Cinearts Film Guide - Fall 2012

Film GuideFall 2012

in this issueIndestructo Man Covers the Highlights of the

ToronTo FIlM FesTIval pg 6

InsIde TellurIdeFilm Festival Gems to expect at Cinéarts pg 20

sTepHen CHbosky reWrITes HIMselFan Interview with the Writer & director of The perks of being a Wallflower pg 12

Hear from director Martin Mcdonagh pg 10

2 | cinearts.com

If you take a moment and reflect on the movies that you’ve seen in recent years that moved you, made you think and

opened your eyes to new ideas, cultures and experiences, they probably all had one thing in common – they all started out being shown in a few select theatres. This distribution pattern, referred to as a platform release, is the heart and soul of specialized film. Without the ability to release films like this, in a careful and methodical fashion, almost all of these films could not have been released at all. In fact, chances are you would have never had the opportunity to see them as they were meant to be seen: on the big screen.

The platform release pattern requires three key elements for success. First, you need a well-made, critically-acclaimed film that both entertains and enlightens. Second, you need time to let the film be “discovered,” through word-of-mouth generated by a well-executed publicity and promotional campaign. Finally, and most importantly, you need a national circuit dedicated to

the exhibition of these films. There have always been, and we hope there will always be, theatres that exhibit specialized films in major US cities. Theatres like the Arclight in Hollywood or the Angelika in Manhattan, as well as the Landmark Theatres in many major markets, have historically done a wonderful job of supporting and promoting independent cinema. The reason great films like Juno, Slumdog Millionaire, No Country for Old Men, There Will Be Blood, The Artist, The Best Exotic Marigold Hotel and CBS Films’ recent release, Salmon Fishing in the Yemen are able to expand to a wide audience is the advent of specialized exhibition within already existing theatre chains, like Cinemark’s CinéArts program. All of these films started out being shown on fewer than 40 screens, with some of these titles ending up on almost 3,000 screens, and grossing in some cases over $100 million.

With more and more moviegoers getting their information from new media sources, such as websites and blogs instead of network television commercials, word-of-mouth

and audience anticipation spreads wider and more quickly than even just a few years ago. Cinemark, with its CinéArts program, has stepped up and invested the time, money and personnel needed to properly promote and exhibit these important films. Without this partnership, it would be impossible to reach the maximum audience in a cost effective way.

The simple reality is that the costs associated with marketing a traditional Hollywood blockbuster can be up to several times the total cost involved in producing, marketing and distributing one of these smaller gems. Without the dedicated screens made available by

CinéArts, as well as similar programs, like AMC Independent and Regal Cinema Art, it would simply not be economically feasible to get these movies into markets outside of the top, major, big cities.

But making screens available for specialized film isn’t the whole story. In fact, history has shown us that simply putting one of these independent movies into a commercial theatre without doing the necessary marketing and publicity on a grassroots, local level rarely produces positive results. More often than not, films handled that way tend to come and go before the audience that would appreciate them even realizes that they were on screen in their town.

When you have a company that’s willing to do the hard work, like Cinemark, these films can not only survive in the crowded marketplace, but can thrive. That ‘hard work’ consists of sending buyers to cover film festivals like Sundance, Telluride or Toronto, dedicating key personnel solely to the handling of specialized product, publishing periodicals that promote and publicize independent cinema (like Cinemark’s CinéArts Film Guide), and enabling and empowering theater personnel on a local level to create and implement marketing initiatives. The synergy of all of these elements raises awareness and sparks word-of-mouth.

So, the next time you find yourself in a darkened movie theatre, enthralled in an amazing cinematic experience, and you realize that you never saw a television commercial for the movie, that you never saw it advertised on a billboard or the side of a bus, yet you knew all about it and waited anxiously for it to come to your local multiplex... Do me a favor, and on your way out, stop by and thank the theatre manager and the staff for their hard work and dedication. Believe me, it would be a lot less work for them to simply fill their screens with loud CGI sequels and big budget remakes.

Working Hard for Small FilmsBy Steven Friedlander, CBS Films

WWW.SONYCLASSICS.COM

COMING SOON FROM

“A TOUR-DE-FORCE PERFORMANCE BY MARY ELIZABETH WINSTEAD.”

