Cut Print Review » Katina Vangopoulos http://cutprintreview.com Australian Movie Reviews, Film News & Competitions Wed, 08 Feb 2012 15:56:59 +0000 en hourly 1 http://wordpress.org/?v=3.2.1 Interview: Johan Earl, co-director of FORBIDDEN GROUND http://cutprintreview.com/interviews/interview-johan-earl-co-director-of-forbidden-ground/ http://cutprintreview.com/interviews/interview-johan-earl-co-director-of-forbidden-ground/#comments Tue, 03 Jan 2012 00:43:35 +0000 Katina Vangopoulos http://cutprintreview.com/?p=19866 There was a name change, long days and mostly good weather on set for Forbidden Ground (previously The Front), the latest film from Sydney-based Rebellion Pictures which wrapped up filming before Christmas. Cut Print Review caught up with Swedish-born co-director/writer/producer/actor Johan Earl on set in Wongarbon, NSW (18km south-east of Dubbo) almost midway into the 16-day location shoot, in an exclusive where we had a chat as Johan was in [...]]]> There was a name change, long days and mostly good weather on set for Forbidden Ground (previously The Front), the latest film from Sydney-based Rebellion Pictures which wrapped up filming before Christmas. Cut Print Review caught up with Swedish-born co-director/writer/producer/actor Johan Earl on set in Wongarbon, NSW (18km south-east of Dubbo) almost midway into the 16-day location shoot, in an exclusive where we had a chat as Johan was in makeup ahead of his next scene.

Cut Print Review: How many hours are you on set?

Johan Earl: It varies. I’m usually out here by 10am and I go home 2:30am so 16 hours or something a day, not everyone’s here that long but you know, it’s at least 13 for most people. A long day! Makes it a longer day that we’re in wet mud and fighting… the boots I’m wearing today are clean because I was in water yesterday but normally they’re caked up and dirt an inch thick on the bottom. All the days blend into one; we haven’t had a break so it’s been continuous filming. I don’t even know what day it is.

mg 0822 333x500 Interview: Johan Earl, co director of FORBIDDEN GROUNDCPR: The forecast during the filming was set for a bit more rain though, you must be happy that hasn’t come about?

JE: Yes, this weather really helps because it is set in World War I (WWI). When we first started we had a lot of sun so I had to set up these silks to try and make it look like a cloudy afternoon. Now it’s perfect, even light rain is perfect, and I’m hoping it stays like this.

CPR: Any details on the plot you can reveal?

JE: We’re keeping it pretty quiet, we don’t want to give away too much but we can say it centres around three British soldiers that are stuck in the middle of no-man’s-land in a French battlefield after a bungled charge from the trenches goes wrong. It leaves them stranded and it’s about their journey and their bonding while trying to get back to the British lines, all their little adventures along the way.

CPR: I’m disappointed that I missed most of the explosions; you did those in the first part of the shoot…

JE: Yes, you’re here on the last day of the battle charges, that’s been played over the last six days. There are more war sequences later but they’ll be done towards the end of the shoot as we move into night shifts.

CPR: You’ve filmed part of it already in Sydney, is there any shooting left to do there?

JE: No, that’s all finished, we only shot for about a week in Sydney and the rest of it’s all out here.

CPR: Had you visited Dubbo or Wongarbon before?

JE: Only when Sarah (Mawbey, cast member and whose family own the now-exploded property) dragged me out here to come and have a look for the film. When I was looking for a location, she said ‘come have a look at my family property, we have heaps out at Dubbo’, and I thought ‘no’ at first but it actually worked out pretty good. The trees around really sell the whole war zone; it’s kind of what it was like so I said ‘Dubbo, here we come’. And now that Sarah’s enjoying being home and done her acting we’re putting her to work behind the scenes!

CPR: You had another project that was postponed – has this been rewarding for you? Did you know a lot about WWI?

JE: I run another company, I’m an armourer and pyrotechnician so with weaponry and such I have had some exposure to stuff in different wars and researched them all but I never thought I’d be making a WWI picture! It’s kinda cool, and everybody loves it. Look at these guys (turning, I see a few ready ‘soldiers’ with big grins) – don’t they look happy? They’re not dead yet.

(A soldier chips in “10 more minutes and I’ll be dead again.”)

mg 0327 600x400 Interview: Johan Earl, co director of FORBIDDEN GROUND

CPR: You’re acting as well as directing; have you had experiences with both and how do you juggle the two?

JE: With great difficulty! I’m the leading actor but I had such a strong vision for this particular film. I have directed other things as well so I have a real passion for being behind the scenes and in front of the camera, so I do juggle the two. They blend, and they’re blending quite well here. With Adrian (Powers, co-director), we’ve worked on a few things together so his vision for things is very similar to my own so we’re the perfect combination. While I’m acting, I know that Adrian’s going to deliver the visions that I have for this. We’ve put a lot of time and effort and energy into making sure we were on the same page before we got here, we went through the script together, storyboards, and he’s doing a really good job. Together I think we’re a good team.

CPR: How long has this film taken to come to fruition?

JE: It’s a really short period actually – we were primed to do another film and already in pre-production for that, so for this it was just a matter of getting a script and moving into it. It was only a couple of months between deciding to do a war film and being here, so it was very short. Normally it takes about six months for pre-production, getting it all prepared and ready, but it’s come together. It’s been pretty hair-raising and stressful, sometimes we just want to kill each other and die but it’s all worth it. When you look at the rushes, the footage we’ve got so far it’s just so good. A really really good feeling so we’re stoked.

CPR: Thankyou for chatting to us!

JE: Pleasure.

Forbidden Ground will be released later in 2012. To keep up to date with their progress, visit the film’s Facebook page.

]]> http://cutprintreview.com/interviews/interview-johan-earl-co-director-of-forbidden-ground/feed/ 0 Australian Box Office 20/11/11: Twilight Breaking into pole position http://cutprintreview.com/news/box-office-news/australian-box-office-201111-twilight-breaking-into-pole-position/ http://cutprintreview.com/news/box-office-news/australian-box-office-201111-twilight-breaking-into-pole-position/#comments Wed, 23 Nov 2011 04:04:04 +0000 Katina Vangopoulos http://cutprintreview.com/?p=19582 The Twilight Saga: Breaking Dawn – Part 1 had no competition as expected, blowing even Moneyball completely out of the water. $12 million in takings saw no other new release enter the top 10 and the only change saw The Debt jump up ahead of Shark Night 3D.

