WRITER’S NOTE: The following article is about a screening which took place back in 2011.
In the midst of promoting “Contagion” in Los Angeles, California, filmmaker Steven Soderbergh dropped by the Silent Movie Theater where Cinefamily was screening one of his earlier and most underrated features, “King of the Hill.” Not to be confused with the Fox animated series, the film follows 12-year-old Aaron Kurlander (Jesse Bradford) who is forced to fend for himself in Depression era America after his parents leave him alone at the Empire Hotel in St. Louis. Aaron is forced to grow up a lot faster than any kid should ever have to, and he desperately searches for ways to avoid eviction from the family’s apartment. Soderbergh thanked the sold-out crowd for coming to the theater, and he started off by saying, “Why aren’t you guys going to see ‘Contagion’? This film is never going into profit!”
“King of the Hill” was Soderbergh’s third film after “Sex, Lies & Videotape” and “Kafka,” and it was released back in 1993. Based on the memoir of the same name by A.E. Hotchner, it was given to him as a gift by a friend. At the time he was looking for something different than “Sex, Lies & Videotape,” and he found Hotchner’s story to be just what he needed. He did, however, describe it as a “tricky adaptation” since he only had a budget of $8 million and 48 days to shoot the film, and it was a period piece. On the upside, though, he said Universal Pictures, which released the movie through its Gramercy Pictures division, was “hands off” during the production.
Watching it again, Soderbergh described it as the one movie of his he might change aesthetically. He felt the prettiness of the picture would help counteract the harsher parts of the story, but now finds the film to be “almost too pretty.” Most of the conversation he had in pre-production involved the overall palette color which he and cinematographer Elliot Davis wanted to remain within a certain range. Were he to film it today, Soderbergh said he would go out of his way to make it “less commercial.”
Soderbergh recalled doing three preview screenings of his movie, none of which went well. When finished with the project, he admitted feeling somewhat dissatisfied as the movie’s ending did not seem entirely satisfactory to him. Whatever problems he had, they did not stop him from trying to adapt Hotchner’s follow up memoir “Looking for Miracles” which focused on the writer’s relationship with his brother. Sadly, Soderbergh’s hopes were quickly dashed when “King of the Hill” did not find an audience upon its release.
Regardless of his feelings, the audience was in agreement that “King of the Hill” is a great film, and it truly is one of Soderbergh’s best works. The director also found a big fan in Sid Sheinberg, the famous entertainment executive, who, soon after seeing it, introduced him to Lew Wasserman. It also made Soderbergh how that he didn’t enjoy writing as much as he thought, but he did continue writing screenplays for his films “The Underneath,” “Schizopolis,” and his remake of “Solaris.” This was one of five films he did after “Sex, Lies & Videotape” which he openly admitted “did no business,” but perhaps they will eventually.
“King of the Hill” is not currently available on DVD (not in America anyway) or Blu-ray, nor is it available to stream on Netflix. Soderbergh remarked this is because “cult flicks are not marketable right now” and that “no one buys DVD’s anymore.” But with this director being so highly regarded in Hollywood, hopefully this third film of his will get the digital release it deserves so fans can discover it for the great movie it is.
UPDATE: “King of the Hill” has since been released by the Criterion Collection in a DVD/Blu-ray combo pack. It features a new restored 2K digital film transfer, interviews with Soderbergh and Hotchner, movie trailers, and Soderbergh’s fourth film “The Underneath.” To find out more about this release, click here.
WRITER’S NOTE: This article is about a screening which took place back in 2012.
“Every day of my life for the last twenty years, people come up to me, look me in the eyes and say ‘Buddy Revell!'”
That’s what actor Richard Tyson told the audience at New Beverly Cinema in Los Angeles where the theater was showing “Three O’Clock High” in honor of its 25th anniversary. The 1987 high school comedy marked Tyson’s film debut, and his character of Buddy Revell was the school bully who threatens the meek Jerry Mitchell (Casey Siemaszko) to a fight after Jerry touches him on his leather jacket. From that point on, it is clear you never ever touch Buddy Revell at any time.
Around the time the movie was headed into pre-production, Tyson had just graduated with a Master of Theater Arts degree from Cornell University and was living out of his truck when he heard about it. Apparently, he went through about 14 callbacks before he got cast as Buddy, but the film’s director Phil Joanou was always convinced Tyson was the only one for the role.
Phil Joanou: While Jerry is so manic and nervous and flopping like a fish on the deck, Buddy is like an iceberg floating across. Just cool, he sits in the class, he just looks over at Jerry then he looks back. Buddy’s almost expressionless, and so many other actors would have been expressionless, but what was so cool about what Richard did is that he’s doing nothing but he’s doing something. That’s really hard to do, but you can see that there’s something going on behind this guy’s eyes.
In talking about how he established Buddy Revell’s physicality, Tyson brought up the scene where Buddy gets in a fight with the jock in the library. Joanou asked Tyson what he would do if someone came up and poked him in you the chest the way Buddy gets poked, and Tyson responded he would “break his fucking finger” and then showed him how he would do so. Once he was convinced, Joanou asked Tyson if he could throw a right cross punch after breaking the finger and Tyson had no problem doing so.