-HUFFINGTON POST

WWW.SMASHEDMOVIE.COM

OPENS OCTOBER 12TH IN NY & LA

WRITTEN BY JAMES PONSOLDT & SUSAN BURKE DIRECTED BY JAMES PONSOLDT

“AN EDGY, FEARLESSLY EMOTIONAL ROMANCE.”-Kenneth Turan, LOS ANGELES TIMES

“THE MOVIE WORKED ME OVER, THEN WON ME OVER.”-Manohla Dargis, THE NEW YORK TIMES

WWW.RUSTANDBONE.COM

OPENS NOV. 23RD IN NY & DEC. 7TH IN LA

MARION COTILLARD MATTHIAS SCHOENAERTS

R U S T A N D B O N EA FILM BY JACQUES AUDIARD

F R O M T H E A W A R D W I N N I N G D I R E C T O R O F “A P R O P H E T”

JEAN-LOUIS TRINTIGNANT

EMMANUELLE RIVA

WITH THE PARTICIPATION OFISABELLE HUPPERT

FROM THE DIRECTOR OF “CACHé” AND “THE WHITE RIBBON”

WWW.AMOURTHEMOVIE.COM

TORONTO

TELLURIDE

NEW YORKFILM FESTIVALS

2012

PALME D’ORFESTIVAL DE CANNES

2012

AMOURA Film by MICHAEL HANEKE

OPENS DECEMBER 19TH IN NY & LA

P E T E R J A C K S O n A n D F R A n w A L S H P R E S E n T

DIRECTED BY AMY BERG wRITTEn BY AMY BERG & BILLY McMILLIn

WWW.WESTOFMEMPHISMOVIE.COM

O F F I C I A L S E L E C T I O N

T O R O N T OF I L M F E S T I V A L

OPENS DECEMBER 25TH IN NY & LA

facebook.com/sonyclassics @sonyclassics

VIEW THE TRAILER AT WWW.RUSTANDBONE.COMopens noVeMBeR 23RD In neW YoRK & DeCeMBeR 7TH In Los AnGeLes

F R O M T H E A W A R D W I N N I N G D I R E C T O R O F “ A P R O P H E T ”

MARION COTILLARD MATTHIAS SCHOENAERTS

A FILM BY JACQUES AUDIARD

OFFICIAL SELECTION

COMPETITIONFESTIVAL DE CANNES

TORONTOFILM FESTIVAL

TELLURIDEFILM FESTIVAL

A SONY PICTURES CLASSICS RELEASE PAGE 114 AND WHY NOT PRODUCTIONS PRESENT MARION COTILLARD MATTHIAS SCHOENAERTS “RUST AND BONE” JACQUES AUDIARD THOMAS BIDEGAIN AND JACQUES AUDIARD ‘RUST AND BONE’ BY CRAIG DAVIDSON ALBIN-MICHEL EDITIONS CINEMATOGRAPHYSTÉPHANE FONTAINE (A.F.C.) EDITING JULIETTE WELFLING ALEXANDRE DESPLAT MICHEL BARTHÉLÉMY (A.D.C)

SOUND BRIGITTE TAILLANDIER MIX JEAN-PAUL HURIER COSTUMES VIRGINIE MONTEL CASTING RICHARD ROUSSEAU MARTINE CASSINELLI A WHY NOT PRODUCTIONS PAGE 114 FRANCE 2 CINÉMA LES FILMS DU FLEUVE RTBF (BELGIAN TELEVISION)LUMIÈRE AND LUNANIME CO-PRODUCTION CANAL + CINÉ + FRANCE TÉLÉVISIONS LE CENTRE DU CINÉMA ET DE L’AUDIOVISUEL DE LA FÉDÉRATION WALLONIE-BRUXELLES AND VOO AND LE FONDS AUDIOVISUEL FLAMAND

LA RÉGION PROVENCE ALPES CÔTE D’AZUR LE DÉPARTEMENT DES ALPES-MARITIMES CNC WALLONIE AND CASA KAFKA PICTURES - BELFIUS CELLULOID DREAMS© 2012 WHY NOT PRODUCTIONS PAGE 114 FRANCE 2 CINÉMA LES FILMS DU FLEUVE LUNANIME

SCREENPLAYBY

BASED ONTHE NOVEL

A FILMBY

ORIGINALMUSIC BY

PRODUCTIONDESIGN

EXECUTIVEPRODUCER

WITH THEPARTICIPATION OF

IN PARTNERSHIPWITH THE

INTERNATIONALSALES

wallimagesa

R U S T A N D B O N EHOW WOULD

YOU LIKE A FREE

VACATION TO THE

FRENCH RIVIERA?