This week’s new releases will pose no threat to Breaking Dawn – Part 1 but the range of films will intrigue [...]]]> The Twilight Saga: Breaking Dawn – Part 1 had no competition as expected, blowing even Moneyball completely out of the water. $12 million in takings saw no other new release enter the top 10 and the only change saw The Debt jump up ahead of Shark Night 3D.

This week’s new releases will pose no threat to Breaking Dawn – Part 1 but the range of films will intrigue many moviegoers. Ivan Sen’s Toomelah screened in Un Certain Regard at Cannes, Ages of Love with Robert De Niro and Monica Bellucci was the hit of the 2011 Italian Film Festival, Ides of March comes off glowing reviews for George Clooney and Ryan Gosling and fans of The Inbetweeners will finally see the big-screen adaptation.

AUSTRALIAN WEEKEND BOX OFFICE RESULTS

Film Title, Distributor, Box Office ($)

1. The Twilight Saga: Breaking Dawn – Part 1, HOYTS, 12,108,308
2. Moneyball, SONY PICTURES, 998,043
3. In Time, FOX, 769,850
4. Midnight in Paris, eOne/HOPSCOTCH, 486,331
5. I Don’t Know How She Does It, ROADSHOW, 314,556
6. The Debt, UNIVERSAL, 247,854
7. Drive, PINNACLE FILMS, 233,018
8. Paranormal Activity 3, PARAMOUNT, 201,699
9. Shark Night 3D, ICON, 188,457
10. Contagion, WARNER BROS, 185,797

Source:

]]> http://cutprintreview.com/news/box-office-news/australian-box-office-201111-twilight-breaking-into-pole-position/feed/ 0 Australian Box Office 13/11/11: Show me the Moneyball http://cutprintreview.com/news/box-office-news/australian-box-office-131111-show-me-the-moneyball/ http://cutprintreview.com/news/box-office-news/australian-box-office-131111-show-me-the-moneyball/#comments Wed, 16 Nov 2011 01:29:21 +0000 Katina Vangopoulos http://cutprintreview.com/?p=19500 Moneyball claimed top honours on debut with takings of $1.3 million, knocking In Time off after two weeks. The rest of the top five remained steady in their positions, while other debuts Shark Night 3D and The Debt shook up the bottom half even though neither made over $400,000.

An interesting selection of films for general and limited release this week, but The Twilight Saga: Breaking Dawn Part 1 will blow [...]]]> Moneyball claimed top honours on debut with takings of $1.3 million, knocking In Time off after two weeks. The rest of the top five remained steady in their positions, while other debuts Shark Night 3D and The Debt shook up the bottom half even though neither made over $400,000.

An interesting selection of films for general and limited release this week, but The Twilight Saga: Breaking Dawn Part 1 will blow most of the top ten out of the water. Moneyball could be the only film to cause any threat in its first week. Burning Man with Matthew Goode (Watchmen) and documentary The Tall Man have received praise as welcome strength for Australian cinema, while Tilda Swinton’s Cannes-screened We Need To Talk About Kevin is another well-received release.

AUSTRALIAN WEEKEND BOX OFFICE RESULTS

Film Title, Distributor, Box Office ($)

1. Moneyball, SONY PICTURES, 1,308,408
2. In Time, FOX, 1,152,147
3. I Don’t Know How She Does It, ROADSHOW, 647,429
4. Midnight in Paris, eOne/HOPSCOTCH, 646,662
5. Paranormal Activity 3, PARAMOUNT, 432,997
6. Shark Night 3D, ICON, 394,466
7. Contagion, WARNER BROS, 345,589
8. The Debt, UNIVERSAL, 317,872
9. Drive, PINNACLE FILMS, 286,630
10. Warrior, ROADSHOW, 252,913

Source: MPDAA

]]> http://cutprintreview.com/news/box-office-news/australian-box-office-131111-show-me-the-moneyball/feed/ 0 Australian Box Office 6/11/11: We still love to be ‘In Time’ http://cutprintreview.com/news/box-office-news/australian-box-office-61111-we-still-love-to-be-in-time/ http://cutprintreview.com/news/box-office-news/australian-box-office-61111-we-still-love-to-be-in-time/#comments Mon, 07 Nov 2011 13:17:12 +0000 Katina Vangopoulos http://cutprintreview.com/?p=19446 In a quiet weekend at the box office, Sarah Jessica Parker’s new rom-com I Don’t Know How She Does It found itself in second place over the weekend with a haul just under $1 million, leaving reigning champ In Time at the top once again with $1.5m. Shakespearean conspiracy Anonymous just managed to scrape into the list in 9th position, while other [...]]]> In a quiet weekend at the box office, Sarah Jessica Parker’s new rom-com I Don’t Know How She Does It found itself in second place over the weekend with a haul just under $1 million, leaving reigning champ In Time at the top once again with $1.5m. Shakespearean conspiracy Anonymous just managed to scrape into the list in 9th position, while other new releases Don’t Be Afraid of the Dark and Our Idiot Brother failed to make the top 10.

Brad Pitt’s Moneyball finally hits our shores this week, along with French Christmas animation Santa’s Apprentice, horror Shark Night 3D and spy drama The Debt with Helen Mirren and Sam Worthington, based on an Israeli screenplay. The buzz around Pitt’s performance should see Moneyball perform well.

AUSTRALIAN WEEKEND BOX OFFICE RESULTS

Film Title, Distributor, Box Office ($)

1. In Time, FOX, 1,547,701
2. I Don’t Know How She Does It, ROADSHOW, 919,070
3. Paranormal Activity 3, PARAMOUNT, 827,318
4. Midnight in Paris, eOne/HOPSCOTCH, 780,578
5. Contagion, WARNER BROS, 576,839
6. Warrior, ROADSHOW, 495,776
7. Real Steel, WALT DISNEY, 381,598
8. Drive, PINNACLE FILMS, 365,295
9. Anonymous, SONY PICTURES, 364,641
10. The Three Musketeers [2011], HOYTS, 347,267

Source: MPDAA

]]> http://cutprintreview.com/news/box-office-news/australian-box-office-61111-we-still-love-to-be-in-time/feed/ 0 Australian Box Office 30/10/2011: JT not just NSync but In Time for top spot http://cutprintreview.com/news/box-office-news/australian-box-office-30102011-jt-not-just-nsync-but-in-time-for-top-spot/ http://cutprintreview.com/news/box-office-news/australian-box-office-30102011-jt-not-just-nsync-but-in-time-for-top-spot/#comments Tue, 01 Nov 2011 04:02:34 +0000 Katina Vangopoulos http://cutprintreview.com/?p=19333 In Time was the clear winner of the new films this week, earning $2.38m to take out first place at the Australian Box Office. The two others that made the top 10 weren’t a surprise but gained little fanfare, Warrior on $706,000 on mainstream release and Cannes favourite Drive, on $466,000 on limited. Paranormal Activity 3, [...]]]> In Time was the clear winner of the new films this week, earning $2.38m to take out first place at the Australian Box Office. The two others that made the top 10 weren’t a surprise but gained little fanfare, Warrior on $706,000 on mainstream release and Cannes favourite Drive, on $466,000 on limited. Paranormal Activity 3, Midnight in Paris, and Contagion, were strong in positions two, three and four respectively.

