I once had a teacher in college who told me filmmakers keep making the same movie over again and again without even realizing it, and Baz Luhrmann is a prime example of this. His “Romeo & Juliet” and “Moulin Rouge” dealt with characters looking back at a past they can never return to and of love affairs which ended tragically. His adaptation of F. Scott Fitzgerald’s classic novel “The Great Gatsby” is not any different from those two films, and it is filled with extravagant scenes that dazzle us with amazing choreography and beautiful images. But while it is a beautiful movie to look at, this film lacks the heart and soul I usually expect Luhrmann’s works to have in an infinite degree.
This “Gatsby” adaptation starts with Nick Carraway (Tobey Maguire), a writer and bond broker, telling us about his time in New York during the 1920s (better known in the history books as the “Roaring 20s”). Right there I knew the movie was in trouble as Luhrmann started “Moulin Rouge” off with Ewan McGregor reflecting on an exhilarating past and a great love which has long since passed him by, and Maguire is a very similar character in that respect. From there, it is clear that this movie will not have a happy ending, and the characters we see enjoying themselves will soon experience a suffering which will be endless. We’re not even five minutes into this cinematic adaptation, and already I can tell this will be familiar territory for Luhrmann, way too familiar.
The 1920s were a time of great wealth and endless partying which came to a crashing halt the following decade when the stock market crashed and Americans found themselves out of a job (sound familiar?). Carraway finds himself caught up in all the hoopla which came with those times, and it’s at an especially over the top party where he meets Jay Gatsby (Leonardo DiCaprio), a man as rich as he is mysterious. From there they become inseparable friends as Gatsby shows Carraway around town and introduces him to the most influential people one could ever hope to meet. But it’s when Gatsby takes a strong interest in Carraway’s cousin, Daisy (Carey Mulligan), that things start changing and not for the better. It turns out Gatsby knew Daisy in the past, and now Gatsby will do everything in his power to win Daisy back from her suspicious husband, polo player Tom Buchanan (Joel Edgerton).
“The Great Gatsby” has the same problem Luhrmann’s “Romeo & Juliet” had during its first half; it thrust a lot of style and flash cuts at us at an alarming rate to where I was desperate for things to slow down so I could breathe and actually everything in on a deeper level. Now Luhrmann did slow things down in “Romeo & Juliet” to where we connected emotionally with the story and its characters, and he successfully reinvigorated one of William Shakespeare’s most overdone plays to where it felt fresh and exciting again. But this time he gets so caught up in the spectacle he is putting up for us all to see to where it became impossible for me to connect with anything or anybody here. The sensory overload I got in his previous films was exhilarating, but here everything feels so exhausting and artificial to where it doesn’t matter if you watch this film in 2D or 3D (I watched it in 2D because I refused to spend the extra money). The characters may be starving for emotion, but it’s the audience that needs it even more.
Whether or not you have read Fitzgerald’s classic novel, it’s easy to see the direction this movie was going to take. As a result, I found myself getting very bored and impatient as I knew Gatsby would eventually stumble over his own ambitions, and I just wanted see him get his ass kicked sooner rather than later. Heck, I even got up and went to the bathroom at one point, and that should you give you an idea of how frustrating this movie was for me. I was able to sit through “Star Trek V: The Final Frontier” despite needing to pee really bad, but this one I could not hold it in. Yes, that’s too much information for you readers, but anyway…
On the upside, the actors acquit themselves very nicely. You can’t really go wrong with DiCaprio, and he does make quite the dashing Gatsby, but there should be a drinking game based on how many times he calls people “old sport” throughout, and I seriously got sick of him saying that. His good friend Tobey Maguire has his back as Nick Carraway, and he does a lovely job of reading Fitzgerald’s words to where I’d like to hear him do a reading of the novel as he brings us a lot closer to the author’s dialogue than Luhrmann does.
Carey Mulligan, however, is seriously miscast as Daisy Buchanan. She still gets to do her whole woefully vulnerable lady act which she played to perfection in “An Education,” but Mulligan is not able to nail the other complexities this role has to offer. Yes, she is a lovely presence to watch in this or in any other movie, but this is not enough to save her performance here.
Clearly a tremendous amount of effort was put forth by the cast and crew on “The Great Gatsby,” but it doesn’t change the fact that the movie is a profound disappointment. Fitzgerald’s novel has been adapted several times with limited success, and many say it is an exceedingly hard book to translate to the silver screen. Luhrmann looked like he was the man who could do it justice, but he doesn’t come close. What a shame. We can always count on him to give us spectacle as well as substance, but this movie is all spectacle and not enough substance.
William Shakespeare’s “Romeo and Juliet” is a play which has been done to death. Keeping track of all the adaptations is aggravating, but on top of that, there are other plays or musicals which were, at the very least, inspired by this classic tragedy (“West Side Story” is the most obvious example). Since Shakespeare’s time, “Romeo and Juliet” has been done in many different styles and taken place in various time periods. It seems the only way to do a production of it these days is to break free of the way it was done during Shakespeare’s time. Baz Luhrmann’s modern take on “Romeo and Juliet” was absolutely entrancing in how it made us feel like we were watching the doomed story of two young lovers for the first time, and Leonardo DiCaprio and Claire Danes never had a shortage of chemistry between them.
Taking all of that into account, that makes this “Romeo and Juliet,” directed by Carlo Carlei and adapted to the screen by Julian Fellowes, come across as a renegade version for they have instead brought Shakespeare’s work back to its traditional and romantic version. It is filled with medieval costumes, balcony scenes and duels, and the filmmakers even got the opportunity to shoot it at the story’s original location of Verona, Italy. But for all the effort put into this umpteenth film adaptation of this famous tragedy, the whole endeavor feels like it is severely lacking in passion.
Perhaps the main problem is the lack of chemistry between the two leads, Douglas Booth and Hailee Steinfeld, who play Romeo and Juliet. When they first meet at the dance, their attraction to one another is not all that palpable and feels rather forced. While both actors do their best to connect with one another, their relationship never felt believable enough for me to really care about what happens to them. In fact, towards the end, I started to get impatient and kept waiting for Romeo to do himself in already.
Steinfeld is a wonderful actress, having deservedly received an Oscar nomination for her performance in “True Grit” (though she should have been for Best Actress, not Best Supporting Actress). As Juliet, she does well and has quite a radiant smile which lights up the screen. At the same time, she seems miscast in this role when paired with Booth. While Steinfeld is around the same age as Juliet, she seems too young to be taking on this famous role now. It’s a shame to say this because she isn’t bad, but I came out of this movie thinking an actress a few years older might have fit this role more realistically.
As for Booth, it takes too long for him to come to life as Romeo. When we first see him, he doesn’t seem all that crazy about Rosalind even after we see him making a bust of her likeness. When it comes to the classic balcony scene, the attraction between him and Juliet feels awkward as they still don’t seem as madly in love as they are supposed to be. Booth’s performance does get stronger as the movie goes on, but he never digs deep enough into the character to where it seems like he is only touching the surface of Romeo’s dilemmas.
Carlei, whose work as a director I am not familiar with, does capture the beauty of Verona, Italy to where it made me want to get on a plane and visit it. His handling of the conflict between the Capulets and the Montagues, however, is not clearly defined, and we never quite get a full idea of what made them hate each other in the first place. This is the original gang story for crying out loud! As for the battle scenes, they feel a bit too staged and could have been far more exciting.
Fellowes is best known for creating the popular show “Downton Abbey,” and he seems a natural to adapt any Shakespeare play let alone “Romeo and Juliet.” He preserves the dialogue for the most part, and it’s clear he has a deep love and understanding for the Bard’s words. At the same time, this film has been severely affected by a misleading advertisement which stated it would not be using Shakespeare’s traditional dialogue but would still follow the play’s plot. But having been exposed to this play many times myself, I could not tell the difference between what Shakespeare wrote and what Fellowes came up with. Go figure.
It is a real shame because this “Romeo & Juliet” has a number of great supporting performances which almost make it worth watching. Ed Westwick makes a fierce antagonist out of Tybalt, his eyes filled with rage over a betrayal he can never forgive. Lesley Manville, best known for work with Mike Leigh, is priceless as the Nurse and succeeds in taking this character from her ecstatic highs to her tragic lows. Manville never misses a beat every time she appears onscreen.
There’s also Damian Lewis as Lord Capulet, and he gives the character of Juliet’s father a twisted feel which really makes his performance stand out. Kodi-Smit McPhee is very strong as Romeo’s good friend Benvolio, Natascha McElhone gives us a sympathetic Lady Capulet, and Stellan Skarsgård is a welcome presence as the Prince.
But it should be no surprise to see Paul Giamatti stealing the show as Friar Laurence, as it’s truly one of the best interpretations of this role I have ever seen. Friar Laurence is the moral center of “Romeo & Juliet,” and he sees the union between the two lovers as a way of bringing peace between the Capulets and the Montagues. I could tell just how much Giamatti put his heart and soul into this role, and I wept with him when his well-intentioned plans fall apart so tragically.
Still, despite all the great performances, this “Romeo & Juliet” never really comes to life in the way a truly great Shakespearean production does. The language in his plays is so rich, and it can be so intoxicating to take in when done right. This is how I felt after watching Kenneth Branagh’s cinematic adaptations of Shakespeare’s work, but Carlei is not as successful in making this famous playwright’s words come alive, and he is working from a script by Fellowes for crying out loud!
