tellurikwaves Blog : CINEMA :Les blessures narcissiques d'une vie par procuration

Š DR - THE CONTRACTOR -(2007) Wesley Snipes p2

22/05/2013 03:13 par tellurikwaves

Š DR - THE CONTRACTOR -(2007) Wesley Snipes p2

22/05/2013 03:13 par tellurikwaves

Cast (partiel)

Wesley Snipes : James Dial

Eliza Bennett : Emily Day

Lena Headey : l'inspecteur Annette Ballard

Ralph Brown : Jeremy Collins

Charles Dance : Andrew Windsor

Š DR - THE CONTRACTOR (2007) -Wesley Snipes

21/05/2013 14:24 par tellurikwaves

Š DR - THE CONTRACTOR (2007) -Wesley Snipes

21/05/2013 14:24 par tellurikwaves

The Contractor

est un film américain réalisé par Josef Rusnak, sorti en 2007.

Résumé
James Dial est un ancien sniper menant une vie tranquille et reculée dans son ranch du Montana. Pensant avoir définitivement tourné la page, il se retrouve contraint d'accomplir une dernière mission à laquelle il avait échoué : l'assassinat d'un dangereux terroriste. Dial atteint son objectif avec succès mais se retrouve impliqué dans un terrible complot : une traque infernale commence pour lui.

Š DR - APPALOOSA de Ed Harris /L'Interview( fin )

18/05/2013 13:40 par tellurikwaves

Š DR - APPALOOSA de Ed Harris /L'Interview( fin )

18/05/2013 13:40 par tellurikwaves

Toronto Interview: (suite)

Was he your first choice then?

Harris: Yes.

And you were talking about the dynamic between people. I think that really played out well in your film between you and Viggo.

Harris: Yes, well if it didn't, we wouldn't have a movie really. So I'm glad that it works. It's funny, you know. I mean, at this premiere last night, people were laughing at every single little thing that was worth laughing at. They really got it, the humor of it, which was kind of funny to listen to.

You worked that into the script then, those comedic moments?

Harris: Well, a lot of it is right from Parker's book. There was other stuff that we added here and there. I knew it was funny. I didn't know how people would respond, but it was actually- last night, there were some laughs that actually covered up the next line or two.

Really? It sounds they really got into it then.

Harris: They did. It was fun.

I want to ask: since you've been an actor for so long, what have you learned from other directors over the years that have really shaped your philosophy and the way you work as a director now?

Harris: Well, it's hard to kind of, laundry list things like that; not that you're asking me to do that, but I think you pick up a lot of things from a lot of different people and it's more like an osmosis. It goes into you and you're not even aware of what you're learning in terms of specifics. I could start talking some technical stuff, I guess, but it's more about - I don't know. It's more of -- how do you want to be.

In other words, do you want to be an asshole and scream at people, or do you want to treat people with respect and hire the kind of people that you want to get excited creatively and have them do great work that they're excited about and collaborate and get this thing on its feet? So, I don't really know how to answer the question.

That's fine. Were there any specific directors or anyone you've worked with over the years that has really inspired something specific in Appaloosa?

Harris: Well, I know that's what you're asking me. I think there's a director named Victor Nunez who I worked with a long time ago,1983,during A Flash of Green,he's an independent filmmaker out of Florida. He's a really fine filmmaker and Victor really likes to let things take place in the frame and to really see people in space and I really like that about his work.

Peter Weir is so thorough in terms of every costume,every color,every prop,every placement of something on a table; all aspects of filmmaking he's got his hand on in terms of his awareness of what it takes to make the whole thing work,and also treats people with a great amount of respect and dignity. And then in terms of the actual filming of things; I don't know, working with actors. I mean, being an actor, I feel really comfortable working with actors, but every actor is different. You can't interact or work with them all the same way, but you just kind of pick that stuff up.

What is your favorite part of filmmaking?

Harris: Well, I enjoy the actual process of it. I enjoy working with film, with actors. I enjoy the visual aspect of it. I really like to see what's in a frame; I mean in terms of just visual, the composition of things. I thoroughly love the editing room. I find it to be really where the film ultimately is made and I work really well with Kathryn Himoff who is the editor that I've worked with on two films. So, all of it, but the whole process is something that I enjoy - I do. I've only done it a couple of times, but hopefully I'll do it again.

Are you pursuing another directing gig?

Harris: Well, it's not like I'm asking people to send me scripts to direct, but if I get something that I feel compelled to do,I'd like to do it.