This week has an interesting mix of releases, with a few strong contenders that could take top spot. Shakespeare gets the conspiracy theory treatment in Anonymous, Guy Pearce gores up for Guillermo del Toro-produced Don’t Be Afraid of the Dark, and fashion photography strikes a pose in Bigpond Adelaide Film Festival-screened Bill Cummingham: New York.
The biggest chances however are rom-com-ensemble I Don’t Know How She Does It and Paul Rudd’s latest offering Our Idiot Brother.

AUSTRALIAN WEEKEND BOX OFFICE RESULTS

Film Title, Distributor, Box Office ($)

1. In Time, FOX, 2,388,571
2. Paranormal Activity 3, PARAMOUNT, 1,812,135
3. Midnight in Paris, eOne/HOPSCOTCH, 1,063,978
4. Contagion, WARNER BROS, 992,518
5. Warrior, ROADSHOW, 706,429
6. Real Steel, WALT DISNEY, 704,912
7. The Three Musketeers [2011], HOYTS, 594,534
8. Drive (Cannes Review), PINNACLE FILMS, 466,384
9. Crazy, Stupid, Love, WARNER BROS, 420,599
10. The Cup, ROADSHOW, 325,034

Source: MPDAA

]]> http://cutprintreview.com/news/box-office-news/australian-box-office-30102011-jt-not-just-nsync-but-in-time-for-top-spot/feed/ 0 News from the Central West: Intangible http://cutprintreview.com/news/news-from-the-central-west-intangible/ http://cutprintreview.com/news/news-from-the-central-west-intangible/#comments Fri, 28 Oct 2011 02:23:12 +0000 Katina Vangopoulos http://cutprintreview.com/?p=19195 To coincide with National Carer’s Week and Mental Health Month, a project by health industry groups including the Far West Local Health District will have seen six audiences across western NSW and Victoria by the tour’s end to raise awareness of carers in the state’s community. The short documentary Intangible details stories of seven carers as they see their situation, and the screening in Dubbo was graced by guest speaker [...]]]> To coincide with National Carer’s Week and Mental Health Month, a project by health industry groups including the Far West Local Health District will have seen six audiences across western NSW and Victoria by the tour’s end to raise awareness of carers in the state’s community. The short documentary Intangible details stories of seven carers as they see their situation, and the screening in Dubbo was graced by guest speaker Jessica Rowe.

Made by leftover funding from the My Time Project in Broken Hill, a two-year initiative aiming to increase awareness and family support options for carers, the seven women were approached to take part and share their story so others seeking guidance could find relativity.

The project was months in the making, and Kelly Leonard from the Family & Carer Mental Health Program said “the producers wanted to put real faces to it, and not have paid actors talk on screen”. The narration of the carers varies with their personalities and situations, ranging from siblings who have bipolar disorder and children who have schizophrenia to 14-year-old Rachel, whose mother’s issues leave her looking after three younger siblings.

Stylistically, it’s separated into chapters for each story evenly but not much can be said for sound or some of the vision. But that was never the point. Dubbo’s audience, seen by Ms Leonard as a stronger turnout than expected, was given what it seemed a lot of people were looking for – realising there are many carers out there like them.

Jessica Rowe’s talk before Intangible also struck a chord. The journalist’s battle with post-natal depression and having a mother with bipolar has been well publicised, but it’s still affecting. One local lady who was had earlier admitted to suffering depression suddenly squeezed her daughter’s hand for strength as Jessica reinforced the fact no-one is alone; Jessica’s genuine happiness in sharing her experience made everyone in the room pay attention.

After the tour wraps up in Gilgandra after having visited Dubbo, Broken Hill, Mildura, Bathurst and Orange, Intangible will be used to assist staff training throughout health services. DVDs and other promotional material can be purchased from the film’s website.

]]> http://cutprintreview.com/news/news-from-the-central-west-intangible/feed/ 0 News from the Central West http://cutprintreview.com/news/news-from-the-central-west/ http://cutprintreview.com/news/news-from-the-central-west/#comments Mon, 17 Oct 2011 03:08:59 +0000 Katina Vangopoulos http://cutprintreview.com/?p=19034 For those of you readers who are unaware, Cut Print Review now has a presence in regional NSW. Dubbo to be exact. My move here is now a month in and already there’s a decent chunk of film-related events going on.

It was with a heavy heart from this end of the country that I found out about the arrest of Marzieh Vafamehr from My Tehran for Sale, seeing Seven [...]]]> For those of you readers who are unaware, Cut Print Review now has a presence in regional NSW. Dubbo to be exact. My move here is now a month in and already there’s a decent chunk of film-related events going on.

It was with a heavy heart from this end of the country that I found out about the arrest of Marzieh Vafamehr from My Tehran for Sale, seeing Seven Adelaide’s report on the Sydney bulletin before Daily Liberal’s own mention. No one should have to go through what she’s about to face for doing what she loves. And I’m sure the SA Film Corporation/Adelaide Film Festival won’t back down from continuing to fund strong local features in the wake of this unfortunate event.

To happier news, and here in the Central West we’ve had a week of open air cinema at major historical attraction Old Dubbo Gaol, as part of October’s inaugural DREAM Festival. It’s a group of activities that promote major Dubbo (and surrounding) locations and show the region’s cultural strength. The Gaol’s a great place to host a Moonlight-style event and the week’s line-up has been a general but diverse mix. Priscilla: Queen of the Desert beat The Castle and Gallipoli for favourite Australian film on a Facebook poll by one vote… the other films were Walk The Line, Chocolat, Breakfast at Tiffany’s, Black Swan and The Rocky Horror Picture Show, which has proven most popular in ticket sales. Luckily all the recent rain has held off for good crowds, and if the DREAM Festival returns in 2012, coordinator Paige Williams told me she was confident short or foreign films could be on the agenda.