Every generation definitely deserves their own version of “Romeo and Juliet,” but this one is not going to do it. They will be better off with Baz Luhrmann’s version which ended up breaking my heart as it made me wonder if things might take a different turn from what we remember. Or perhaps it was just that big crush I had on Clare Danes which made Baz Luhrmann’s movie affect me so much. Oh well…
WRITER’S NOTE: This is from a press day which took place in 2013.
With “About Time,” writer/director Richard Curtis once again proves that he is the master of making romantic movies. While romantic films are currently a dying breed in America, Curtis gives the genre a much-needed re-invigoration. This is the same man who wrote the screenplays for “Four Weddings and a Funeral,” “Notting Hill” and “Bridget Jones’s Diary,” and he also wrote and directed “Love Actually” which has become everyone’s favorite movie to watch at Christmastime. Curtis populates his films with characters we can all relate to, and he shows us how the simplest things in life can be so wonderful.
I got to meet up with Curtis when he appeared for the “About Time” press conference at the Four Seasons Hotel in Los Angeles, California, and he proved to be as charming and funny as many of the characters who inhabit his films. During the roundtable interview he talked about “About Time” differs from other romantic films, how he came to cast Domhnall Gleeson and Rachel McAdams, and why this will be his last movie as a director.
While these questions came from several reporters, I did take the time to put my name to the questions I asked Richard. You will find them eventually.
Question: Why did you not tear Tim (Domhnall Gleeson) and Mary (Rachel McAdams) apart in the middle of the movie only to bring them back together?
Richard Curtis: Well, I quite liked the idea in the film. There is a kind of habit in romantic films of getting people who hate each other when they meet; he’s a Nazi and she’s a member of the Socialist Worker’s Party (laughs), however will they fall in love? But most of us, when we bump into the people we are going to spend the rest of our life with, quite like them when we first meet them. I quite liked the idea that you could do something where people like each other, and then there was the time travel and then they liked each other again. I’m interested in if you can do it. I was writing about sort of a happiness in a funny way and writing about the interesting business of how things work rather than being really interested in the way things don’t work.
Q: Speaking of the time travel aspect, it’s something that people keep watching these movies for. They’re always keeping an eye out for the loophole or plot holes. Did that make it harder writing the script?
Richard Curtis: Look, you know you’re gonna fail, that’s the thing. I know where I failed in this so you just do your best and the people and the production keep you up to it, and anybody who spots anything that’s wrong will always say it to you because it’s a fun thing to spot when they’re reading the script. So, you know you’re getting closer to true without actually getting there, and it was fun to play with it. It’s also a thing where when you decide you’re going to do a time travel movie, it is something that is in your head as you’re walking around. The thing about not being able to go past the birth of your child was definitely the result of another conversation I was having with someone about how weird it is that you commit your entire life to people who you have no ability to choose, and then I thought that’s so true. And not only that, if I had sex four seconds later, I’d have a different child and then immediately I thought that would become a key plot point.
Q: This movie has two love stories in it. It has the father and son and it has the man and the woman. How were you able to find the balance so that one didn’t overshadow the other?
Richard Curtis: On the whole you try and rig films to make sure they turn out as you want them to turn out, but I think it seems as though perhaps the strength of the Bill Nighy story is more than I expected. It’s turned out to be more emotional than I expected, and I think that’s all down to the way Bill chose to play it. He chose to play it in such a sort of gentle way that I think, when you see the film, you can insert your own father into the space that Bill creates. Oddly enough, this film is in some ways less manipulative. If you’re doing a movie that ends in a big kiss and a romance, your kind of playing the cards all the way through to try and get the maximum emotion at the end. In this one I always knew that I was always aiming for this bizarrely simple final moment which was just gonna be a guy doing the most banal things in the course of an ordinary day. So, I didn’t think so much about the dynamics of the film, perhaps I have in others. But one of the ways of doing it was by getting them to get married halfway through, so that film’s done and there’s another film to rely on.
Q: Has it affected sort of the carpe diem qualities, or is that something you practiced before you started writing the script?
Richard Curtis: No. Oddly enough I think, and Bill and I talk about, because I’ve done the movie, I am thinking about that a lot more, I really am. My girlfriend, who never makes any concessions to me, says I always work far too hard and I always think that I’m not working as hard as I used to and always am. But even she is saying that she’s noticed that I seem to be creating more space and enjoying things a little bit more and making more time for normal things. So that’s why I have said I am not going to direct another film because I think that directing a movie is not a good way to have a happy life.
Richard Curtis: Anyone who says that, Steven is their hero because it means you can change your mind. It is becoming a great tradition; the great heroes like Jay-Z, doesn’t he resign? If I come back, I’m part of a noble tradition, but that is my intention at the moment.
Q: Can you talk about Comic Relief and how that came to you at a young age?
Richard Curtis: Wow, do other people know about that side of my life? Well, it started off by an almost comical mistake in that a girl I know asked if I would like to go with her to Africa, and I just said I would go to keep her company and then the charities decided to send us to different countries. They said we would cover more ground, so that was a mistake. So, I was in Ethiopia at a very bad time and that could not but change my life. That’s something I have to carry. We did a stage show and then we did a TV show, and the TV show made so much more money than was expected that I couldn’t not do it again, and I have just gone on doing it. Every time we do it, we make more money than I will earn in my entire career. I think of it as my difficult child, it takes exactly half my time, it changes its nature so I now, and after doing it now for 25 years I got a feeling that the money we’ve raised might be less important than the education or part of it. Kids in England have always grown up knowing a lot about poverty in Africa and problems at home, and that educational thing may have actually turned out to be the function of it. The next thing I’m doing is doing a year and a half trying to be part of making the new declaration by the United Nations in 2015 to end poverty, so it’s a never-ending big subject. I think the way it’s bounced off on my career is that I haven’t written my seven bad films. I do think a lot of times when people, when they finish the thing, say have I got any other ideas whereas I’m always a year behind. I thought of this film in 2005, and then I chose to do the pirate movie (“Pirate Radio”) because I wanted to be a bit older by the time I made it. It’s actually given me breathing time and let things stew longer, so I always believe quite a lot in the projects I do by the time I get to them.
Q: Fighting poverty seems like an even bigger challenge now with the gap between the rich and poor growing bigger and bigger. Do you feel sometimes like it’s a never-ending battle and how we are going to do this?
Richard Curtis: Well, you have to be realistic about that. Actually, statistically speaking, the lives of the very poorest people on the planet have never gotten better quicker than in the last 15 years. It’s been extraordinary so I’m paying more attention to that. But the rich and poor inside countries, I’d just think it increases your responsibility to try and make sure that people like me who do live in the bubble of comfort are really aware of how peoples’ lives are at the other end of the scale. I made all my children watch a documentary called “Poor Kids” the other day. It’s just a really brilliant, very sweet-natured documentary about four really poor kids in the UK, and they literally could not believe what they saw and that increases the desire to communicate this.
Q: You also focus a lot on the joy of real people like with the Heathrow Airport scenes in “Love Actually,” and then there are scenes in “About Time” that look like they had regular people in them. Where did you find those people?
Richard Curtis: Well with “Love Actually” we put up a little black box with curtains in Heathrow and just filmed and then sent assistants rushing around and saying do you mind signing this release. It’s very weird, you haven’t seen your mom for 17 years and somebody’s saying we’ve just filmed you crying embarrassingly. The strange thing is when we edited that, over half of what I wanted in that sequence I couldn’t use because it turned out we hadn’t got the permissions. The bit at the end of this one was sort of the same thing. Quite a lot of it was sort of staged. There are some things that weren’t. Most of that was directed by my girlfriend. That was the weird thing. It was the final day of the shoot. I woke up and I was in the most astonishing pain. I thought I had kidney stones or whatever, and she leapt out of bed in the highest of spirits and said she would ring a doctor on the way to the set (laughs). Some of the loveliest images there were got by her which I think sort of shows because she is full of an energy and joy about her. It was interesting how ordinary those images had to be. I didn’t shoot them at the beginning, so I didn’t quite know how it was going to end. When I thought that I would end with a series of just normal images, I took a film by a friend of mine called Kevin McDonald called “Life in a Day” which is a movie he made about YouTube, and I cut like ten favorite images from that in and showed that to friends and it was a disaster because they were good. They were so definitive, so beautiful, so picturesque, and everyone said the movie’s all been about ordinariness and you can’t then say that every day is a beautiful sunset and every day is an astonishing child framed perfectly in a window in Milan. So, I did try and keep those end bits as sort of banal as they could be, but still joyful.
Ben Kenber: “Love Actually” is my family’s favorite movie to watch every Christmas Eve. I love it too but I’m always hoping we can add “Bad Santa” as a double feature though.
Richard Curtis: Lauren Graham’s in “Bad Santa!” I love her!
Ben Kenber: I’m not usually a big fan of romantic movies, but what I love about your movies is that the people and what they go through feels so real and relatable. A lot of American romantic films are manipulative but your films never feel like they are. Your movies touch on issues that most other filmmakers don’t really take seriously.
Richard Curtis: Well, thank you very much. I don’t have an answer for that, but don’t down American filmmakers because I think there’s a kind of feeling that romantic films may not be in a good place at the moment. “(500) Days of Summer” I thought was an incredible movie, “Like Crazy” is an amazing movie about love, and “Lost in Translation” is the greatest ever romantic comedy even though it’s not a romantic comedy. I’ve been looking back because I’m thinking about finishing and thinking why did I write all these films on this subject and then suddenly realizing it is because it is the context of my life and what matters to me. How your family treats you, who you love, how you get on with your kids and your friends are what fills most of your emotional time, and I’m just trying to hang on to that and write about normal things because I never, never bump into serial killers.