It’s important to note that the screenwriters of “Three O’Clock High,” Richard Christian Matheson and Thomas Szollosi, were on set the day the library scene was being shot. Matheson and Szollosi had their doubts about Tyson at first, but after watching him in action, they were convinced the filmmakers got the right guy to play Buddy.
In comparison to all the bullies we see and hear about on school campuses these days, Tyson said he didn’t think Buddy was really a bully.
Richard Tyson: I think the system, the school and the environment were worse than him. It’s not just the guy in the leather jacket. The leather jacket guys are usually left alone. Just don’t touch them in the bathroom!
What was great about Tyson’s performance in “Three O’Clock High,” and Joanou pointed this out, was in showing how Buddy was always in control and of what happened when he loses control. When Jerry manages to punch Buddy in the nose, you suddenly see the rage in his face as he registers this is the first time he has ever been hit and drawn blood. Seeing that look of rage which crosses his face shows what makes Tyson’s performance so damn good: he shows you the character’s emotions without ever having to spell it out for you.
Richard Tyson went from “Three O’Clock High” to starring in such movies as “Two Moon Junction,” “Kindergarten Cop” where he played Arnold Schwarzenegger’s nemesis, and “There’s Something About Mary” in which he banged Ben Stiller’s head on a table several times. Tyson’s still got a lot of great work ahead of him, but we will never ever forget his performance as Buddy Revell.
While at the twentieth anniversary screening of “City Slickers” which was held at the Aero Theatre in Santa Monica on August 12, 2011, Billy Crystal talked about working with the late Jack Palance in that film. Palance co-starred as Curly Washburn, the most authentic of cowboys, and it was a role which earned him the Oscar for Best Supporting Actor. In addition, it provided Crystal with one of the best setups in his Oscar hosting history; Palance’s one-armed push-ups which proved he was not too old to ever act in a motion picture.
One movie the “City Slickers” filmmakers viewed before they started shooting was “Shane,” the 1953 western starring Alan Ladd as the title character and Palance as Jack Wilson, and Crystal said this was the first movie he ever saw on the silver screen. When it came to casting Curly, he said they considered no one but Palance for the role. “Shane” marked the last time Palance got an Oscar nomination until he did “City Slickers,” and that’s a difference of 38 years!
Palance worked on “City Slickers” for a total of 10 days. Before he arrived on set, the crew kept saying, “the big cat is coming.” The director of the movie, Ron Underwood, was described by Crystal as the “sweetest guy” and a “puppeteer.” But when it came to the first day of shooting, Palance told Crystal he always got “nervous.” When Underwood asked him to do that “glare” of his one more time, Palance replied, “What glare?!”
After this, Palance put up a fit which had Underwood’s hair standing on end. No one was expecting this kind of tantrum from the former host of “Ripley’s Believe It or Not.” But after the first day, things got better even though Palance was never thrilled about being on a horse. Both he and Crystal continually ran lines with one another, and Crystal described the two weeks they worked together as feeling like nine months.
Crystal described Palance as a “real movie actor” in how he understood the size of his head. Palance owned the camera and his appearance in a way few actors can ever hope to. His role as Curly capped off a long and memorable acting career. While he sadly passed away in 2006, his legacy continues to live on from one generation to the next.
WRITER’S NOTE: This article was written back in 2011 when this screening took place.
Continuing with his film programming at New Beverly Cinema which he entitled The Wright Stuff II, filmmaker Edgar Wright gave us a vehicular double feature with “The Driver” and “Duel.” The main attraction of the evening, however, was “The Driver,” a 1978 movie directed by Walter Hill, and Wright gleefully told the audience it was more for him than us as it was his first time seeing it on the big screen, and that it made him want to become a getaway driver. Joining him for this screening was the film’s director Walter Hill, actors Bruce Dern and Ronee Blakley, and producer Frank Marshall.
Upon seeing the sold-out audience at the New Beverly, Hill remarked, “This is the largest crowd in the United States that has ever seen this movie. It didn’t do all that well when it was first released.”
Indeed, “The Driver” is not as well-known as some of Hill’s other movies like “48 Hours” or “Southern Comfort.” When it came out, it was criticized as not being fun and for being “too real.” Hill remarked how depressing it can be when a movie you make does no business and gets bad reviews. Later though, another filmmaker contacted Hill about the reception “The Driver” got and told him, “Pay no attention to reviews. The movie’s marvelous, life is hard.”
“The Driver” marked the first time Hill worked with Dern, and Dern praised Hill endlessly throughout the evening and said he would go anywhere in the world for him. Dern said he found Hill to be “full of surprises,” and he came to work thinking they would do something which had never done before. Hill in turn described Dern as “a very special actor” who always jumped out at him with quality and personality in each of his performances, and that he gave each role an unusual quality of psychological density to even the most mundane characters.
Marshall, best known for producing the Jason Bourne movies and “Raiders of the Lost Ark,” originally turned the movie down because it was being shot at night in downtown Los Angeles. Back in the 1970’s, he was worried about shooting there as it had a very brutal atmosphere. Somehow though, he got sucked into doing this one and ended up trading a summer in Malibu as a result. “The Driver” later led Hill to make another film called “The Warriors” which was also shot at night.