On the job I’ve also been in contact with Denai Gracie, producer at independents Rebellion Pictures. They’re filming part of their First World War-themed feature in Dubbo in December and looking for 15 men later this month to act as featured extras in a range of capacities. Gracie said they need to be able to get their hands dirty.

“There was a variety of men on the front line back then, and we want guys who can hold great facial expressions, run through mud and hold a gun,” she said.

They’ll be blowing up the family property of former local and cast member Sarah Mawbey, and Gracie’s looking forward to working with producers who “just want to play with guns and explosives for two weeks”.

If you know any average 18-40 year olds in the region who must agree to rid themselves of facial hair (a casting request), send them to The Matilda Motor Inn (Coolabah room), Darling St Dubbo from 10am-12noon on Saturday October 29. Forward any enquiries to denai[at]rebellionpictures.com.au.

]]> http://cutprintreview.com/news/news-from-the-central-west/feed/ 0 Hakuna matata for The Lion King 3D http://cutprintreview.com/features/opinion/hakuna-matata-for-the-lion-king-3d/ http://cutprintreview.com/features/opinion/hakuna-matata-for-the-lion-king-3d/#comments Mon, 10 Oct 2011 02:01:54 +0000 Katina Vangopoulos http://cutprintreview.com/?p=18874 The opening cries of “Nants ingonyama bagithi Baba” to a rising sun still sends shivers down the spine almost 20 years after The Lion King’s initial release. Anyone lucky enough to attend a screening during the 2011 release will likely remember the revisit for the ambience as much as the film. Children of a new generation experiencing it for the first time, feeble singing coming from the person in the [...]]]> The opening cries of “Nants ingonyama bagithi Baba” to a rising sun still sends shivers down the spine almost 20 years after The Lion King’s initial release. Anyone lucky enough to attend a screening during the 2011 release will likely remember the revisit for the ambience as much as the film. Children of a new generation experiencing it for the first time, feeble singing coming from the person in the back row — and for some, male European tourists deciding to do a dance and sing-along to the credits on the open floor. The Disney Effect is still upon us all.

The endearing charm of Disney arguably peaked during the years many of us at Cut Print Review were experiencing cinema for the first time as young children. While the animation stalwart has gone in a different direction since that period, new technology enables all of us to experience that charm on the big screen once more. Bringing The Lion King to a new generation is one thing, but to bring it back for those growing up with it and those who gave their children the chance to see it is another point entirely.

Disney was always buying in on the 3D craze. What better way to keep the love for their most impressive films going (and cash-in once more) then a digital remastering? The chance of it going pear-shaped is always a worry – changed endings on Star Wars DVDs an example – but not overusing the technology is key. As the saying goes, keep it simple stupid. And they did. What many argue to be Disney’s best feature undeniably still stands as a masterpiece, with the 3D reworking enhancing the amazing array of colours – particularly doing wonders for characters Zazu and Rafiki.

lion king 50671 Hakuna matata for The Lion King 3D

Michael Wakelam, the manager of Reading Cinemas in Dubbo, first saw The Lion King as a 20 year old and appreciated its all-round humour. The excitement was undeniable as he described his disbelief at how good it came up on the big screen. As one of the last of the hand-drawn animations from Disney before the collaboration with Pixar, people still feel that sense of nostalgia as one of the great artistic crafts slowly wanes to this day. But The Lion King holds up because of its star power. Elton John and Tim Rice’s collaboration produced some of Disney’s best songs, characters Timon and Pumbaa were so lovable they sparked a long-running spin-off series, and vocal talents from Rowan Atkinson, Jonathan Taylor Thomas, Nathan Lane, James Earl Jones, Jeremy Irons and Matthew Broderick are strong.

Perhaps the best way to sum it up is simply to imagine those Europeans attempting to sing ‘The Circle of Life’ with great gusto. In broken English, yes, but that just shows the reach that The Lion King, like most Disney films of the 90s, had and continue to have. They hadn’t seen the film for over a decade but the love and admiration for it was undeniably apparent. It’s a film that still manages to produce laughter and tears, with great innuendos and a beautiful story that stands as a reminder of the importance of family. US and UK audiences chose this over Brad Pitt’s Oscar-buzz performance in Moneyball, which speaks volumes.

Things may come and go, but The Lion King – whether in 3D or not – has already proved it stands the test of time. Hakuna matata!

]]> http://cutprintreview.com/features/opinion/hakuna-matata-for-the-lion-king-3d/feed/ 0 Australian Box Office 4/9/2011: Horrible Bosses still on top http://cutprintreview.com/news/box-office-news/australian-box-office-492011-horrible-bosses-still-on-top/ http://cutprintreview.com/news/box-office-news/australian-box-office-492011-horrible-bosses-still-on-top/#comments Thu, 08 Sep 2011 17:27:10 +0000 Katina Vangopoulos http://cutprintreview.com/?p=18630 New civil rights drama The Help couldn’t threaten Horrible Bosses in its second week, with the comedy managing over $2.1 million to stay well afloat of the uncompromising Red Dog, now almost at $13 million – a huge positive for Australian film. Other new releases Final Destination 5 and One Day also made [...]]]> New civil rights drama The Help couldn’t threaten Horrible Bosses in its second week, with the comedy managing over $2.1 million to stay well afloat of the uncompromising Red Dog, now almost at $13 million – a huge positive for Australian film. Other new releases Final Destination 5 and One Day also made top-ten debuts, while Chalet Girl performed well under expectation.

The only new threat to Horrible Bosses this week would come from buddy comedy The Change-Up, man-of-the-moment Jason Bateman’s newest release. The kiddies should be drawn to Kevin James comedy Zookeeper.

AUSTRALIAN WEEKEND BOX OFFICE RESULTS

Film Title, Distributor, Box Office ($)

1. Horrible Bosses, WARNER BROS, 2,174,511
2. Red Dog, ROADSHOW, 1,659,278
3. The Help, WALT DISNEY, 1,046,311
4. Final Destination 5, WARNER BROS, 965,774
5. Friends With Benefits, SONY PICTURES, 748,198
6. Cowboys & Aliens, PARAMOUNT, 651,737
7. Rise of the Planet of the Apes, FOX, 585,458
8. One Day, UNIVERSAL, 569,098
9. The Guard, PARAMOUNT, 295,415
10. Harry Potter and the Deathly Hallows: Part 2, WARNER BROS, 278,941

Source: MPDAA

]]> http://cutprintreview.com/news/box-office-news/australian-box-office-492011-horrible-bosses-still-on-top/feed/ 1 Australian Box Office 28/8/11: Horrible Bosses relates http://cutprintreview.com/news/box-office-news/australian-box-office-28811-horrible-bosses-relates/ http://cutprintreview.com/news/box-office-news/australian-box-office-28811-horrible-bosses-relates/#comments Wed, 31 Aug 2011 02:41:13 +0000 Katina Vangopoulos http://cutprintreview.com/?p=18502 Comedy Horrible Bosses opened very well to $3.17 million, but Aussie heart-warmer Red Dog is doing extremely well to make almost $2 million in its fourth week. The only other debutante to make the top 10 this week was Priest, but Edinburgh Film Festival opener The Guard and Beginners [...]]]> Comedy Horrible Bosses opened very well to $3.17 million, but Aussie heart-warmer Red Dog is doing extremely well to make almost $2 million in its fourth week. The only other debutante to make the top 10 this week was Priest, but Edinburgh Film Festival opener The Guard and Beginners were eleventh and twelfth respectively as a result of limited screens.

