Tag Archives: Jared Leto

Interviews

The Man who would be Cage: An Interview with Marco Kyris by Kent Hill

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I feel like I’m somehow getting closer to Nicolas Cage. I’ve spoken to a man who has directed him – a man who has “Nic-polished” his scripts. So, you can image my delight when Marco Kyris, Cage’s stand-in from 1994 till 2005, agreed to not only have a chat, but also to give me a preview of his new documentary, UNCAGED : A Stand-in Story.

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People ask me, “What’s with this Cage obsession?”

My answer is always…I think he’s a genuinely smart actor, with eclectic tastes and a wide repertoire which has seen him enjoy Oscar glory, big box office success and become a champion of independent film.

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The son of August Coppola (nephew of Francis Ford), but with a name lifted from the pages of his comic book heroes, Cage is at once both an actor and a movie star. With a legion of devoted fans worldwide and, heck, even a festival that bears his name – celebrating the wild, the weird, and the wonderful of the cinema of Nicolas Cage. From the genius of Con Air to the brilliant subtlety of Adaptation, the exceptional character work of Army of One to the gravitas of Leaving Las Vegas – Cage is a ball of energy that needs only to be unleashed on set.

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It was my sincere pleasure to talk with the man who stood in for the man when the man wasn’t on set. Marco’s tales are a fascinating glimpse – another angle if you will – in the examination of one of the movie industry’s true originals. I know you’ll find his story and his film, UNCAGED, compelling viewing  – for both those curious as to the life of a stand-in, and also those looking for a unique look at the life of a superstar.

I’ve been privileged to chat with the people who made the rough stuff look easy for Arnold Schwarzenegger and Rene Russo…

Now it’s time to uncage the legend.

(ALL IMAGES COURTESY OF MARCO’S WEBSITE: https://www.mkyris.com/)

BEFORE YOU GO, CHECK THIS OUT…

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FOR MORE INFO: https://www.facebook.com/HailThePopcornKing/

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Interviews

The Man behind The Dark Knight rises by Kent Hill

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How did this wonderful film slip through the cracks? There was little to no word about this utterly enthralling and compelling story about the ‘other’ man behind the bat.

I admit to you now – I was in the dark. While comics were a staple of my formative years, as that time receded, my interest had diminished to ‘casual’  by the early 2000’s. Even then I was far from what you would refer to an an aficionado. Comics were flame bursts in the dark. Most of mine were not pristine, and I collected them by the bundle when my Grandmother would take me along with her to the Book Exchange and allow me to parlay a stack of her used paperbacks for a pile of superhero awesomeness.

But, back to the topic at hand. I read comics without much regard for who created them (that attention to detail I reserved for my first obsession, the movies). I was there to indulge, pure and simple. Still, as our awareness grows, so do we seek out ever greater detail – the mechanics that make our preferred mode of escapism tick and thus our experience is enriched and the depths of our interest continue to descend into the pop culture sea that abounds, seemingly fathomless.

Such is the story brought to life by Don Argott and Sheena M. Joyce. Like the equally incredible Searching for Sugar Man before it, Batman & Bill traces the steps of the elusive Bill Finger – the man who, in case you didn’t know, co-created Batman with Bob Kane. And, like Sugar Man, the plot, which on the surface might seem to have a logical conclusion, just keeps unraveling as the real life seeker of justice, Marc Nobleman, tracks down and lets the sun shine brightly on the life, labors and legacy of Finger.

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Now I’m not going to spoil this at all. You must, must, must seek out this glorious unfolding of a sad, arduous, but ultimately triumphant saga which is predominantly about rewriting history, but at its heart there is a drum that beats and reminds us to stand tall in the face of adversity, and the film depicts this, in the form of the mammoth uphill battle to place Finger’s name next to Kane’s as a creative force behind one of the truly monolithic heroes from the realms of illustrated storytelling.

All I will say is that the end broke me up like Field of Dreams always manages to. Yes, strong men also cry, to quote The Big Lebowski, but you’ll walk away from this film ever changed and with a sense of pride having seen honor restored, a name reclaimed and a final note so satisfying it’ll touch your heart.