And have you come across anything like that recently?

Harris: No. Well, I mean we just finished this like two weeks ago in terms of really finishing it; you know, the final print and all. So, this is on my-- we have another week or so of talking about it and then I'll hopefully take a break and see what's up.

Where did you shoot this?

Harris: Santa Fe. Well, in and around - do you know what I mean? Not really in-- we were based in Santa Fe, but we shot all around and then up north a bit on the river.It was really pretty

I'm surprised that there's so much open land that you can still find nowadays in the west.

Harris: Well, yes. I mean we were shooting on like a 20,000 acre ranch for one thing. But yes, it's great to have a vista where you don't see anything. There were a couple sets where we had to take out roads-- visually, we had to take out a house or a car way in the distance glistening in the sunshine, which we did in post. But it really is beautiful country.

Definitely. If you can answer this, I'm curious what you're opinion is on the state of independent film and festivals like this is -- how important they are to the success of films nowadays.

Harris: Well, I don't know what I can say that's anything worthwhile. I mean, thank God that there is a venue for a lot of independent film in terms of festival circuits because otherwise, they're never going to get seen because the actual distribution system is so locked up by the big studios,other than the cities that care enough to have a really good art house and even then show only a select amount of independent films. I don't know what the statistics are, but there are hundreds of films made every year that nobody even knows about.So,I don't know what to say about the state of it.

I'm glad that people still want to make independent films and now with some of these digital cameras, you can make something pretty inexpensively and it looks good. If you have something to say, tell the world. So that's kind of exciting. I imagine the internet will start opening things up for people too, to get some of their stuff out there.

Lastly, what are your all-time favorite films -- if you can name them? Not to put you on the spot...

Harris: For now, let's say Grapes of Wrath, The Man Who Shot Liberty Valance. Those are two I like. To Kill a Mocking Bird -- these are mainly American films I'm talking about.

Thanks to Ed Harris and everyone at Warner Brothers for setting up this interview in Toronto. Appaloosa hits limited theaters this weekend and will expand to more theaters over the next month. If you're into westerns, be sure to check it out!

Š DR - APPALOOSA de Ed Harris (2008) p30/ Interview

18/05/2013 13:21 par tellurikwaves

Š DR - APPALOOSA de Ed Harris (2008) p30/ Interview

18/05/2013 13:21 par tellurikwaves

Toronto Interview: Appaloosa Writer, Director, and Star Ed Harris

by Alex Billington

September 19, 2008

It was just last year, when I caught a double dose of Assassination of Jesse James and 3:10 to Yuma in one day, that I finally realized how enjoyable westerns could be. Since then I've been exploring the genre and was admittedly excited to hear about a new film called Appaloosa. Written, directed, and starring Ed Harris, the film follows two friends hired to clean up a town of its local vermin, an outlaw named Randall Bragg.

A few weeks back after the world premiere in Toronto, I had the immense honor of interviewing Ed Harris, and talked with him about all aspects of Appaloosa and westerns. If you're curious to hear about the behind-the-scenes aspects of the film and so much more, then this is an interview for you.

Appaloosa is based on a book of the same name written by Robert Parker. Ed Harris adapted the screenplay with Robert Knott and and stars in the film as Virgil Cole. In addition to Harris, Viggo Mortensen stars as Everett Hitch, Renée Zellweger as the love interest Allison French, and Jeremy Irons as the outlaw Randall Bragg.

The film is an impressive feature that delves into an interesting story about two friends and what happens when they capture Bragg and try to bring him to trial. If you're into westerns, this is a film you shouldn't miss. If not, the film has its merits, but isn't one of the best this year.

So to kick this off, I'm curious how you got into this project. Did you read Robert Parker's book first?

Ed Harris: I just started reading this book and I just really got excited about this relationship with these two guys. It made me laugh. It made me feel good. Before I finished the book, I called my agent and said, "Is this thing available?" He found out that it was and I just kept after him because I just felt like it's something I wanted to do. It's hard to explain.

The book?

Harris: No. It's hard to explain why I wanted to do it. It just tickled me.It's just one of those good feelings, right?

Harris: Yes. And another thing, coincidentally, it happened to be a western, which I really love the genre and I thought it would be really fun to ride and I got my six-shooter and-- you know...

With the two western films last year that did only okay in theaters, was there something you felt with Appaloosa that was really going to take the genre to the next level?

