Tag: Andy Steinman

2010: A Look Back at a Lot of Interviews

At the end of 2009, I took a look back at 100 interviews I’d done over the course of the year, and it was exhausting…not only for me, but possibly also for you, the reader. Oh, I still think it was a heck of a piece, but I believe I made a mistake by numbering them. I mean, you get about 20 – 25 into the proceedings, and it’s, like, “Oh, geez, I’ve still got 75 left to go? Screw this, I’m out of here.” So this time, I’m not going to tell you how many quotes are in the piece. I’ll just say that I talked to a lot of really funny, fascinating, and decidedly forthright people during the course of 2010, and I’ll let you dive in. Hope you enjoy the chance to reminisce as much I did, and here’s to a great 2011 for us all!

Big Shots at the Box Office

“I was in Australia, touring with my films and live show, and I got an E-mail from my agent, saying that there was interest in me for Tim Burton’s ‘Alice in Wonderland.’ I thought, ‘Okay, that sounds good.’ I thought it would be for a day or two, maybe a few days or something, and I would’ve been very happy to do that. But then the offer came in, and it was for virtually the entire run of the film. I didn’t even know what part it was for, so I asked my agent, and he said it was for the Knave of Hearts. So I looked up the Knave of Hearts in the original book online and…it didn’t really seem like a character that would require the run of the film. I thought, ‘Something must be different.’ And then I got the actual screenplay, and it was extremely different. I could see that it was written as a sequel. But it was a great part, and I was ecstatic to be in it…and I’m still ecstatic to be in it!” – Crispin Glover, Alice in Wonderland

“They called my agent and said they were auditioning for (‘Inception’), so I flew myself back, I read for Chris (Nolan) once, and I left. I think it was later that day that I heard from my agent, saying, ‘They’ve cut everyone except you. Now, they’re going to go to London to see some people, and then we’ll know more after that. So don’t get your hopes up, but…this is great!’ Then I came back and read again, and I got the job. And then, as you might expect, I freaked out completely.” – Dileep Rao, Inception

Dileep Rao

“I was actually down at my ranch in South Texas, and my guys called me and said, ‘Hey, we’re trying to get you a meeting with Sylvester Stallone. He’s casting a movie called ‘The Expendables.’’ Several months went by, and he’d already cast ‘The Expendables,’ but he still wanted to meet me for potentially playing the part of Dan Paine. So I went in to meet Sly, it was the first time I’d ever met him, and I’m a huge fan. I remember watching ‘Rocky’ back in ’76 or whenever it was, then getting up the next morning, drinking eggs, and running down the street…and now here I am meeting with this guy!” – Steve Austin, The Expendables

Steve Austin

“I was privileged and honored to work side by side with Sly (Stallone in ‘The Expendables’). Most of my scenes take place with him, and I’m telling you, man, he took me under his wing, and it was a brilliant thing. I don’t know what else to say. ‘Rocky,’ ‘Rambo,’ just everything he’s done is iconic, and it wasn’t lost on me. I love the man, and I can’t wait to do another one, ‘cause Sly’s the king of the sequels…and in my whole career, I’ve never done a sequel to any one of my projects. So I’m, like, ‘Sly, I’m ready for ‘Expendables 2,’ okay?'” – Terry Crews, The Expendables

Terry Crews

“Jessica (Pare) was just about to disrobe…we were in the (hot) tub…and they were, like, ‘Ready!’ And she took off whatever was covering her in the tub. And somebody asked the boom guy a question just as she was disrobing, and all he could say was, ‘Yesssssss…’ He could only whisper. I didn’t make a joke about it, though. I was just, like, ‘Okay, Craig, keep it cool, keep it together…’” – Craig Robinson, Hot Tub Time Machine

Craig Robinson

“I made the mistake of using one term loosely and saying (filming in 3D) was a tedious process, and somebody made it sound really bad. The bottom line is that it took a little longer, and the one that suffered more than anybody was (director Kevin Greutert) and the camera guy, because they have to get it right. You know, calibration and being specific with lights and all that stuff. For me, it was a good excuse to go play with the crew that wasn’t on set and crack a couple of jokes, so I got to socialize a little bit more.” – Costas Mandylor, Saw 3D

