Tag Archives: gary Oldman

33rd Santa Barbara International Film Festival Podcast

SBIFF 2018

It’s time again for our annual Santa Barbara International Film Festival podcast! Frank and Tim recap Frank’s journey this year at the festival, including seeing Emilio Estevez’s new film, ‘the public’ and Susan Kucera’s LIVING IN FUTURE PAST which was presented and narrated by Santa Barbara’s own Jeff Bridges. This year, Frank’s red carpet interviews included on this podcast are with Executive Director of the festival Roger Durling, Gary Oldman, producer Doug Urbanski, Willem Dafoe, Emilio Estevez, Martin Sheen, Leonard Maltin, Academy Award-nominated editor of I, TONYA Tatiana Riegel, Academy Award-nominated VFX supervisor of BLADE RUNNER 2049 John Nelson, Academy Award-nominated sound editor of THE LAST JEDI Matthew Wood, GET OUT’s Daniel Kaluuya, Jordan Peele, Guillermo del Toro, and lastly Frank talking to Ben Mendelsohn about Podcasting Them Softly’s namesake, KILLING THEM SOFTLY.

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SBIFF Maltin Modern Master Awards Gary Oldman

Gary Oldman is charming. He’s effortless and he’s incredibly affable, which is a stark contrast to many of the prickly characters he’s most well known for playing. He spoke with Leonard Maltin for a little under two hours before the dapper and coarse Ben Mendelsohn presented him with the Maltin Modern Master Award.

Oldman said it was seeing Malcom McDowell in THE RAGING MOON that lit the burning desire for him to pursue a career in acting, which led to Oldman being turned down by a premiere drama school in England where a lot of the greats had studied, including Peter O’Toole.

Oldman spoke about how he fanboy gushed over John Hurt while working with him on TINKER TAILOR SOLDIER SPY, Anthony Hopkins during the filming of DRACULA, and over Denzel Washington while working with him on the set of THE BOOK OF ELI.

A very charming moment in the show was when Maltin showed a clip from a Harry Potter film, and Oldman went on to speak about his fondness for the young co-stars he worked with and how they were like a family, and he watched them grow up over the course of ten years. It was a very special period of his career for him, stating that his fanbase went from forty year olds to ten year olds overnight.

During the filming of BATMAN BEGINS, Oldman attributed James Gordon’s world weariness to jetlag, due to the fact that he was flying from LA to England a day or two at a time to film his scenes, not staying on set due to the fact of being a single dad and raising his two young sons.

Maltin asked Oldman about his character of George Smiley, and asked if he would be playing him again. He responded with an almost certain yes, telling Maltin that he really loved playing Smiley, and missed that character dearly. Asked about his preparation for Smiley, Oldman said that he was overly particular on the glasses his character would be wearing, and that he tried on at least one hundred pairs before settling on the pair that was used in the film.

When asked about his many accents he’s used, from Dracula to Churchill, Oldman said he uses not a voice coach, but an opera singer to condition his voice to drop or gain octivs, and once he is done filming said character he essentially unlearns how to speak that way, saying it’s like a muscle and that he can no longer recreate the Dracula voice or his Churchill voice on command.

Ben Mendelsohn was there to present Oldman with the Maltin Modern Master Award once the Q&A was finished. Mendelsohn gave a speech only he could give with his token outback roughness and lewd wit, speaking of Oldman’s many masterpiece performances and how he is one of his idols.

Gary Oldman is a cinematic treasure. He has crisscrossed many aspect of film from hard independent pictures, genre films, as well megabudget franchises. His latest turn as Winston Churchill in Joe Wright’s DARKEST HOUR will surely award him the Best Actor Oscar, which for a performer like Oldman an Academy Award is long overdue.

Best of 2017 Megacast!

BeFunky Collage

Frank, Tim, and Nate gather together to discuss this year’s Oscar nominations and then get into what they thought should have been nominated, running down their own top ten best pictures, and also giving their top five in each category. We will taking a week off and then we’ll be back with a vengeance with our annual Santa Barbara International Film Festival podcast!

Ridley Scott’s HANNIBAL 

The third Hannibal Lecter film is an unorthodox and strange beast. It doesn’t quite live up to the previous two films, MANHUNTER and SILENCE OF THE LAMBS, on the whole; yet it feels like a natural cinematic progression that does the film franchise justice, yet falls short of the powerful impression the novel left.

The film is handicapped before it even leaves the gate with the recasting of Julianne Moore as Clarice Starling. The recasting really isn’t that catastrophic due to Scott’s ability to minimize Starling’s impact on the story and refocus the narrative on the title character and Gary Oldman’s grotesque and obscene performance as Mason Verger, a character so complex he quickly goes from victim to antagonist. 

