ScreenCrave.com » Jason Schwartzman

Bruce Willis and Edward Norton in the Moonrise Kingdom Trailer

Damon Houx — Thu, 12 Jan 2012 21:49:50 +0000

At this point, it’s easy to know what to expect from Wes Anderson. Great Performers, a distinct visual style, and maybe just maybe some twee. In Moonrise Kingdom there’s Bill Murray, Bruce Willis, Edward Norton, Frances McDormand, Tilda Swinton and Jason Schwartzman in a story about two star-crossed child lovers who escape from a summer camp, which leads to a full scale rescue mission. The film opens May 25, and now there’s a trailer.

With that release date, it suggests the film is going to Cannes, which is no surprise. And with Wes Anderson you’re dealing with a very distinct visual approach, so much so that watching the trailer you get a real sense of what it is. But now there’s at least some new players to the team, and it will be interesting to see how Willis and Norton work in the Anderson universe.

I like Wes Anderson, but at this point he doesn’t seem to have many screwballs left in his pitching arm. He makes the sort of movies he makes, and they’ve come to have a very narrow set of themes and ideas. From the trailer you can see that he’s doing things that are very similar to everything he’s done before for better or worse. Granted, I don’t think he’d do well within the studio system, nor would the world be better with him helming tentpoles, but it’s a curious career full charm and repetition. We’ll know how this one turns out in May.

What’s your favorite Wes Anderson film?

Bored To Death: Season 3 Episode 8: Nothing I Can’t Handle By Running Away – TV Review

Angel Baker — Wed, 30 Nov 2011 23:59:00 +0000

The season finale of Bored To Death kept Jonathan, George, and Ray busy with the absurd antics that make this show so unique. As a finale should, the story lines of the main characters were tidied up but left some loose ends to look forward to in season four. The episode crescendos after the revelation that Bergeron is Jonathan’s biological father and he selfishly causes great danger to Jonathan. Playing with the super hero theme, the episode reaches a high point in a grandiose rescue replete with spandex, capes, and guns.

The Players:

Director: Adam Bernstein
Writer: Jonathan Ames
Cast: Jason Schwartzman, Zach Galifianakis, Ted Danson

Episode Title: “Nothing I Can’t Handle By Running Away”

George’s serenade as Don Quixote wins back his daughter’s approval and he offers to host her wedding to Bernard. Jonathan debates whether to carry on his relationship with Rose, also known as his sister. Ray finds solace in baby, Spencer. Jonathan’s new dad gets him into a pickle.

The Good:

Harris Bergeron: At the close of the last episode, the sour con-man played by Stacy Keach tells Jonathan that he sired Jonathan. Bergeron exudes paternal pride while Jonathon could not be more disappointed after having spent so much time searching for his father. At the same time, it’s clear that Bergeron won’t be joining the Rotary Club any time soon. After he reveals that he’s Jonathan’s father, he quickly packs up his hat shop in Coney Island heading for Jacksonville, Florida, to escape from typical New York baddies after a deal went south. Jonathan witnesses his new dad getting kidnapped and because of his loyalty to his donor or his addiction to danger, Jonathan attempts to rescue Bergeron, getting them both locked up in a baseball stadium. This set ups a dramatic rescue by George, Ray, and his fans (dressed in Super Ray costumes), with Jonathon literally sliding into home plate to nab a gun and save the day.

Ray’s Family Unit: Ray is broken-hearted over Leah’s rejection. He heads over to see his son. Renee (Samantha Bee) answers the door and asks, “Is Spencer home?” Renee responds, “He’s 14 months old. Of course he’s home.” Her deadpan delivery is a perfect counter for Galifianakis’ oblivious nature. Seeking solace, Ray plants himself on the couch with little Spencer splayed across his belly for an adorable father-son moment that gives hope Ray will soon grow up.

George and Josephine: Who couldn’t change his wily ways for the lovely Mary Steenburgen’s Josephine? Ted Danson’s George sure can’t, though he tries. In a sweet, but silly, moment, George tells Josephine that he wants to be monogamous. Josephine replies: “I thought we were.” While George knows the gem he’s got in his grasp, he’s still an unaware, overgrown lothario. It’s fun to watch the real-life couple on screen fall in love, navigating a brand new relationship in their sixties.

The Anniversary of Super Ray: Ray’s got a book signing on the anniversary of Super Ray. His guests are loyal, steadfast, fans that provide Ray an undying support. Dressed in their own fashion of Super Ray costumes, they offer to help Ray when the Jonathan crisis comes to light. The trip to the baseball stadium is hilarious in its frenzy of yellow spandex. They argue what their name should be, debating “The Ray Team,” “The Super Rays,” and “The League of Rays.” Without coming to a resolution of the crew’s title, it’s clear that this group is lucky to have found each other and they come together for a common goal, just like real super heroes should.

The Wedding: George has promised his daughter a wedding without alcohol but when she shows up at the wedding the champagne is flowing. She calls him out about the alcohol and he tells her that he meant that she wouldn’t have alcohol and points her to the Martinelli’s. Over a full glass of bub, George offers a toast that is a classic portrayal of his self-absorption. He turns the speech into a dance into the macabre until he catches a glimpse of Jonathan who reminds him that this speech should be about the nuptials. The moment is funny but also serves as a reminder of the friends’ dependence on each other.

The Bad:

Brother Loves Sister: Jonathan has now found out that Rose (Isla Fisher) is his sister (as Bergeron was the sole sperm donor at the clinic from where she and Jonathan come), yet he dismisses the bizarre information because she’s hot. Watching these two make-out is unsettling. The extent of their conjugal relations has to be a set up for a revelation next season that this whole sister-brother thing was a giant mix-up, right?

Overall:

The finale of Bored To Death wrapped up the season nicely. While Ray has lost Leah, he was able to use his “super hero” powers to make a fearless attempt at rescuing Jonathan. George appears to have settled down to be with Josephine and has accepted his daughter’s relationship with the older, creepy Bernard. Jonathan has completed his quest to find his father, finding a beautiful girl in the process (but it’s his sister, ewwww). The potential for next season is inspiring especially if Bergeron comes back and starts a relationship with Jonathan. The two could not be more opposite which will bring future comedy gold.

Rating: 9.5/10

This was the season finale of Bored To Death.