While Dern has most of the movie’s dialogue, the main star of “The Driver” is Ryan O’Neal. His character is noted for having only 350 words in the entire script, and Wright remarked how nice it was to have an action movie where the hero has no good lines. O’Neal was known as a heartthrob at the time, but he was eager to do something different in his career when this role came along. However, many didn’t accept O’Neal as this character when the movie came out as people had a different image of him at the time. Years later though, it is clear just how good he is here, and it served him well in his growth as an actor.
When it comes to the car chases in “The Driver,” it is clear the actors really were driving those cars instead of their stunt doubles. This film was released not long after “The French Connection” which did everything for real, and everyone was really tearing around at crazy speeds. Hill said he and his fellow filmmakers were “young and reckless” back then, and he gleefully pointed out there indeed was “a real man in that car that flipped.”
But what’s great about the car chases in “The Driver,” as Marshall pointed out, is how Hill uses them to tell a story. These are not car chases for the sake of car chases, but ones which are an integral part to the movie as a whole. Watching it at New Beverly Cinema, it made me yearn for the kind Hollywood doesn’t do any more unless CGI is heavily involved. In the end, there is not much which is even better than the real thing.
One audience member asked if there were any police experts on set during the making of “The Driver.” Hill said there were not, and he made clear how the movie is really “pure fantasy” in what it portrays and is the “opposite of law enforcement.” It’s hard to think of any police force wanting to be involved with a movie like this as it appears to show the bad guys getting away without any real repercussions. In the end, Hill saw it as an extension of the “dark sides of personalities.” Indeed, this is not a film inhabited by easily redeemable characters, and Hill was correct in describing as a “very unreal movie.”
Hill also took the time to talk about his style of directing, and this something I was eager to know more about. His films typically don’t get much rehearsal time, but he found this actually works in the director’s favor. He told the audience that two-thirds of directing is casting, and he never gets any rehearsal until take one. Dern added how Hill is not very good at rehearsal, and this made him and Walter seem like a perfect match for one another.
Hill even talked about how he originally wanted Robert Mitchum for Dern’s role, and that he talked with him for six hours straight about it. In the end, however, Mitchum told Hill there was “too much car stuff” and that he didn’t have the energy for it. This clearly benefited Dern who got the role instead, and he admitted Mitchum would have been a “handful” for Hill to deal with.
In the end, this screening “The Driver” really turned out to be a gift for everyone at New Beverly Cinema. It was a gift for Hill and the other guests as it brought back so many memories they would have otherwise forgotten. It was also a gift for Wright as he would never have seen it on the big screen otherwise. But it was an especially big gift for the audience because many of would not have seen it otherwise. I probably would not have rushed out to see “The Driver” if Wright did not feature it in his festival of movies, and for me it turned out to be a special treat.
“The Driver” is one of the many movies which show how Walter Hill is still a vastly underappreciated filmmaker at times. After watching it at New Beverly Cinema, I am reminded of how effective a director he can be when given the right material.
ADDITIONAL WRITER’S NOTE: This movie has become a cult classic in recent years and has proven to be very influential on many filmmakers. Nicolas Winding Refn has cited it as an inspiration on his brilliant movie “Drive,” and you can see its influence all over Edgar Wright’s 2017 action film “Baby Driver.”
WRITER’S NOTE: This article is about a screening which took place back in July of 2011.
It is very scary to realize “Fast Times at Ridgemont High” is now at its 30-year anniversary. Although dated stylistically, what the students went through in this movie still feels very relevant to what today’s generation goes through on a regular basis. Based on the book by Cameron Crowe, who also wrote the screenplay, it follows a group of students during one year at a San Diego high school. Its director, Amy Heckerling, dropped by the Aero Theatre in Santa Monica to talk about the behind the scenes stories, and she was greeted by a sold-out audience.
“Fast Times at Ridgemont” is notable for its frank depiction of teenage sexuality and in dealing with highly sensitive topics like abortion. Heckerling said the movie was shot at a time when things were rapidly changing. The sexual revolution was ending and the era of Ronald Reagan was on the rise along with conservatism. Most teenage comedies deal with situations from the male point of view, but Heckerling was adamant about the audience seeing things from the woman’s perspective. The MPAA, however, forced her to cut scenes like when a girl talks to her mother about blow jobs in order to avoid an X-rating. After all these years, the hypocrisy of the MPAA never ceases to amaze me.
These days, the movie is known for having three future Oscar winners in its cast: Sean Penn, Forest Whitaker and Nicolas Cage, who is credited here as Nicolas Coppola. This is not to mention all the other cast members like Jennifer Jason Leigh and Phoebe Cates, both of whom went on to other successful efforts after this movie’s release.
Heckerling recalled coming into this movie at what she called an “awesome” time. Casting young kids in a movie proved to be tricky, but she loved how there was so much great talent to choose from. When asked if she thought all great actors could do comedy, Heckerling replied some have it in their makeup while others do not. In working with Penn, she said he is wonderful in everything he does, and his smile always lights up whatever room he is in.