This week’s releases include Bollywood’s Bodyguard, the fifth instalment of the Final Destination franchise, and Anne Hathaway/Jim Sturgess romantic drama One Day. Chalet Girl will pull in many a Gossip Girl fan with Ed Westwick’s star role, while The Help will appeal to those wanting a strong drama.

AUSTRALIAN WEEKEND BOX OFFICE RESULTS

Film Title, Distributor, Box Office ($)

1. Horrible Bosses , WARNER BROS, 3,171,788
2. Red Dog , ROADSHOW, 1,939,761
3. Friends With Benefits, SONY PICTURES, 1,394,174
4. Cowboys & Aliens , PARAMOUNT, 1,023,859
5. Rise of the Planet of the Apes , FOX, 871,988
6. Green Lantern , WARNER BROS, 556,174
7. Harry Potter and the Deathly Hallows: Part 2 , WARNER BROS, 444,594
8. Jane Eyre, UNIVERSAL, 342,607
9. Priest, SONY PICTURES, 312,009
10. Conan the Barbarian , ROADSHOW, 305,682

Source: MPDAA

]]> http://cutprintreview.com/news/box-office-news/australian-box-office-28811-horrible-bosses-relates/feed/ 0 The Help (Review) http://cutprintreview.com/reviews/4-12-stars/the-help-review/ http://cutprintreview.com/reviews/4-12-stars/the-help-review/#comments Tue, 23 Aug 2011 03:06:47 +0000 Katina Vangopoulos http://cutprintreview.com/?p=18331 When most think about the Civil Rights Movement of the ‘60s, Martin Luther King and Rosa Parks come to mind. But there’s always someone thinking outside the square trying to get another viewpoint; another opinion. That’s where Kathryn Stockett comes in with her 2009 fictional novel-turned-film The Help. Yes, that’s right, fictional. While a court case against Stockett unsuccessfully claimed that the author did use the names and images of [...]]]> When most think about the Civil Rights Movement of the ‘60s, Martin Luther King and Rosa Parks come to mind. But there’s always someone thinking outside the square trying to get another viewpoint; another opinion. That’s where Kathryn Stockett comes in with her 2009 fictional novel-turned-film The Help. Yes, that’s right, fictional. While a court case against Stockett unsuccessfully claimed that the author did use the names and images of living persons without permission, one shouldn’t let the legality of the matter detract from this gripping and emotive tale of African-American empowerment amongst discriminatory white housewives and their underprivileged ‘coloured’ housemaids.

After returning from College, aspiring journalist Skeeter Phelan (Emma Stone; Easy A) is appalled by what her Mississippi hometown has become. Her mother (Allison Janney; Juno) has cancer, and her friends have changed into a prejudiced and snide bunch. Seeing the struggles of the African-American maids that run the households on less than minimum wage, Skeeter decides to publish their personal stories anonymously in a bid to draw attention to the rampant racism that so casually exists within society. Of course, convincing maids like Aibileen (a compassionate Viola Davis; Doubt) and Minnie (a candid Octavia Spencer; Dinner for Schmucks) to spill the beans isn’t easy, as speaking out against their intolerant white employers is putting their livelihoods at risk. Then again, we see that nothing in this time was easy, as activists fighting for the cause mysteriously die and the divide in Mississippi is shown through simple displeasures like concerns over installing ‘coloured’ toilets in residential homes. As she becomes more invested –and disgusted – by what she learns from the maids, Skeeter loses touch with friends like Hilly Holbrook (Bryce Dallas Howard; Hereafter), who have no intention of attempting to question the stigmas around them.

the help emma ahna bryce anna1 The Help (Review)

In his sophomore feature, Tate Taylor’s film isn’t heavy on preaching, nor is it overloaded with saccharine sentiment. Rather, it has a real bite to it — with feisty characters you care about or love to hate, as well as emotion that truly pulls you in with its raw underlying power. The casting is spotless; Stone is confident as Skeeter, while Davis and Spencer present solidarity in trying to make a stand. But it’s the subplot concerning Bryce Dallas Howard’s Hilly and Jessica Chastain’s outsider Celia that gives the biggest surprise. While it steers us away sporadically (a tad unnecessary in the bigger picture), the characters themselves are the most animated in totally different extremes; Howard and Chastain relish being the bitch and the kooky housewife respectively.

Perhaps more laudable than Taylor’s direction of the awardable ensemble is his handle on Stockett’s awarded story, which despite playing out over 146-minutes of film, weaves its way towards an inspiring climax with unbroken verve. Credit must also go to composer Thomas Newman, whose sweet score does well to accompany the more dramatic moments without engulfing the scene. With more and more films being based on true stories, it’s almost hard to believe The Help is not one of them. But it could be. This feel-good story is a knockout – a much more emotionally satisfying and meaningful watch than last year’s sugary Eat Pray Love.

]]> http://cutprintreview.com/reviews/4-12-stars/the-help-review/feed/ 2 Australian Box Office 14/8/11: Green Lantern the brightest star http://cutprintreview.com/news/box-office-news/australian-box-office-14811-green-lantern-the-brightest-star/ http://cutprintreview.com/news/box-office-news/australian-box-office-14811-green-lantern-the-brightest-star/#comments Wed, 17 Aug 2011 03:45:03 +0000 Katina Vangopoulos http://cutprintreview.com/?p=18295 Big release Green Lantern only just scraped into top spot this week, with Rise of the Planet of the Apes performing very strongly in its second week of release. Both with figures over three million, next in line was Australian film Red Dog, doing well amongst the superhero/fantasy dominance with almost [...]]]> Big release Green Lantern only just scraped into top spot this week, with Rise of the Planet of the Apes performing very strongly in its second week of release. Both with figures over three million, next in line was Australian film Red Dog, doing well amongst the superhero/fantasy dominance with almost $1.9 million. Glee Live 3D Concert Movie, in a two-week release, Senna and the latest Jane Eyre film adaptation with Australian Mia Wasikowska were other debutantes into the top 10.

