles. Not many shows could pull that off, but “Mad Men” has the kind of cast that makes watching people think and react a real pleasure most of the time.

"
—  Maureen Ryan (via flushwithcash)

"I realised after two weeks of hanging out with Nick, I really, really like this guy. It was like a romance blossomed between us."  - Simon Pegg [X]

One day we were shooting “Portlandia” downtown and we went to eat in the lunchroom of this church where they were having an art show. This season’s shoot was really hard; I felt very pushed and challenged, and I was tired and disoriented a lot. I remember sitting down and seeing this painting on a canvas. It said: “If you can, please wake up.” It’s this weird, dark, intense phrase that almost sounded like something like a kid would say to his parents. And that became my mantra for the whole rest of the shoot.
I spent two weeks chasing down the artist— he was the security guard at the building. I told him how much that painting meant to me and how it had really gotten me through the shoot and he said, “I would be happy to sell it to you if it means that much to you.” So about a month ago, I drove over to his house and bought the painting from him.


Carrie Brownstein
Photographs © We Are The Rhoads
April 14th
15:30
Via
filmghoul:

Captain America: The Winter Soldier (Anthony & Joe Russo, 2014)
I wrote about the new Captain America film for the francophone film website Panorama-cinéma. In a nutshell: hands down Marvel’s best film so far, and in keeping with Ed Brubaker’s source material, the film proves smartly indebted to the 70s political thriller. Furthermore, it finally dares bring some monumental changes to the Marvel Cinematic Universe’s status quo, which proves highly satisfying following a bunch of hermetic and uneven sequels to the Thor and Iron Man franchises. It also successfully reframes Steve Rogers as a hero of the present, sabotaging his inherent New Deal idealism through a quotation of post-Watergate paranoia (and it’s cinematic mirrors), which in turn comments on today: S.H.I.E.L.D. acts as a substitute for the America of drone warfare and NSA data-mining and, in a turn of events of unexpected cathartic potential, is brought down. Of course, it’s not as subversive as I make it sound and most of this is felt in the sinuous and propulsive plot.
Conversely, the film’s aesthetic proves as mechanical and uninspired as one could expect from this kind of hasty and “safe” tent pole studio film. In keeping with most of Marvel Studios’ so-called “Phase 2”, it is a haphazardly made producer’s vision, assembled by sitcom television directors , with little or no interest in the staging or interesting cutting of action. More frustratingly, the Russo brothers also have no interest in replicating the stylings of the various films screenwriters Christopher Markus & Stephen McFeely have so much fun quoting (think 3 Days of  the Condor or All The President’s Men, for example). Considering The Winter Soldier is a film that mostly takes place in (and occasionally comments on) the greyish, drab world of corporate America and its surrounding non-places (malls, airplane carriers, submarines, offices, hospitals, highways), this bland “TV aesthetic” is occasionally fitting, but the film suffers where it matters most: some action sequences prove muddy and spatially confusing in key places, and perhaps one could also look to blame stunt coordinator and second unit director Spiro Razatos, who has handled many similar-looking films, more recently Fast and Furious 6 and Total Recall. 
Such is the game in Hollywood, though, and this is far from unwatchable: my only complaint is that it is a bit mechanical, and as a fan, I can only hope for a sharply stylized Captain America that’s more like The Conversation and less like every film in theaters right now. I kept thinking they should give the sequels to either John Hyams or Anton Corbijn, but we’ll have to wait for James Gunn’s Guardians and Edgar Wright’s Ant-Man to see if auteurist iconoclasm can even pierce through Marvel/Disney’s thick shield of uniform and accessible blockbuster filmmaking ethos. As a fanboy, the inclusion of Falcon, Batroc, allusions to Sharon Stone and Stephen Strange, as well as the implications of the film’s ending, have me more excited for Cap 3 than for Avengers: Age of Ultron, and I’m glad and surprised I got as much juice out of this one. I guess it also means I’ll pick up Agents of S.H.I.E.L.D. where I left it. Anyhow, if you read French, you should click through to read more or less what I’ve hastily recapped (and, lucky you, revised) over here. You’ll also get a brief discussion of the film’s urban guerrilla aesthetic and how it brings back its violence to the more human level of chases and knife fights, getting away from the allegorical spaceships crashing into anonymous buildings.

filmghoul:

Captain America: The Winter Soldier (Anthony & Joe Russo, 2014)

I wrote about the new Captain America film for the francophone film website Panorama-cinéma. In a nutshell: hands down Marvel’s best film so far, and in keeping with Ed Brubaker’s source material, the film proves smartly indebted to the 70s political thriller. Furthermore, it finally dares bring some monumental changes to the Marvel Cinematic Universe’s status quo, which proves highly satisfying following a bunch of hermetic and uneven sequels to the Thor and Iron Man franchises. It also successfully reframes Steve Rogers as a hero of the present, sabotaging his inherent New Deal idealism through a quotation of post-Watergate paranoia (and it’s cinematic mirrors), which in turn comments on today: S.H.I.E.L.D. acts as a substitute for the America of drone warfare and NSA data-mining and, in a turn of events of unexpected cathartic potential, is brought down. Of course, it’s not as subversive as I make it sound and most of this is felt in the sinuous and propulsive plot.

Conversely, the film’s aesthetic proves as mechanical and uninspired as one could expect from this kind of hasty and “safe” tent pole studio film. In keeping with most of Marvel Studios’ so-called “Phase 2”, it is a haphazardly made producer’s vision, assembled by sitcom television directors , with little or no interest in the staging or interesting cutting of action. More frustratingly, the Russo brothers also have no interest in replicating the stylings of the various films screenwriters Christopher Markus & Stephen McFeely have so much fun quoting (think 3 Days of  the Condor or All The President’s Men, for example). Considering The Winter Soldier is a film that mostly takes place in (and occasionally comments on) the greyish, drab world of corporate America and its surrounding non-places (malls, airplane carriers, submarines, offices, hospitals, highways), this bland “TV aesthetic” is occasionally fitting, but the film suffers where it matters most: some action sequences prove muddy and spatially confusing in key places, and perhaps one could also look to blame stunt coordinator and second unit director Spiro Razatos, who has handled many similar-looking films, more recently Fast and Furious 6 and Total Recall.

Such is the game in Hollywood, though, and this is far from unwatchable: my only complaint is that it is a bit mechanical, and as a fan, I can only hope for a sharply stylized Captain America that’s more like The Conversation and less like every film in theaters right now. I kept thinking they should give the sequels to either John Hyams or Anton Corbijn, but we’ll have to wait for James Gunn’s Guardians and Edgar Wright’s Ant-Man to see if auteurist iconoclasm can even pierce through Marvel/Disney’s thick shield of uniform and accessible blockbuster filmmaking ethos. As a fanboy, the inclusion of Falcon, Batroc, allusions to Sharon Stone and Stephen Strange, as well as the implications of the film’s ending, have me more excited for Cap 3 than for Avengers: Age of Ultron, and I’m glad and surprised I got as much juice out of this one. I guess it also means I’ll pick up Agents of S.H.I.E.L.D. where I left it. Anyhow, if you read French, you should click through to read more or less what I’ve hastily recapped (and, lucky you, revised) over here. You’ll also get a brief discussion of the film’s urban guerrilla aesthetic and how it brings back its violence to the more human level of chases and knife fights, getting away from the allegorical spaceships crashing into anonymous buildings.