In talking about the soundtrack, Heckerling wanted to fill it with 1980’s music and songs by Oingo Boingo and the Go-Go’s. While she got to include the songs she wanted in the movie, she was also forced to add in a lot of 1970’s rock music from bands like The Eagles. This was in large part due to one of the movie’s producers, Irving Azroff, being the personal manager of The Eagles at the time.
One audience member asked Heckerling if the studio proposed any sequels or prequels to “Fast Times at Ridgemont High.” She said when the movie was screened in Westwood, one studio executive suggested, “How about ‘Spicoli Goes to College?'”
There was a television spinoff but, like many of its kind, it proved to be short lived. There was also something of a follow up to “Fast Times” called “The Wild Life,” which was also written by Cameron Crowe and directed by Art Linson, but Heckerling said it was not strictly a sequel.
As unbelievable as it is that we are now at the 30th anniversary of “Fast Times at Ridgemont High,” it only goes to show this particular movie’s staying power. It remains as raunchy and funny as when it first came out, and it is also one of the great time capsules of the 1980’s. This is the kind of movie which really does not need a sequel or a prequel at this point to justify its success or longevity.
After all these years, “The Hitcher” (the original, not the godforsaken 2007 remake) has lost none of its suspenseful power, and it continues to terrify new generations of horror movie fans. In addition, it also marked a memorable point in the careers of the actors cast in it. Rutger Hauer created one of his most devilish villains ever with John Ryder, C. Thomas Howell gave one of his very best performances as Jim Halsey, and Jennifer Jason Leigh’s performance as Nash proved to be a real stretch for the actress (that pun was most definitely intended).
When the screenwriter of “The Hitcher,” Eric Red, arrived to do a Q&A at the Silent Movie Theatre in Los Angeles on October 9, 2011 where Cinefamily was showing the film, he gave the small but very attentive audience a lot of great stories involving the actors involved in the production, and he had plenty of unforgettable things to say about Hauer.
The audience was very surprised to hear Sam Elliott was originally cast as John Ryder before Hauer came along. Apparently, Elliott’s audition was so terrifying, one of the movie’s producers refused to stay inside the casting office whenever Elliott was around. Somewhere along the line, however, Elliott got cold feet and ended up dropping out of the production.
But even after hearing that, it is still hard to think of another actor who could have played this truly frightening character as memorably as Hauer. As Ryder, Red said Hauer “evoked the character to such a degree” and was always “unpredictable” in what he did. Red described his screenplay as being “sparse” and said it was more about looks than it was about dialogue as there wasn’t much of the latter. Hauer, however, brought so many ideas to the role which were not on the page. During this particularly screening, some of us actually noticed how Ryder was actually wearing a wedding ring. To this, Red simply said, “That’s Hauer!”
Oddly enough, the evening’s funniest story involved the scene where Leigh’s character of Nash was tied between a truck, and Halsey has to keep Ryder from stepping on the gas and ripping her apart. It turns out Hauer did not want to shoot this scene and would not even come out of his trailer when everything was ready to start shooting. The filmmakers talked to him regarding his concerns, and Hauer told them the following:
“I don’t want to shoot the scene because the audience will end up figuring out that my character is the bad guy.”
Hmm … Dismembering the driver who picked up Ryder before Halsey did, murdering a whole family and sticking a human finger in a pile of French fries was not enough to indicate Ryder was the bad guy? How scary it is to learn of this!
When it came to casting Halsey, the filmmakers did not have any particular actors in mind. Red said they all went with Howell as they remembered him from “The Outsiders” and described him as having “the right look.” Ryder is described as being a “father figure” to Halsey, and he wants Halsey to kill him. Howell convincingly portrays his character, who goes from a terrified young man in over his head to one who gains control and becomes almost as cold-blooded as Ryder.
With “The Hitcher,” Red was aiming to create a movie where the audience got an inescapable feeling of claustrophobia in wide open spaces. He said it does not only have to happen in a tiny room or an elevator. Even with the infinite expanse of land on display, no one can escape their pursuers. But the movie also benefits from its memorable performances from a cast who bring more to their characters than what was on the page. Without Hauer, Howell and Leigh, “The Hitcher” would never have been half as effective as what we ended up seeing onscreen.
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.
WRITER’S NOTE: This interview was from a press day which took place in 2013.
In Hollywood, most sequels usually come out one to two years after the original because the studios want the money to keep rolling in while the property is still fresh in audiences’ collective minds. But when it came to making a sequel to “The Best Man,” writer and director Malcolm D. Lee was not about to rush it. “The Best Man Holiday” is being released 14 years after its predecessor, and it reunites Lee with Terrence Howard, Taye Diggs, Morris Chestnut, Harold Perrineau, Nia Long, Sanaa Lathan, Monica Calhoun and Melissa De Sousa who reprise their roles. This time the college friends reunite for the holidays at Lance and Mia’s mansion, and it soon reignites old rivalries and romances from the past.
