Tag: New York City (Page 1 of 2)

Hidden Netflix Gems – Bringing Out the Dead

Today’s entry is a hidden gem not only in the catalogue of Netflix, but also in that of beloved director Martin Scorsese, one of several underrated masterpieces so often overshadowed by more well-known ones like Goodfellas and Raging Bull. Along with films like The King of Comedy and After Hours, Scorsese’s 1999 film Bringing Out the Dead has been unjustly overlooked for the most part, and deserves more recognition than it has gotten. Sure, you could dismiss it as simply “Ambulance Driver” for its similarity to Scorsese’s breakthrough masterpiece, Taxi Driver, as well as the fact that both films were written by frequent collaborator Paul Schrader, but there is more to it than that. I’m certainly not saying it’s better than Taxi Driver, but it’s certainly different enough to warrant appraisal on its own merits.

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Interview with Imogene Co-Director Shari Springer Berman

After years of directing documentaries, Shari Springer Berman made big waves in the independent film world with her first feature, American Splendor, co-directed with her husband and filmmaking partner Robert Pulcini. Since then, the pair has continued making narrative features such as The Nanny Diaries, The Extra Man, the HBO film Cinema Verite and the upcoming Imogene, starring Kristen Wiig and Annette Bening. I had a chance to speak briefly with Berman on Wednesday evening, as part of Columbia University’s panel on women filmmakers.

Ezra Stead: I’ve noticed a strong fascination in your films for a sort of cranky and eccentric, but lovable, type of character, such as Harvey Pekar (Paul Giamatti) in American Splendor or Henry Harrison (Kevin Kline) in The Extra Man. From what I’ve read about your next film, Imogene, with the title character faking a suicide in an attempt to win back her ex, it sounds like that character fits the bill. What attracts you to these kind of characters, and what else can you tell us about Imogene?

Shari Springer Berman: I am attracted to cranky, lovable people. Bob and I … both are; I don’t know why, I guess my therapist could probably answer that question better than I could [laughs]. I guess I love the idea of someone who isn’t overtly nice, and I feel like so many movies, especially Hollywood movies, it’s so about people being nice. One of the biggest notes when I write for studio films … is that the character has to be likable, and I think that people can be completely lovable and not, on the surface, nice. Some of the most amazing people I’ve met in my life are people who are a bit cranky, not necessarily traditionally nice, but underneath, some of the kindest, most giving people you’d ever want to meet … My grandmother was kind of a little bit cold, and very snarky, but I knew she loved me more than anything in the world, and when she said something kind, it was very real. So I like characters like that … and Imogene is definitely a continuation of the slightly brittle but completely lovable, root-for-them, character. Imogene’s mom [Annette Bening] is not one of those people; she’s very out there and wears a lot on her sleeve – who she is, is very available.

ES: You started out making documentaries, and certainly some of the techniques you brought to American Splendor reflect that background. What kind of advantages and disadvantages do you think documentaries have over narrative, and vice versa?

SSB: It’s completely different. I love documentaries because you don’t know what you’re going to get. When you make a narrative film, your whole goal is to know what you’re going to get … In a documentary, when you’re approaching it the way I like to approach it, you go in with sort of a general idea and then you allow it to happen to you, and you’re open to all kinds of things, and there’s something really thrilling about that experience. It takes you in directions you had no idea you would ever go … Docs take years, and you have to just give yourself over to it. Sometimes it’s really boring, but I like the adrenaline of shooting verite footage – not seated interviews … but just going out and covering events – it’s this really crazy adrenaline rush, and I love it … I miss that sometimes. In this movie, Imogene, that we just shot, we wanted to shoot a scene of a guy walking around with this strange outfit … in Chinatown, and my ADs [assistant directors] were stopping everybody and we were just putting this guy in a crowd and letting him walk, and I was like, ‘Okay, you know what? We have to shoot this like a doc.’ I told the Ads to go get a cup of coffee … I’m gonna take over … and we got all this stuff … genuine reactions to this guy walking down this massive street, and it was one of the most fun days … Working with actors is probably my favorite part – that or writing – is my favorite part of the filmmaking process.

ES: How do you and your husband divide up the duties of directing a film? What is your working process like?

SSB: We have different strengths, and I think that’s why it works, because we sort of take different areas and run with it. I do a lot of … sort of organizational stuff, and he spends a lot of time with the camera, the shots. I used to be a casting director, so I do a lot of casting and, obviously, Bob’s involved in it and I’m involved in everything, too, but these are just the things that we each take the lead on … I talk to the actors, that’s my sort of arena, and if Bob wants something [from them], he’ll tell me … but usually, we see eye to eye. I mean, you have to have the same aesthetic approach; if you don’t see the world the same way and you don’t like the same films, then you’re gonna constantly be battling, so luckily, we tend to agree a lot.

Hidden Netflix Gems – Mary and Max

The first feature from Australian filmmaker Adam Elliot, the main creative force behind the Oscar-winning 2003 animated short Harvie Krumpet (which is also superb), Mary and Max tells the true story of young Mary Daisy Dinkle (Bethany Whitmore) a lonely eight-year-old Australian girl who lives with her sherry-swilling, kleptomaniac mother Vera (Renee Geyer) and her taxidermy enthusiast father, a character so sad and dull we never even hear his voice. One day, she decides to pick a name out of an American phone book and write to whomever she finds in this way, in order to ask burning questions about America, such as “Are babies found in soda cans?”

The person her letter eventually reaches is 44-year-old Max Horovitz (Philip Seymour Hoffman), a morbidly obese, atheistic man living in New York City who, despite his atheism, was raised Jewish and still wears his yarmulke every day, “to keep my brain warm.” Sharing a love of chocolate and a sweet innocence that is far more commonplace at Mary’s age than at Max’s, they begin a 20-year friendship composed entirely of written correspondence. As Mary grows into adulthood, at which point she is voiced by Toni Collette, and Max struggles with his love of “chocolate hot dogs” (chocolate bars housed in hot dog buns) and subsequent gradual weight gain, their friendship grows and develops into something larger than themselves.

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Top Chef All-Stars: halfway home

After a week hiatus, “Top Chef All-Stars” returned last night and got from nine chef-testants down to eight, which means we’re past halfway. They began with 17 chefs a little over two months ago. So last night’s episode began with host Padma Lakshmi introducing “Ultimate Collection” host and noted fashion designer Isaac Mizrahi. Isaac would judge the quick fire challenge, which was to create food that was fashion-conscious–i.e. not something that would be eaten, but that was made simply to look good. That’s difficult! You can surely be a great chef but not be able to make something look visually appealing all the time.

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The Next Food Network Star: final four

This week during “The Next Food Network Star,” mentor Giada Di Laurentiis announced that the finalists who made it past this week were going to New York City to finish the competition. So much for having this season in a different city, huh? They must have realized they had way more resources in New York to draw from.

Anyway, this episode began with Giada asking the chefs to make their signature dishes and to present them on camera in a one-minute presentation. Sounds too easy for this point in the competition, doesn’t it? Well it was….Giada showed up 10 minutes in and threw them a curve…they would have to add in their least favorite ingredient, and to present them with that ingredient were their family members. Pretty emotional stuff! Aria’s was anchovies, Tom’s white pepper (really?), Aarti’s was okra, Brad’s was ranch dressing and Herb’s canned peas.

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