Harris: Yes. You know, in terms of the marketplace, it wasn't my-- It had nothing to do with anything. In other words, I just wanted to make this film. Now, when I talked about trying to get it financed, then yes, you run into "yes, but it's a western and they don't do so well. They don't sell well overseas." I said, "yes, but it's a really good story. You liked the script." Anyway, just keep pounding away until you get to people that believe you and put up the bucks.

Did you see yourself cast in the role of Virgil Cole originally, or did you think about writing and directing first?

Harris: Yes, pretty much. I thought about playing Cole, or else playing Hitch and getting somebody else to play Cole, but then I kind of said, "No, I want to play Cole and I want Viggo to do Hitch." He was kind enough to actually-- Well, not kind enough. He liked the material. Once we got the script written, he committed to doing it, which helped me get it set up ultimately.

You worked on Pollock before, right? You directed that?

Harris: Yes, we actually shot Pollock in 1999. So its been a while.

What did you bring from that film as a director then to this? What did you learn from that experience?

Harris: I think the biggest thing I learned was I really needed a strong line producer, first AD, production set and supervisor.I needed to be really organized and really on top it and surround myself with very professional great hard-working people. Otherwise, I wasn't going to be able to shoot it because I had a lot to shoot in not a long time. It wasn't a luxurious budget. It was sufficient, but it was not a dime more than that.

Were you inspired by films like Butch Cassidy and other westerns like that?

Harris: Well, I think the relationship between Redford and Newman in Butch Cassidy, between Duvall and Tommy Lee in Lonesome Dove, between Randolph Scott and McCrea in Ride the High Country, even Holden and Borgnine in The Wild Bunch, there's certain aspects of every one of those relationships that's part of these guys and a sense of-- there's a comfortability that goes on. It's one of the reasons I think people do enjoy those films because it feels comfortable.

These two guys are comfortable with each other. They've been riding together for a dozen years and they are who they are and they're not trying to be anything else. They like each other. They don't like to talk about it, but there's an unspoken deep appreciation for one another, you know? I just thought Viggo and I could maybe pull that off.

Were you friends with Viggo previously?

Harris: We worked on A History of Violence together and I had enjoyed working with him a lot, but I wasn't-- First of all, Viggo's really busy. He has so many irons in the fire. He has his publishing company and all kinds of things that it's hard to keep track of.

So, I hadn't really seen him other than working, but I got the book to him. I actually went to the festival here when we were here for History of Violence and I said, "check this book out." He responded to it. Anyway, one thing led to another and I'm really glad he did because I never was thinking of anybody else.

Š DR - APPALOOSA de Ed Harris (2008) p29

18/05/2013 13:05 par tellurikwaves

Š DR - APPALOOSA de Ed Harris (2008) p29

18/05/2013 13:05 par tellurikwaves

Ariadna Gil & Viggo Mortensen

Š DR - APPALOOSA de Ed Harris (2008) p27

18/05/2013 13:02 par tellurikwaves

Š DR - APPALOOSA de Ed Harris (2008) p27

18/05/2013 13:02 par tellurikwaves

Š DR - APPALOOSA de Ed Harris (2008) p26

18/05/2013 12:37 par tellurikwaves

Š DR - APPALOOSA de Ed Harris (2008) p26

18/05/2013 12:37 par tellurikwaves

La critique de James Berardinelli (fin)

Westerns often take themselves seriously and, while Appaloosa is no Blazing Saddles, there's a refreshing vein of understated humor running throughout the production. It's neither forced nor unnatural and it keeps things from becoming too somber, even when the bullets start flying. There are some pacing problems associated with the structure.

One could argue that the movie's climax comes too early and the last half hour requires a little too much retrenching and meandering before the conclusion is reached. I found Appaloosa to be gripping and dramatically satisfying for its first 90 minutes, but I wasn't as pleased with the final act, which feels more tacked-on than organic.

Flaws aside, Appaloosa remains a valid reason to be thankful for that, while Westerns may no longer be as victorious at the box office as their gunslinger protagonists, they are not dead. As long as there are productions like these, the specter of Boot Hill will remain at bay.

Š DR - APPALOOSA de Ed Harris (2008) p25

18/05/2013 12:28 par tellurikwaves

Š DR - APPALOOSA de Ed Harris (2008) p25

18/05/2013 12:28 par tellurikwaves

La critique de James Berardinelli (suite 2)

The motivations of the characters are never straightforward and no one in Appaloosa fits neatly into a clean stereotype. Virgil is a straight-shooter but, despite his ability with a gun, he's not the most intelligent marshal in the Old West and he's not the most confident of men when away from his job. He also has a strict code about not breaking the law and will not circumvent it.