Since “The Best Man,” Lee has gone on to direct the comedy “Undercover Brother,” the roller-skating comedy-drama “Roll Bounce,” “Welcome Home Roscoe Jenkins,” the musical comedy “Soul Men” and the horror spoof “Scary Movie 5.” We got to catch up with him when he appeared at “The Best Man Holiday” press junket held at the Four Seasons Hotel in Los Angeles, California. While there, Lee discussed why it took so long to make this sequel, what he thinks about the success that African American films have had in 2013, and of the possibility of there being a third “Best Man” movie.
Question: In a world where people are making sequels a year to three years later, what took you so long?
Malcolm D. Lee:Honestly, there was talk of doing a sequel very early on when the first movie came out, but I wasn’t interested in doing the sequel right away. I didn’t want to get pigeonholed as a director. It was my first movie and I didn’t want to just do the same thing. My idea was if I was going to revisit these characters, and I thought I would want to, it would be like 10 years later after they’ve lived some life and had kids. Around late 2005 or so I just started percolating the idea and I would see the cast over the years and say hey I’m thinking about doing the sequel, and they were like, oh okay. It just got to the point where I was like, okay I’m ready to do this now, and I had taken enough notes and put enough of a structure together where I said well, let me get the cast together and let’s see what can happen. I basically got them together in early 2011 and said okay, let’s all get in the same room and at least we will have all caught up. I have an idea for a sequel, and if we all think at the end of this meal that it’s worth doing then I’ll pursue it. So, I pitched them the idea and they were all into it and they liked it, and I said well, let’s go. Then a couple months later I went to Universal and pitched them the idea and we got it going. It took a while to get it going because I wrote the script pretty quickly because I had been thinking about it for so long, and it wasn’t easy. It was, as you’ve seen from the film, very different tonally speaking than the first one, and I think that was part of their hesitation of wanting to make it. I didn’t want to do the same thing again. I didn’t want to tell the same story. The things you think about when you are in your mid to late 20’s is very different than what you think about when you are in your late 30’s and early 40’s and married and have children and have bills to pay and do grown up stuff and dealing with grown up things. So, I said to them it’s not about wanting to do a destination wedding or anything like that. People loved this movie because they loved the characters. They loved the people. They don’t just love that it was a wedding. It took us bringing the cast together and doing a read through, and once they did the read through they were like okay, we get it.
Question: Could you talk a little bit about the process of getting into the minds of these characters after so long?
Malcolm D. Lee:I know these characters very well. I’ve lived with them in my head for a long time so when you evolve as a person you have to have your characters evolve too. Not only that, but my actors were great actors in the first movie, and they are even better now. I have grown as an artist, as a writer and as a director. I’m better, so I wanted to make something that was more sophisticated, something that spoke to these characters that would be similar to where they were but which also showed their growth and evolution. I don’t think it was that difficult. It was just a matter of really knowing the characters and making them evolve.
Question: Did you seriously entertain other alternatives to the storyline for each character at any point?
Malcolm D. Lee:What I had come up with I pretty much stuck to. There wasn’t a whole lot of deviation. There were a lot of suggestions by the studio about making it a wedding movie and blah, blah, blah, and I was just like no I don’t want to do that. So, it was pretty much what I wanted to do, and the actors had some input about what they felt about their characters and where they could be strengthened and layered. Some of the suggestions from the studio were like, well this person is out of the picture already, this person is that already, and this person is divorced, and I was like I brought the cast back together and we are going to do this collectively, period. At least you’ve got to give this a fair shot. So that’s why we did the reading, and that’s what made them say oh okay, we get it.
Question: Futuristically speaking, do you foresee a production of a series or a spinoff from this kind of film like “Soul Food” or something similar to that?
Malcolm D. Lee:It’s possible. People love these characters and they want to live with these characters, so it’s a rich enough world and a world that’s rarely seen on network or cable television. The only danger would be like, could you get all the actors to do a series and where do you start it? Do you cast different people? So, I don’t know. I had the idea of, were this movie to be successful, to do a series that would take place from the end of the first movie until the second movie. That 14-year span might make for an interesting television show, but how do you cast that too? It’s possible. We’ll see.
Question: Have you thought about doing a third movie?
Malcolm D. Lee:Well we have to see how this one’s going to perform first. That will dictate whether a third one gets made or even talked about. There have been some whispers. I have an idea, let’s put it like that.
Question: What’s the idea?
Malcolm D. Lee:I’m not going to say.
Question: Are you going to wait another 15 years to make it?
Malcolm D. Lee:I will not wait another 15 years. If it happens at all, it’ll happen quickly.
Question: “The Best Man Holiday” actually feels like a stand-alone movie in that you don’t have to go back to the first movie to catch up with or relate to the characters. Was it important to you to make it a stand-alone film so that you can capture new audiences as well as retain the fans of the first?
Malcolm D. Lee:I don’t know if that was a conscious decision. When I set out to make the first film, I set out to make a classic movie, one that will stand the test of time. Fortunately, that has been the case. People really love “The Best Man,” and with this one I knew I had to, in my mind, make a movie that was better than the first. Or at least, in my mind, more sophisticated and more layered and have some deeper things to explore. So as a result, yes I guess the movie stands on its own but that’s what the whole opening credits are about which is trying to fill in people who may not know, and then also the fans of the first one get kind of tickled about remembering them then and this is what they’ve been doing and this is where they’re at now. I certainly wanted the movie to stand on its own and I think that there are people who really loved the first one will be more deeply connected. I think people that have not seen the first one was still enjoy this, but I think the fans of the first one will really enjoy this because they’ve had the experience of 14 years of viewing it.