Q: A lot of people don’t seem to realize that “Love Actually” is a Christmas movie because the holiday gets so pushed into the background.
Richard Curtis: I think the funny thing about “Love Actually” is the casting is now out of whack. Originally it was 50% well known and 50% not, and now the naked guy is in “The Hobbit,” January Jones is Betty Draper on “Mad Men,” and even the boy is now in “Game of Thrones.” Liam Neeson is the greatest action hero in the world and Andrew Lincoln is on “The Walking Dead,” so it’s a hell of a cast now.
Q: You are obviously a believer in love. Do you have thoughts on marriage?
Richard Curtis: Well in a way “Four Weddings and a Funeral” was a long way of explaining to my mum why I wasn’t married. She always found it hard to accept. I haven’t gotten married for particular, peculiar reasons, but I’m sure that marriage is a wonderful thing.
Q: You make great use of music and songs in your movies. Can you give us an insight into what your playlists are?
Richard Curtis: Well, the insight I would say is that I really do have to use music in order to get through the process of writing. It really is part of me learning what I’m trying to do, and sometimes that takes very specific forms. When I handed this movie in, it said on the front cover “About Time” or “The Luckiest” or “Golden Lapels.” I thought about those two so much and was so sure I was going to use them, and I thought I might even name the movie after them. So, in this movie, all the cues were there as I was writing and helped me write the right scenes and work out what I wanted to say. There’s a version of “Downtown Train,” a Tom Waits song, by Everything But The Girl, an English group which was all I listened to while I was writing “Notting Hill.” That was all I was trying to do in the whole of that movie was reproduce the emotional temperature of that song which I knew could not be in the movie, but it was my sort of guide. And then I just use pop music to cheer me up, so I got different playlists on my computer. I’m trying to make my tastes more modern. My sons are pushing me hard in that direction. My 16-year-old says he can’t listen to traditional pop music anymore because the lyrics of the songs he listens to by people like Jay-Z are so much better than normal pop songs. Normal pop songs are so thin and so repetitive, he says, that he can’t listen to them anymore.
Q: The scene in the underground subway station is one of the best in this movie. Your use of music in all your movies is great.
Richard Curtis: Well, thank you. That was a really interesting day because sometimes you hope something works but you don’t know how. I couldn’t work out as I was shooting it how it was going to be possible to edit it because he’s always going to be singing the wrong words of the song. It was never going to be correctly timed so I just shot all night and hoped the editor could work it out, and the editor said there was no problem when we got to it.
Q: Can you talk about casting the two main parts? How did that come about?
Richard Curtis: There are completely different ways that casting works. My friend, Mike Newell, said to me, “When the movie is cast, the movie is made.” He was extraordinary when we were casting Vicar #3 in “Four Weddings and a Funeral.” The guy came in and Mike said, “So tell him about Vicar #3,” and I said, “Well the leading character is trying to decide whether to get married and the vicar comes in and…” And Mike said, “No, no, tell me why did he join the church” (laughs). That level of detail and three dimensionality, I think that casting is hugely important. Rachel, having always loved her work and having picked up a sort of vibe about her as a human being and being very interested in this part about sort of contentment and in the idea of going from someone you meet on the first date and, by the end of the film, she is the mother of three, was based on trust and faith and things that she had seen and things I had also heard about her from the people who had worked with her. Domhnall on the other hand was seen as one of the top 25 young actors in the country, and I saw lots of them as often happens when I audition. Unless it’s the right actor, there doesn’t seem to be anything there at all. That was very much the case with the sister’s part until we found Lydia Wilson. It seemed as though there wasn’t anything there, and then we got Lydia with all her complicated emotions and Domhnall instantly made it funny which is absolutely key because he’s actually interested in comedy. So many young actors, you know, aren’t. They’re actually trying not to be funny and they’re trying to make people take them more seriously and think them cool or attractive, and he was really happy to be stupid and loving. He’s a lovely actor and a very sweet man. It was complicated because he was wearing his “Anna Karenina” beard so he looked like he’d stumbled out of the woods in “Deliverance” (laughs). The beard looked great if you’re wearing a military uniform, but if you’re wearing a t-shirt and jeans you look like you’re too fond of farmyard animals. It was a real act of faith, and then I made him do a whole day on camera, still with the beard, actually acting out the part and stuff. So, he worked very hard for it and was then sort of perfect.
Q: There’s a lot of Hugh Grant in Domhnall’s role, sort of like the younger version of him in “Notting Hill.” Was there any kind of connection made there?
Richard Curtis: I wasn’t aiming for Hugh at all. It’s obviously a voice that comes out when I write that part. I actually voted against Hugh in “Four Weddings and a Funeral” when it came down to it and I was, thank God, defeated 2 to 1 because Hugh was brilliant. But I think there’s something about Domhnall that’s much closer to my original inspiration when I started writing films. I was really inspired by “Gregory’s Girl,” “Breaking Away,” “Diner” and the guys in that except Mickey Rourke, and Woody Allen really. I was always looking for awkward, normal people, and I think when you first sit down with him at the party you don’t think that he’s the guy. You think he’ll be lucky to ever get a girlfriend. I like that side of him whereas with Hugh, girls would like him.
“About Time” is available to own and rent on DVD, Blu-ray and Digital. Please feel free to check out some other “About Time” interviews I covered for the website We Got This Covered by clicking on the names below:
WRITER’S NOTE: This article is in regards to a press day which took place back in 2014.
Scottish actress Tilda Swinton is not just an excellent actress but a unique one as well. She doesn’t invite easy comparisons amongst her peers because she stands out in a way few other actresses do. She is lovely in the way she portrays a character, lovely in the way she moves onscreen, and, as we learned when she appeared at the Four Seasons Hotel for the press conference on “Only Lovers Left Alive,” she speaks lovely about her work and of the vampire she portrays in this film.
Written and directed by acclaimed independent filmmaker Jim Jarmusch, “Only Lovers Left Alive” tells the tale of two vampires who have lived through countless centuries and, as the movie starts, have reunited after being apart on different continents. Swinton plays Eve who remains optimistic about the world’s future even after all she has seen, and her lover Adam is played by Tom Hiddleston (Loki of “Thor” fame) who is more pessimistic about where things are heading. You might mistakenly dismiss Jarmusch’s film as just another vampire film, but it proves to be much more than that as it deals with love and death in equal measure.
Everyone was understandably interested in what attracted Swinton to the role of Eve, and she went out of her to explain what her favorite characteristic of Eve was.
Tilda Swinton: She has this perspective, that she doesn’t sweat the small, the medium or the big stuff, and that she’s full of wonder. She’s always looking up which feels to me pretty much the prerogative of people who have lived that length of time.
This film also marks the third time collaboration between Swinton and Jarmusch. She previously appeared in “Broken Flowers” and “The Limits of Control,” and off-screen she is really good friends with the filmmaker as well. We all wondered what kind of direction Jarmusch gave Swinton on this particular movie. This led Swinton to discuss the number of years it took to get “Only Lovers Left Alive” made, and how this length of time benefited both her and Jarmusch.
TS: We talk all the time. Whether we talk about anything that’s pertinent to the making of the movie, I don’t know. We’re friends now and part of the reason that I love to work with him is it means that I get to hang out with my pal for longer than if I wasn’t shooting with him. This one was another long gestation. It was seven or eight years since now when he first rang me up and said, Hey there, let’s make a vampire film. So that means a lot of conjuring, many breakfasts when I was flying through New York saying so where are we, many moments on the phone and many conversations in dark corners about where we were going to go next over the years. When we came to shoot, the lovely thing about those long developments is that when you come to shoot, it’s just grace. You’re so relieved to finally be putting it down and you’ve also had that length of time to talk about it. You really don’t need to talk about that much.
One truly unforgettable thing about Swinton in this role, or in any other role she has played thus far, is how beautifully she moves. The physicality she shows off from moment to moment is incredible, and we all wanted to know how she came up with it. The fact she’s playing a vampire here makes her performance all the more fascinating as a result.
TS: We talked a lot about what it would be if you were that unsocialized because they’ve kind of been lifted out of human society, and very quickly we started to talk about them as lone wolves so we talked about them as animals. When we were putting together the look, we ended up filling those wigs with yaks’ hair and wolves’ hair, and there’s a heartbeat in the film that comes up and down in the soundtrack which is actually a wolf’s heart. So, I thought a lot about wolves when we were thinking about how Eve would walk about. If you’re not in the pack, if you’re alone at night, you can take your time. You can pick your rhythm. The music is very important life blood, but also the camera, the move and the feeling of the movement is always very important to Jim, and this one particularly because of this passage through these two different wildernesses.
After watching “Only Lovers Left Alive,” many wondered about the relationship between Adam and Eve and how they have lasted so long as a couple. At the start, they reside on different continents before they reunite. We asked Swinton what she did to create the really comfortable long-term bond between Eve and Adam. In the process, she brought up one of Jarmusch’s main inspirations.