The hero/fantasy theme of August continues with releases of remake Conan the Barbarian and Cowboys and Aliens. The mix of the seven releases also includes journalism documentary Page One: a year inside the New York Times, Justin Timberlake/Mila Kunis rom-com Friends With Benefits and Wim Wenders’ latest Pina – a homage to late German choreographer Pina Bausch.

AUSTRALIAN WEEKEND BOX OFFICE RESULTS

Film Title, Distributor, Box Office ($)

1. Green Lantern, WARNER BROS, 3,042,282
2. Rise of the Planet of the Apes, FOX, 3,009,705
3. Red Dog, ROADSHOW, 1,888,212
4. Harry Potter and the Deathly Hallows: Part 2, WARNER BROS, 1,290,573
5. GLEE LIVE 3D CONCERT MOVIE, FOX, 970,388
6. Captain America: The First Avenger, PARAMOUNT, 939,261
7. JANE EYRE, UNIVERSAL, 814,132
8. Bad Teacher, SONY PICTURES, 575,559
9. SENNA, UNIVERSAL, 325,319
10. Bridesmaids, UNIVERSAL, 221,029

Source: MPDAA

]]> http://cutprintreview.com/news/box-office-news/australian-box-office-14811-green-lantern-the-brightest-star/feed/ 0 Cannes Interview: Daniel Tenni, writer/producer of Restare Uniti http://cutprintreview.com/festivals/cannes-interview-daniel-tenni-writerproducer-of-restare-uniti/ http://cutprintreview.com/festivals/cannes-interview-daniel-tenni-writerproducer-of-restare-uniti/#comments Tue, 31 May 2011 04:07:09 +0000 Katina Vangopoulos http://cutprintreview.com/?p=17649 It’s not only filmmakers with officially selected films that have a chance to come to Cannes; many make their way to the Cote d’Azur to market their films for international distributors and gain advice from their industry compatriots. I talked with Australian Daniel Tenni, writer/producer of Restare Uniti about the help Cannes can provide, Heath Ledger and Africa.

Cut Print Review: As the scriptwriter of Restare Uniti you’re at Cannes in [...]]]> It’s not only filmmakers with officially selected films that have a chance to come to Cannes; many make their way to the Cote d’Azur to market their films for international distributors and gain advice from their industry compatriots. I talked with Australian Daniel Tenni, writer/producer of Restare Uniti about the help Cannes can provide, Heath Ledger and Africa.

Cut Print Review: As the scriptwriter of Restare Uniti you’re at Cannes in 2011 to network?

Daniel Tenni: Yeah, it’s just been networking and setting up meetings with as many big players as you can find. It’s been good, really interesting and important to meet the right contacts and tell them where we’re heading in the next year… the mission is to have a script ready so we’ll be able to go and get the money to make this feature.

CPR: Ok, let’s go back: explain the premise of the film for us.

Daniel: It’s about the internment of Italians during 1940; there was about 4 or 5,000 Italians taken away and put into internment camps… there was a lot of racial tension around towards the Italians then. The 14-minute short film is the story of one boy Gianni, and his experience of what it’s like to live in Australia and then be taken away. It’s what we’re using as a teaser for the feature.

CPR: This is in Australia?

Daniel: Yeah… no-one’s really heard about it, it’s a pretty untold story – it was kind of swept under the rug by the government and the Italians are pretty tight-lipped about it, they won’t talk about it because they kind of want to get on with life. People do know about it, but not many… there’s been one book written about it ever, there’s only two copies in circulation and I’ve got one of them. So there’s really nothing on it – we want to get the story out.

CPR: What happened in these camps?

Daniel: That’s what we’re talking to them about… they weren’t like Nazi camps but they were held under armed guard and they lost their freedom. They were taken from their families, where women and children would be left by themselves so it was hard for them.

CPR: So it’s almost like a version of the Stolen Generation you could say?

Daniel: Yeah exactly, it was very similar. The same thing happened to the Japanese as well. Most of the Italians fled Fascism from Italy to get away from it; they came here and got locked up because they were accused of being Fascist. It caught up with them.

CPR: Why choose the title Restare Uniti (Stick Together)?

Daniel: It was kind of fitting — that was what they would do in that situation I guess; lost and young and trying to help each other through it.

CPR: And why the focus on such a young (seventeen-year-old) kid with Gianni? Was he based on a story you’d heard about?

Daniel: No, he was a fictional character. I just thought it would’ve been the best way. And 14 minutes; there’s a lot to fit in so to show one boy’s experience of what happened worked best. In the feature we can fit more characters in and tell more stories. Gianni would be the focus though, we’d still keep it through his eyes. It’ll be a prison movie – he’ll be taken away and we’ll see him in there. You know, there were Italian nationalists in there that were big Fascists, civilian Italians and POW Italians – all these divisions. Even Germans they considered Nazis, they were held in some of these camps.

CPR: Did you have anyone you knew involved in this?

Daniel: Yes, my great-grandfather was interned — and I only found that out when I started researching. I went down to the monument in Hervey (Western Australia) and I saw my family’s name on there and I was like ‘what the Hell?’ so I went back home and asked questions about it and found out it was my great-grandfather. They hadn’t really said anything about it.

CPR: That must have been a shock for you…

Daniel: A little bit. I actually found out about the whole event in a doco class at uni, someone mentioned it in conversation and I starting asking around about it from there… found out it was pretty unheard of and started researching and wrote the script.

restare uniti screenshot 2 600x337 Cannes Interview: Daniel Tenni, writer/producer of Restare Uniti

CPR: How long did that take?

Daniel: The script itself only took a few days to write but the actual story in my head, getting that right, took maybe five or six months, and I had the idea to write something on the internment story for a couple of years. We shot it in five straight days out in Hervey.

CPR: And is this the first short that you’ve written?

Daniel: Yes it is… my first go at writing and producing a film. I really enjoyed the process, especially because my main focus is actually acting!

CPR: Oh okay! How did you go about finding a director for Restare Uniti?

Daniel: He (Julius Christian Telmer) was on a Study Abroad day with me at uni… he was there from Denmark. I found he was the strongest director by a long shot; he’d just had so much experience, done a lot of stuff so we just formed this team and decided to make it.