Your chance to win is

coming this Fall at

Cinemark.com!

“AN EDGY, FEARLESSLY EMOTIONAL ROMANCE.”-Kenneth Turan, LOS ANGELES TIMES

“THE MOVIE WORKED ME OVER, THEN WON ME OVER.”-Manohla Dargis, THE NEW YORK TIMES

“MARION COTILLARD GIVES A STUNNING PERFORMANCE. SHE COULD BE ON HER WAY TO PICKING UP

HER SECOND OSCAR®.”-Jane Witherspoon, HUFFINGTON POST

6 | cinearts.com

The Master

Director: Paul Thomas Anderson

Cast: Phillip Seymour Hoffman, Joaquin Phoenix and Amy Adams

Synopsis: A striking portrait of drifters and seekers in post World War II America, Paul Thomas Anderson’s The Master unfolds the journey of a Naval veteran, Freddie (Joaquin Phoenix), who arrives home from war unsettled and uncertain of his future until he is tantalized by The Cause and its charismatic leader, Lancaster Dodd (Philip Seymour Hoffman). Amy Adams plays Dodd’s wife, Peggy.

Indestructo’s Review: Lets start out by saying P.T. Anderson is a genius (There Will Be Blood, Magnolia). This is a very demanding work about a cult leader (Philip Seymour Hoffman) ne’er-do-well and roughian (Joaquin Phoenix) as his protégé. Much of The Master is audacious and should promote fierce debate.

The Impossible

Director: Juan Antonio Bayona

Cast: Naomi Watts, Ewan McGregor and Tom Holland

Synopsis: A powerful story based on one family’s survival of the 2004 tsunami, The Impossible stars Naomi Watts and Ewan

Indestructo Man Does the Toronto Film Festival

So, the sun comes up, as it always does, like a red rubber ball. Another day at the Toronto International Film

Festival, loaded this year, as it is, the hits just

keep on coming… Silver Linings Playbook,

Argo, The Impossible, Frances Ha, End of

Watch, to name a few.

Being a Cinemark Film Buyer I am

consigned to the Press and Industry portion

of the huge festival, the unsexy part, away

from the red carpet, spiked heels, limos,

smiling movie stars, the screaming, adoring,

breathless mobs of fans, desperate for a peek

at the Johnny Depp’s of this world. For us,

the P and I, it’s five films a day, with bathroom

breaks in between. Press and Industry,

that means film buyers, journalists, critics,

distributors hawking their wares or looking

to acquire something worthy. A Motley Crew,

especially the journalists and critics, smug,

surly, assertive, opinionated, knowledgeable,

arrogant, occasionally brilliant, pushy and

a bit dweebish. It is fascinating to stand

endlessly in line trying to get into the next

screening, listening to the patter all around,

these fountains of erudition, encyclopedic

memory spewing arcane facts at each other.

Great circus. Like trying to get a drink of

water from a fire hose.

This year, unlike past years, TIFF seems

to have forgone the endless pre-presentation

trailers, shorts, sponsors, commercials,

messages, and of course, thanking the

‘volunteers,’ all 2000 of them. Toronto

just loves their volunteers. This section of

Toronto is an ocean of bright orange, hurt-

your-eyes t-shirts, everywhere, like lemmings.

But, really, they are so cheerful and helpful.

The town is crawling with movies stars. To

name a few; Johnny Depp, Robert Redford,

Ben Affleck, Halle Berry, Bradley Cooper,

Jennifer Lawrence, Gwyneth Paltrow, Ryan

Gosling,, Robert De Niro, Penelope Cruz,

Viggo Mortensen, and Bill Murray.

So, on to the films, in no particular order:

Silver Linings Playbook

Director: David O. Russell

Cast: Bradley Cooper, Jennifer Lawrence and

Robert De Niro

Synopsis: Life doesn’t always go according

to plan…Pat Solitano (Bradley Cooper) has

lost everything – his house, his job, and his

wife. He now finds himself living back with

his mother (Jacki Weaver) and father (Robert

DeNiro) after spending eight months in

a state institution on a plea bargain. Pat

is determined to rebuild his life, remain

positive and reunite with his wife, despite the

challenging circumstances of their separation.

All Pat’s parents want is for him to get back on

his feet - and to share their family’s obsession

with the Philadelphia Eagles football team.