TS: One of the first bits of sand in the oyster for Jim, which he immediately told me about on that telephone call eight years ago, was this book by Mark Twain, “The Diaries of Adam and Eve,” which is so delightful and playful. It’s sort of fictional or maybe not diaries of the original Adam and Eve which spells out very clearly that this is an enormous love affair between two opposites. That was a foundation in stone for us that they would be in it for the long haul, but completely different. That I find really enticing, to show two people really loving each other, but not being like each other at all. So, we talked a lot about that and that was fun because that feels really human, playing with that. Also, as you notice, we wanted it to be about a marriage in which they talk as long relationships do. There’s a sort of tradition of showing people coming together and then the end, and you never really see them actually living it out and living the ups and the downs and talking it through. We really spent a lot of time wanting to get that tone of two people who were family. It’s a long, long marriage. They are family, and that’s why they still dig each other even though they are so different and he is so tricky to live with and she is such a space cadet. They have this communication thing going and they really like talking about stuff. We really wanted to show that it felt like it was something we haven’t necessarily seen before.
Another big relationship Eve has is with playwright Christopher Marlowe, played here by John Hurt. In the universe this film takes place in, Marlowe has been proven to be the real writer of William Shakespeare’s plays, and he at one point ends up calling Shakespeare an illiterate at best. When Swinton asked about how she and Hurt established the rhythm of their characters’ relationship, she pointed how this relationship differed between the one Eve has with Adam.
TS: The relationship with Marlowe is a very precious part of the film for me. Honestly, partly because it felt very close to my own experience having a very close relationship with, in particular, Derek Jarman whose disappearance from the building I had to witness. But him being a partner, a different kind of partner for her, he’s her neighbor and he’s her companion in a way that Adam isn’t. It just felt completely alive and fresh. I just know that relationship inside out, and John does too and he was the perfect dance partner to play that out with. Our references are kind of similar. He feels like family and we just put that into the film.
One of the great joys of watching “Only Lovers Left Alive” is realizing it is not a “Twilight” wannabe. Then again, we should know Jarmusch is the last kind of filmmaker to follow current trends. The characters of Adam and Eve are unlike any vampires we have seen, and their love affair is proof of how opposites attract. While Eve is more optimistic and lives to celebrate each and every period of Earth’s history, Adam is far more cynical about the present day. We all wondered how Eve could stay so upbeat even when in Adam’s company, and her explanation of why was both fascinating and amusing.
TS: Well, he’s very young. He has yet to learn. He’s only 500 years old. She’s 3,000 years old. She seen it all and she knows that survival is possible if one keeps one’s eyes open and takes it all in. It’s not like she’s recommending a journey one space away. She talks about witnessing the Inquisition and the Middle Ages. She’s witnessed all the holocausts there have been, and yet she’s still seen humanity and spirit and nature survive those things. So, she knows that as long as one keeps looking up and as long as one keeps breathing and keeps one’s perspective, survival is possible. She’s got her priorities right. I love the fact that what Jim’s looking at here is how one goes on living, how one goes on loving, how one goes on renewing and, as they say, rebooting one’s sense of wonder and engagement. It feels strangely radical and unfashionable; the very fact that they are trying not to be young, but instead they are trying to survive youth.
Another thing that stood out to me is how the fact Adam and Eve were vampires really became secondary to the story. After a while, you don’t see them as vampires but more as a loving couple dealing with the trials and tribulations of life. Also, Adam has a heartbeat which is something we usually don’t expect vampires to have. Swinton explained this was done intentionally.
TS: We were slightly messing with the form. We’ve all seen a lot of vampire films and we like the idea of disconnecting some of the myths, some of the tropes and then also inventing some new ones. So, we’re hoping that all the vampire films from now on would involve these gloves that we actually put out there in the first place. I think we all felt the same that being vampires, very evolved vampires, very humane, virtually vegetarian vampires is secondary I would say to the idea of them being immortal and being lovers in a way that only lovers can really be immortal because they live on in each other’s spirits.
Another big question was why Detroit and Tangier were chosen as the main locations. Both prove to be major characters as they come to inform Adam’s and Eve’s individual worldviews. Detroit, which is better known these days for its problems more than anything else, suits Adam’s sensibilities perfectly while Tangier appeals to Eve in a whole other way.
TS: Detroit was always going to be a very important character in the film. My sense is that Detroit was like the Emerald City for Jim, so for him it’s really a love story to make a film there. Tangier was a kind of newer idea. There was a moment where we were going to make it Rome, and for all sorts of reasons Rome sort of detached. And then we wanted very much to making a home on the African continent, and then it became Tangier. Tangier seems to be such a natural home for her. It’s a different kind of wilderness. It’s packed full of people from all corners of this particular planet and probably others and from all particular centuries. It’s got that sense of all corners of time and space, end and start in Tangier, and you can also walk around Tangier at night and cause absolutely no ripples at all even with a massive, great wolf’s hair wig on and fantastic pants. It’s just a sort of hot spot of spirit, and it felt like a very nice partner to this relatively unpopulated Detroit where people are rare and relative to empty windows and grass and wolves. Once we settled on Tangier that really felt like the right place for her.
Tilda Swinton remains one of the best and most fascinating actresses working today, and she will continue to be as long as filmmakers are smart enough to give her free reign. She has been able to go from making independent films to studio movies with relative ease, and she still has an endless number of great performances to give. Some actors might get stifled when going from the indies to a film with an enormous budget, but this doesn’t look like it will happen to Swinton anytime soon.
TS: It’s all endlessly fascinating. It’s just a different caliber. It’s like getting a finer tooth to it. It’s only relatively rare because I come from a kind of cinema that grew out of the art world. Working with a sort of naturalistic grain is something I’ve rarely done, but when I have done it, I’ve really enjoyed it and found it just a special atmosphere. For example, in something like “Michael Clayton” or even “We Need to Talk about Kevin,” that sort of realism, just trying to spin the realism, has been really interesting. Maybe I’d always want to spin it, but to spin it with that kind of naturalistic grain like deep cover. It has been very interesting although I’ve done it very seldomly. It’s all fun to me. It’s all dressing up and playing whether it’s dressing up as a corporate lawyer or dressing up as someone of 96.
More power to you Tilda!
PLEASE CHECK OUT THE EXCLUSIVE VIDEO INTERVIEW I DID WITH TILDA SWINTON FOR WE GOT THIS COVERED DOWN BELOW:
WHILE WE ARE AT IT, CHECK OUT TILDA’S REACTION TO ME COMPLETING THE 2014 LOS ANGELES MARATHON THE DAY BEFORE THIS INTERVIEW:
“Gimme Shelter” gives audiences one of the most intimate looks at life inside a shelter for those in need they could ever hope to see. It stars Vanessa Hudgens who turns in an astonishing performance as Apple Bailey, the child of an abusive and drug addicted mother. At the film’s beginning, Apple runs away from home and seeks out her biological father, a Wall Street banker named Tom Fitzpatrick (played by Brendan Fraser) who does what he can to help her out, but she ends up running away upon discovering she’s pregnant, and because Tom isn’t excited about her wanting to keep the baby. After a couple of nights on the streets and a nasty car accident, Apple finds her way to a shelter for young pregnant women run which is run by a spiritual woman, and it is there that she begins to feel a sense of hope for the first time in her life.
“Gimme Shelter” was written and directed by Ronald Krauss who actually spent some time in an actual women’s shelter run by Kathy DiFiore, a once homeless woman who eventually turned her life around and founded Several Sources Shelters which is dedicated to helping women in need. Krauss’ original plan was to make a documentary out of all the interviews he did with residents of the shelter, but in an attempt to show the world of the importance of the work DiFiore has done and to keep her legacy going, he decided to make a feature length movie instead.
I got to meet with Krauss and DiFiore during a roundtable interview at the “Gimme Shelter’s” press day held at the SLS Hotel in Beverly Hills, California. It was especially nice to see DiFiore there as she does not do a lot of publicity. DiFiore talked about why she decided to let Krauss make this movie which was inspired by her work. Krauss went into detail about his experiences at the shelter, and he also explained how he came to cast Hudgens in the lead role.
Question: How are you?
Kathy DiFiore: Good but a little tired. I’ve never been to so many interviews (everyone laughs).
Question: Welcome to our world. So, what did you think when this guy (Ronald Krauss) shows up on your doorstep? I guess you’re used to having people show up on your doorstep, but this guy…
Kathy DiFiore: Usually they’re pregnant women (laughs).
Question: Yeah right. This guy shows up and I doubt it went like, “Uh, can I stay here because I’m doing research for a movie.” But how did you feel when he proposes the idea of doing a movie based on your thing?
Kathy DiFiore: Well, it didn’t happen that way. It happened more like he was visiting his brother who happens to live a mile and a half from the shelter, and he had heard about my work through a friend of a friend of a friend of a friend of a friend, and he volunteered. It was Christmas time and I let people come in to volunteer all the time, especially someone that has the talents he has. He eventually said, “Maybe I could film some of what you’re doing” which I wasn’t fond of because of the $10,000 fine. I didn’t want any publicity. I thought, let me just go quietly. No public relations. Over the course of time, and it took several months as he was doing the work speaking with the young mothers and they got to know him, they would come to me and tell me how much they respected him and how much he respected them. He felt they were giving him private information, but he was treating them with such dignity. You don’t hear those types of words coming out of the women that come to me. They’ve been abused and abandoned and are really confused by so many, particularly men, in their lives. And then I heard a little voice inside my head, I’m a very prayerful woman and I was asking God for guidance, and I heard, “Trust him.” And when I heard “trust him,” it kept going on. Trust him, trust him, trust him. I thought, okay holy spirit, okay, and then he and I talked about some of the things he looked at.