CPR: How did you finance it?

Daniel: We did a bit of fundraising, and then the rest out of our pockets. We’ll be doing some more fundraising when we go back home, for the feature, a documentary and other things – a few more big screenings.

CPR: You want to do a documentary?

Daniel: Yeah, we’re thinking of doing a documentary in between now and the feature. We’re going to try and approach Screen Australia or Screen West and get some funding and to travel around Australia to interview these people; the people in the camps, the guards, the people around at the time. It would help with the feature because I could get more stories.

CPR: Now it’s your first time getting to know Cannes but Restare Uniti’s done well elsewhere, particularly at the Ridgewood Film Festival (New Jersey, USA)…

Daniel: Yeah it won Best Short Film at Ridgewood, got selected for the Montreal World Film Festival, Norwegian Short Film Festival and we just got selected for one of the biggest festivals in Africa which is really humbling because they connected with the whole racial theme and tribalism there is still a huge thing over there. They really connected with the story… it travels around South Africa, Swaziland and around the south so it’s great. Unfortunately it depends on the budget as to whether I can go but we’ll have a few screenings and try and raise some money, one down in Hervey probably.

CPR: Were you inspired by the work of any other scriptwriters or Italian-Australians when you wrote the script?

Daniel: Probably my grand-dad, I always think of stories he would tell me about first coming to Australia and how hard it was when they got here.

CPR: How do you see the Australian film industry at the moment, as an actor and scriptwriter?

Daniel: I can’t comment too much on the country as a whole, but I know the Perth industry is struggling. There’s a lot of talent and potential, but there’s no money around. There needs to be one or two big features to kick it off… we’ve got wicked locations and talent, it’s just a shame that there’s no money there and when people get to that certain level they just have to leave because there’s no opportunity.

CPR: Heath Ledger’s a case in point there isn’t he? He went with $200 in his pocket or something to Sydney to get his start…

Daniel: Yeah something like that… but there is a revival in the industry with some of the films coming out. It’s just Australian films don’t make money, they lose it. A lot of Australian films are targeted at Australians, and our national market is nothing on the distribution scale.

CPR: But are they? People aren’t going to see them!

Daniel: Well… that’s the thing isn’t it?

CPR: Do you have any other features in mind?

Daniel: Down the line we have a feature we’re thinking of doing, about Australian POWs escaping camps in Italy during WWII and helping other escapees flee to Switzerland… it’s a great story but we’re not thinking about it in detail for some time. Much later down the track!

CPR: Is there anything else you’d like to add about your Cannes experience or the film?

Daniel: I just think Restare Uniti‘s a really important story that needs to be seen, it’s a part of history that Australia’s forgotten about. (Lowers voice) Also, if you could put the Facebook page on it that would be cool!

CPR: Thanks for talking to us, all the best with the film.

Daniel: Thankyou!

Visit the Restare Uniti Facebook page here.

]]> http://cutprintreview.com/festivals/cannes-interview-daniel-tenni-writerproducer-of-restare-uniti/feed/ 0 Drive (Cannes Review) http://cutprintreview.com/reviews/4-12-stars/drive-review/ http://cutprintreview.com/reviews/4-12-stars/drive-review/#comments Thu, 26 May 2011 02:41:44 +0000 Katina Vangopoulos http://cutprintreview.com/?p=17581 Nicolas Winding Refn quoted the filming of his latest effort as “the best Hollywood experience I could ever have” at the Cannes post-screening conference. For the Danish man who’s had previous European arthouse success, it seems the ultimate dream’s finally reared its head. And for his first US effort he hasn’t wasted the opportunity, blending a cocktail of noir and action with a pinch of romance to deliver a violent [...]]]> Nicolas Winding Refn quoted the filming of his latest effort as “the best Hollywood experience I could ever have” at the Cannes post-screening conference. For the Danish man who’s had previous European arthouse success, it seems the ultimate dream’s finally reared its head. And for his first US effort he hasn’t wasted the opportunity, blending a cocktail of noir and action with a pinch of romance to deliver a violent and hopeful film with enormous appeal.

It sure looks like they had a hell of a time. Adapting the 2005 novel from James Sallis, Drive concerns an unnamed character (Ryan Gosling) who makes his way in the world working in a garage and as a stunt driver for movies shot in L.A. Okaaay, so he does jobs on the side too, but the honest guy meets Irene (Carey Mulligan) and he becomes increasingly involved in the trouble surrounding her jailed husband Standard (Oscar Isaac). The Driver interacts with everyone along the way, not knowing who to trust or what path to follow. He’s forced to make decisions that don’t suit him, and while that’s the basis of the genre, the film has much more of an anti-action vibe to it. It’s the weaving of character involvement that makes the film as strong as it is; we’re given more and more as the story develops and each character’s arc is fully explored satisfactorily. As The Driver gets deeper and deeper in the unfolding mess, we’re opened to his long-bottled emotion, and what emerges is something unexpected of his seemingly quiet character. This comes to a head in a pivotal, almost dreamlike moment; an elevator scene quoted by producer Marc E. Platt as his favourite in the film lifts the story onto another level that we don’t see coming, and in turn leads to a cracking climax. Drive is not what you expect on any grounds – it keeps you guessing characters’ choices, invites you into scenes before shaking the foundations completely and genuinely surprises considering the little amount of actual plot.

0393391 600x398 Drive (Cannes Review)

The lack of unnecessary dialogue is refreshing for the genre, and to convey so much emotion through little words is testament to the strength of Winding Refn’s direction and Hossein Amini’s adaptive screenplay. The soundtrack plays an important role in Drive too; the synthesized ‘80s score by Cliff Martinez is heavily used to create a deeply affecting eeriness to the film as a whole. Winding Refn mentioned that “there was going to be no rock’n’roll in this film because that would’ve been like ‘oh boy, here we go again’,” which again emphasizes that this isn’t a generic film. It’s really new territory for all concerned, looking effortlessly edgy with the action scenes energetic and cast well chosen. Gosling is perfect as the loner type, unsure of those around him but sure of what he wants to achieve. The new direction for him is another example of his diverse talent. Mulligan has just enough innocence and strength about her, while strong support comes from Ron Perlman as Nino, Albert Brooks as Bernie, Christina Hendricks as Blanche and the impressive Bryan Cranston as Shannon. Interestingly, Winding Refn and Gosling will reunite in even more Hollywood-ish surroundings on the set of next year’s Logan’s Run remake. Refn explained that “[Gosling] was the woman and I was the man of the relationship”, so you can only wonder how that’s going to turn out.