Bored To Death: Season 3 Episode 7: Forget The Herring – TV Review

Angel Baker — Mon, 21 Nov 2011 20:54:44 +0000

This week’s Bored to Death was solid, though not groundbreaking. For a show that spends little time in reality, “Forget The Herring” focused mostly on earthly endeavors like break-ups, make-ups, and righting past wrongs. Guest stars included the wonderfully sour Stacy Keach, a potential lead to Jonathan’s sperm donor, and Isla Fisher, a sprightly investigator that teaches Jonathan a thing or two about reading obvious cues, sexual and literal.

The Players:

Director: Adam Bernstein

Writer: Rachel Axler, Jonathan Ames

Cast: Jason Schwartzman, Zach Galifianakis, Ted Danson

Episode Title: “Forget The Herring”

While Jonathan and Rose (Isla Fisher) track all leads to find their biological father, George and Ray examine themselves and take great pains to right the past.

The Good:

Ray and George: The entire season of Bored To Death dealt with themes of fatherhood. Ray and George’s relationship has become more and more like father and son. Both on the outs of their lady friends, Ray crashes on George’s couch and whether it’s natural instinct or Ray’s nudging, George infantilizes Ray. He makes his bed for him, folds his pants, makes him juice, and gives him little tickles in the belly. Ray is fun to watch as a loveable, somewhat broken man. He gives George someone to baby until he reconciles with his daughter.
We Found The Father!: Stacy Keach’s guest appearance as a surly con-man, Harris Bergeron, is great. His rough voice and sidelong stares at the clean cut and proper Jonathan are prize-winning. As a man on the wrong side of the law, Jonathan looked like he would rather have sex with his own sister (hint: he does) than rely on Bergeron’s word to find his father. But, alas! In a foul speech about tissues and Vitamin E, Bergeron drops the bomb that he sired Jonathan. Jonathan’s skeptical response to this shocking news, “Are you even Jewish or in Mensa?” is the show’s highlight.
Don Quixote: George’s desire to sing takes him to a hilarious performance amongst fellow Yale alumni dressed as Don Quixote (though he’s not oblivious to his likeness to Samuel Beckett). In typical silly fashion, George snacks on a few pot cookies because he sees his friends Ray and George enjoying them. He whines, “I want melty chocolate” and moments later rushes off stage mid-performance to serenade his daughter, galloping on his make shift pony through the streets of New York. George’s affinity for the absurd is truly endearing.

The Bad:

Rose’s Accent: Isla Fisher’s accent didn’t get quite receive the tweaking it needed. While Rose is a beautifully sweet counterpart to Jonathan’s hard-boiler mannerisms, the struggling accent was distracting. Not as distracting as Cameron Diaz’ attempts at an Irish brogue in Gangs of New York, but distracting nonetheless.

The So So:

Predictability: As part of an inevitable plot structure, Jonathan is bound to find his father and George is bound to restore his relationship with his daughter. However, this episode didn’t explore the possibilities of how these inevitabilities would be met, at least with Jonathan and George’s plot lines. There was little suspense. On the other hand, Ray’s storyline did throw a twist in the predictability when he professes undying love to Leah, proposes, and she rejects his proposal. The result is more life-like than any other facet of the show and makes Leah’s response surprising.

Overall:

Though “Forget The Herring” began to wrap up the season, setting up the show for the finale, it brought some good laughs to keep the audience in the present. At times, however, the gentle hints as to how Season 3 will come to a close could have been a bit less predictable. When not wrapping up story lines, this episode brought comedic gems like George and Ray’s ridiculous father-son relationship, and Jonathan’s reaction when learns his father’s identity in a pot cookie haze.

Rating: 7.5/10

“Bored To Death” airs Sundays at 9 p.m. on HBO

Bored To Death: Season 3, Episode 1: The Blond In The Woods, TV Review

Angel Baker — Tue, 11 Oct 2011 23:22:20 +0000

Bored to Death’s season premier had it all: Oedipus, oysters and over-aged boyfriends. The quirky comedy noir hit its stride straight from the opening and kept up the laugh-a-minute pace to the credits. Following a delicately paved path to paternity, “The Blond In The Woods” did what a good kickoff should: it offered juicy stories to hold on to throughout the season and satisfied with hilarious standbys like George’s virility, Ray’s superhero fantasy, and Jonathan’s ability to be at once hyper-self-aware and oblivious. Read more about the show …

The Players:

Director: Michael Lehmann
Writer: Jonathan Ames
Cast: Jason Schwartzman, Zach Galifianakis, Ted Danson

Episode Title: “The Blond In The Woods”

Plot:

Jonathan (Schwartzman), George (Danson), and Ray (Galifianakis) each have an expectation of what fatherhood is meant to be. While searching for the answers they find themselves in varying degrees of paternal struggle: Jonathan doles some interesting news about his conception, George meets his daughter’s new “boy”friend and Ray meets his son.

The Good:

Samantha Bee: We love Samantha Bee on “The Daily Show” and we love her as the now divorced lesbian mother to Ray’s son. We hope to see more of her relaxed humor in the coming episodes.
Ray Meets His Son: In true “new dad” form, Ray comes unglued when his kid cries uncontrollably. After asking the kid to suck it up, Ray offers him a tasty solution. No spoilers, but be warned – Ray gives new meaning to Mr. Mom. Galifianakis has mastered the guy-on-the-edge persona and it really shows in this subplot.
Join The Circus: Bored To Death has a real circus bravado. From its characters’ costumes to its close-ups and hammy devotion to bygone days, this episode was a true homage to the big top. At Jonathan’s second book launch, he goes for full impalement art glory. And it’s a thing of beauty.
George’s Virility: Sam Malone may be nearing Social Security age, but Ted Danson’s George Christopher has all the oyster swilling energy of the nubile young waiters he employs (the names of which escape him due to his pot-smoking days). It’s fun to watch George attack life with youth and imagination. It’s even funnier to hear his cracks about women.

The Bad:

Bernard: Emily’s old (not as in past but as in old) boyfriend is hilarious in his uncanny way to make us feel like we are hot-tubbing in bacon grease. It’s comedic torture. It’s good but it’s so, so bad.
The Hunt For The Real Father: It’s going to take a full season to crack this case. The suspense is great for the show but bad for us who skip straight to the “Spoiler Alert” section in a review. This one’s going to take some patience.

