Re-envisioning the texture of a major action franchise is always a difficulty especially if its basis comes from the juxtaposing ideas of a book. While the initial vapidity of the “Bourne” films played with competent but overindulgent strings to Matt Damon’s earlier “The Talented Mr. Ripley”, many of those films seemed like a cop out because they derailed from the books themselves whose narrative flow allowed for a sense of loss that really didn’t play because Bourne was such a blank slate who happened to have these abilities.
What allows the new “Bourne Legacy” to shine in many points is because it allows for that framework as a backdrop and fashions a new story to show a bigger picture. Interestingly enough, what causes that to happen is the aspect of the screenwriter Tony Gilroy (of “Michael Clayton” fame but also screenwriter of all the previous “Bourne” films). The paradox of that in relation to the first paragraph is sound but, by allowing him to direct his own screenplay, much of the exposition written in the right way is left in. This film feels more like a novel in its progression than the previous incarnations. Granted there are some key action scenes (most notably the end) but for the most part (like “Michael Clayton” which he also directed), it is a thinking man’s dialogue-driven piece. However, what makes this work, which might be problematic for other actors, is that Jeremy Renner is a character actor at heart who has been given the opportunity after “The Hurt Locker” to play a leading character and his presence allows him to almost disappear at times in the background while still maintaining adequate poise and effect. Like Daniel Craig, who had a similar ascension, he is not a classically handsome actor, which makes him all the more interesting but also allows you not to project anything on him (think if you will of William H. Macy who can embody different people without taking on the qualities as his own). While some of the conjecture of why Renner’s character Aaron does what he does, balances on the inane at times (which made some laugh in the audience), its logic is sound for the most part. Those few moments can be overlooked because of the forward momentum of the picture.
Edward Norton provides an energetic foil as a guy that is neither good nor bad, simply containing a situation and the dialogue balances perfectly for someone of his intellect. The viral conditioning of Renner’s character also allows for something at stake for him as well. The delivery mechanism is a little shaky but again, not enough to derail it. Rachel Weisz (ironically now the wife of Daniel Craig in real life) returns to franchise elements after famously leaving Universal’s “Mummy”. This character is quite visceral and intelligent but ultimately towards the end becomes a “damsel” (especially in the ending sequence) which cannot be helped. Her research cruxes exactly what Renner’s character must solve. At times, the dialogue she has is at the very high end in terms of process which likely will go over most moviegoers heads, like the texture of stereo instructions. However, it does propel the story.
The bigger narrative comes as a plot point in the shutdown of the program the original character “Bourne” was part of. The use visually (and allowance) of Damon’s character makes for a connection without needing physically to have the actor there. All small things, like the inclusion of small scenes with Joan Allen and Albert Finney as hold overs from the previous films, keeps you in the world. In many ways, “Bourne Legacy” is a lower res version of the previous films yet on an intellectual level, at times, operates higher because of the texture of its cast and, very honestly, the man behind the wheel: Gilroy. While the ending very egregiously points to more (almost interrupting mid-story), its intent and focus works allowing for a film that is not the same or a reboot but a resurrection into the same world with new possibilities.
In going back to the original material for their remake (or rather, retelling of “True Grit”, the Coen Brothers’ use the base material with their own intention of intended mistaken wantonness. For this reason, it plays much more light than one would think, especially for a picture made originally by the Duke. Much of this has to do with the casting of Jeff Bridges as the titular character. Bridges plays the man with such a variant detachment before snapping back to a focused pinpoint when battle comes into play that you realize the grand modulation he is able to perceive.