Verdict

Great casting and direction helps Drive retain a cult feel although having the possibility of extreme mainstream appeal.

]]> http://cutprintreview.com/reviews/4-12-stars/drive-review/feed/ 0 Cannes Interview: Nash Edgerton, director of Bear http://cutprintreview.com/festivals/cannes-interview-nash-edgerton-director-of-bear/ http://cutprintreview.com/festivals/cannes-interview-nash-edgerton-director-of-bear/#comments Thu, 26 May 2011 02:14:42 +0000 Katina Vangopoulos http://cutprintreview.com/?p=17643 Nash Edgerton is already recognised in Australia thanks to the likes of The Square, but in 2011 he makes his first Cannes appearance with his short film Bear as part of the Official Competition. We were lucky enough to talk with him about the experience, why he wanted to create a sequel and putting directors in front of the camera.

CPR: You had a good reception at the press screening…

Nash: [...]]]> Nash Edgerton is already recognised in Australia thanks to the likes of The Square, but in 2011 he makes his first Cannes appearance with his short film Bear as part of the Official Competition. We were lucky enough to talk with him about the experience, why he wanted to create a sequel and putting directors in front of the camera.

CPR: You had a good reception at the press screening…

Nash: Yeah, it went pretty well.

CPR: How long was the shoot?

Nash: Three days… one was at the house, one outside with all the bike riding and then the third day was the aftermath.

CPR: Where does the character of Jack come from?

Nash: Jack will always be a part of me… like, I’m not as bad with my pranks and things as he is but I did some stuff as a kid.

CPR: Things you did as a kid? Can you elaborate?

Nash: Have you seen Spider (Jack’s first appearance)?

CPR: I have.

Nash: Well, I used to have a toy spider and I used to hide it in the kitchen for Mum. It’d be different every week, do something new to freak her out. Once I put it on the oven handle and she went to grab the food before we heard a shout. She didn’t see it until she was halfway out… smashed the dish. I got in a lot of trouble.

CPR: So that’s your inspiration?

Nash: Yeah that, and Joel and I had an incident in the car with a spider. We were on the freeway and it crawled up his pants and he lost control of the car before stopping and jumping out – he didn’t get hit though. It’s interesting how people would risk their lives to get away from a spider so that’s where it came from. I guess I like scaring people. But it’s all in humour you know, not actually setting out to hurt anyone. With Jack, he just can’t get it right.

CPR: Why did you want to bring him back after Spider?

Nash: For a number of reasons I guess… so many people would ask me what happened, whether they stayed together, whether she survived, and then I started thinking about what would happen – whether he learnt his lesson. But for some people it takes more than a needle in the eye. You know, Spider was so popular and I kind of liked the idea of asking myself if could I do something that stood up to that but stood alone. A film that could work as a follow-up though, to take on a different challenge that could also be humorous.

CPR: So did you enjoy the process of revisiting the characters and ideas?

Nash: Yeah of course, when you’ve got something as good or better than the last idea you had it seems to have an extra element of nostalgia to it because it’s linked to Spider you know?

CPR: But the audience here got a kick out of it without realising it had a predecessor…

Nash: Well it totally works on its own, it’s pretty solid because Jack’s known. Because of the events of Spider, he has two different coloured eyes now, and his ex offers the opening quote in Bear.

CPR: How did you get Teresa Palmer and Warwick Thornton on board?

Nash: Oh you know, I’m just good friends with both of them for a long time and they’d both seen Spider and were fans; I loved the idea of putting Warwick in a film. I’ve actually put a lot of my friends, and a lot of directors that I really like in my films.

I don’t know whether Warwick’s been in a film before… I think it’s good to see him try out being on the other side of the screen though (laughs).

0396592 600x242 Cannes Interview: Nash Edgerton, director of Bear

CPR: Speaking of collaborations, what can you tell us about your company Blue Tongue Films and how that’s helped you get here?

Nash: It’s helped a lot – I have a good bunch of friends; my brother, Kieran (Darcy-Smith), Luke (Doolan), David (Michod). We encourage each other and help each other. Bear was written by David and myself, we went through the shoot and storyboards together. Whenever someone makes something we just collaborate with each other.

CPR: How do you feel about the Cannes selection? It’s a big deal!

Nash: Yeah it’s awesome, I’ve always wanted to have a film here! It’s always special to be recognised; you know, there were over three thousand entries so to get here is great. Shorts are a good stepping stone, they lead to big things and I’m hoping that’s what this film will help me do.

CPR: Well, you’re having The Square released in the UK this month aren’t you?

Nash: Yeah, it premiered at the Film Forum two days ago so that’s really good.

CPR: Back to Cannes… now that you’ve seen your fellow nominees’ films, who would you pick to win if you couldn’t pick yourself?

Nash: Oh I don’t know, I feel like I want to see them all again, it’s the first time I’ve seen them… it’s a strong year. I don’t know if I can answer that?

CPR: No comment?

Nash: (Laughs) I don’t know… I really enjoyed Meathead (New Zealand) and Ghost (Japan). I liked the shoot of that one.

CPR: Would you go for another film to complete a trilogy?

Nash: Yeah, I have an idea of what I might do…

CPR: Any details?

Nash: Nah not yet! I think there’s more to do with that character. Maybe I’ll just do it every four years, revisit Jack and see what he’s up to. I was saying to someone the other day that it’d be fun to keep going back until when he’s 60 and find he’s still causing trouble and hasn’t figured it out; scaring some old lady.

CPR: Like the 7-Up documentary series, except it’s Where’s Jack?

Nash: Yeah exactly! Sporting his injuries from the previous events.

CPR: And what about your next feature film?

Nash: There’s no title, but it’s an action-road type of film, bit of a crime movie. Joel and I are writing it, it’s only a draft at this stage. I have a few ideas about casting but nothing definite.

CPR: The action-road crime movie isn’t something Australian cinema has much of…

Nash: I just wanted to do something a bit bigger than I did before (with The Square) – you know, with set pieces, being able to play with toys and money!

CPR: Anything else you’d like to add on your experience here at Cannes or about Bear?

Nash: I haven’t had much sleep! No, I’ve been able to meet a lot of people here, like Jeff Nichols (Take Shelter) and discovered how everything works which has been great. Seen some films too – I really loved Snowtown, it was a very hard film to watch. People were walking out — it’s very powerfully done.

CPR: Thank you for taking the time to chat, and good luck!

Nash: Thanks!

]]> http://cutprintreview.com/festivals/cannes-interview-nash-edgerton-director-of-bear/feed/ 2