Question: 2013 has been a great year for critically acclaimed black films. What do you think that means for the future of black filmmaking?
Malcolm D. Lee:We’ve seen these bursts before, and what happens is that studios and filmmakers start to churn out carbon copies of these movies. When Spike (Lee) first came out with “She’s Gotta Have It” and “School Daze,” it was like this Spike Lee phenomenon. There were a couple of movies that came out like “House Party” and “New Jack City,” and they were all different. John Singleton started with “Boyz n the Hood,” and that was like the whole hood genre and pushing that. Then “Menace II Society” and “Juice” came out and we got saturated with that and we were like, okay, what’s next? On their tail came “Love Jones,” “The Best Man” and “Soul Food” which gave us a different side of African-American life. Then in 2008, nobody wanted to make any black movies. They weren’t profitable, nobody was going to support them, people got tired of them and they petered out which is why I had to wait until “Jumping the Broom” came out before I went ahead and pitched the movie to Universal to see what the appetite of the studios and the audience was going to be. I hope that the diversity of African American fare this year will continue. It has been a very refreshing year to see sports movies, comedies, musicals, romantic comedies, historical drama and indie movies that are made by black filmmakers. So, I hope that it continues and that the quality of the work keeps getting better because I feel like that’s great. But if there’s like, oh, we can make money because they’re going to come out for Kevin Hart or this person or that person, then it’s going to be a money grab. It’s got to be about having choices at the movie theater that African-American audiences can enjoy and general audiences can enjoy, and just let it be a regular thing. Let’s see great movies.
Question: Can you tell us about more about the movie’s soundtrack and what role you played in it?
Malcolm D. Lee:One of the things that I was doing back in 2005 was listening to Christmas music and thinking about where it could fit into the movie. I love music. I think music and songs are such an integral part of filmmaking so I was playing a lot of Stevie Wonder’s Christmas music and Nat King Cole and Marvin Gaye. So, a lot of those songs were written into the movie, and then we get updates of many of them. It was very, very integral in the soundtrack and making sure that the sound that was created was going to be integral to the movie. I don’t like soundtracks that just are “inspired by.”
Question: How did you decide which artists to include in the soundtrack?
Malcolm D. Lee:You work with a label and they say well we got this person and we’ve got that person and it’s kind of like casting. I thought Fantasia would do a good job on this song, I think Jordan Sparks would do a good job on that song. Someone like Ne-Yo who came out of the blue, the song that he sings is a Marvin Gaye song called “I Want to Come Home for Christmas.” I thought that nobody was going to be able to replace that, but Ne-Yo came in and I showed him the scene and where it fit, and I showed them how important was for the movie and how the emotion was going to play. He said listen, I’m not going to sound like Martin, but I’m going to do it in a way that is me and it will be faithful, and he killed it. First time out and I was like, wow! That doesn’t always happen. Sometimes you’re just no, that’s not quite it. Let’s try that again. Also, the one song that’s featured, the Stevie Wonder song that Marsha Ambrosius and Anthony Hamilton sing on camera (“As”), that had to be in the movie where it was because it was very integral to the first film. I always felt that it was one of the greatest love songs ever made and it would be great to do it as a ballad or as a duet, so Marsha and Anthony were a great choice for that. It’s funny because people, when I’ve been watching the movie with audiences, love seeing Anthony, and then they recognize the song. And if that’s not enough, then they see Marsha and they are like, oh my god! It’s really a beautiful combination. We struck gold with that, I think.
Question: Which of the characters do you relate the most to and why, and did that change from the first movie to the second movie?
Malcolm D. Lee:There’s a little bit of me in all the characters. They’re all within me. I lived with them in my mind. Of course, there are female characters and there are certain things that I don’t know because I’m a man, and I observe and talk to people about how they feel about fidelity. Murch (played by Harold Perrineau) finding out those kinds of things about his wife and they have a great open relationship, but it’s like whoa, that’s something I didn’t expect. How do I deal with that? Should I be mad about that? I don’t think they’ve changed over the years. They’re pretty much the same to me.
Question: Can you walk us through what it’s like with your writing process when it comes to creating these characters? Where does it start and how does it develop?