Granted when it comes to his characters, most people mount a perception of Jeff with “The Dude” from “The Big Lebowski” which still remains his signature character. There tends to be a ghost of that character however it may be in every single performance of his since then. While the eyepatch and the drawl here is a much more deliberate decision, his performance in “Tron: Legacy” by comparison points to more elevated Zen mentality. The joy of the performance here is watching Bridges as Cogburn tell stories and drawl on about past adventures while his employer, a young 14-year-old girl looking for her daddy’s killer, watches with an almost disdainful but respectful perception. Hailee Steinfeld as the young girl Mattie has her work cut out for her going up against not just one but three Hollywood heavyweights (mostly in one-on-one scenes…and each with a different dynamic). Her character at times is the hardest to maintain and her acting may seem a little stilted but the role and its dialogue require it.
Matt Damon plays the Texas lawman LaBoeuf who tags along with Bridges’ Marshall to get his part of the reward money for finding the killer of Mattie’s father. Damon plays the man with a ridiculous (and on-purpose) mustache with a sense of the clod but then modulates it back at times to a man of soul. This is the unmistaken craft of the Coens at play. While the film is more an entertainment yarn than Oscar bait by far, its ability to show the depth of these characters, even when they are being played to the point of caricature creates a seemingly dystopian and modern view of their world and ours.
Josh Brolin plays the target character Tom Chaney and imbues him, like Damon and Bridges before him, with an almost tangible mask hiding behind accents, dirt and altered movement, making him at times unrecognizable in relation to other people he has played as well as himself. The resolution of film in tandem is in keeping in time with the book and the narrative despite itself is fairly straight-forward. It is the characters that make it pop.
The inclusion of a medicine man wearing a bear skin is one of the utter highlights of the movie, not because it has story persistence but for the fact that it is so eccentric. It almost seems as if the lone biker from “Raising Arizona” had returned and assumed the role of the King in “Hamlet”. “True Grit” is undeniable fodder in a grand tradition, adequate and as vivid as any other in the Coens arsenal. Out of 5, I give it a 3.
The essence of cable is based between the aspects of reality, scripted essence and the angle of creative paradoxes. The key is pushing the envelopes in more ways the one and not creating the aspect of nitch as much as the angle of the now. The Cable Portion of the Summer 2009 TCA Summer Press Tour speaks to the angle of the voice versus the perception of the idea.
AMC/Mad Men Cocktail Party Entering in off the terrace into the grasp of sunset, the essence of the smoothness continues to build. Sitting on a posh chair swishing around a Manhattan inundated with a cherry as the scotch continues to flow, Christina Hendricks who plays Joan, the sly and in-control office manager on the series, twirls the men with equal precision around her finger working the terrace in a form fitting green dress, both retro and modern. Most of the cast seem to highlight much of their personas from wardrobe which was obviously highlighted from the costume department for this event. Jon Hamm positioned by the door was holding a gaggle of people rapt within his tales as the bar continued pouring. While traversing the party in the company of a younger and compelling 22 year old woman, the interaction came to Rich Sommer, who plays Harry Crane, a rising star within the Madison Avenue office who always tries to find the balance but also the edge of the moral code prevalent in his work. The actor and his wife moved from New York when he got the gig and have been here for the compelling three years since. Our discussion turned to theater in NY which he has not done yet but would be interesting for him during the haitus. He reflected that it is in fact 7 months between shooting of the seasons to adhere to AMC’s specific airing schedule so there is much time down. As the cigarette smoke drifted in silky rhythm as cast member looking off the Roman essence of the terrace into the sunset, the characteristic element of the Emmy Award winning drama lushily made itself known.
TV Land The early morning essence of the shows began in earnest as the introductions began in earnest. Joan Rivers took the podium with gusto talking about her new series “How Did You Get So Rich”. When Rivers gets going, she is like a freight train with a lot of blue stops along the way. She spoke of Dustin Hoffman who lives next door to Barbara Streisand. His dog gets massages. She says why do you have to get any more relaxed when you can already lick your own balls? The people she interviews on her new show don’t promote envy because most of them came from nothing. However some of the objects they buy sometimes seem to defy description. She says that one guy opened his safe filled with money and she had an orgasm which she peppers with the follow up that it was the first time she had one since Melissa was born. She chuckles and even admits that this early morning joke might have crossed the line. She also enters her thought on the looming Jay Leno Show at 10pm since she herself used to have her own late night show. Her opinion is that people will get bored more easily and go to bed earlier. The crops will all be greener. The woman doesn’t pull the punches for sure.