Ronald Krauss: I didn’t really have any sort of agenda when I met Kathy. I wasn’t really setting out to make a film. It just so happened that her shelter was a mile from my brother’s house and it was at Christmas time. Usually during the holidays I’m, like a lot of people, at food banks or something or shelters just reaching out to people who are less fortunate. I remember the first time I was there visiting Kathy and walked into that shelter for the first time and saw mothers and children walking around and it was really fascinating. It’s exactly what you see in the film because we shot the film at the real place. I had learned that Kathy had not done any publicity in her work. For the last 30 years she remained anonymous other than when she started with the $10,000 fine, and that was news of a woman who was homeless and was trying to give back to society by turning her own home into a shelter. The state came down on her, and that’s a whole other story. She reached out to Mother Teresa, and Mother Teresa came by her side and together they changed the laws in the state of New Jersey, and she was honored in the White House with Ronald Reagan. I learned all of this which was fascinating and I was sort of intrigued by her, but I was more intrigued by… the young women that struggled and were finding their way in life and the woman that was sort of selflessly helping them with her work in this shelter and five shelters she has now; some just for homeless women and some for teenagers and different things. My first thing was to sort of really help her organize so that her legacy and her work would continue. I didn’t realize that I was planting the seeds for a film that I was really trying to say that people need to learn about your work. I was thinking at first that I was going to document her work just for her own purpose so people could find out later. With any device that I found there, and I actually borrowed her camera, I started to interview the girls and record the girls and go through her boxes and look at all her old videotapes. It was a lot of stuff. I started filming one girl after the next, one after the next, interview and asking where they were from, how they ended up here, where’s their parents, where’s all these things and the tapes started piling up. I would put them in Kathy’s office in the back, and before I know it there was a whole stack of tapes of these girls and their stories and they were all very similar. They were all stories of abuse and neglect and abandonment. It was both something like a bad mother, bad father, nobody cared and the thing they had in common is that they didn’t pick this life. They didn’t pick these parents. They didn’t pick up parent who was a drug addict or an alcoholic, it just happened. And what do people do when these things happen? They just get abused and they struggle in life, and they think there’s no hope. A lot of times the will of the parents and the people who are bad, it gets thrown onto the kids and they become angry and bitter and they fight and rebel and they run away and become homeless, and so it’s a vicious cycle. I think the turning point of the whole thing for me was I kept going back and back and weeks were passing and peoples’ lives were passing through my life, and they were touching me but I was sort of a little bit removed in a sense. Then one day I showed up at the shelter at about 7 o’clock at night and there was a young girl standing there in front of the shelter; an African American girl about 18 years old. It was about 15 degrees out, she had no jacket on and she was just standing there and I said, “Can I help you? Why don’t you come inside? What are you doing out here?” I thought she lived in the shelter but she didn’t and she thought I worked there and I didn’t obviously work there, so we were kind of misleading each other. Then Kathy shows up and I’m standing in the living room with this girl and Kathy says, “Who’s this girl?” And I said, “I don’t know. She was in front of the shelter.” And she comes over and says, “Never let anybody in the shelter. These are the rules here.” She kind of dug into me a little bit, you know? And I was like, “Okay but this girl, she didn’t have a place to go. She’s by herself, she doesn’t have a jacket, she has nothing.” And she says, “Let me talk to her.” Kathy’s very seasoned obviously and knows what to look for in these people because they could be deceiving, and she interviewed her and she came back to me and said, “It just so happens that we have one bed left in the shelter. Why don’t you tell this girl that she could stay here.” And so I went up to her, her name was Darlecia, and I said, “Hey Darlecia, they have an extra bed here for you to stay. You can stay here” and this girl… I’m sorry (Ronald started to get teary eyed) … Anyway, this girl, she hugged me so hard that she almost knocked me over.
Question: Is she the one that you based Vanessa Hudgens’ character on?
Ronald Krauss: Yeah. It was a jolt into my heart about that there were many young girls like this out there and that could use help. That’s what inspired me and made me think if I was to make a film it could create awareness for other people. I asked Kathy about it and she said absolutely not, of course. And then time went on and she came to me and said, “You know the girls really respect you and trust you in terms of the care of what you’ve been doing, and perhaps you’re right. Maybe some sort of film could really help to spread the word that shelters like this exist and that other people can be kind, and maybe someone will open a shelter if they see a film like this.” But no one ever anticipated it would be a film like this.
Question: What made you choose Vanessa Hudgens for the role of Apple Bailey and what was it like to work with her?
Ronald Krauss: I never thought that a Hollywood actress could really play the role like this after living there for like a year. I lived there for a year writing this script. And there are a lot of famous actors that wanted to do it and had auditioned and some of them were really well known, and then someone mentioned Vanessa Hudgens and I didn’t really know who she was. I met with her and she was very passionate to play this role. She believed in herself that she could really do it. There was something inside of her. She turned in a great audition, she was persistent, and the turning point was that I had taken all the auditions, there was about seven or eight that I liked, and I sent them to the shelter. I didn’t tell them who I was thinking about. And when they saw the link of the girls, they unanimously picked Vanessa. They said this is the girl who should play this part, and that was the confirmation. She dove into this thing, she lived in the shelter, cut her hair off, she gained 15 pounds and besides the physical transformation, she transformed inside and she bonded with Kathy and the girls and they trusted her and they opened up to her.
Question: Kathy, what did you think of the final film?
Kathy DiFiore: (It’s) perfect. It still makes me cry when I watch it. There are women who have left Several Sources that want to come and see it and I can’t wait for that. It’s a legacy for us.
“Gimme Shelter” is now available to own and rent on DVD, Blu-ray and Digital.
Like so many, I grew up watching “The Lone Ranger” on television and listening to the old-time radio show as well. John Reid, whether he was wearing a mask or not, was a paragon of justice, and seeing him and his faithful sidekick Tonto defeat the bad guys was always deeply satisfying. I was reminded of how much I liked this character while watching Gore Verbinski’s “The Lone Ranger” because I kept asking myself, who is this buffoon that has no business being around a horse during this movie?
Hollywood has had little luck in getting a respectful version of “The Lone Ranger” up on the silver screen, and this supposed 2013 summer blockbuster is the latest example. At two and a half hours, this film is a bloated mess which could have easily been shortened. It sticks its talented cast with a bland story, an uninteresting villain, and it can never seem to figure out if it wants to be a lighthearted adventure or a deadly serious film. Sadly, it is not until the last half hour when this “Lone Ranger” finally comes to life.
This “Lone Ranger” is yet another origin story about how this iconic character and Tonto first met and joined forces to bring justice to the American Old West. John Reid (Armie Hammer) is a lawyer and former Texas Ranger who joins up with his brother, Dan (James Badge Dale), to recapture the ruthless outlaw Butch Cavendish (William Fichtner) who has just escaped. In the process of tracking Butch down, John and Dan are ambushed by him and his law-breaking friends, and he mercilessly takes Dan’s life as well as another part of his body from him. John is assumed to be dead, but Tonto (Johnny Depp) finds his body and nurses him back to health so they can avenge Dan’s life and defeat Butch before he does more harm.
Look, I try to enjoy movies for what they are as opposed to what I want them to be, but I found myself wanting to see a much different version of “The Lone Ranger” because the iconic character is not given the respect he deserves here. I came out of this film feeling sorry for Hammer who is a very good actor and was terrific as the Winklevoss twins in “The Social Network,” but he is forced to portray John Reid as a buffoon and wimp who has no business trying to bring any bad guys to justice. Hammer has some funny moments, but the screenplay by Justin Haythe, Ted Elliott and Terry Rossio robs his character of many of the heroic qualities we love the Lone Ranger for having.
Come on, this is a movie about the Lone Ranger, so why not make it about the character we know him to be? Just like “The Green Hornet” which Seth Rogen and company really messed up, this is a film that blatantly forgets what makes its well-known characters so special. Regardless of the current controversies Hammer is currently enduring, his acting career has fared much better than Klinton Spilsbury’s did after he starred in ill-fated “The Legend of the Lone Ranger.”
As expected, Johnny Depp gets top billing even though he is playing the sidekick in this film because, well, he’s Johnny Depp. While he may be the best thing about “The Lone Ranger,” his performance is a bit problematic. Depp said he chose to play Tonto so he could right the wrongs of the past in terms of how Native Americans are portrayed in the media. While I really want to say he succeeded, I’m not sure he did. He is clearly having a lot of fun playing Tonto, but the character threatens to come off as a comical caricature than a believable Indian. I have no doubt that Depp has Native American blood in him, but it would have made much more sense to get a full-blooded Native American to play Tonto instead.
But in the midst of such comical mischief between the Lone Ranger and Tonto, we get to learn about Tonto’s backstory which involves tragedy and Native American genocide. It is at this point when the movie’s tone becomes completely erratic as it can’t seem to decide whether it wants to be funny or serious. While I would never dare to gloss over the damage we did to Native Americans, this grim history belongs in another movie and not this.
“The Lone Ranger” also starts off with another side story which has a young boy named Will (Mason Cook) visiting a San Francisco county fair where he runs into an elderly Tonto who proceeds to tell him about his adventures. The movie keeps coming back to these two time and time again, and this ends up slowing its already sluggish pace down to a grinding halt. These scenes could easily been cut out of the film because they really serve no good purpose and only make us wish this was much shorter.
William Fichtner remains one of the most dependable character actors working today, but he is unfortunately saddled with portraying a bore of a villain in Butch Cavendish. The character’s makeup basically spells out how this is one very bad dude who never visits the dentist, and it’s almost like Fichtner is letting the makeup do all the work. There’s really not much to this character other than he’s just another evil outlaw, and this gives Fichtner no real opportunities to make him the least bit interesting.