Read the book, see the film, and as for right now enjoy my chat with the extraordinary team who have captured beautifully this tale of a watchful protector who fought with a pen mightier than any sword to see the ‘other’ man behind the Dark Knight, rise…

 

https://www.hulu.com/press/show/batman-and-bill/

https://www.sbs.com.au/ondemand/video/1360261187749/batman-and-bill (for Aussie viewers only)

https://www.amazon.com/Bill-Boy-Wonder-Secret-Co-Creator/dp/1580892892

 

Film Review

Terrence Malick’s The Thin Red Line

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There’s a scene in Quentin Tarantino’s Kill Bill 2 where Michael Madsen’s Budd lays down the sword rhetoric: “If you’re gonna compared a sword made by Hattori Hanzo, you compare it to every other sword ever made, that wasn’t made by Hattori Hanzo.” I’d like to augment that slightly in the case of Terrence Malick’s The Thin Red Line and say, “If you’re gonna compare The Thin Red Line, you compare it to every other war movie ever made that *isn’t* The Thin Red Line.” That’s not to say its better than all the rest or on any kind of quality pedestal, it’s just simply unlike every other war film out there, and that differentiation makes it an incredibly special picture. Why, you ask? Because it takes a ponderous, meditative approach to a very hectic horrific period in history, and takes the time to explore the effects of conflict on both humanity and nature, as well as how all those forces go hand in hand. What other war film does that? Malick uses a poets eye and a lyricist’s approach to show the Guadalcanal siege, a horrific battle in which lives were lost on both sides and the countryside ravaged by the fires of war. To say that this film is an ensemble piece would be an understatement; practically all of Hollywood and their mother have parts in this, from the front and centre players right down to cameos and even a few appearances that never made it into the final cut (which I’m still bitter about). The two central performances come from Jim Caviesel and Sean Penn as Pvt. Welsh and Sgt. Witt. Welsh is a compassionate, thoughtful man who seems primally uncomfortable in a soldiers uniform, and shirks the materialistic horror and industrialist grind of war to seek something more esoteric, a reason for being amongst the horror. Witt is a hard, cold man who sees no spiritual light at the end of the tunnel and does his job with grim resolve, scarcely pausing to contemplate anything but the next plan of action. These two are archetypes, different forces that play in each of us and, variations of which, are how we deal with something as incomparable as a world war. Around them swirl an endless sea of famous faces and other characters doing the best they can in the chaos, or simply getting lost in it. Nick Nolte as a gloomy Colonel displays fire and brimstone externally, but his inner monologue (a constant with Malick) shows us a roiling torment. A captain under his command (Elias Koteas) has an emotional crisis and disobeys orders to send his men to their death when thunderously pressured by Nolte. Koteas vividly shows us the heartbreak and confusion of a man who is ready to break, and gives arguably the best performance of the film. Woody Harrelson accidentally blows a chunk of his ass off with a grenade, John Cusack climbs the military rank with his tactics, John Savage wanders around in a daze as a sadly shell shocked soldier, Ben Chaplin pines for his lost love (Miranda Otto) and the jaw dropping supporting cast includes (deep breath now) Jared Leto, Nick Stahl, Tim Blake Nelson, Thomas Jane, Dash Mihok, Michael Mcgrady, John C. Reilly, Adrien Brody, Mark Boone Jr, Don Harvey, Arie Verveen, Donal Logue, John Travolta and a brief George Clooney. There’s a whole bunch who were inexplicably cut from scenes too including Bill Pullman, Gary Oldman and Mickey Rourke. Rourke’s scene can be found, in pieces, on YouTube and it’s worth a search to see him play a haunted sniper. Hans Zimmer doles out musical genius as usual, with a mournfully angelic score that laments the process of war, particularly in scenes where Caviesel connects with the natives in the region, as well as a soul shattering ambush on the Japanese encampment that is not a sequence that ten year old Nate has been able to forget since I saw it and the hairs on my neck stood up. This is a diversion from most war films; Malick always has a dreamy filter over every story he weaves: exposition is scant, atmosphere matters above all else and the forces of music and visual direction almost always supersede dialogue, excepting inner thoughts from the characters. If you take that very specific yet loose and ethereal aesthetic and plug it into the machinations of a war picture, the result is as disturbing as it is breathtakingly beautiful, because you are seeing these events through a lens not usually brandished in the genre, and the consequences of war seem somehow more urgent and cataclysmic. Malick knows this, and keeps that tempo up for the entire near three hour runtime, giving us nothing short of a classic.

