Tag Archives: Adam goldberg

DJ Caruso’s The Salton Sea

DJ Caruso’s The Salton Sea is a brilliant piece of filmmaking, a fascinating hybrid between go-for-broke, tweaked out drug cinema, bloody, violent crime revenge thriller and moody, jazz soaked neo-noir, with a central performance from a committed Val Kilmer that goes waist deep in all three. I would say that it was ahead of its time and for that reason didn’t quite fully find its audience, but upon years of reflection I think it’s just such a specific piece that one has to be tuned in just right, and invest enough attention to appreciate it, the first time anyways. Kilmer is washed out meth head snitch Danny Parker, playing both sides of the narcotics game in hazy LA. Or is he trumpet player Tom Van Allen, haunted by past tragedy? The first half of the film sees him awash in an endless cycle of drug fuelled debauchery, stuck in a tireless set of hijinks with his tweaked out ‘friends’ (Adam Goldberg, Peter Saarsgard and more), and habitually snitching out dealers to two very corrupt cops (Doug Hutchison and Anthony Lapaglia, both royally sleazy). The second half shows us why, what dark passage of events led him to the lifestyle and the cursed trajectory he finds himself on in the final act. Kilmer is a restless fallen angel in the role, a man with secrets that the film respects by taking its time unfolding and not revealing too much too soon (avoid any trailers). His Danny even begs the audience to stick around, promising us there’s more to his story than rampant substance abuse. The cast is thick with talent, including Danny Trejo, R. Lee Ermey, Chandra West, B.D. Wong, Shirley Knight, Luis Guzman, Meat Loaf, Deborah Kara Unger and a crazed, memorable Glenn Plummer. The scene stealer award has to go to thespian Vincent D’Onofrio though as one of the antagonists, a terrifying drug baron called Pooh Bear because he railed so much blow they had to cut off his nose and replace it with a disturbing prosthetic. His favourite pastimes include reenacting the Kennedy assassination with pigeons and an air rifle, smoking crack to yodel music CD’s and setting a rabid badger called ‘Captain Striving’ loose on the genitals of disloyal employees. The film finds a demented dark humour in him and many other characters, but the other side of that coin is the emotional turbulence and tragic resonance to Kilmer’s arc, two conflicting energies that seem to somehow coexist beautifully. The score by Thomas Newton is noirish and sad, with strains that sound almost like heavenly choirs too, giving the city of angels a half lit, otherworldly quality. The title is important; the Salton Sea represents three key elements to the film. The incident that spurs Kilmer down the rabbit hole takes place right near the picturesque titular place, but it also represents both the sea of excess and scum that Danny basks in, and the ocean of anguish, regret and sadness that engulfs Tom. A brilliant piece.

-Nate Hill

Advertisements

“We’ve got some unique time constraints.” : Remembering Déjà Vu with Bill Marsilii by Kent Hill

20376139_10211941414824671_4144323378367258309_n

Initially I felt the same way about Déjà Vu as I did Gilliam’s 12 Monkeys. Both of the inaugural screenings I attended were sullied by external forces which greatly influenced my mood during the viewings and thus, my opinion of the films.

But time, it was once said, is the ultimate critic. Under different circumstances I watched both films again, and, this time around, my feelings toward both movies were drastically adjusted.

2040d

In several books on the art of screenwriting it is often put about that, if you cannot sum up the film you are writing in a single sentence, then you may want to rethink the plot. There is a great moment on the commentary track of this film in which the late, great Tony Scott admits that even he struggled to distill Déjà Vu into the logline form.

It’s a science-fiction/action/thriller/time-travel/romance in which the hero, Denzel Washington, meets the girl he will eventually fall in love with on the slab – dead as disco. Unbeknownst to him, he will eventually join a team that will, along with the help of a device that can see into the past, aid him in bringing her killer to justice. And it was from this humble yet intriguing premise that my guest, Bill Marsilii and his co-writer Terry Rossio constructed this rich, multi-layered tale which deserves more applause than some would proffer for its inventiveness and compelling real-world take on the age old time machine story.