Over the course of the film, it’s an almost exhilarating journey watching Hopkins reprise his seminal role in a way that feels fresh, even though Hopkins has since worn his welcome out in that role. It’s a different Lecter, a reborn Lecter who has been living a new life, leaving his past behind him; or so he tries. 

The transgressive nature of the film is a stark contrast to the soft aesthetic and alluring score, and beautiful Italian set pieces. The depravity the film slowly and softly sinks and is startling if you are paying attention. The homoeroticism between Oldman and Hopkins in a flashback, the feeding of the wild hogs, and the infamous Ray Liotta dinner scene are all prime examples of how subversive and disgusting the film can get. 

While the ending of the film is a drastic change from the brilliant ending of Thomas Harris’ novel, it’s a sensible and cinematic ending, even though it runs the risk of not saying much, which almost hinders the film as a whole. The film isn’t great, and can feel worn out around some of its edges, but when it’s good, it is really good. 

Christopher Nolan’s The Dark Knight Rises

Christopher Nolan’s The Dark Knight Rises faced a tricky maneuver: providing a follow up to the earth shattering, delirious success that was 2008’s The Dark Knight. The film was never going to be as good as or better than that lightning in a bottle stroke of genius. However, the film we did get is one epic, operatic sonic boom of a Batman film, and if there’s one area where it does in fact outdo The Dark Knight, it’s in scope. The action set pieces here have an earth shattering, monumental quality to them, mainly thanks to Tom Hardy’s Bane, a full on monster who brings biblical destruction to Gotham City with some calculated, maximum impact attacks that almost blow the speakers of any system they’re shown on. Despite the apocalyptic blitzkrieg, Nolan loses none of that precious philosophy that has made this franchise glow so far, the sharp-as-a-tack dialogue and moral complexities of existing in a world of vigilantes and terrorists. It’s been eight years in Gotham since Batman took down the Joker and, somewhat controversially, the fallen angel that was Harvey Dent. Bruce Wayne has become a crippled recluse while the city more or less flourishes quietly, but there’s nothing that’ll roust a burg out of tranquil slumber like the arrival of a seven foot tall, highly trained psychopath bent on chaos. In a vertigo inducing opener set atop the clouds, Bane triumphantly crashes a CIA aircraft and makes off with its cargo, a mere taste of his brutality to come. Bruce is forced out of hiding to do battle with him, and before you know it they’re all thundering around Gotham’s tunnels and edifices, pursued by hordes of snarky GCPD, who no doubt have missed this kind of action for a near decade. The new commissioner (Matthew Modine) is a hotheaded nimrod, while Gordon (Gary Oldman, the gravitas is real with this guy) still hurts from the tragedy years before. Anne Hathaway throws a wicked curveball of a performance as Selina ‘Catwoman’ Kyle, and although no one will ever, *ever* top Michelle Pfeiffer’s brilliantly kinky turn years before, she’s a deadly force to be reckoned with both for Bruce and the criminal factions vying for power. Hathaway seems like a sanitized choice for the cat, but she’s deft, sexy, formidable, competent and looks damn good in that outfit careening around on Bruce’s batbike. Marion Cotillard is great as the mysterious Miranda Tate who may be more dangerous than she seems, a shtick which Cotillard unnervingly perfected first in Inception. Morgan Freeman and Michael Caine are top notch as Alfred and Lucius once again, Ben Mendelsohn plays up a sleazy business rival for Bruce, Juno Temple is cute as Selina’s off again, on again lover, Joseph Gordon Levitt’s intrepid detective gets a whole lot of plot momentum and crazy good dialogue, and the jaw dropping lineup of supporting work includes Brett Cullen, Burn Gorman, Desmond Harrington, Chris Ellis, Robert Wisdom, Tomas Arana, Aiden Gillen, Brent Briscoe, William Devane, Nestor Carbonell, Reggie Lee, Wade Williams, Christopher Judge, a brief reprisal from Liam Neeson and Cillian Murphy as that pesky Scarecrow, the only villain who appears in all three films. The story goes to places the other two films never ascended to, and if the Joker thought his antics aspired to anarchy, he’d do flips when Bane literally starts blowing up the city on a massive scale, an extended sequence that’s delirious in it’s armageddon worthy panic. On a more personal scale, Batman deals with being broken, the cost he must pay to ultimately save his city, and the unknowable matter of when to cash out as a superhero, or forever give up your soul to a fight that has neither end nor reason. My only issue with the story is how a certain third act revelation pretty much neuters Bane’s character arc and renders his whole fearsome nature somewhat too human and redundant when all is said and done, it’s a narrative decision Nolan should examine closely for his own sake, and avoid such an impotent cop-out when writing his next arch villain. The cinematography is aces, the cgi blending seamless, Hans Zimmer’s score gives us the classic thunderstorm passages we’ve come to love while adding a rhythmic chanting for further depth and flavour. There’s not much that can be said that’s negative about the film, it’s one hell of an achievement and doesn’t let up until the Big Bang of an ending provides release for the franchise and every character in it, an expository epilogue in which loose ends are tied, and some semblance of peace is found. A near perfect third act to the trilogy, and a superhero flick for the ages.