Malcolm D. Lee:When it came to these characters, I want to see where they left off. From the get-go I just started saying that I wanted to set this movie at Christmas time because it’s a cinematic time of year, and it makes it a reason for being together. If you are going to bring these characters back together, it’s got to be for a reason. Harper (Taye Diggs) was kind of on top of the world when we left off. He had learned some things and had been beaten down a little bit, literally and figuratively, but he was on his ascension. So now I want to say okay, what if he has a couple of failed things? Lance (Morris Chestnut) has this seemingly charmed life and he does; he’s about to break a record, he’s got four beautiful children, he’s got this ginormous house and this wonderful, beautiful, supportive, loving wife, but there’s something that’s going to test his faith even more than in the first movie. And then you have the other characters and you just try to give them conflicts and obstacles that they have to get around. I’ve learned over the years to be a better writer and what characters are used for. Quentin (Terrence Howard) is going to be that button pusher still and he’s going to give us the comic relief and so is Shelby (Melissa De Sousa) and they’re going to be my comic fastballs, but at the same time they are more than they were in the first movie. I tried to write something sophisticated, challenging for myself and challenging for the actors because why come back together because it wasn’t for the money. This wasn’t a money grab at all. We did this for price and it was about displaying their acumen as actors, mine as a director and writer, and kind of re-introducing ourselves to the world and the time was right. We also knew that there was a large fan base for this movie that really wanted to see these characters again, so let’s give the people what they want.
“The Best Man Holiday” is available to own and rent on DVD and Blu-ray, and it is available to stream on various digital platforms.
WRITER’S NOTE: This article is based on a screening and Q&A which took place back in 2014.
“The Butterfly Room” is one of those movies which is being released under the radar. It just debuted at the Laemmle NoHo 7 without much in the way of publicity, and this a shame because this thriller directed by Jonathan Zarantonello proves to be a real treat for horror fans as it features several actors we affectionately remember from various horror and cult classics. Among them are Barbara Steele who is best known for her work in a number of Italian gothic horror films like “Black Sunday,” Ray Wise who left an indelible impression on us with his performances in “Robocop” and “Twin Peaks,” Erica Leerhsen who survived a few ill-fated horror movies like “Book of Shadows: Blair Witch 2” and the remake of “The Texas Chainsaw Massacre,” Camille Keaton who suffered such unforgivable brutality in “I Spit on Your Grave,” Adrienne King who memorably decapitated Jason Voorhees’ mother in “Friday the 13th,” and P.J. Soles who showed us things we really liked in John Carpenter’s “Halloween.” Looking at this cast, you might think this was another version of “The Expendables” but with horror icons.
Another big horror favorite in “The Butterfly Room” is Heather Langenkamp who is still best remembered for her role as Nancy Thompson in “A Nightmare on Elm Street.” Here she plays Dorothy, a single mother who has her own reasons for keeping her son away from butterfly collector Ann (Barbara Steele). As the movie goes on, you find out exactly why Dorothy has such a bone to pick with her, and it is not worth spoiling here.
Langenkamp dropped by the Laemmle NoHo 7 for “The Butterfly Room’s” opening night to participate in a Q&A with the movie’s second assistant director Brian McQuery. When asked how she became involved with this production, Langenkamp explained it all started with a journalist friend of Zarantonello’s who introduced the director to her while at a horror convention.
Heather Langenkamp: This journalist friend was my introduction, and I noticed that Jonathan was lurking in the background (laughs) for several hours. Finally, we struck up a conversation and he gave me the script later. I have to say that when I read it, I felt that the part of Dorothy was one of the better parts that I’ve read in many, many years. I think, from what you see on the screen, she’s a very strong woman and she’s a very fierce mother and I really enjoyed playing such a part. I remember we got together at this restaurant in Santa Monica, and I think I shocked Jonathan a great deal by telling them how much I liked it and how I really loved this idea that this horror movie focuses on an elderly woman which is something that is really rare.
In addition to all the horror icons, there are also several child actors here who play kids that become way too friendly with Ann. Now there is a saying, the things to avoid while making a movie are working with animals and children, but Langenkamp found working with child actors like Ellery Sprayberry and Julia Putnam very informative and fascinating.
Heather Langenkamp: It’s kind of a lesson every day in how to be so natural and so in the moment, and I always get a lot of inspiration from children like Miko Hughes (who appeared opposite Langenkamp in “Wes Craven’s New Nightmare”) who was like that for me. You just zone in with them as they really experience the movie in a different way I think, and it is really refreshing. Ellery was really fun to work with, and I remember this one day when she had to go too long here to short hair too long hair and everybody was panicked. But Ellery was just smiling and taking it all in stride, and we had a lot of fun on the set as I remember.
Ever since her days battling Freddy Krueger, we have not seen much of Langenkamp. Acting for her has since become a part time job as she spends most of her days running AFX Studio, a Special F/X Make-Up studio in Los Angeles, with her husband David LeRoy Anderson. One of her more recent acting roles was as a character named Moto in “Star Trek into Darkness,” but her role as Dorothy in “The Butterfly Room” is the biggest one she has had in some time. This led one audience member to ask her if coming back to acting was like getting back on a bicycle to where everything comes back to you quickly.
Heather Langenkamp: I would have to say not at all like riding a bike. I think that you’re much more self-conscious about how you’re doing as you get older especially if you’ve taken time off. I was really worried a lot of the time about whether I was going to be able to get my chops back up to speed, and I’m happy with the way the movie looks on the screen. I’m much happier than I actually thought I was at about 6:45 tonight (the movie started at 7:40 pm) because I get a lot more critical of myself too as I get older. Both of those things combine actually, making for a very uncomfortable day today, but now I can relax. I don’t think it’s like riding a bike. I wish it was more like that.