 

But what I uncovered as I spoke to Bill was far more than a series of behind the scenes anecdotes and your typical boy meets idea, boy turns idea into a screenplay, screenplay sells for big dollars, boy lives happily and successfully ever after in Hollywood kind of scenario.

And yes, while it is true that Déjà Vu is the highest earning spec script thus far, beating out other entries like Basic Instinct, Panic Room and The Last Boy Scout, the story of how Bill came to, not only the concept, but how the writing and selling of the script changed his life is just as compelling as anything Jerry Bruckheimer and Co. managed to get onto the screen.

 

This interview, at least for me, proved also to be somewhat of a masterclass in, not only screenwriting, but the ever painful and soul-crushing journey the writer must endure to actually sell the script. It’s about the luck, timing, persistence and internal fortitude that you must have sufficient quantities to survive the gauntlet that exists between the page and the screen.

Bill’s heart-warming, inspirational adventure to make it in the realm where dreams are brought to life with that strange blending of art, science and commerce – that ultimately no one can tell you how, when a film is successful, it all comes together in the perfect proportions to ensure success is on the menu – is a conversation that could have gone on and on.

I hope you’ll will enjoy some extended insights into Déjà Vu, but more than that, I hope you, if you are one of those dreamers still out there trying to write your own ticket to cinematic glory, that Bill’s wisdom you’ll take onboard and continue pounding away on those keys until fortune smiles and your efforts will be coming soon, to a theater near us…

Ladies and Gentlemen . . . Bill Marsilii . . .

thvjkxqamkgoxlln7oui

David Fincher’s Zodiac: A Review by Nate Hill

  
David Fincher’s Zodiac is the finest film he has ever brought us, and one of the most gut churning documentations of a serial killer’s crimes ever put on celluloid. Fincher has no interest in fitting his narrative into the Hollywood box or sifting through the details of the real life crimes to remove anything that doesn’t follow established formula. He plumbs the vast case files and sticks rigidly to detail, clinging to ambiguity the whole way through and welcoming the eerie lack of resolution we arrive at with open arms. That kind of diligence to true life events is far more scary than any generic, assembly line plot turns twisted into stale shape by the writer (and studio breathing down their neck, no doubt). No, Fincher sticks to the chilling details religiously, starkly recreating every revelation in the Zodiac killer case with the kind of patience and second nature style of direction that leads to huge atmospheric payoff and a hovering sense of unease that continues to make the film as effective today as the day it was released. A massive troupe of actors are employed to portray the various cops, journalists, victims and pursuers involved with the killer during the 1970’s in San Francisco, the film unfolding in episodic form and giving each performer their due, right down to the juicy cameos and bit parts. Jake Gyllenhaal plays Rob Graysmith, a news reporter who becomes intrigued and eventually obsessed with the cryptic puzzles which the Zodiac taunts the bay area with by sending them in to the paper. Mark Ruffalo is Charlie Toschi, dogged police investigator who is consumed by the hunt. The third leg of the acting tripod is Robert Downey Jr as Paul Avery, another journalist who takes the failure in capturing the killer a little harder than those around him. The film dances eerily along a true crime path populated by many people who veered in and out of the killers path including talk show host Melvin Belli (a sly Brian Cox) , another intrepid cop (Anthony Edwards), his superior officer (Dermot Mulroney) and so many more. For such an expansive and complicated story it’s all rather easy to keep track if, mainly thanks to Fincher’s hypnotic and very concise direction, grabbing you like a noose, tightening and then letting you go just when you feel like you have some answers. While most of the film examines the analytical nature of the investigation, there are a few scenes which focus on the killings themselves and let me tell you they are some of the most hair raising stuff you will ever see. The horror comes from the trapped animal look in the victims eyes as they try rationalize the inevitability, with Fincher forcing you to accept the reality of such acts. One sequence set near a riverbank veers into nightmare mode. Every stab is felt by the viewer, every bit of empathy directed to the victims and every ounce of fear felt alongside them. It can’t quite be classified as horror outright, but there are scenes that dance circles around the best in the genre, and are the most disturbing things to climb from the crevice of Fincher’s work. They’re nestled in a patient bog of studious detective work, blind speculation and frustrating herrings, which make them scarier than hell when they do show up out of nowhere. Adding to the already epic cast are Jimmi Simpson, Chloe Sevigny, Elias Koteas, John Carroll Lynch, Donal Logue, Pell James, Philip Baker Hall, John Terry, Zach Grenier and a brief cameo from Clea Duvall. I think the reason the film works so well and stands way above the grasp of so many other thrillers like it is because of its steadfast resolve to tell you exactly what happened, urge you to wonder what the missing pieces might reveal should they ever come to light, and deeply unsettle you with the fear of the undiscovered, something which never fails to ignite both curiosity and dread in us human beings.