As for the other actors, Ruth Wilson gets to play Dan Reid’s obligatory love interest, Rebecca, and she is given little to do other than be in constant danger. Tom Wilkinson is a welcome presence as railroad tycoon Latham Cole, but it’s no surprise to see what his character ends up becoming. And while it is cool to see Barry Pepper as U.S. Calvary Officer Jay Fuller, his character is just another one of those clichéd corrupt military characters who is just asking to get beaten up. As for Helena Bonham Carter, she is wasted in a bit part as brothel madam Red Harrington. While I love seeing Carter pop up in one role after another, this movie does not deserve her.
Verbinski runs into many of the same problems which undid “Pirates of the Caribbean: At World’s End” as it goes on for far too long, contains characters we never fully care about, and it doesn’t take long for us to give up on trying to understand the plot. While he is indeed a talented filmmaker, and the first “Pirates of the Caribbean” movie really was fantastic entertainment, I thought after “At World’s End” he would rein things in more than he tried previously. That he did not accomplish this makes this cinematic experience all the more frustrating.
Regardless, I have to admit that I loved the movie’s last half hour where Verbinski executes a number of brilliantly staged action sequences. Once the “William Tell Overture” music started blasting through the speakers, I found myself being immensely entertained. This was “The Lone Ranger” movie I wanted to see, the one where I was genuinely thrilled by this masked man’s crime fighting ways. This proved to be so much fun, but while this spectacle went on, I could not help but ask myself why the rest of this motion picture could not be this entertaining.
“The Lone Ranger” was not the worst movie of 2013, but it was still pretty close to being the biggest stinker of all. While it was not as boring as “The Great Gatsby” nor as abysmally bad as “The Hangover Part III,” this should have delivered far more bang for the buck. Westerns have taken a big hit over the years with poorly received duds like “Wild Wild West” and “Jonah Hex,” and this film is not going to help matters any. This was the first Lone Ranger movie in over 30 years, and now it looks like we’ll have to wait twice than long for the next one to be made.
WRITER’S NOTE: This interview took place back in 2013.
Skylar Astin has had the privilege of entertaining us onstage in the Tony Award-winning musical “Spring Awakening” and onscreen in movies like “Hamlet 2” where he sang the song “Raped in the Face” and “Pitch Perfect” in which he appeared opposite Anna Kendrick and Rebel Wilson. Now he’s starring in “21 and Over,” the comedy which marks the directorial debut of “The Hangover” screenwriters Jon Lucas and Scott Moore. Astin plays Casey who quickly proves to be the moral compass the other main characters need to survive the mess they end up getting caught in.
I got to catch up with Astin while at the “21 and Over” press conference held at the Saddle Ranch Chop House off of Sunset Boulevard in Los Angeles. Now when it comes to college comedies like this one, most actors would prefer to play the character who is wild and crazy and comes across as the life of the party. Casey, however, is exactly the opposite of that even though he gets into as much trouble as his friends do. Still, Astin saw the benefits of playing such a level headed and grounded character in this film.
Skylar Astin: “You’ve got to have a moral compass of the movie and you got to like steer the ship a little. It’s cool that we all got our opportunity to be funny though.”
One pivotal scene in “21 and Over” has Astin and his co-star Miles Teller walking around campus wearing nothing but a tube sock over their privates. Now this could not have been a very comfortable scene to do, especially when you have a lot of people on set looking at you and wondering how much time you spent at the gym. Astin talked in detail about he approached this scene in the film which was filmed in Seattle, Washington.
Skylar Astin: “Funny enough, it was supposed to be approached very delicately. We were told that it was going to be a closed set and that it was gonna be the warmest day of the shoot. It turns out that it’s freezing, everyone’s there, and actually at our first costume fitting they just had a sock and a little underneath sock to keep everything in place and they’re like ‘here’s your fitting!’ At first, we had a moment of where it was like fight or flight, and I think I was just like ‘let’s just do it man. We have to do it eventually.’ I just de-robed and was like this is everything I got. I don’t think I was like proud, but I just had to play the role of being okay with it. I had the idea of making the whole crew where just socks and they didn’t oblige, especially the women, but it worked out thankfully.”
In the film, Astin and Teller take their best friend from high school, Jeff Chang (played by Justin Chon), to celebrate his 21st birthday in an appropriately drunken style. Now the really good actors are able to draw on their own experiences when playing the role, and we couldn’t help but wonder if Astin has been through similar nights in his own life. It was actually a bit surprising to hear the similarities he shares with Casey.
Skylar Astin: “Personally for me, my younger brother is my best friend and my partner in crime and I’ve definitely had several nights that had the spirit of this movie. I’ve always been the one that has a good time, but at the end of the bender it’s like ‘both of our phones are dead and we both have to call our parents and tell them we’re alive.’ That’s kind of always been my responsibility so I can relate to the feeling of just being a little irritable on those nights but also letting loose and have a good time. There is a little bit of Casey in me, but I don’t think I’m as much of an over thinker though. I always try to draw from personal experiences and my own personality whenever I play a role, and it’s not hard to play a role that close to my age, close to home and in a movie that I would go see if I wasn’t in it.”
Working with two different directors on the same film must seem challenging as this is typically a one-person job. What if one director tells you to do one thing and the other director instructs you to do the exact opposite? Where do you draw the line? Astin, however, said both Lucas and Moore were on the same page as they had written the screenplay together and have been friends for many years. As a result, there was never any conflict between either of them.
Skylar Astin: “What they have in common is that they are both the writers so it comes directly from one vessel. That’s always really great as an actor to have that wealth of knowledge coming from two voices. For me, I loved the different kinds of conversations that I would have with each one. Since I had a love story on top of the funny moments, there were different kind of conversations like the leading man type of thing I would have with Moore and to be more sincere in certain moments, and then Lucas was great because he was giving me jokes every five minutes. So, I had this well-rounded voice coming from two different people. They worked together so well, and they almost know this age better than I do and I’m closer to it. It’s kind of crazy.”
For a film filled with such drunken debauchery as “21 and Over,” Skylar Astin proves to be the most well-rounded person these characters need to get them through the night. It is now available to own and rent on DVD, Blu-ray and Digital.
Jonathan Glazer’s “Under the Skin” is, in a word, hypnotic. Shot in a clinical fashion which would have made Stanley Kubrick proud, it puts us in the shoes of a nameless and mysterious young woman, played by Scarlett Johansson, who spends her days driving around Scotland and seducing lonely men for what seems like a night of much needed sex. But we eventually discover she is not of this world as she lures these oblivious men to a dark void where their bodies are sucked into a deep dark abyss of liquid. From there, their bodies are consumed and sent off to a bright red light which I can assume represents the alien world she originates from. But while she may seem like an evil parasite, her travels on Earth result in her going through a process of self-discovery she was never meant to experience, and it leads to an endlessly fascinating motion picture which has stayed with me ever since I first watched it in 2014.
I was amazed at how Glazer almost fashioned this as a silent film. There is dialogue here, but not much of it. Johansson doesn’t speak until she finds a lonely male walking the streets all by his lonesome, and it is then that she shows us just how good her Scottish accent really is. It is also surprising to learn that most of the characters we see here are portrayed by non-actors who more or less improvised their dialogue. This gives “Under the Skin” a down to earth feel which helps to make Johansson’s character (we never do learn her name) seem all the more out of her element.
Visually, the movie has a strange beauty in its depiction of darkness and light, and there’s a scene in particular where we see what happens to the bodies of the men Johansson seduces which proves to be both eerily beautiful and simultaneously shocking. While many people might look at Glazer as if he is just totally ripping off Kubrick, he really has given this whole movie a unique feel as I still find it hard to compare it to others of its genre.
“Under the Skin” may end up frustrating a lot of viewers as it does not provide much in the way of answers. Glazer has opted to leave a lot of what we see to our imaginations, and I am always excited when a filmmaker challenges his audience to think about what they are seeing. Not every image we see necessarily deserves a straightforward explanation, and we live in a time when people are desperate for others to give them a definitive answer without thinking critically about what just took place.
Johansson is mesmerizing to watch from start to finish. Her character is a very tricky one to play as she has to come off as emotionally cold, but she eventually finds herself in a state of self-discovery where she experiences a number of things for the very first time. This is where she really could have gone overboard with moments which could have screamed out, “nominate me for an Oscar!” But her performance here ranks among her finest to date, and her reactions to experiences her character is put through are enthralling to witness.
Another thing which really stands out is the amazingly original music score composed by Mica Levi, better known by her stage name of Micachu. She composes mostly experimental music, and her soundscapes and bizarre musical design perfectly meshes with Glazer’s haunting visuals. I haven’t heard a film score quite this unique since Jonny Greenwood worked his musical magic on Paul Thomas Anderson’s “There Will Be Blood.” I did not even hesitate to buy the soundtrack once I left the theater.
Glazer burst onto the scene with his feature film debut “Sexy Beast” in which Ben Kingsley gave us one of the most frightening, and unhappy, gangsters on the planet, but he was absent from cinema since his follow-up film “Birth.” It turns out he started working on his adaptation of “Under the Skin” back in 2004, and it took him a decade to get his vision onto the silver screen. It was great to have him back behind the camera as he has an amazing visual style which just sucked me right in.
“Under the Skin” is filled with so many haunting images which have stayed with me for a long, long time. The black void where Johansson’s character lures her male victims to, the white void where she dresses in another person’s clothes, a man racing his motorcycle through a lot of hazardous weather at an alarming speed, Johansson’s character reacting to the piece of cake she has just eaten, etc. This film absorbed me in a way few other movies did back in 2014, and it was great to see something so cinematically daring as. The fact it got made feels like a miracle.