-Nate Hill

Film Review

David Fincher’s Panic Room

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You know a thriller is gonna pack some torque when the opening credits are emblazoned boldly against the skyline of a huge metropolitan city. Well, not necessarily, but it’s a nice urban atmospheric touch, and David Fincher’s Panic Room employs the tactic before it unleashes an unholy, seriously suspenseful bag of tricks on Jodie Foster and her young daughter (an androgynous looking Kristen Stewart). Recently divorced and poised to move into an airy, gorgeous NYC brownstone, she quite literally walks into the perfect setup for a thriller that Fincher milks for all it’s worth and then some. As the real estate agent (Ian ‘Dick Tremayne’ Buchanan) theatrically informs her, this townhome comes with a fortified Panic Room, a steel box installation in which one may safely hide from any and all intruders. That safely part gets shot to shit when three burglars bust in on their first night staying there, and turn it into one of those real time ‘one long night from hell’ motifs. Aloof, slightly compassionate Forest Whitaker, sketchy, strung out Jared Leto and vicious psychopath Dwight Yoakam are a hectic mix, but the chemistry is there and they’re all freaky in their own way, like wayward trick or treaters who grew up and graduated into petty thievery. They’re after something that’s only accessible through the panic room, but Jodie and Kristen won’t let them inside, which prompts the ultimate siege game of cat, mouse and upper class NYC mom that goes into the wee hours of a typically rainy night. Fincher could be considered the crown prince of the big budget, R rated Hollywood thriller, and he absolutely goes for broke in every department here. He’s got two mad dog cinematographers in Darius Kondji and Conrad W. Hall, who prowl the apartment like panthers and achieve some truly great WTF shots, turning the home into an elongated nightmare of barren hallways, rain streaked bay windows flickering surveillance cameras. Musical deity Howard Shore composes a baroque, threatening piece that practically booms across Central Park and echoes through the adjacent skyscrapers before it whistles through the steel rivets of the panic room like the dangerous propane that Whitaker maniacally tries to smoke them out with. Originally written with Nicole Kidman in mind (she has a super quick cameo), I think Foster is a better suit for the role with her narrow eyed, breathless intensity and lithe, lynx like physicality. Things get satisfyingly brutal later on, with some shocking violence when mommy grabs a sledgehammer and starts bashing heads in. The suspense here is real, it’s tactile, tangible, earned tension, the kind you can’t just fake or stage every other scene without detailed setups to catalyze the payoff. This isn’t Fincher’s first rodeo, and he rides this thing in the captain’s chair all the way to suspense nirvana. One of the best thrillers out there.

-Nate Hill

Film Review

Jeb Stuart’s Switchback

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I’ve always really liked Jeb Stuart’s Switchback, despite it not being as taut a thriller or as well oiled a machine as it thinks it is, it’s one of those slightly Hitchcockian, well photographed and terrifically casted shockers that still services and sort of grows on you. I also remember, before ever being allowed to see stuff like this when I was really young, seeing a few short scenes of it on cable at my dad’s work and being riveted to the seat in fear and fascination as Danny Glover and Jared Leto drove through the night in the Rocky Mountains, each trying to out-creep the other. I had no idea what the film was, but years later I found the DVD and was reminded of those few short scenes I saw that had immense power on my still impressionable perception. The hook is that either Leto or Glover is the killer, and we’re saddled with an extended guessing game as they plough through snow covered highways and the tension mounts between them. Elsewhere, Dennis Quaid plays a stoic, relentless rogue FBI Agent whose infant son was kidnaped by the same killer a year or so before. His search leads him through a string of remote mountain towns where he clashes with local law enforcement and gradually gets closer to the murderer’s trail, which went cold a while back. It’s an odd, obtusely paced concept for a thriller that almost seems a bit muddled and reworked from something more succinct in the scriptwriting phase, but it’s one of those that you buy anyways simply because the cast and cinematography are so first rate. Quaid is cold and desolate as the Agent, hoarsely intoning his lines with enough intensity to implode a diamond, deliberately reigning in his usually charming persona and famous mile wide grin. Glover is boisterous, and just friendly enough that the creep factor sets in, while Leto plays naive and sensitive til we see through the facade (see how long it takes you to guess which is the killer). The late great R. Lee Ermey is excellent here in a rare soft spoken performance as a kindly local Sheriff who assists and befriends Quaid, even when it puts his badge at risk. Ted Levine shows up as his head deputy, and watch for Walton Goggins and underrated William Fichtner as an opposing candidate for Sheriff’s office. Like I said, this isn’t the crackling thriller it should be with all this talent onboard, it has its issues with a weirdly drawn plot and some clunky story beats. But when it works, it’s memorable, and you can’t beat intrigue set in the gorgeous Rockies, especially when there’s a tense freight train set piece involved. Fun, engaging, slight overall but definitely worth a watch.