Overall:

This was a great kick-off to the third season of the smart and dark comedy. Each of the three main characters got a great storyline that will be interesting to watch unfold over this new season.

Rating: 9/10

Bored To Death airs Sundays at 9 p.m. on HBO

What do you think of Bored to Death’s premiere?

Jason Schwartzman Has Been Added To Wes Anderson’s ‘Moonrise Kingdom’

Travis Woods — Thu, 24 Mar 2011 16:45:22 +0000

As we reported last year, Wes Anderson’s new pastel-colored phantasmagoria of Caucasoid ennui, Moonrise Kingdom, has already nabbed Anderson regular Bill Murray, along with the likes of such hotshots as Edward Norton, Tilda Swinton, Frances McDormand, and Bruce Willis. Well, you can add one more Anderson regular to that list.

According to the Huffington Post, Jason Schwartzman, who previously (and perfectly) starred in Anderson’s Rushmore, as well as the short film Hotel Chevalier and its full-length companion, The Darjeeling Limited, along with a voice role in the animated The Fantastic Mr. Fox, has now been added to the cast.

Little is known about the film’s plot, beyond what Deadline reported last year:

“Two young adults fall in love and run away. Leaders in their New England town are sticking the idea that they’ve disappeared and go in search of them. Norton will play a scout leader who brings his charges on a search. Willis is in talks to play the town sheriff who’s also looking, and who is having an affair with the missing girl’s mother, the role McDormand is in talks to play. Murray, a regular in Anderson films, will play the girl’s father, who has his own issues.”

Well, that may not be much to go on, and The Darjeeling Limited was fairly disappointing, but still—if Bill Murray and Jason Schwartzman on together on a screen that Wes Anderson is composing, I’ll be there to watch. Will you?

What do you think of the casting news?

Interview: Michael Cera and Jason Schwartzman for Scott Pilgrim

Mali Elfman — Wed, 11 Aug 2010 19:01:29 +0000

I think Michael Cera described this film perfectly during our interview when he said it’s “Like taking a people bath. Taking a youcuzi.” I still don’t know what that means exactly, but I like it! Both Cera and Jason Schwartzman, despite the fact that they had just got back from Comic-Con and had already done about 5 hours of press for their upcoming release Scott Pilgrim Vs. The World, were in great spirits during the interview and at times seemed more interested in entertaining the group of journalist than answering questions (I am the one who in fact had to tell Cera “No!” at one point).

Check our interview with Cera and Schwartzman for their upcoming film Scott Pilgrim below and after check out our 1-1 with Anna Kendrick who plays Scott’s sister and the director of the film Edgar Wright…

This is like a new image thing for you, and you don’t do a lot of buttkicking in movies, so you did that last scene. So how much fun was that and how horribly uncomfortable was any of the fighting?

MC: Some of the harder stuff was horribly uncomfortable to the point where I was like “It shouldn’t feel like this, right? Something is very wrong.” That means it’s working. But so much fun, all of it was so much fun. It was amazing. All the guys, there was such a camaraderie amongst that culture of guys and stuntmen. And there’s stuntmen and then there’s also gymnasts that were all involved in this. It’s amazing just the way that they all relate to each other and how seriously they take their craft.

Were there two different teams that worked together?

MC: There were several, yeah. They had, like, battle of the teams. Well, they all formed one big team. They all came from different backgrounds, you know, like gymnastics. There was an incredible gymnast named Chris Mark who did a lot of my stunts. He does all the crazy, flipping around stuff in the movie. And there were stunt coordinators who worked with Jackie Chan and they were all incredibly talented.

If you’ve seen any of Edgar Wright’s previous work he obviously has a very particular vision. What was it like working with him?

JS: I didn’t want to watch any of the stuff he did because I didn’t want to be influence by it. I wanted this to be its own thing. I’m just kidding. Working with Edgar, it was insane. What was the exact question?

He has such a specific vision and a unique way of filming, what was it like working with him?

JS: For me it was amazing just because I’ve always wanted to work with him and I never though it’d be possible cause most everything he’s done is U.K. based…

MC: (Jokingly) United Kingdom.

JS: Yeah. So it was a weird situation. I’ve always thought it would be great to work with him, but, you know, maybe he would never have an American part or something in one of his movies. So to work with him it was a real dream come true. It was so cool because he’s so communicative as a director, and articulate, and enthusiastic. You walk on the set and he’s has nothing else he wants to do more than make that movie. He’s smiling all the time with enthusiasm, and wanting to come up with new ways to try things. But my favorite aspect of working with him, it never felt like a huge movie. The set was kind of big, it was in a room the size of this studio set, but he was always just, like, five feet from us. And you never had to yell, “Edgar, where are you? I have a question!” There could be lots of people around and you could just say, “Edgar,” and he would say, “Yeah?”

MC: “Edgar where are you I have a question?” (Pretends he’s standing next to him)

JS: You just felt so close to him, and that was such a great, awesome thing coming from this guy working on this big, kind of overwhelmingly scary movie. You always felt like he was close and focused on you and what you needed.

You felt that way too, Michael?

MC: Yeah, all through the shoot. Edgar would have this little hand-held monitor that he would hold and just sit right behind the camera instead of being over sitting at his chair. So he was always right there, on the ground. It was really nice.

Did he give each of you the 10 things, the list that’s secret and that’s your motivations that nobody’s supposed to know? How did that help you and can you tell us some of them.

MC: It was very helpful. He gave me mine the night before shooting (laughs). So instead of something to develop, it was more of something to just get you ready to jump in and inspire you.

So you didn’t know any of them before hand?

MC: No. The night before, it was just to get into the spirit the night before. It was great. There were really great things on there. I wish I had remembered all of them for the sake of these interviews, but the one that really stays in my head is that Scott, in his mind, is the star of his own movie. This movie is, in a way, existing in his own mind. This is his weird perception of the world around him.

And what about you [Jason]? Do you remember one of yours?

JS: One that I really liked was just that Gideon is very passive aggressive, and so he’s not overtly evil. He smiles a lot, just kind of “kill ‘em with kindness,” but you can feel that it’s not sincere almost instantly.

