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Science Fiction-Film He was bleeding—we had to use C. Paul [Rudd] was the one who noticed that it was turning into a shape that looked like a Halloween pumpkin.
There were queer films before Brokeback Mountain —there have been queer films since the silent era. The film starred Jake Gyllenhaal and the late Heath Ledger as a pair of quiet, guarded, temperamental cowboys in love; straight actors in what has otherwise—given the soaring, masculine landscape and all the Western trappings—tended to be a straight genre.
Queerness had reached Hollywood in a big way: its own classical codes of manhood and romance were being re-written before our eyes. Though not, perhaps, without a price.
And here, as well, was a testament to its limits. It has the best view of this Canadian mountain. There was snow, there was water—it was perfect.
I remember building up to that [scene], I did something weird with the camera, kept moving it, to freak [Ledger and Gyllenhaal] out a little bit.
Keep them fresh. It was a rough shoot for the actors, I would say. He was just very specific about the goal he wants to hit.
Jake, on the other side, he was very young, at times naughty, experimental. That would drive Heath crazy sometimes.
That speech came from one take. I questioned that line in the script. None of us expected it. It set a standard for showing off.
Children of Men, released in , set a new high bar for science-fiction filmmaking, which is saying something for a genre that, thanks to the likes of Steven Spielberg, James Cameron, and George Lucas to say nothing of Stanley Kubrick , is constantly breaking the mold of blockbuster filmmaking.
The long take is its loudest accomplishment. And for a couple of months, we were all satisfied with the main idea.
But every time I thought about it, something felt really weird and wrong. By doing tests, I realized that if I was able to hang the camera from the roof of the car, maybe I could do the entire shot in one shot.
By doing everything in real time, I think you feel the desperation and the claustrophobia of the characters.
And in only one week, we put together this thing that nobody has ever done before. By , with the likes of Boogie Nights, Punch-Drunk Love, and the manically ambitious Magnolia already under his belt, Paul Thomas Anderson had more or less fulfilled his promise as a standard-bearer for the next generation of Serious American Moviemaking.
And then came There Will Be Blood —and with it, the searing-hot Daniel Plainview, instantly one of the most unforgettable characters in the history of American movies.
But Daniel Day-Lewis, who brings him to life, makes it impossible to see him solely as symbol or abstraction. This is a film about a performance—a movie that gets bigger, wilder, as the man at its center does.
Once the part of Eli Sunday was re-cast and it became Paul Dano, it turned into a totally different character. I wanted the scene to be very surprising and just grip you by the throat.
Anything less spectacular would be a bit of a letdown. But it turned it into a hallowed ritual, an extra, even more niche bit of fan service than what the main feature has just offered up.
Jackson , who intimates that a whole Avengers team may someday be assembled. Fans who get the references hoot with knowing satisfaction, while the uninitiated experience a reluctant tingle of curiosity that something even grander may be on its way.
This is awesome. But actually, it bred a real presence beyond anything I could have imagined. Is he cool? Is he rough? Is he harsh? Is he humane?
The history of the American blockbuster, and the superhero movie specifically, has played out in phases. The action set pieces and script had more heft; the style was harder, toned down.
That speech says: this is the film made to convince us that they will last. I can do what I want. He could have done different cop-out endings, but he put that ending on.
One second longer, or one sentence or note different, and it would have been a different movie. And it surprised everyone.
With one longing and curious look across a high-school cafeteria—human Bella Kristen Stewart clocking vampire Edward Robert Pattinson —the Y.
It may have been a short-lived craze, peaking with the The Hunger Games and sputtering out with the Divergent series.
Twilight also launched Stewart and Pattinson to stardom, though both have since shaken off the teen-idol trappings and become bold indie-film explorers.
I guess the fact that they did not know this was going to be this big, crazy, mainstream juggernaut—they knew me a little bit from Thirteen and Lords of Dogtown.
They knew I would have that sensibility. I think they trusted me, exploring this first love, but nobody thought it would turn into this crazy-worldwide-blockbuster insanity.
The good thing is that it gave them enough worldwide cred and clout that they could green-light all these super-interesting films later in their careers.
Fast Five is best thought of as a point of transition. Set entirely in Rio de Janeiro, this is the movie that brought the series into its second phase of familial sentimentality and go-for-broke action set pieces.
The movie is full of classic set pieces and the vigorous mix of humor and action that would come to define the rest of the franchise, as would its remarkably diverse cast and roster of directors.
We need to start delivering that. The foundation of the family and brotherhood are so strong, now what we have to do is focus on the spectacle and kind of one-upping each film in terms of the spectacle and wish fulfillment and enjoyment of watching the scenes.
We were for the people, we were representing the people. We were saying despite where you come from you can be empowered, you can be effective, you can have your own code and you can be honorable.
With any luck, the history of American movies will never recover from this knockout punch. It was a very emotional discovery.
I remember having so much fun writing it, but at that moment when I figured out this weird, esoteric, but also emotionally brutal form of suffering to put the character through—I literally cried writing the scene.
Director John Lasseter. Actor John Morris. Watch on Hulu Toy Story. The Cold Open. Director Wes Craven.
Actors Drew Barrymore and Roger L. Watch on Amazon Scream. Director James Cameron. Watch on Amazon Titanic. Directors Joel Coen and Ethan Coen uncredited.
Actors Jeff Bridges and Julianne Moore. Watch on Amazon The Big Lebowski. The Storming of Omaha Beach. Director Steven Spielberg. Actor Tom Hanks.
Watch on Hulu Saving Private Ryan. Dodging Bullets. Director The Wachowskis. Watch on Amazon The Matrix. Actor Heather Donahue.
Director Mary Harron. Actors Christian Bale and Jared Leto. Watch on Hulu American Psycho. The Night Fight.
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