But even after being away from acting, Langenkamp still has a great love for it. She explained why and also talked about what it was like working with Steele who is probably the biggest horror icon in this cast.
Heather Langenkamp: It’s probably my favorite thing to do. I think one the most creative things that a person can do is bring a script to life and think of the character and think of how you’re going to interact with someone like Erica. Those scenes were a lot of fun and especially all the scenes with Barbara Steele. She is one of my personal heroes and someone that I greatly admire, so I often watched her. She’s a very elegant woman and she’s very powerful, so sometimes I would just watch her and try to learn from her in the thing she did to be kind of a majestic creature in the film. I learn a lot from the people that I work with and I always and see what their techniques are and how they get prepared, and I take whatever I can from people like that.
Like many horror movies coming out today, “The Butterfly Room” was shot on a very low budget and had a tight shooting schedule. Moreover, Zarantonello started filming this movie back in 2010, and it is finally making its premiere four years later. With little time to make this movie, actors do not have the same luxuries available to them on big budget studio productions. Langenkamp described the pressures she faced and how she learned to deal with them.
Heather Langenkamp: It’s always difficult especially with wardrobe and hair when there’s really not enough time to get all that is necessary, and maybe there’s not enough personnel to take care of everybody. There are four or five ladies sometimes who all need to be ready within an hour of each other, and so we had very quick moments in the makeup chair sometimes (laughs) and you just have to put your vanity aside. That’s the hardest thing for an actor to do, but you realize you’re not going to get the hour in the chair that may be would make you feel more comfortable. In the end I really do feel like naturalism is the rule of the day, and looking as natural as possible as much as an actor. Maybe you don’t love it, but I do think that it adds to the reality of filmmaking. So, every time I didn’t get enough time in the chair, I would say in the end that it’ll be better for the film.
It is really great to see Heather Langenkamp back on the big screen after being absent from it for what feels like years. She may not be interested in stardom and is not looking to make a big comeback in movies, but she is still very much interested in giving the best she can as an actress. While she may forever be linked to “A Nightmare on Elm Street” to where many cannot see her as anyone other than Nancy Thompson, she can still hold our attention whenever she appears in a movie. Clearly, she is more comfortable these days running a special effects studio, but I do hope we get to see more of her on the silver screen sooner than later.
With “The Dark Knight Rises,” we need to look at its actors more closely. In this chapter, all eyes are on Tom Hardy who is playing Bane, the mysterious and physically imposing revolutionary who was excommunicated from the League of Shadows but still intent on completing Ra’s al Ghul’s legacy by destroying Gotham. The question, however, is not whether Bane will be a more memorable villain than the Joker, but of how Hardy transformed himself into this brutal character and made him his own in the process. “Inception” and “This Means War” showed him as being physically average for his age, but his role as Bane has him portraying a massive tank of a human being who maims, if not outright kills, those who attempt to defy him and his ultimate plan.
Now Hardy is no stranger to transforming himself for a role as he did so for Nicolas Winding Refn’s “Bronson” in which he portrayed one of the world’s most dangerous criminals who spent almost his entire life in solitary confinement. But here, he is playing a character made famous in comic books for learning to be a brutal fighter. Bane ended up serving the life sentence meant for his father, and he became the one who defeated Batman in the worst way possible.
To prepare for the role, Hardy gained 30 pounds and learned various fighting styles to use in “The Dark Knight Rises.” The actor also described Bane as an “absolute terrorist,” and “brutal,” but also “incredibly clinical in the fact that he has a result-based and oriented fighting style. The style is heavy-handed, heavy-footed… it’s nasty. It’s not about fighting, it’s about carnage!”
Surprisingly though, when Hardy first learned about the origins of Bane, he thought he was the wrong actor to play him. It was through Nolan’s interpretation of the Batman universe, however, which convinced Hardy he could play this role effectively.
“Chris Nolan’s take on [Bane] was intrinsically lateral because he has a way of wanting and desiring to breathe a realism and a lateral thought into that which has already come through the comic book world. I think largely that’s going to upset some people, and there are some people that are going to really hang on to that. And I’m one of those people that really enjoys that actually, to be quite honest – carving a new way through something that’s already a set piece on the planet.”
As for Bane’s accent, Hardy found inspiration in Bartley Gorman who was the undefeated bare-knuckle boxing champion of the United Kingdom and Ireland. Hardy ended up describing him in more detail:
“The choice of the accent is actually a man called Bartley Gorman, who was a bare-knuckle fighter. A Romani gypsy. I wanted to underpin the Latin, but a Romani Latin opposed to Latino. His particular accent is very specific, which was a gypsy accent. So that’s why it was difficult to understand. But once you tune into it, you get it. I hope.”
Clearly a lot of thought went into preparing this role, so it should go without saying Nolan picked the right actor to portray Bane. While it is easy to say Hardy’s interpretation of this character easily bests Robert Swenson’s in “Batman & Robin,” it is also a testament to how great an actor he truly is. Whether or not his performance compares favorably to Heath Ledger’s Joker in “The Dark Knight,” his portrayal of Bane is will never be easily forgotten once you leave the movie theater.