Tony Scott’s Deja Vu: A review by Nate Hill

The late Tony Scott and Denzel Washington collaborated on five films, the second last of which is underrated sci fi thriller Deja Vu. It contains Scott’s trademark visual style, all skitchy sketchy frames, deliriously rapid editing and deep, gorgeously saturated colours that pisses a lot of people off in its garish, flippant aesthetic. I for one love his style, and here he is coming down off the high that was his masterpiece, Domino, exercising restraint that was no doubt mandated by the studio bigwigs. Nevertheless, the same unmistakably heightened forces of filmmaking that flow through the veins of this crackling thriller can be found in most of his work, just in smaller doses here. The film tackles a lot in its unassuming narrative, from terrorist bombing, an elliptical story that’s put in an otherworldly trance by a plot point involving a high tech time travel capability, and a surprisingly heartfelt undercurrant that somewhat sneaks up on you. During a captivating opening credit sequence, we see a horrific explosion onboard a navy transport ferry in the New Orleans harbour, killing over five hundred people including women and children. ATF Agent Doug Carlin (Washington) is called in to investigate, and before long his cunning intuition catches the eye of FBI Agent Pryzwara (an unusually calm Val Kilmer) who is spearheading a very hush hush investigative technique that’s being used to track the terrorist in the days leading up to the incident. What Kilmer doesn’t tell him is the mind-bending metaphysical implications of it, but keener Denzel gets wise to their act, and throws himself headlong into a quest to stop the bomber, save the mysterious Claire (Paula Patton, just phenomenal) who was murdered and has ties to the event, and reverse time. Denzel is an implosive wrecking ball of determination, his ingenuity and reserve made me wonder why Carlins career aspirations stopped short of the ATF. I don’t know why Patton isn’t in more films (she recently starred alongside Denzel again in the super fun 2 Guns), she brings a battered resilience to her work, and is a radiant beauty to boot. Peppy gerbil Adam Goldberg is the obligatory one liner spewing techie who’s got more going on than his exterior may read, and Bruce Greenwood is all stern bluster as the FBI honcho in charge. This film doesn’t often come up in discussions of either Denzel’s or Scott’s greatest hits, but it’s ripe for rediscovery and praise. Propulsive action, far fetched sci fi intrigue that’s hard to digest and follow, yet simultaneously wicked fun, and like I said before an emotional core that takes you by surprise. There’s a sentence that I internally intone to myself whenever I see a film, or aspects within a film that fire up my adrenal glands, tear ducts or simply rouse my soul. Be it a banger of an action sequence, a romance that hits all the right notes, a good old fashioned fantastical invention or visual flights of fantasy that stir wonder within me. That sentence is “This is why I watch movies”. I get no greater pleasure in my cinematic escapades than being able to say that to myself as my heart pumps to the tune of whatever grand spectacle I’m witnessing before me onscreen. I can tell you, the sentence was uttered while watching this one, and now that I think of it, pretty much every film in Scott’s portfolio. Highly recommended.