“Usually, when you’re coming in completely blind with who you’re working with, you don’t know if you’re going to get along, nor do some people put the time in to try to get along. We were all in Pittsburgh, and we did do, like, two weeks of rehearsal before we started shooting (‘She’s Out of My League’), and in those two weeks, we hung out a lot…and, luckily, it went good rather than bad. Because sometimes it’s just awful, and you’re going, ‘I can’t stand that guy!’ So we were lucky. I know a lot of people always say this when they come off work, because they’re kind of trained to say it, but with this one, we all really got along, and I think that’s what helps our chemistry on screen so much: we thought each other were funny, we even liked to hang out afterward, and that played well. ” – Nate Torrence, She’s Out of My League

Nate Torrence

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A Chat with Anders Anderson and Andy Steinman (“Stolen”)

When you hear about a movie that stars Jon Hamm (“Mad Men”) and Josh Lucas (“Glory Road,” “Poseidon”) and fleshes out its ensemble with Morena Baccarin (“V,” “Firefly”), Michael Cudlitz (“Southland”), James Van Der Beek (“Dawson’s Creek”), and half a dozen other faces that are instantly recognizable from television and motion pictures, it’s hard not to get excited when you’re pitched the opportunity to speak with the director (Anders Anderson) and the cinematographer (Andy Steinman).

But what happens if, before you see the film, you read on the website RottenTomatoes.com that it’s actually earning the much dreaded 0% rating on the Tomatometer?

Well, if you’re me, then the first thing you do after that is actually watch the film yourself…and, personally, I liked it.

If I had to guess about the reason “Stolen” has received so many sneering reviews, it’s that it bears striking similarities to a couple of high-rated but critically snubbed police procedurals currently airing on network television. But, hey, I like those shows, and I also like the actors in “Stolen,” so if you’re of the same mindset, then you’ll probably like the film, too.

Still, before I got off the line with Messrs. Anderson and Steinman, I felt obliged to buckle up and ask them what they thought about the film’s Tomatometer rating….and, no, the line didn’t go dead immediately after I asked it.

Bullz-Eye: Hi, guys! Good to talk with you.

Anders Anderson: Hey, Will, how are you doing?

Andy Steinman: Hey, Will, nice to talk with you.

BE: Now, I hope you guys don’t mind if I ask you to identify yourselves before you answer questions, just because your voices sound kind of similar.

AA: Yeah, no problem.

AS: They’re actually quite different, but when you’re around someone that long, they start melding into one.

BE: (Laughs) That’s probably what it is. Well, I guess my first question is to ask how you guys first began your collaboration. Had you been friends prior to this project?

AA: Yeah, we had, but I’ll let Andy tell this tale. He’s told it many times.

AS: Yeah, we first met on a short in Santa Fe, NM, that Anders was acting and…I think you were producing it, too, yeah?

AA: Yeah.

AS: And I was a cinematographer, and I came out there, and we just clicked. Talking to him about whatever we had to do with the camera, talking to him about performance, talking to him about movies that we like, how to make the short the best it could be. We just kind of hit it off on what we wanted to do in our careers when we were done with this short, so we started talking about possibly forming a company and trying to do movies that we wanted to do. And it was just one of those things where we talked to each other and asked, “Well, what do we do next?” And the answer was always, “Well, we’ve got to make a feature.” And so we started talking about, “How do we make a feature? What do we do?” And we just started that process, step by step, of trying to get a movie made: pulling our resources and connections, however little they were, to try and get a feature off the ground. And we became friends all at the same time.

BE: So how did Glenn Taranto’s script cross your path? Did you know him, or was it pitched to you?

AS: We basically contacted everyone we knew. (Laughs) Friends, family, any type of business connection, and asked, “Does anyone know anyone who has a script? Does anyone have a script? We’re looking for material. We’re just looking for something that we can get behind.” And a production company that we’d worked with in the past basically said, “Here, we have a couple of scripts that we like. Why don’t you take a read?” And, lo and behold, Glenn’s script – which was originally called “Box in the Box” – showed up in front of us, and instantly we knew that something was there was that was a great vehicle to get actors, to get performers to be in our first film. Being first-timers, we knew that a lot of this had to be…we knew that we had to get some really good cast behind us to kind of help get the movie out there, and we thought that script would do that. So we just kind of took it and ran with it.

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