The screening at Comic-Con can either make a film or break a film, and people loved it so much that I have to see it again because I could barely hear some of the lines. How did that feel to feel that kind of love and acceptance for your film?

MC: Amazing. I was a little worried, you know, that’s a very scary frying pan to jump into. People who loved the books and were instantly… well, they have expectations and they want to be wowed. But, you know, they were on our side right from the beginning. Edgar really got them on our side in a really good way. He gave a really good panel where he didn’t disappoint… And then he surprised them with the treat of seeing the movie and then, you know, he had Dan The Automator and Kid Koala DJing while they were sitting in their seats, which was amazing. So it was a real event, it was more than just a movie… He’s smart. He made them happy and they were on our side.

JS: I feel like if Edgar hadn’t directed this movie he’d be the first person in line at it and he would have been at that Comic Con screening. He’s a member of his own audience. He wanted to make them like this movie.

The music was really cool in this, and you’re [Jason] a musician.

JS: So is Michael.

So did you [Jason] help him [Michael] or did you know your stuff on the guitar?

MC: Well, we had a guy named Chris Murphy who was kind of our musical coach. He’s from Sloane, a Canadian band. And he spent a lot of time with me, Mark [Webber] and Alison [Pill], Johnny Simmons, just making us feel confident playing because we had to play in front of the crew and in front of the big audience Mark had never played guitar, Alison had never played drums, I had never performed music. It was also really nice for us to get to know one another.

Jason, did you’re experience in the music industry give you any insight to basing Gideon on anyone you’d met along the course of your ride through that business?

JS: No, I racked my brain, I racked my brain.

MC: I racked… my brain.

JS: Maybe I wasn’t creative enough with my thinking but I kind of just scanned my memory for anyone who was exactly like Gideon and I didn’t find anybody.

MC: It took five hours to do the scan.

JS: Yeah, I scanned every single person and I’ve never met anyone like Gideon. As in any industry you meet some people who don’t mean what they say, but we always had older A&R [Artists and Repertoire] guys. We never had a young whippersnapper-type guy, so not really. I was basing him more like on, I’m going to say this, and then don’t just like judge it, “you totally failed.” But like Swan in Phantom of the Paradise, and like Z-Man in Beyond the Valley of the Dolls, kind of more like a 70s kind of like Phil Spector-y… those kind of producer stars. You know what I mean? Not really many of them now. Maybe like Mark Robson is one.

MC: Rick Reubens.

JS: Rick Rubin, yeah.

MC: Rubin. Reubens.

JS: Rubin, yeah.

MC: Reubens.

JS: Yeah. Rick Paul Reubens. Slick Rick Paul Reubens. Grace Slick Paul Reubens. Amazing Grace Slick Paul Reubens. The Amazing Grace Slick Paul Reubens.

A lot of people…

JS: The Amazing Grace Slick Paul Ruben’s Place. The Amazing Grace Slick Paul Ruben’s Chamber…

Okay! A lot of people are saying that this is very much the first of it’s [Michael looks like he is about to add] No! A lot of people are saying that this is the first of its kind. In a world of things people have seen before, this is completely new. Are you going to be pissed if people start ripping you off or are you going to find it endearing or sweet when you see people trying to do what was just done.

MC: I wouldn’t be surprised if people are inspired by Edgar as a filmmaker, but it would be the same. He’s got his own voice, I think. So I’d be surprised if people tried to imitate him, but I wouldn’t be surprised if he inspired people to make movies and find their own voice.

JS: Bill Hader said right after the screening that this is the kind of film a 13-year-old kid sees and then they get a camera and they make a bunch of movies in their backyard.

How did you guys come to the project initially?

MC: It kind of fell in my lap, really. I was just in the right place at the right time. I had a meeting with Mark Platt about it, I met with Edgar, and Edgar was really enthusiastic about me being in it, which was amazing. It’s so nice to hear that from a director you respect, that they want to work with you. It’s so nice, and to have an opportunity to work with a director that you love. And I loved the graphic novel too, so it just presented itself and was just an amazing opportunity.

And you, Jason?

JS: Edgar Wright was in Los Angeles, we had the opportunity to meet with him, which was really exciting for me. During that meeting he talked about that he was adapting these books. He never said, “and I’m thinking of you,” he just told me he was doing it. And I said, “Oh, that sounds great.” So I bought the books, and I read them and I just liked them, and I was really excited for Edgar, “he’s going to be great when he directs these.” And then I heard you [Michael Cera] were involved, and I was like, “that’s going to be so great!” I was just excited about it, Michael, Edgar, so cool! And then, like six months later, Edgar called me and said, “Hey, would you like to meet for coffee?” and I said, “Yeah, absolutely.” And while we were there he reached in his bag and took out Scott Pilgrim vs. The World

MC: The script.

JS: Slid it over to me and said, “Would you be Gideon Graves?” and it was so exciting. And, honestly, I just put my hand on it and said, “Yes.”

MC: You didn’t even read the script.

JS: It was all I needed. Michael, Edgar, Scott Pilgrim – there’s like three people I would do that for.

Can you guys talk about doing the whole climactic fight scene? Mary and Ellen were saying it was almost like filming a separate movie from the rest of the movie because you were on the set for so long and it was such a long process to get that scene.

MC: It was a long time. There was that big pyramid which they kept deconstructing and we had to get up on top of, and just a lot to figure out. A lot for Bill Pope, the cinematographer, and Edgar and Marcus Roland, the production designer, just so many things to figure out, and I’m glad it wasn’t my job. We just had to show up and do these moves that we would learn sometimes on the spot, on the day.

Michael, you’re in almost every scene, you have so much work. Is this more work than you’ve done in any film? How did you keep it together?

MC: Absolutely. We just had to cram. We had already shooting for so long we couldn’t take any time. There was no hiatus or anything. So, you know, try and get sleep, watch a lot of movies with Michael Bacall late at night in my apartment. Played a lot of Nintendo together. I had friends around, it was fun. They had a physio-therapy masseuse that came to set that would work people’s backs. They treated us pretty decently. They took care of us. It was grueling but it was always fun and I was always happy to be there. I was sad to leave.

Can you talk about, without the honesty of your relationship between your character and Ramona? For however crazy everything gets it’s so important that we actually believe your relationship with everybody else. Can you talk about establishing those and the importance of that for your character?