Yes, it did prove to be divisive among moviegoers who were easily bored by its languid pace, and perhaps they were instead yearning for the latest bombastic action spectacle from Michael Bay. Regardless, I’m really glad that “Under the Skin” has provoked such passionate responses because it takes chances and doesn’t conform to the Hollywood norm which filmmakers cannot always escape from. It provides one of the more unique experiences I have had at the movies, and it was great to see Jonathan Glazer back behind the camera after a surprisingly long hiatus.
Besides, Scarlett Johansson, Black Widow herself, stars in this, and she is currently the highest paid actor working in movies. Shouldn’t that be enough of a reason to watch this striking piece of cinema?
WRITER’S NOTE: This article is based on an interview which took place back in 2013.
It has been over a decade since “The Best Man” came out in theaters, and now Nia Long returns to play Jordan Armstrong in the eagerly awaited sequel “The Best Man Holiday.” Whereas in the original she was a producer for the BET network, we now find Jordan working as the director of programming at MSNBC. She remains as work obsessed as ever, but she has found time to snag a boyfriend named Brian who is played by Eddie Cibrian. But while she is completely smitten with him, can Jordan find the power to pull herself away from her job enough to fully commit to a relationship? Also, will Jordan’s friends have an issue with Brian being white?
Long is best known for her work on the television shows “The Fresh Prince of Bel-Air” and “Third Watch,” and she has appeared in the movies “Boyz n The Hood,” “Love Jones” and “Big Momma’s House.” Cibrian also appeared on “Third Watch,” and many still remember him best as Cole Deschanel on “Sunset Beach.”
We got to catch up with Long and Cibrian when they appeared at the Four Seasons Hotel in Los Angeles, California for “The Best Man Holiday” press junket. Long talked about what it was like playing Jordan Armstrong for the first time in 14 years, and of how she has managed to have such a long career. Cibrian discussed what it was like joining this closely knit cast, and of how he came to deliver one of the best lines in this sequel.
Question: Nia, 14 years ago you played this role. Was it easy or difficult to pick the character up again 14 years later?
Nia Long: Getting back into character wasn’t so difficult. What was difficult was determining what her journey has been like for the last 14 years and making sure that I maintained certain things about Jordan in this film. But also, we just really needed to be clear about what her emotional journey was. For me that was pretty much the motivation and the most important thing.
Question: What was the deciding moment for you to sign onto this sequel?
Nia Long: We all decided that before Malcolm really finished the script. He kind of came to each one of us and said, “Would you guys be interested in doing the sequel?” We all just decided that if the script is great and the story is there and the characters have grown, why not? So that’s basically what happened and it was pretty easy.
Question: Eddie, you are the new kid on the block here so you are essentially joining the cast that already has a chemistry. Was it daunting for you coming on knowing that these guys have a connection?
Eddie Cibrian: You know, I think what Malcolm was looking for was someone who could feel at ease in the environment, and I’m kind of that way personally as well. For me, I’ve worked with a handful of them before so I already knew them and it wasn’t like I was meeting this team for the first time. Nia and I worked together while we were doing a show called “Third Watch” in New York, Morris (Chestnut) I’ve worked with a handful of times so I already knew some people which made it easier for me. But I think what Malcolm wanted was someone who didn’t feel intimidated in this situation, and I hope that came across that he (my character) is somebody who’s just at ease with himself and the environment.
Question: The female characters are all so strong and so diverse. Why is it important that we see these types of images in the media?
Nia Long: I’m all about girl power…
Eddie Cibrian: She is!
Nia Long: I am, right? I love my girlfriends; I think sisterhood is so important. I think learning from one another culturally is really important no matter where you are from or what you look like. If we can come together as women, I think we are just so much more powerful when we stand in a group. I’m not afraid to say I am a bit of a feminist. I think that we are incredible. What’s so great about Malcolm’s writing is that he does give each character a very specific voice, and the reason why we have so many women who actually love the “Best Man” brand is because they can look at the film and almost point themselves out or at least say I’m a combination between Jordan and Shelby or Robin and Nia or whatever it is. As an actor you don’t get those opportunities to really work alongside other great women, and that’s such a blessing. I mean when’s the last time you’ve seen a film where there were four African American women that are actually all in the same movie? It doesn’t happen all the time so you’ve got to take the ball and run when you get it and get that touchdown.
Question: It is 14 years later and you still look amazing. What are some of your beauty secrets?
Nia Long: Oh my gosh! Should I tell them?
Eddie Cibrian: I don’t know.
Nia Long: He saw everything that goes on in the trailer.
Eddie Cibrian: She’s got some beauty secrets. She’s naturally beautiful, that’s her secret and that’s the truth.
Nia Long: Thank you. You know what it is? I just take care of myself, and when I’m not working, I’m with my kids. In mommy mode you are in sneakers with no makeup and my hair is really combed, so that’s what it is. You guys just don’t see me out there all the time, so when I do come out there it’s like, oh okay, you’re back.
Question: Nia, can you describe what it was like coming back to this cast 14 years later?
Nia Long: We would have to these roundtable discussions where they would always put our chairs altogether. The girls would be kind of grouped together and the guys would be grouped together, and we would have some pretty intense conversations about everything and we would get into debates on love and relationships. I don’t want to be inappropriate but we were like college kids at times (laughs).
Eddie Cibrian: This was in between takes.
Nia Long: Yes. We were like bad children. That’s what we were like, but we got it done.
Question: Nia, when it comes to your career, your longevity is something many actors and actresses continually strive for. What has been the key to remaining relevant after so long?
Nia Long: Dealing with my life and truth, dealing with my career and truth, saying no and I’m never really motivated by money. I am motivated more by the creative (aspects)… Well that’s not true. Let’s not get too carried away (laughs). I have bills to pay. Sometimes money is okay. I think just staying true to myself. My dear brother who I miss every single day, Heavy D, said to me, “This is not a race, it’s a marathon.” Whenever I get frustrated or unsure about what to do next, I always think about him saying that to me because it’s very true. Don’t you feel that when one door closes something else opens and you’re like, whoa, I didn’t expect that? You just go with it if it’s right in your heart.
Eddie Cibrian: Plus, you’re very good at what you do. That helps.
Nia Long: Thank you!
Question: Eddie, you delivered one of the most memorable lines in the movie when you said, “You have to be a bitch to be concerned about your woman’s past.” How did that scene play out for you and how did you go about delivering that line?
Eddie Cibrian: Well you have to think Malcolm for that because it was written. I wasn’t clever enough to come up with that line. I think what Malcolm’s intention was that everyone has a past, everyone has made stupid mistakes, everyone has done things that they are probably not proud of, but that’s in the past and that’s made them who they are now. They are a different person, and if you fell in love with them for who they are now and what their truth is now, then who cares what their past is? They weren’t just born. They have had life experiences to get them to where they are.
Nia Long: And who wants a virgin? (laughs)
Question: Who are some of your mentors and the people that have kept you going this whole time?
Nia Long: I was doing a film called “Made in America” with Whoopi Goldberg, and I didn’t have any idea what I was doing. I was just like a little deer in the headlights and Whoopi Goldberg said to me, “This business is tough and you are going to have to develop a second layer of skin.” And now when I think back on that, I know exactly what she means because as an actor you want to keep your heart open so you can do good work. The only place that good work comes from is by being vulnerable. But in the business side of this, you can’t really be vulnerable. You have to separate the two and it took a long time for me to understand that because naturally I’m just an emotional being. That’s just kind of who I am. So, I would say Whoopi, Heavy D who I think about almost every day, my brother and my grandmother who said, “You know when they stop talking about you, that’s when you need to worry.”
Eddie Cibrian: My dad really. When I was first getting into this business, he would take me around to auditions. I was doing commercials and stuff like that and I was an athlete and I just wanted to play sports, but he was like “no, you can do this.” And I was like, “I don’t really wanna do this” and he was like, “You can do this.” And so we would go to 100 to 200 auditions in a year and I would get four or five of those, but every single time I would go I was like, “Why am I not getting these? I don’t understand.” He said, “Well look, you don’t have to get a yes every single time. You just got to get the right yes.” That’s the way it is. We go out on a bunch of different things and we wish we could get a bunch of different things. We wish we could get everything that we go out on, but we don’t because there are thousands of people out there. But the ones that you do get and they say yes to, those are the ones where you have to make something of, and those are the important ones. I thank my dad for that.
WRITER’S NOTE: This article was originally written in 2013.
Taye Diggs and Sanaa Lathan return to reprise their roles of Harper and Robin from 1999’s “The Best Man” in writer/director Malcolm D. Lee’s long-awaited sequel, “The Best Man Holiday.” When we last saw these two, Harper proposed marriage to a very shocked Robin. Now its 14 years later and they are happily married and expecting their first child. But while Harper’s previous book “Unfinished Business” proved to be a bestseller, his latest book gets rejected by his publisher. To make matters even worse, he is laid off from his teaching job at New York University, and he doesn’t have the nerve to break the bad news to Robin.
All those concerns get put on hold, however, when Harper and Robin travel to Lance (Morris Chestnut) and Mia’s mansion to celebrate the holidays, and it reunites them with the other characters from the original film. But old rivalries and passions are quickly reignited as Lance has not forgotten about the affair Harper had with Mia all those years ago. Can these two men find it within themselves to forgive one another and move on from their past?