Nickelodeon With the success of “The Penguins Of Madagacar”, the pursuit of the intention of more animation seems like a natural fit. With his long standing success as head of multiple studios, Michael Eisner would be one to know the landscape. With his new stop motion show “Glenn Martin DDS”, the irony is a bit closer. Unlike “Happy Days” which he shepherded in the 70s, this new show is more about a modern family being torn apart. Eisner says that the show is both “opposite and the same”. It is about family but this is not the 50s. Eisner explains that this outlay is no different from what he has done in his whole career. At Disney, it was a matter of more people in the process. He remembers when he came up with “Happy Days” when he was snowbound at Newark Airport. He further represents that the aspect of “Beverly Hills Cop” came about when he was stopped in Beverly Hills coming from Paramount. The “puppet animation”, as he puts it, is a natural extension. When he was at ABC in the 60s, he gave the go-ahead for the “Frosty” special, followed soon after by “Rudolph”. The laugh tracks present in “Martin DDS” are derived from his enjoyment of the laugh tracks on “The Jetsons”. He believes this new show will bring stop motion back to the forefront (which of course is a tall order). He reflects that with “Barney Miller”, he had trouble getting it on the air. “Cheers” had a brisk to it which also could be considered difficult. But all of these shows, in his mind, had an aspect of social commentary. By comparison, at Disney, he said they had the aspect that “the family that plays together stays together”. Star Kevin Nealon, formerly of SNL, says that his favorite shows were “Gilligan’s Island” and “Wild Wild West”. He sarcastically remarks that they were looking for a “voice” and he had one but it was difficult since he was being offered so many shows at the time.
Comedy Central Making a show with less than socially correct puppets has always been a mine for comedy. It is just a matter of hitting the right marks. Jeff Dunham has been working and doing his schtick as a ventriloquist for years. His routine with his crochety old compatriot Walter works precisely for the fact that the marionette can say things that he simply can’t. Dunham says he wants to give a real edge to the show. One of the first things that came to his mind was to have his Middle Eastern puppet Ahkmed do a sketch at the airport. The aspect that still fascinates him is that people still forget that the dolls are not real. His associates, when making the pieces, simply tell the interviewees to “pay no attention to Jeff”. Walter, his most famous creation, is inspired by one of his friend’s fathers from college. He says that when you would carry on a conversation with him and stare him straight in the eye, the man would seem frightened. Combine that, he says, with aspects of Bette Davis’ last appearance on “The Tonight Show With Johnny Carson” where the actress simply said whatever she wanted. At this point, he brings out Walter, who simply says that “we have peaked” and that it feels “like it was in Chris Brown’s car”. Walter then proceeds to offer different headlines that go along with his pessimistic demise of this said show including “Dunham Show Dolls Out Cheap Laughs”, “Dunham Show Funny as Fucking Wood” and “Dunham Show Needs Helping Hands” (which elicits some groans from the background). Dunham goes onto say that they will be introducing a new character called Melvin The Superhero who doesn’t have any powers to speak of. He does admit that if he has a couple drinks, Walter is the character that will come out as it did on the second taping on one of his DVDs. He did a tequila shot just with a friend before the show and it hit him a little harder than he would have expected. Walter materialized in vigor. In terms of ventriloquism, as an art form, he does say that it is a dying art. He speaks of the annual ventriloquist convention which draws about 400 attendees, 8 of which work professionally. Of course the stigma tends to be always there.