MC: I think that’s very important. I was so amazed when I saw the movie how well that worked, how well Edgar pulls that off. He does that so well in all of his films. In Shaun of the Dead you totally get hit by the emotion of it, and it really grounds the movie, it’s what makes him special. There are a lot of people who are capable of making really funny comedies, which I think he does incredibly, but he’ll always leave you feeling something afterwards. They always really resonate because there was something in there that was really true, whether it be a story about friendship, like Shaun of the Dead with the two friends, Nick Frost at the end. Or even his step-father, the thing with Bill Nighy, I think he realizes the value of that in cinema and does it really, really beautifully. It was in good hands.

So have you guys had a chance to read book six?

MC: I haven’t. Have you?

JS: I haven’t.

MC: I’ve signed a few copies and I was flipping through them at Comic Con and it looks amazing. There’s just a page where it’s just two blank pages in the book.

What can you tell people that aren’t into videogames or comics to go see it?

MC: If you love movies and you love really fun movie-going experiences this is a really fun one. It’s fun to see with a crowd and I think it’s really satisfying. Afterwards you feel really good. I couldn’t wait to see it again.

JS: Yeah, I think it’s just a really unique movie. There aren’t a lot of movies with this kind of tone where it’s really funny, and really awkward, and you’re like “did someone just say what I think they just said?” and then there’s romance, and then there’s a musical number. It’s just so exuberant and it’s got a spirit of total freedom and it’s just like a giant, fun time. It’s like running through a crowd of people trying to hug you all the time.

MC: Like taking a people bath. Taking a youcuzi.

Check out the film in theaters August 13th!

VOTD: Michael Cera and Jason Schwartzman Report The Weather

Krystal Clark — Tue, 10 Aug 2010 19:20:01 +0000

In promotion of Scott Pilgrim vs The World, co-stars Michael Cera and Jason Schwartzman thought it would be a good idea to turn into weathermen for the day. I’m not sure how giving us our daily forecast promotes the film but somehow they pulled it off. The actors appeared on My Fox Atlanta on Tuesday to give the news crew a helping hand with their broadcast. It’s fair to say that this was not your typical morning show. Cera got ran over by a CGI school bus — twice, and Schwartzman survived it by the skin of his teeth. Watch it all go down…

Click on the video image to start playing:

This is one of those things where it doesn’t matter how many times you watch it, it stays funny. In the very beginning when Cera gets hit by the bus his reaction in right on cue and Schwartzman’s reply afterwards is priceless. “That wasn’t an accident. That was someone who knew what they were doing.” If you’re a native of Atlanta, it must have been great seeing these two take some time out their busy schedules to help you start your day.

Who wouldn’t want to see a little Cera and Schwartzman first thing in the morning?

What do you think of Jason and Michael’s attempt at the weather? Did you watch it live?

Comic-Con 2010 Live Blog: Scott Pilgrim vs the World Panel

Laura Aguirre — Fri, 23 Jul 2010 00:11:51 +0000

We’ve got a full house here at Universal’s Scott Pilgrim vs. the World panel at Comic-Con 2010. Director Edgar Wright and graphic author Bryan Lee O’Malley, are joined by cast members Michael Cera, Mary Elizabeth Winstead, Ellen Wong, Alison Pill, Mark Webber, Kieran Culkin, Satya Bhabha, Brandon Routh, Jason Schwartzman, Mae Whitman, Anna Kendrick, and Aubrey Plaza to answer questions about the upcoming action-comedy that looks like it’s going to be as enjoyable as Kick-Ass! Here we go…

6:10 pm: Scott Pilgrim is about to start. They just showed the trailer and some behind the scenes footage.

6:11 pm: Edgar Wright just walked out. It looks like he got a haircut. Nothing big, just a nice trim. He said they have 13 guests coming out!

6:12 pm: Wright is moderating the panel and he’s asking himself a question. Bryan Lee O’Malley just walked out onto the stage.

6:15 pm: Wright just made a major announcement (sarcasm) “On August 13th Scott Pilgrim will be released in 2D. At regular ticket prices. How do you people feel about watching a film without sunglasses on!?”

6:16 pm: Here comes Anna Kendrick, Aubrey Plaza and Kieran Culkin. Nerdgasm!!

6:18 pm: Wright’s asking them how much they disapprove of Pilgrim‘s actions in the film on a scale of 1 to 10, they said 5, 7, and 10 respectively.

6:19 pm: Brandon Routh, Jason Schwartzman, and Mae Whitman have taken the stage. Why does Jason look like he’s about to solve a mystery? He has a huge mustache here! Old school Sherlock Holmes anyone?

6:21 pm: Holy crap!! Wright just brought out Simon Pegg and Nick Frost! The crowd is going insane. They literally walked on, waved, and walked off. Booo!!!

6: 23 pm: It’s time for Michael Cera. He just walked out on stage dressed like Captain America! lol

6:27 pm: Brandon Routh was just asked which did he like better, playing Superman or a villain. He said the Man of Steel, then the fan tried to follow up with another question about him guest starring on “Smallville” and Wright playfully interrupted her and said, “No second questions!” She slowly backed away from the mic. She knows what’s good for her.

6:31 pm: It’s really hard to take Cera seriously on stage with this costume on.

6:32 pm:Cera says he wants the Arrested Development movie to get made. He said, “I think it’s going to.”

6:32 pm: It’s official Jason Schwartzman looks like Ringo Starr! Walk Hard got it right!

6:39 pm: Kieran’s talking about how it felt to do a man-on-man kissing scene. He said Wright wanted to break the ice for him so he asked him to come over one day and he laid a huge kiss on him out of nowhere. Wright chimed in and said he doesn’t mind taking one for the team.

6:42 pm: Nope, I changed my mind. Jason looks like a young Dustin Hoffman.

6:43 pm: Jason and Michael keep saying their favorite scene to shoot in the movie was a steamy shower sequence that took 2 weeks to film. Apparently we have to go out and watch the movie to find out if it made the final cut.

6:45 pm: Michael Cera was just asked by a fan how he maintained his trademark figure after all the training he did for the movie. He said, “Is that an insult or a compliment?”

