For much of the past year, Fincher has been filming The Girl With the Dragon Tattoo, his roughly $100 million adaptation of the macabre Swedish mystery that centers on a punk-hacker heroine with distinctive skin art. On one of the first nights of shooting, Fincher and his crew were in Sweden, filming a murder scene that takes place alongside a gloomy dock. But after a night’s work, Fincher didn’t have the shot he wanted, and the film’s ultratight schedule meant he wouldn’t be able to return for months.
When Fincher began planning the reshoot, he learned that the property had been sold to one of the guys in ABBA. Apparently, the new owner—either Benny or Björn, it’s not really clear—wasn’t thrilled at the prospect of having his evening stroll interrupted by a simulated drowning, and he refused to let the crew come back. Rather than find a new location or make do with the footage he had, Fincher decided to build his own Swedish dock.
Which is why, on a late-summer afternoon, we’re standing on a Los Angeles soundstage, examining a replica of a rural-Scandinavia mise-en-scène: mossy rocks, foliage-fat trees, and—perched high above the docks, turtlenecking out of the woods—a squat, deceptively cozy faux cottage. Like most sets, it looks a bit weird naked. But once the lights hit and the smoke drifts in, we are suddenly in the land of stunted summers and moderately high suicide rates.
I guess his approach is a bit different than that taken by Clint Eastwood, who loves going with the first take when he feels it’s good enough.
People who want a real Academy Award horse-race got probably the best possible news last night at the Director’s Guild Awards. As you’ll no doubt be hearing many, many times over the next month or so, the DGA Award for Best Director and the Oscar for Best Director have only not lined up six times in the history of both awards. Also, of course, the directorial Oscar and the Best Picture Oscar often tend to correlate as well because, sometimes rightly but occasionally wrongly, most of the credit for a good movie tends to go to the director.
Those who remained confident that “The Social Network” remained the favorite for an Oscar sweep despite it getting beaten out in the number of Oscar nominations by two films, were given a sharp jolt because the winner last night was not David Fincher, but the extremely talented fact-based-drama specialist Tom Hooper of “The King’s Speech.” Count me among the surprised.
I’ll save for later why I still think the Oscars’ are either movie’s ball game or could easily be a sort split decision. However, in an amusing not quite coincidence, “Social Network” star and Oscar nominee Jessie Eisenberg had a small surprise of his own to reveal as he hosted “Saturday Night Live” last night.
Let’s see Colin Firth pull that off with King George VI. Also, Mark Zuckerberg can’t complain that he was misrepresented in terms of height, at least. H/t Nikki Finke.
The winner in the best documentary DGA category, by the way, was Charles Ferguson of the hugely acclaimed “Inside Job” which might actually guarantee that it won’t win the Best Documentary Oscar, because that’s the way the documentary category often rolls. We’ll see. For you TV fans, I’ll post/paste the complete list of DGA Awards (nice wins for Mick Jackson and Martin Scorsese,) after the flip.
When it came time for me to do my movie news dump late Friday night, I somehow managed to forget the news item from the middle of the week that Facebook founder and reluctant movie character Mark Zuckerberg had been named Time Magazine‘s Person of the Year. It’s an oversight I can’t bring myself to ignore completely.
Looking at past selectees, 26 year-old billionaire Zuckerberg is hardly the only one to have a movie made about his exploits. In terms of sheer footage, he’s got nothing on such occasional film lead figures and frequent supporting players as Nelson Mandela, John Kennedy, Franklin Roosevelt, Mohandas Gandhi and, most frequent of all, Adolf Hitler.
What is unique about Zuckerberg is that “The Social Network” came out the same year as his selection and, in a peculiar way, probably helped him to get it. Reading the Time article about Zuckerberg by geek journalist and fantasy novelist Lev Grossman, I can only marvel at some very shrewd PR work by someone. The article goes out of its way to present a highly sympathetic alternative from the “angry-robot” of the movie to a figure more akin to the stiff but kindly Tin Woodman. If writer Aaron Sorkin and director David Fincher portrayed Zuckerberg as a bit like the treacherous Ash from “Alien,” Grossman turns him into the quirky but lovable Data from “Star Trek: The Next Generation.” The words “Eduardo Saverin” and the legal troubles portrayed in the film are never mentioned in the online version of the article that I read.
I strongly suspect Zuckerberg’s knowledge of movie history doesn’t extend much further back than “Alien.” However, even with all the image rebuffing a billionaire’s money and power affords him, I’m sure he’d prefer the old days of movie biopics where, if powerful celebrities were portrayed at all, they were portrayed positively. Not only were possibly imaginary warts not added, as they might have been by Sorkin and Fincher, very real ones were actively removed.
I’ve never seen it, but check out the trailer below for Billy Wilder’s 1957 biopic about perhaps the most ironically similar Time Person of the Year (back when it was “Man of the Year”) to Zuckerberg, aviation pioneer Charles A. Lindbergh. As the L.A. Times reminds us, Lindbergh was also the first person chosen and the only one younger than the Facebook fonder. What Zuckerberg feels he is doing to bring people together virtually, Lindbergh was instrumental in doing physically by demonstrating that a nonstop flight from New York to Paris was possible. At this point in history at least, in some ways Lindbergh’s achievement still dwarfs Zuckerberg’s. That may change fairly soon, but there’s no doubt what Lindbergh did commanded a huge personal risk and, eventually, a personal price with the most infamous kidnapping and murder case in American history.