History Channel With a show addressing social consciousness, the trick is not to make it too preachy in the overall scheme of its progression. With the new show “The People Speak”, the History Channel is attempting to highlight some very real perceptions of how ordinary people make a different. Matt Damon and Chris Moore who were involved with “Project Greenlight” believed in the project enough to propel it. Damon speaks that “People” shows how everyday citizens change the course of history calling it, for him, “a very empowering experience”. The aspect that drew him was simply the material. He says people have a relationship with the book and that it relays itself perfectly into this format. He admits that he put money to the piece but that the main thrust of the “locomotive” was done by the other involved parties. He says that the History Channel was the exact right outlet because he says, it has “exploded” buoyed by the fact that “there is an appetite for history” and that “people in general seem to be more interested in politics now”. He admits that in many big Hollywood films that there is a lot of waste but that “different films have different catering budgets”. He brings the focus back to “People” saying that “things have not worked out well for any citizens who have conceded to the bandwagon”. The real work is about “being pushed by regular people”
Chris Moore, long a collaborator with Damon, says ultimately what it comes down to, in terms of motivating a show like this, is manpower. On projects like this, people come on to help because they want to do it, not because of a paycheck. The whole design of this series, he adds, is to go into the schools and connect with the kids. He entices that Eddie Vedder of Pearl Jam did a cover of “No More War”, Bob Dylan did Woody Guthrie and John Legend did a slave spiritual along with “What’s Going On” which gives the program pop culture as well as historical relevance. Howard Zinn, who wrote the book on which the series is based, notes the question of how many people who struggle for an 8-hour day. When people in schools sometimes speak of “the history collective” as he puts it, one tends to get a lecture on the masters of the freedom trail. The point, Zinn says, is “to teach qualitatively and not quantatively, to not just celebrate but to make people think” because “all citizens have the power of demanding”.
National Geographic Looking into the teeth of a Great White Shark might be a compelling moment even for the star of “The Fast & The Furious” franchise. Paul Walker, long an avid surfer with a love of the ocean (his black muscle car outside is strapped for his surfboard), was invited along for the ride by one of his friends who offered him the job as a deckhand to take the unprecedented task of bringing one of the massive sharks onboard. Paul, whom this reporter has met many times over the years, smiles saying that Jacques Cousteau is his idol. He mentions that he is on the board of the Billfish Foundation and when he got a call from exec producer Chris McKay on 4 days notice, he jumped at the chance to see the “awesomeness” of this animal up close although he admits “it hurt my surfing career”. McKay says that the progression in the field of microbiology allows these kind of studies to be part of the science agenda specifically in many ways in how it relates to astrobiology. The shark they captured nicknamed “Bruce” in an ode to the “Jaws” movies ate the outboard and props so it wasn’t the easiest capture.
Another more terran series in poise at Nat Geo is “Rescue Ink Unleashed” which follows the plight of some very tough guys (Eric, Joe Panz, Big Ant and Johnny O) who fight for the plight of abused and abandoned animals. They come in when the cops have done their part and things must be taken a step further. Joe speaks for the group saying that they stay on point until the situation gets resolved. The question becomes, if they show up, does it make a difference? His response is that they get the animal out of a bad situation. After they do the rescue, the vet gets involved and once it is determined there is no agression, the animals are placed into a better home. Otherwise, they come to the Ink Sanctuary called “The Clubhouse”. The process by which the cases are investigated is that a call goes to their girl Mary at the office. They then send in their guy, a former homicide investigator, that dispatches them to the situation if it warrants their attention. Then business is taken care of.