6:46 pm: Wright just announced that they’re going to screen the movie for free on Friday and Saturday at 6:30 pm. But there all about to march out of the hall to go to an exclusive 45 minute screening of the movie right now!

6:50 pm: They’re playing a music clip from the movie and the director and the cast just walked off the stage. They were like thieves in the night. Damn, Edgar Wright really knows how to make an exit.

Off on the pilgrimage they go!

Like what you read? For more fun, check out our top stories from Comic-Con…

New Scott Pilgrim vs The World Trailer

Krystal Clark — Mon, 31 May 2010 16:39:05 +0000

It’s here! The second trailer for Edgar Wright’s Scott Pilgrim vs the World has finally been released via the film’s official Facebook page. The director and Universal teased a few days ago that they would release the trailer early if they received 100,000 “Likes” on their page. Well guess what? They did and now it’s here for our own personal enjoyment. Check out all the epic, epicness of Scott Pilgrim below…

The story of Scott Pilgrim is one filled with teenage angst and puppy love, which is a dangerous combination. Pilgrim has never had a problem getting a girlfriend. It’s getting rid of them that proves difficult. The one that he really yearns for is Ramona, and in order to win her love he’ll have to fight all her psycho ex-boyfriends. She literally has a crew of guys who make it their business to keep all interested suitors at bay, which means Pilgrim has to cut through a lot of red tape.

The editing in this film looks amazing! All the quick cuts and fast pans take us back to Wright’s previous work Hot Fuzz and Shaun of the Dead. Those are the types of things he does so well without it being annoying or too gimmicky. The cast is also great (good to see Kieran Culkin getting some dialogue), and the video game effects look awesome. Can’t wait to see this hit the big screen!

Scott Pilgrim vs The World will be in theaters everywhere on August 13, 2010.

What do you think of the new trailer for Scott Pilgrim? Are you interested in seeing the film?

Fantastic Mr. Fox: DVD Review

Krystal Clark — Sun, 11 Apr 2010 19:05:20 +0000

Last fall, director Wes Anderson did what most people considered the impossible. He adapted the short Roald Dahl story of Fantastic Mr. Fox and turned it into a feature length film. Instead of taking the ever popular route of using CGI, he decided to bring the characters to life with stop motion animation. He also got an A-list cast led by Oscar winners George Clooney and Meryl Streep to voice Mr. Fox and his long suffering wife. So the question is does Fantastic Mr. Fox deserves a spot in your DVD collection?

The Players:

Director: Wes Anderson
Writers: Wes Anderson and Noah Baumbach
Starring: George Clooney, Meryl Streep, Jason Schwartzman, Michael Gambon, Bill Murray, Willem Dafoe, Owen Wilson

The Plot:

Mr. Fox (Clooney) is an animal that’s wild by nature but forced into a life of domestication when his wife Felicity (Streep) announces that she’s pregnant with their first child. Fox reluctantly agrees to give up his shady ways to become a family man that she and their son can be proud of. Unfortunately after years of living on the straight and narrow he begins to get the itch for mischief and makes a plan to rob the meanest, nastiest and ugliest farmers in the valley, Boggis, Bunce, and Bean. With his careless antics in full swing everyone he loves ends up in danger causing him to finally grow up and change his foxy ways.

The Good:

Behind the Animation: In the DVD Extras there are two amazing behind the scenes featurettes that give us an inside look at how the film was made. You see how far Anderson and his crew went to make things happen, for example the director showed video of himself acting out certain scenes and sent them to the animators so they could match up the movements he wanted with the puppets. It’s really interesting to see how everything thing was made from the various sets to fur on Mr. Fox’s face.
Behind the Direction: Wes Anderson went above and beyond critical expectations with Fantastic Mr. Fox. Even though the characters are puppets, their movements and emotions appear tangible and somewhat human. The vocal performances match up perfectly with what we see on screen and that’s due to Anderson’s vision of making them as life-like as possible.
From the Script to Screen: The original Fantastic Mr. Fox story isn’t that long and with this DVD extra you get to hear from the writers themselves on how they adapted it for film. They approached it from a trilogy stand point, which is an interesting concept that Anderson expands on during the segment.

The Bad:

None: The movie was great and the behind the scenes material is amazing.

Overall:

After seeing Fantastic Mr. Fox in theaters a lot us walked out thinking, “How did they do that?” This DVD answers that question in spades. You see the production crew, eat, sleep, and breathe this movie and at one point you even catch Wes Anderson doing storyboards in his robe. This DVD is definitely worth the money.

Rating: 10/10

The Fantastic Mr. Fox DVD is on sale now, and don’t forget to check out ScreenCrave’s full review of the film.

Trailer:

Are you interested in buying Fantastic Mr. Fox on DVD?

Fantastic Mr. Fox: Movie Review

Krystal Clark — Fri, 13 Nov 2009 03:30:43 +0000

It’s been almost 40 year’s since the classic children’s book, Fantastic Mr. Fox hit shelves in America and the U.K. to the delight of kids everywhere. Author Roald Dahl told a simple story about a fox and his attempts to outwit and for lack of a better word “outfox” three of the richest men around. The story is brought to life on the silver screen by director Wes Anderson, using stop motion animation that literally makes you feel like you’re a kid again. His feature version is charming and stays true to the source material, while keeping it fresh for younger viewers.

Check out our review below…

The Players:

Director: Wes Anderson
Writers: Wes Anderson and Noah Baumbach
Starring: George Clooney, Meryl Streep, Jason Schwartzman, Michael Gambon, Bill Murray, Willem Dafoe, Owen Wilson

The Plot:

Mr. Fox (Clooney) is an animal that’s wild by nature but forced into a life of domestication when his wife Felicity (Streep) announces that she’s pregnant with their first child. Fox reluctantly agrees to give up his shady ways to become a family man that she and their son can be proud of. Unfortunately after years of living on the straight and narrow he begins to get that itch for mischief and makes a plan to rob the meanest, nastiest and ugliest farmers in the valley, Boggis, Bunce, and Bean. With his careless antics in full swing, everyone he loves ends up in danger, causing him to finally grow up and change his foxy ways.