We got to catch up with Diggs and Lathan when they appeared at “The Best Man Holiday” press junket which was held at the Four Seasons Hotel in Los Angeles, California. Together they talked about what made them decide to do this sequel, how everyone has evolved since the first movie, and what it was like returning to play these characters 14 years later.
Question: For this movie to work, essentially everybody in the original cast had to sign on to do it. At what point did you to decide to do the sequel?
Sanaa Lathan:A couple of years ago, Malcolm actually got us all together and we went to Boa (Steakhouse), and he hadn’t written a script yet and at a loud restaurant with lots of drinks flowing, he literally pitched moment by moment and beat by beat the story. In that environment which is very challenging for a pitch, we were on the edge of our seats and we all at that moment said, “If you write it, we’re gonna do it.” So, for me it was that, and then the script came much later…
Taye Diggs:And then it just became about fine-tuning.
Taye Diggs:We all obviously had a great time doing the first one. Great friendships and bonds were made and we’ve kept all those friendships, so at this dinner it was so great to see each other just on general principle. It’s great to see old friends that we haven’t seen in a while. I think a couple of us knew possibly what Malcolm was going to come with, and then to actually hear him say it and then to hear the story and then to kind of get together as a group and do what we all needed to do to get this project done and made, it has been a great experience.
Question: How do you think Malcolm has evolved since directing the first movie?
Sanaa Lathan:He actually regressed… No, I’m kidding.
Taye Diggs:I was there every day on set, and good is good. I think we all evolved. We’re all older, we’re all more mature, and we have all had more experience. For me what I noticed this time around, when it pertains to Malcolm, was the outside pressures. I could tell this time around that he had a lot more on his shoulders, so I would say he has evolved in the sense that he was able to deal with a lot more pressure.
Sanaa Lathan:Yeah, and there’s the pressure of the first movie and of living up to it too. That’s a huge pressure.
Taye Diggs:Right and he did it again with a lot more on his shoulders. He had a cast that had experience…
Sanaa Lathan:(We were) very vocal. We tested him a lot and we were having a lot of fun, but we were always like, why? Why are you doing that? I know that we tested his patience but he dealt with it well, right?
Taye Diggs:Yeah. We were all new (at least I was) for the first one, so we weren’t nearly as vocal. But now we have matured as actors and we look at a script differently and challenged him on character and through lines and story structure, so he handled it well.
Question: Taye, have you seen “The Best Man” with your real-life wife?
Taye Diggs:Oh, of course. My wife was at the premiere and was a huge supporter, and hopefully she will enjoy the second one as much or even more than the first.
Question: You all look like you had an absolute blast on this movie. How much fun would you say you had on set?
Sanaa Lathan:They (the men) turned into like seven-year-olds (for the dance sequence). They had dance rehearsal because it wasn’t that simple and Tate has a dance background and Morris has no background. So literally in between takes for weeks they would be like okay, and 5, 6, 7, 8 (laughs). All the girls were so excited. This was like their debut at Alvin Ailey (laughs).
Taye Diggs:I have a stage background. I don’t know if you all know that. For me, stage is a lot more nerve-racking than film acting because no matter what you’re in front of people. With film acting you have control. If we’re shooting an emotional scene and its private you can say I don’t want anybody in the room except for the cinematographer and the director. It’s less nerve-racking doing film, but with this dance sequence Malcolm said, “Be on your stuff because the girls are gonna be watching.”
Sanaa Lathan:The first time we saw it was real-time reactions (laughs).
Taye Diggs:Yes, and there was a level of performance that we had to take into account because we wanted them to think we were good. So, we were nervous, at least I was, and I wanted to make sure that we had the counts and whatnots and it worked. It helped and when we filmed it, seeing them and getting that live, real energy…
Sanaa Lathan:And those reactions that you see in the movie are real.
Taye Diggs:That was great.
Question: Some of the themes in this movie are about unity and brotherhood and sisterhood amongst friends and family. Why do you feel it is so important that we see these images so often for minorities?
Taye Diggs:We don’t see them enough.
Sanaa Lathan:I think it’s important for us to see ourselves reflected in all that we are instead of one type of genre like the over-the-top comedy. It’s really important for the art form of film to reflect the world that we live in and who we are, and I think that it hasn’t really done that for people of color at this time in history.
Taye Diggs:We’ve come a long way but we are still struggling.
Sanaa Lathan:We still have a ways to go, but I think that’s why a movie like “The Best Man” resonates so much because people are hungry for stories that are layered, and they can recognize themselves and their family and friends in the things that they’re going through.
Question: What are the holidays like at your houses?
Taye Diggs:It’s crazy, fun and there’s always a little tension with those couple of family members who always bring something surprising. But growing up I’ve always looked forward to the holidays. Now I got my own little boy so there’s that level of enjoyment and excitement that comes with having a baby, and this Halloween was the first Halloween where he understood what was going on.
Sanaa Lathan:What was he?
Taye Diggs:He was, and he chose this, a zombie Michael Jackson from “Thriller” and he was into it. I had a different take on Halloween this time. I was just loving being able to live through him.
Sanaa Lathan:What were you?
Taye Diggs:I wasn’t anybody because I was so focused on him which is something different. Usually I’m worried about what I’m going to be and dressing up and leaving him with the sitter and partying myself, but this time it was all about Halloween for him. It’s fun. The holidays are fun, and they are way more fun with a four-year-old.
Question: Sanaa, how did playing a pregnant character throughout the entire film affect your craft, and how do you think your character handled being under the same roof with two women who have a romantic history with your movie husband?
Taye Diggs: Usually they ask how it affected me (laughs).
Sanaa Lathan:When Malcolm pitched the idea that I was nine months pregnant, I was (coming from a female vain perspective) like, well damn (laughs). I’m like, the whole movie? And it’s not like three or four months where it’s cute, it’s nine months. But I think that energy and “well damn” is what women feel in their ninth month, so it worked. I had to put on this huge belly that they actually… I did “Blade” where I played a vampire years ago, and the same people that did the prosthetics for “Blade” did my belly, so it was like a real belly. It was heavy, it made me hot and you have to waddle. It was a drag, but it worked for the character. And I realized how sick and sadistic people are. Literally every day, I would get about three punches in the belly out of the blue (laughs). They were just laughing. Malcolm would do it and it was crazy! Something about knowing that it wasn’t real (laughs).
Taye Diggs:We were awful.
Question: How has your real lives paralleled what your characters go through, and how was it coming back after 14 years?
Sanaa Lathan:In terms of the parallel, I tried to be a glass half-full person and I think Robin has always been that especially for Harper. He’s kind of the glass half empty and she’s the glass half-full, and a lot of my friends call me a hippie. I cultivate that mindset to see the bright side of things, and I come from a family of artists and Bohemians in the 70’s so there’s that aspect. But other than that, the reunion was great. It was fun and it didn’t feel like work. We had so much fun in between takes.
Taye Diggs:It helps. I think it shows in the chemistry. You can choose to act it or you can just be real, and obviously it always helps when it’s real. Just being able to hang out socially and look forward to the time when the cameras aren’t rolling as well as the time when the cameras are rolling, it makes the entire experience truly enjoyable. It just worked out. I think we were so blessed, lucky, fortunate or however you want to term it. The fact that we even got everybody together in the first place I think was miraculous, and then to have that type of script and then to have everybody mature the way that they did. We all brought our life experiences to these roles. We’ve all been through our ups and downs, and that has affected us as people and as actors. We were lucky in that we could apply that to these characters.
Question: Sanaa, having grown up with a parent who is a director, has that affected how you approach filming and have you ever worked with your dad?
Sanaa Lathan:You know I’m about to work with my dad. I’m going to do kind of like a cameo thing on “Real Husbands of Hollywood.” I think that’s his show.
Taye Diggs:Oh, I want to do that. You tell him I want to be on it.
Sanaa Lathan: I will. You’d be perfect because you are a real husband of Hollywood. It’s a fake reality show, but Regina (Hill) is going to do it too. I wasn’t really around on set with my dad coming up. He and my mother broke up when I was five so I didn’t see him. He was always in my life but he was always so busy. The sets that I remember going to were “Sesame Street” when I was very young… I don’t know, I just didn’t go to a lot of sets and I have never worked with him. The great thing that I think I have in having parents that have been in the business is that they understand, and I think that’s a very special thing. I realize with a lot of my peers that they don’t have parents who really get what they are going through, and it’s great to have parents that you can lean on when you are going through some stuff.
Taye Diggs:You probably were blessed that you weren’t raised on set. A lot of times kids that have that early exposure end up going down the wrong avenues and you’re fairly sane.
Question: So, when it comes to your mentors, who would you say have been some of the people you go to for guidance in this industry?
Taye Diggs:For me, it was a very emotional shoot and Sanaa has always been in my life someone who I can bounce stuff off of and she always has really, really great and positive things to say. I have a best friend who is not an actor and we’ve been close since junior high school. No one knows me better than him and he has a good perspective. A lot of times you don’t want to go to someone that knows the business. You want a more accurate kind of view that doesn’t give you a lot of excuses like people in the business do. So yeah, I’ve leaned on him as well.
Sanaa Lathan:You know I get it from everybody, from my parents and I have great girlfriends. I feel like having some really close black actress friends is actually great because it’s such a unique road that we travel. There are so many blessings and so many challenges, but it’s great to have that community because there are days where you don’t want to do it anymore, and it’s great to have that person who is kind of in the trenches who would say to you, get up. So, I get it from everywhere. I don’t really have any one mentor.
“The Best Man Holiday” is available to own and rent on DVD and Blu-ray, and you can also stream it on various digital platforms.