ESPN Having pop culture and media savvy filmmakers highlight what their sport icons mean to them makes for very interesting voices in a saturated market. “30 for 30” takes this approach by bringing some of these people together to create this kind of mosaic. For example, Ice Cube, filmmaker, actor and music star, takes on the iconography of the Los Angeles Raiders and what they meant to him. He says that his story is really the parallel between the Raiders image and what it did to the city of LA. He relates the fact that NWA (the rap group he was part of) took on part of that persona. He admits that Los Angeles, by rote, is owned by the Dodgers and the Lakers. The Raiders, as he puts it, were “the bad cousins that come to visit you”. He experienced that culture by being knee deep in that era of gansgta rap. It is at this point that, he says, the LA Kings hockey team changed their colors. Cube believes that this story is one that hasn’t been explored (and truly he is the person suited to bring it to light). He does this by interviewing many of the people interrelated at different points in this perspective from Eric Dickerson to Ice T to Marcus Allen to John Singleton. His piece he relates is more indicative of the community itself. Cube also opinionates himself on the lack of a current NFL franchise in the LA area saying “Los Angeles does not support NFL franchises unless they win” citing the Clippers as an example.
John Singleton, who worked with Cube on his seminal work “Boyz In The Hood”, thought that these stories across the board needed to be told not as they were in the media but by these respective filmmakers. The key here is to create a filter with something different. Fellow director Peter Berg, best known for action films “The Rundown” and “Hancock”, speaks of his segment on hockey player Wayne Gretsky whom he describes as a “very humble and shy person who was interested [in the idea] but not chomping at the bit”. He says he was most surprised to see the man becoming more enthusiastic as he came closer to the emotions. Berg speaks of being a Canadian and remembering how horrible the LA Kings were before Gretsky. He said that growing up in Edmonton Alberta where the athlete was originally based was an exercise in identity since the whole thought of the city was wrapped around this one individual. When Gretsky left for LA, it almost became a national issue which is what intrigued him about the story.
BBC The perception of British programming is the balance between the aspect of drama and the conceptual ideals that sometimes are able to traverse oceans. A good example is the passing of the baton for a show like “Dr. Who” which has enjoyed an exceptionally good run with its star David Tennant whom they are phasing out at the top of his popularity to maintain the brand. Creator/writer Russell Davies says that he and David were lucky to have worked together since they did “Casanova” originally for the BBC where he saw the essence of the Doctor. Davies says that there was a humor and comedy whereas most other actors who had taken on the part were playing it so seriously. He adds that there will be no massive distances between the doctors because it all has to do with experiences. One can’t depend on character hooks too much. The doctor maybe an alien and a timelord but ultimately for the most part he is human. That is the key.
Tennant, for his part, relates that, in view of his recent Comic Con experience, he admits that the doctor likes being “this doctor”. He says that the character, as well as himself, is reaching against the “dying of the light” where “the bell is tolling for him and he doesn’t want to go quietly”. Tennant agrees that it is exciting handing over the show in good health but that keeping it on with him, in the long term, was uncertain. With a future including two films and “Hamlet” for the BBC, his plate is hardly empty.
“Occupation”, another BBC series [this one shot in Morocco] takes into the strike zone the aspect of the war in the Middle East from the British perspective. Pete Bowker, the writer, says that the way the characters approach the war is key. Having a pint or a coffee becomes a major event. He relates a moment when a soldier told him that the only way his family would let him become a nurse is if he did it in the army. Another anecote came from another soldier telling him how they would clear a building. The humor came from the aspect of sticking your head around the corner and seeing if someone blows it off.
“Being Human”, by comparison, takes a middle ground between the two series, because of its inherent supernatural elements. Toby Whithouse, creator of the series, emphasizes the fact that, in reality, we don’t live in a genre. A person can have a normal conversation but it doesn’t mean that something tragic isn’t going on. In a matter of perspective, sometimes the relativity gives you more free range to work in because you can tell a massive and a personal story at the same time which allows you to look at the community in a distinctly different way. He says the stablizing factor is to maintain order in the house which he jokingly says he does by constantly making tea.
As part of its Fall 2009 Fall Preview Package, Warner Bros. just provided IR with this shot from “The Informant”, an espionage thriller starring Matt Damon (“The Departed”) and directed by Steven Soderbergh (“Oceans 11”).