The Good:

Stop Motion Technique: One of the best things about this film is the use of stop motion animation. It’s a refreshing step away from the heavy CGI based movies that have flooded theaters in recent years. You can see the hard work that went into the character’s movements, because they are so fluid.
Jason Schwartzman: Usually name actors in voice over roles can be very distracting in a film, but that’s not the case here. Schwartzman was perfectly cast as Ash, the awkwardly small son of Mr. Fox. He’s able to convey the insecurity and humor of the character without being over the top.
Eric Anderson: Anderson is the younger brother of Wes, and has made bit appearances in several of his other films, but this is the first time he’s taken on such a meaty role. As Kristofferson, Ash’s athletically inclined cousin he has amazing comedic timing and is still able to play up the vulnerable side of his character.
Production Design: The overall production design on this film including the costumes and the sets were extremely detailed. In every close up you could see the tiny life-like fibers on Mr. Fox’s face and even the threads in his peacoat. Everything was very well crafted.
Screenplay: One of the main concerns you may have going into this movie is whether or not it will be able to play out the original story and still appeal to all ages. Without a doubt, this film delivers in both areas. There were comedic moments, as well as a few emotional scenes, and they all progressed the story. Everything served a purpose and was put to good use.

The Bad:

Nothing: This may be a bold statement, but Fantastic Mr. Fox is a well adapted, polished piece that Wes Anderson transformed into a legitimate feature film.

Overall:

If you’re a long time fan of Anderson’s body of work it’s a given that you will enjoy Fantastic Mr. Fox, and even if you’re not you will walk away with a smile on your face. This film is funny, sweet, and most importantly it’s entertaining. You won’t leave the theater feeling as if you wasted your time and money. Fantastic Mr. Fox sets out to make you feel like a kid again and it delivers tenfold.

Rating: 10/10

Fantastic Mr. Fox hits theaters on November 13, 2009

Photo Gallery:

Trailer:

LFF: Fantastic Mr. Fox Press Conference

Ben McCarthy — Tue, 27 Oct 2009 18:50:05 +0000

A few weeks ago the London Film Festival began its first press conference of the festival with the Opening Film, Fantastic Mr Fox. On the panel was the writer/director, Wes Anderson and the stars, George Clooney, Bill Murray, Jason Schwartzman, Eric Anderson, Jarvis Cocker and Wallace Wolodarsky. What follows was a really funny press conference; Bill Murray was the standout, with some fantastic one-liners and rants. The only problem with the press conference was the fact that most of the questions were to George Clooney and half of them was about his personal life, which seem out of place, but George Clooney was on top form and dodged the gossip news bullets aimed at him (for those quotes check out our Why Press Conference Suck story). Hope you enjoy.

George, what for you is the appeal of Roald Dahl’s storytelling and characters?

George Clooney: I just showed up for the paycheck because I heard it was a big one. This is a fairly well-known book for a long period of time for a lot of us and there was an opportunity, not only to work on a really interesting and fun story, but also to work with Wes, so I was excited about the whole process. It was a very different process than what most people go through when they work on an animated film. We were out in the middle of nowhere, people’s farms, doing sound effects and things like that; rolling around in the field. The whole process what is exciting and fun to do. If wasn’t an interesting answer, I apologize for that.

Mr. Clooney, can you talk about Mr. Fox? It seems to be a George Clooney performance without your face.

Clooney: Thank you. Although have you noticed the suit and the suit. There is something a little scary about that. For me this guy was just an optimist and I really thought it was a fun character to play. I remember reading the script and saying to Wes, “Listen I love it, and I’m thrilled and excited to do it. I don’t know who’ll see it because it’s sort of made for grownups and sort of made for kids. You never know how that plays.” And he said, “Don’t worry about it. Let’s just go make a movie and have some fun.” And I thought that was a great way to approach making a film, so for me it was about the process of working with Wes, working with these guys. I didn’t enjoy working with Bill, that’s fair to say. We fought a lot.

Bill Murray: That’s accurate George.

Clooney: But I let go of some of the anger and we seem to get along fine now.

Wes, what brought you to the project? And why this style of animation?

Wes Anderson: Why stop motion? Yeah. This was the first book I ever personally owned; officially my property. It was a book I loved as a child. It was a book that introduced me to Roald Dahl’s work in general. It made a big impression on me. About ten years ago, I approached Liccy Dahl, Dahl’s wife, and asked for permission to do it so it’s been a long process. I always intended for it to be stop motion. I wanted to do a stop motion movie. Stop motion movie with animals with fur because I always liked the way that looks — that odd, sort of magical style. That’s the process.

Wes, returning to the stop motion and the choice that you made with that. I’m wondering whether you intentionally approached the cultural history of that form and specifically and Czech filmmakers like Jan Svankmajer used it for politically subversive ends. And I’m wondering if it had any link to the anarchic spirit of Roald Dahl’s novel?

Murray: That’s the kind of question we’ve been hoping for. That’s why we flew over here. Go get ‘em Wes.

(Laughs and claps)

Wes: That kind of eastern European animation was one of the inspirations for me. It’s the most esoteric thing; it isn’t what we thought we were going to talk about onstage, but it’s a very good question. I hadn’t thought about the political links but I do think the movie and Dahl is kind of anarchic. The movie is a bit of a Robin Hood story so it’s a bit communist, I think…

Murray: Or English.

[Laughs]

Wes: But there’s another animated film also that’s a French one, it’s called Le Roman de Renart, do you know that one? And that was a great influence on us because they use — this is too esoteric for this –

Everyone in the panel: No, no, go on.

Wes: One of the techniques that it uses to have multiples scales, so there puppets that are this size, but there also puppets that are tiny that are meant to be the same characters for big-wide shots and it’s very charming and that was something we stole from that movie and used it quite a lot in ours. That’s it. That’s the end of my answer.

Jarvis and Jason, Wallace and Eric, briefly explain your experience voicing the character?

Jarvis: I don’t actually know if I got a line anymore.

Wes: You do.

Jarvis: That line, I put everything into it.

[Laughs]

Jarvis: I hope that when people see the film, they’ll be able to sense the preparation that went into doing it.

Wallace: I have had some experience in animation, mostly in American television with The Simpsons. We use to record theatrically, all the actors there subsequently in future animation that never happens, so this was really a very fun, dynamic experience. We got to run around. When we were running, we ran. When we were hiding behind bushes, we hid behind bushes. It was actually quite fun. I’m not really an actor, but I had a great time working with all these people. It’s been a unique experience for future animation.