-Nate Hill

The Hitman’s Bodyguard 


It’s refreshing to see that the R rated action comedy thrives in Hollywood, especially when there’s entries as balls out entertaining as The Hitman’s Bodyguard. I’ve read reviews saying that it’s a one joke affair, and while the crux of it does rest upon the cantankerous relationship between profane, shoot-from-the-hip contract killer Darius Kincaid (Samuel L. ‘Mothafucka’ Jackson) and uptight punk private security expert Michael Bryce (Ryan Reynolds), there’s plenty of enjoyable tomfoolery afoot as a sideshow to their circus of a jaunt across Europe. The pair are perfect actors for a buddy comedy, both overly colourful in their own work and boosting each other’s energy levels to the max when onscreen together. The serviceable writing is also given the shot of obvious improv between them, which helps a lot too. Reynold’s Bryce is reluctantly tasked with shadowing Kincaid and protecting him from endless hordes of goons and Interpol stormtroopers, out to get him before he testifies at the world court against the former Belorussian president, a tyrannical, pro genocide monster played by Gary ‘scary’ Oldman, who indeed gets a couple very frightening moments to chew scenery. Bryce’s former flame (Elodie Young) is an Interpol hotshot who he resents for maybe ruining his career, and Kincaid’s wife (a riotous Salma Hayek, spewing profanity faster than bullets) is in the clink to try and smoke him out. There’s welcome character actor Joaquim De Almeida as Interpol’s casually corrupt deputy director, and a coked out cameo from Richard E. Grant too, to round out the impressive cast. The action comes at you non stop, plus they’ve milked their R rating and then some, with countless headshots, impaling, explosions, bloodletting, car chases and one exhaustive fight scene set in a hardware store where Reynolds finds some gruesomely inventive uses for various power tools. There’s even a bit of poignancy among all the cavalier carnage, as we see a somber backstory for Jackson give a bit of weight to the character. His carefree reckless abandon causes delicious friction with Ryan’s buttoned up, flustered manner, and the two are flat out hilarious. ‘Get triggered’, boasts the poster slogan, and indeed this is a flick that couldn’t care who it offends or irks, free in it’s own hyper violent world of beautifully implausible, brutally excessive violence and set pieces, and it’s some of the most fun at the theatre this year so far. 

-Nate Hill

Ridley Scott’s Hannibal


Many of us get so wrapped up in the legacy of Silence Of The Lambs that we sometimes forget just how great Ridley Scott’s Hannibal is. Lambs is a wicked clinical shocker, full of psychopathic deviance and razor suspense, but Hannibal is just as good, instead coming from a place of lush, baroque opulence and velvet gilded carnage that overflows with style. They’re two very different films populated by the same characters, chief being Anthony Hopkins’ disturbed cannibalistic serial killing psychiatrist. Lecter has settled down in Italy when we find him, where one foolish police detective (Giancarlo Giannini, terrific) thinks he can lure the good doctor into a trap. Big mistake, although his efforts do gain the attention of FBI Agent Clarice Starling once again, this time played with grit and grace by Julianne Moore. Lecter is fascinated, perhaps even attracted to Starling, and it’s a treat watching them play a complex game of European cat and mouse whilst other various characters dart in and out of the tale. Ray Liotta blunders into their path as Starling’s ill fated bureau handler, a loudmouth who… doesn’t quite… keep his head screwed on tight (yes I went there). Gary Oldman shows up too, although you’d never know it was him as he’s uncredited and slathered up under a metric tonne of Chernobyl waste prosthetic makeup, playing perverted millionaire Mason Verger, who has a bone to pick with Lecter and I mean that quite literally. Hopkins had aged some since Lambs and doesn’t have quite the same unsettling virile charisma he did there, but he’s lost none of the malevolence or cunning, showing once again what a manipulative monster Hannibal can be. This film is all style, and even the frequent graphic violence, although abhorrent, is done with all the flourish and hues of a renaissance painting. The horror is somehow numb as well, or relaxed would be a better term. Lambs was all in your face with jump scares and spine shuddering yuckyness, while here the horror is rich, deep and vibrant, terrifying yet oddly aesthetic. Goes without saying that this is the closest Lecter film, in terms of style, to NBC’s masterful tv version we’ve been blessed with today, and much inspiration was no doubt culled from this gem. Beautiful, harrowing stuff. 

-Nate Hill