Everett has his own set of rules, but they aren't as rigid. Virgil might only view Everett as a companion; Everett considers the older man more than that - perhaps a mentor or even a friend. Allie isn't a traditional damsel in distress. One gets the opinion that, regardless of the situation, she'll land on her feet. With her, there are no double-standards, and Virgil understands what she represents when he promises to be there for her for as long as she needs him.

The film is well cast, with all of the actors being chosen for their ability to fit into the period costumes and settings without seeming out of place. One has no difficulty accepting Harris as the square-jawed marshal. Mortensen is his usual low-key self, providing an individual who is at once both heroic and humble.

Zellweger impresses not only because she's feisty but because the actress doesn't mind getting a little dirty (literally). In the dusty town of Appaloosa, she doesn't always look like she's fresh from a bath and a visit to a hairdresser.

Jeremy Irons recalls Richard Harris from Unforgiven, albeit without the accent. Ariadna Gil* has a nice secondary role as a barmaid who hooks up with Everett; the character is brimming with unrealized potential, but Gil brings her to our attention.

* C'est elle que j'aurai voulu voir à la place de Renée Z même si elle est impecc dans son (petit) rôle de barmaid.

Š DR - APPALOOSA de Ed Harris (2008) p24

18/05/2013 12:18 par tellurikwaves

Š DR - APPALOOSA de Ed Harris (2008) p24

18/05/2013 12:18 par tellurikwaves

La critique de James Berardinelli (suite)

Appaloosa, like many Old West towns, is as light on law and order as it is on population. This makes it ripe for abuse by a rich, powerful outlaw like Randall Bragg (Jeremy Irons), whose "boys" are allowed to drink the whiskey, use the whores, and take the livestock without consideration of recompense.

Eventually, the town leaders become so fed-up with Bragg that they call in renowned gunman Virgil Cole (Ed Harris) to be their marshal. Cole is accompanied by Everett Hitch (Viggo Mortensen), his constant companion for many years. Cole drives a hard bargain but the men who run Appaloosa are eager to rid themselves of Bragg and his gang.

The standoff begins with three of Bragg's men dead, followed by a cat-and-mouse game between the lawman and the gangster that leads to, but does not culminate in, Bragg being arrested and spirited away from his ranch in the middle of the night.

Meanwhile, there's a new woman in town. Allie French (Renée Zellweger), who declares herself to be widowed and not a whore, has her eye on Virgil, but that doesn't stop her from showing interest in Everett. In fact, she seems more attracted to power than men, as becomes apparent whenever she comes in contact with a new top dog.

Š DR - APPALOOSA de Ed Harris (2008) p23

18/05/2013 11:54 par tellurikwaves

Š DR - APPALOOSA de Ed Harris (2008) p23

18/05/2013 11:54 par tellurikwaves

La critique de James Berardinelli

One of the most evident signs of the shift in movie-goers' tastes over the years has been the decline of the Western. Once among the most popular of film genres, it now ranks near the bottom. If there's a benefit to this downturn, it's that modern Westerns rarely go into production unless they possess a complex or challenging quality.

In many ways, Ed Harris' Appaloosa is one of the most traditional examples we have seen since the genre underwent a shift during the early 1990s with Oscar wins by Dances with Wolves and Unforgiven. It is not as compelling as three recent Westerns – The Proposition, Open Range, and 3:10 to Yuma - but there's enough quality material to be found bookended between the opening and closing credits to make this compulsory viewing for those who retain a fondness for what the Western can bring to the screen.

Appaloosa is more of a character-based Western than a shoot-'em-up, although that's not to say there aren't gunfights. Instead, the film's action-based set pieces are relegated to short, staccato bursts widely separated by lengthy segments that are heavy on dialogue and dramatic interaction. One of the most important aspect of any Western - the ability of the filmmakers to re-create a world that has been blown away by modernism like a tumbleweed by a high wind - has not proven to be an insurmountable obstacle to Harris.

His vision of 1882 New Mexico is rich in period detail and atmosphere. Appaloosa does not feel like a town that has sprung up on a studio backlot (as was the case with many '50s and '60s Westerns). Instead, it's as if the cast and crew have stepped into a time machine to get their shots.