Jason: I loved being a part of this movie. I think we’ve talked a lot about all getting to go run around and dig in the dirt and make eating noises and growling noises and how much fun that was to do together, but I can, I really can tell you what a thrill it was to work with everyone. And this is weird to say, but like often time if you’re working with people you really admire, you’re working with them and you can’t really stare at them and take it in of how amazing the whole thing is. Because there were no cameras on this, when George would get to do a scene, make a speech, it was nice because I could just look at him and really admire him. I admire him too, to watch the work and look at it, and to be with Bill and watch Bill work and watch Wes. It was really nicety be able to work, but also watch and have that kind of a privilege. I know it sounds like an odd answer, but that was the thing I liked most about this experience. Thank you.

Eric: My experience started out with all these people having a great time standing in for Jason because he wasn’t there at that moment, and then my part began to work afterwards, once it was all over. It was a series of transatlantic phone calls with my brother, which was sort of like visits because I wasn’t talking to him that of often, he was working very hard. It was sort of like when we were kids, making movies only no cameras, in a darken booth with Wes on the headphones. Occasionally it would be such an abstract experience he would say, “Eric remember, you’re an animal.” I had to keep reminding myself that, but ti was magical.

George or Bill, could you relate to the feeling of something being your last?

Clooney: This is your last film Bill. [Laughs]

Bill Murray: I was just with Felicity Dahl yesterday and she made me feel that way too. [Laughs] She brings out the real fear in you. You always feel like this is the very end of it, but the nice thing about being animated is there going to have a big of difficulty picking me out in an audio crowd. That’s what I’m hoping for. I don’t know what were talking about here, but she seems okay. He’s dead now, so he’s safe. There’s nothing to worry about. She can’t do him any damage now. He’s a great guy and she must have roughed him up pretty bad. [Laughs]

Whatever happened in there household should stay there. We saw where they lived; it’s an amazing place and she’s quite a person, so they had quite a life together and she’s very devoted to him, even now. So I’m sure that in that moment it must have been very forceful to her to realize there’s nothing I can do for him now because it’s just an anxiety that no person can help you with. It’s just your own fear of about yourself. You came to it time after time, it’s just somebody must have roughed him up once upon a time and doesn’t go away so easily. She’s a wonderful, wonderful woman. If I were to remarry, I’d take a chance with her.

Bill, do your improvisational skills help or hinder animation?

Murray: It really has to do with the director and the actors you’re working with. The creatures don’t come into it much. It’s just like any other character — you’re sort of put in this – it’s as if I were here. It’s not a big problem. The improvisation is a function of good the script; the script was good, the story is great. The worse the script is, the more you improvise; it’s as simple as that. Whether it’s a Badger, or a doctor, or a housewife, if the script is lousy you’re going to see more and more improvisation from me, especially if I’m a housewife. Worming with these characters was great, and I just want to say before we go any further, I think the real stars of this movie are Eric and Jason and Wallace because their amazing performances. Their the things that delight me the most in the movie, but they wouldn’t of been possible if George hadn’t really stepped out in front and made a character that we all maple around. This is some of the best work I’ve ever seen somebody do in any kind of voice work. I mean that very sincerely.

Clooney: He’s setting me up for something.

Clooney: I guess now you can officially be described as foxy. What other attributes you think you share with Mr. Fox, other than foxiness?

Clooney: Well I tried a daily wax. Let’s see, I seem to be considerably taller than this character.

Wes: Sometimes when I’ve been writing a script, I had an actor in mind. In this one, we were just thinking of animals, until the script was done. I thought, I would like to have Cary Grant, would have been good, and –

Clooney: Thanks for that.

Wes: Within 20 seconds of thinking of Cary Grant, I was talking about George Clooney. That was the casting process.

Clooney, does this make you want to do more animated films in the future?

Clooney: No. We worked for a few days out on a farm together, and ran around and played in barns and out in fields. Wes worked for a year and a half, or two years, or so on this project. In some ways, us being up here is a little silly. This is Wes’ job and so certainly I would do any of this again. It was an incredibly fun experience for all of us. I would imagine that the real question would be to him, whether he wants–

Wes: The one thing that I learned over the course of the movie is how much the voices — these actors siting up here — how much they give the animator to work with. You record the voices first and the animators, they spend all this time animating these puppets, but their inspiration comes from these moments with these actors.

Wes, how did you work with the animators?

Wes: I did have a wonderful time with the actors. That was a very exciting process and very brief. Animating is a very slow and painstaking process and the animators become the actors at that point. At the most , during this movie, we had 30 units going on at once. So we kind of created a system. I was not in London thought the whole shoot. I was sometimes here and sometimes in other places, but it’s very consuming. You have to work on it all the time while you’re shooting, and we had a computer system where I could look through 30 different cameras at once and see what’s on each set and work with all the different people, which is hundreds of people. Designing and preparing and executing the shots. Getting the systems to do it was as much part of the process as actually doing it, but I loved making this film. Stop motion is something I feel it part of my arsenal of things to use for movies now, I really enjoyed it.

Roald Dahl was thought to likely scaring children. Did you make this story a bit darker than it was and did you enjoy scaring children?

Wes: I remember being scared by Roald Dahl and I loved that. I don’t think we made it any darker, but we tried to keep it as dark. While we were writing the script our goal was to try to see if we could imagine what doll, how he would have expanded the story into a movie. That was out ideal. This is a movie they’re not in danger of getting hurt, they’re in danger of getting killed, and that’s the way it’s in the book. Mr. Fox tale is shot off and doesn’t grow back. We tried to keep that.

Wes, why does it tend to be American actors with American accents rather than British ones?

Clooney: That’s it. (Stomp) [Laughs]

Wes: Noah Baumbach and I adapted the script together — we’re American. I feel we were better writing American voices, so we decided that we would make all the animals American and the humans would be British. That’s the way we did it.

Murray: Because they’re the bad guys. [Laughs]

Clooney, what is the moral lesson from this fairytale?

Clooney: Stealing is good. I don’t know. What’s the moral lesson? Anybody? It’s honoring thievery. Let me try again. I think we just want to be true to our animal nature.

Check out the film in theaters November 25th!

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