Tag Archives: Elle Fanning

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

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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.

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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 . . .

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Nicolas Wind Refn’s THE NEON DEMON – A Review by Frank Mengarelli

Nicolas Winding Refn’s cinematic progression is something to be marveled at.  With his latest film, THE NEON DEMON, he pushes every boundary imaginable, creating a film with so much impending doom that it will make the most unflappable cinephile become seemingly uncomfortable as his tale of vanity and debauchery comes to a brilliant conclusion.

Refn has reached the top tier brotherhood of self indulgent filmmakers featuring Lars von Trier, Terrence Malick, and Bob Fosse.  Making his own films, without having to concede anything to anyone, allowing his own unique kaleidoscope of artistic vision to wash over the screen.

This film is fantastic, and it is Refn’s best film to date.  His unbound storytelling is wrapped tautly by Natasha Brier’s fluid cinematography, a perfect ensemble, and one of the best film scores of all time composed by Cliff Martinez.

Refn’s cinematic world is dark and dangerous, vicious and surreal.  He monumentally cashed in on DRIVE, allowing himself the freedom to make the films that he wants to make, pushing the boundaries of cinema to new heights.  With THE NEON DEMON he forgoes star power and box office anchors, and makes a film so twisted it becomes incredibly serene in a way that would make Stanley Kubrick proud.

Every single actor and crew member deserves all the accolades in the world for their accomplishments on this film.  One could spend an entire essay talking about each actor in this film. 

Elle Fanning.  Wow.  She absolutely commands every frame of this film.  Keanu Reeves completely shakes his on screen persona in a scummy and sleazy hard supporting role that will leave you wanting more.  Desmond Harrington FINALLY got his role.  He is silent, gaunt, and cathartic in his few scenes; showing off his previously untapped potential.

Refn’s latter day films are not for the People.  They aren’t made for the average Friday night moviegoer, they aren’t made for art house cinephiles.  They are made because he has his own story to tell. 

In an age where great cinematic story’s are told in a novelization over the medium of television; I don’t know how this film got made, or how it got a wide cinematic release – but we should all celebrate the fact that it did.