-Nate Hill

Interviews

Into the OTHERWORLD : An Interview with RICHARD STANLEY by Kent Hill

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It’s always a fascinating experience to sit down with Richard. The man is such a natural storyteller, with a unique perspective relating not only to cinema, but also to the world around him.

We caught up this time in the midst of bad weather, a troubled connection and, last but not least, a turbulent time in Richard’s beloved Montsegur. While our conversation touched upon this, along with the whys and wherefores of the situation, we eventually turned to movies. At this time it had been documented that Richard was again a part of an attempt to bring Moreau back to the screen – as a TV series. Having been hired by the same people that fired him during the doomed journey of his initial attempt, there seems to be, thanks to David Gregory’s documentary, a renewed interest in Richard’s take on his long-suffering passion project.

I did also bring up The Otherworld, which I had finally seen at the time. Stanley’s absorbing documentary-slash-ghost-story, and the myths and misconceptions surrounding it and ‘The Zone’ which forms the backdrop. Richard is steeped in the history of Montsegur and, flavored with his supernatural encounters, it is indeed a tale of great intrigue.

Also to we touched on, and I must say I highly anticipate, the writing of Richard’s autobiography. A project that was going smoothly until it was insisted, and initially resisted by its author, that a chapter be included on the subject of the collapse of Richard’s vision of Moreau. As thrilling a read as it will be – like I said Richard is a fascinating character – it will be equally riveting to finally have a recounting of the story from the embattled man at the center of the controversy.

Still, the future is full of possibilities, and I for one wait with inordinate eagerness for any and all of Richard’s creative endeavors to finally emerge . . . in whatever form they shall take.

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Film Review

Jaco Van Dormael’s Mr. Nobody 

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Ever see a film that you actually can’t really, properly describe to someone? You often hear “it’s hard to describe”, but you know those ones where you really do find yourself short of a five second cocktail party summary, left with nothing to compare it to and no way to impart the contents in quick, succinct jargon? Jaco Van Dormael’s Mr. Nobody is exactly that type of film, an experience so dense, disorienting and thought provoking that one needs at least a few months after the initial viewing alone to ruminate, mull it over and meditate on what was seen before even a word of analysis is offered. On surface level it’s about a man named Nemo Nobody, played by Jared Leto in a jaw dropping, multifaceted encore of a performance. Nemo is over a hundred years old, the last mortal on an earth of now immortal humans, and he recounts his life, or many lives, rather, to a journalist. That’s the diving board that vaults into an intricate narrative full of love, grief, joy, tragedy and the peculiarities of being human. We see Nemo at hundreds of junctures of his life, penultimate crossroads where he could make either choice, but if he makes neither of them, can then see both outcomes, how they carry forward his trajectory into the future towards more crossroads, more lives, more decisions, like the infinitely branching tributaries of an ever flowing river. How would one make a film like this work onscreen, you ask? Well, not easily. The thing runs almost three hours and often gets a little caught up in itself, especially in the midsection, but it’s sheer ambition and uniquely structured storytelling carry it on wings of light, spanning through a hundred years and countless events that Nemo sees passing. He has three loves, or at least three the film focuses on: luminous Ana, played by an excellent Juno Temple and then Diane Kruger as she gets older, mentally unstable Elise (Sarah Polley) and Jean (Linh Dan Pham), all of whom help shape him or have key parts to play along the branches of his tree of life. There’s a lynchpin event from his youth upon which it all hinges though; faced with the decision to move away with his mother (Natasha Little) as her train leaves, or stay behind with his father (Rhys Ifans), the boy begins to run, but also looks back. This nano-moment is the key to eternity here, the introspective Big Bang that gives way to our story. At times the film lags, and the slack could have been pulled tighter during the development of the three relationships, but the first and third acts that bookend the whole thing move along like the forces unseen around us, using cinematic tools to compose a symphony of motion, music, scientific pondering and emotional resonance. No other film is like this one, and my attempts to describe it above still just don’t even scratch the surface of the dreams found within its runtime. There’s only a few other ones out there that have aspirations as cosmic as this one, and most, including this, have made it into my personal canon of favourites. Darren Aronofsky’s The Fountain, The Wachowski’s Cloud Atlas and Terence Malick’s Tree Of Life are such films, and Mr. Nobody now sits at their table. 

-Nate Hill