Ironically, while it might said that the Jewish American Sorkin went hammer and tong against the Jewish Zuckerberg, Billy Wilder by all accounts went easy on the famous flyer when, under the circumstances, it would be entirely understandable for Wilder to despise Lindbergh. Working thirty years after the famous flight of “Lucky Lindy,” Wilder was able to completely ignore Lindbergh’s highly controversial early opposition to World War II and qualified support for Hitler as a bulwark against the Soviet Union, his antisemitism, white supremacist beliefs (though hardly unusual at the time), and links to the more openly Jew-hating Henry Ford. Wilder you see, was not just a liberal Jew who advocated for U.S. involvement in the war, but an actual escapee from Hitler’s Europe whose immediate family perished at Auschwitz.
If there was any revenge by Wilder at all, star James Stewart was nearly 50 when the movie was released, double the age Lindbergh was when he came to fame. Jessie Eisenberg might be, unusually for the movies, smaller and less physically fit looking than the real-life Zuckerberg, but at least he’s still only 27.
Three major critics groups gave out their awards on Sunday and, while there were differences, the common thread isn’t going to give Facebook boy billionaire Mark Zuckerberg any relief for his PR agita. The awards also have some good news for Best Actress contender Natalie Portman and possible Best Supporting Actor shoo-in Christian Bale. Among the Best Actor possibilities, however, it was a split with between actors portraying Zuckerberg and his fellow real-life guys turned movie characters, Aron Ralston, and King George VI.
Simply because of geography, the Los Angeles Film Critics is probably the most influential group. The awards here, however, were the quirkiest of the three, with a split of sorts between “The Social Network” and this year’s cinephile cause celebre, “Carlos,” which may well be shut out of the Oscars altogether for a number of reasons. Though a shorter cut of the reportedly action-packed-yet-thoughtful multi-lingual French film about the real-life left-wing terrorist of the 1970s has been playing to general plaudits, a 5.5 hour television version of the film by Olivier Assayas has had shorter but successful engagements here at the American Cinematheque and is much on the mind of many of us film geeks (I just blew another chance to watch it all in a theater and I’m not happy about it.)
Assayas and “Network” director David Fincher tied while Fincher’s movie won Best Picture with “Carlos” as the runner up and also the Best Foreign Film winner. Aaron Sorkin won for his “Social” screenplay while Colin Firth won best actor for “The King’s Speech,” the first runner-up in the category was Edgar Rameriz for playing Carlos, yet another real life person. Kim Hye-Ja from the cinephile-approved Korean thriller “Mother” and Niels Arestrup from France’s violent “A Prophet” won in the Best Actress and Best Supporting Actor categories. While those awards are unlikely to be replicated by the Oscars, Jacki Weaver’s hopes for a possible Oscar nomination and even a win for the Australian critical and festival hit, “Animal Kingdom,” are looking up ever more with another Best Supporting Actress award. The LAFC site has the complete list of winners.
…Because the somewhat mysterious organization that mysteriously somehow sets the stage and begins the momentum for the awards season, the National Board of Review, has given its awards. Perhaps not so unexpectedly, the big winner appears to be “The Social Network” which earned awards for Best Picture, Best Director (David Fincher), Best Adapted Screenplay (Aaron Sorkin), and, most interestingly, earned a Best Actor nod for Jessie Eisenberg, making him suddenly something of a frontrunner for Best Actor, which is not to say that the award makes him some kind of a sure thing.
At 27, if Eisenberg does wins for his thoroughly on-target performance, he’ll be the youngest winner in that category yet, beating 29 year-old Adrien Brody for “The Pianist.” Still, he’ll likely be facing stiff competition from 50 year-old Colin Firth (“The King’s Speech”), 70 something Robert Duvall (“Get Low“), 30 something co-host James Franco (“127 Hours“) and, perhaps, 60 something Jeff Bridges (“True Grit,” a bit less stiff since he won last year and Oscar likes to spread the love around).
The Best Actress prize was equally interesting. Lesley Manville won for her extraordinary work in the upcoming “Another Year.” I’ve seen (and will be reviewing here), the latest from Mike Leigh. There’s no doubt that Manville did an absolutely remarkable job but her supremely needy, depressed, alcoholic character is often irritating to the point of distraction, on purpose. It hits closer to home because I think most of have known or have actually been (hopefully temporarily) people very much like her. Still, sometimes people tend to blame actors for playing characters they dislike or are made uncomfortable by. Regardless, she’s been noticed. At the press day, I half-jokingly suggested to Ms. Manville that she should work on her American accent.
Another heretofore far from world-famed actress who might consider studying up on U.S. dialects is Australian veteran performer Jacki Weaver. She was nominated for her magnetically squirm-inducing crime grandma in the effective thriller, “Animal Kingdom.” It’s the first time she’s been in a film to make a splash stateside since Peter Weir’s “Picnic at Hanging Rock” back before Jesse Eisenberg and James Franco were yet born.