When Pat meets Tiffany (Jennifer Lawrence),

a mysterious girl with problems of her own,

things get complicated. Tiffany offers to

help Pat reconnect with his wife, but only if

he’ll do something very important for her in

return. As their deal plays out, an unexpected

bond begins to form between them, and

silver linings appear in both of their lives.

The Weinstein Company presents Silver

Linings Playbook, a family drama, comedy

and love story based on the bestselling novel

by Matthew Quick, written and directed by

David O. Russell (The Fighter, Flirting With

Disaster).

Indestructo’s Review: The darling of the

festival. Can’t miss. Flirting with Disaster

meets The Fighter. Bradley Cooper and

Jennifer Lawrence are sensational together.

The best thing De Niro has done in years.

cinéarts Film Guide | Fall 2012 | 7

McGregor and is directed by J.A. Bayona (The Oprhanage). Maria (Naomi Watts), Henry (Ewan McGregor) and their three sons begin their winter vacation in Thailand, looking forward to a few days in tropical paradise. But on the morning of December 26th, as the family relaxes around the pool after their Christmas festivities the night before, a terrifying roar rises up from the center of the earth. As Maria freezes in fear, a huge wall of black water races across the hotel grounds toward her. Based on a true story, The Impossible is the unforgettable account of a family caught, with tens of thousands of strangers, in the mayhem of one of the worst natural catastrophes of our time. But the true-life terror is tempered by the unexpected displays of compassion, courage and simple kindness that Maria and her family encounter during the darkest hours of their lives. Both epic and intimate, devastating and uplifting, The Impossible is a journey to the core of the human heart.

Indestructo’s Review: Wonderful film of the tsunami and its devastating effects on the lives of one vacationing British family. The 90 foot wave busting ashore with its heart breaking aftermath is stunning. Spielberg might have directed this lovely film. Thrills and heart strings.

Much Ado About Nothing

Director: Joss Whedon

Cast: Amy Acker, Emma Bates and Sara Blindauer

Synopsis: Shakespeare’s classic comedy gets contemporary spin in Joss Whedon’s stylized adaptation. Shot in just twelve days using the original text, the story of sparring lovers Beatrice (Amy Acker) and Benedick (Alexis Denisof ) offers a dark, sexy and occasionally absurd view of the intricate game that is love.

Indestructo’s Review: A devilishly clever black and white adaption of Shakespeare’s frothy play on love and repartee. Set in the

present, Joss Whedon (Avengers) has delivered a witty and smart version of this old favorite.

The Company You Keep

Director: Robert Redford

Cast: Robert Redford, Shia LaBeouf and Julie Christie

Synopsis: Jim Grant (Redford) is a widowed single father and attorney living in Albany. What none of his friends or clients know is that Jim was once a member of the activist/terrorist organization the Weather Underground. Wanted for robbery and the murder of a security guard, Jim has been in hiding for more than thirty years. When another former Weatherman (Susan Sarandon) turns herself in to the FBI, Ben Shepard (Shia LaBeouf ), an aggressive young journalist, starts sniffing around for leads. He gradually finds his way to Jim, not suspecting that this seemingly upright citizen is himself a former militant activist. Concerned that Ben will eventually discover his true identity, Jim flees, though a safe harbour may prove difficult to find.

Indestructo’s Review: Robert Redford directs and stars in this cerebral thriller. 30 years after a Weatherman bank robbery and murder Redford is on the run again. Somewhere between 3 Days of the Condor and The Fugitive.

Frances Ha

Director: Noah Baumbach

Cast: Teddy Cañez, Adam Driver, Hannah Dunne and Greta Gerwig

Synopsis: If writer-director Noah Baumbach

(Squid and the Whale, Greenberg) hadn’t

signed his name to it, you might mistake this

youthful, joyous film for the debut of some

wunderkind fresh out of film school. Greta

Gerwig (who also cowrote the screenplay)

gives a wildly inventive comic performance

as an aspiring dancer who works as an

apprentice, trying to keep up with the fast

pace and high cost of New York living. When

her roommate and BFF Sophie (“We’re the

same person!”) announces she’s trading

Brooklyn for Tribeca, the newly untethered

Frances wonders: Can she find happiness

and true love, or at least a steady job? Shot

in luminous black-and-white and edited with

the jaunty rhythms of the French New Wave,

Frances Ha beautifully captures the moment

we stumble, ready or not, into adulthood.

Indestructo’s Review: Think Annie Hall

meets Squid and The Whale. Greta Gerwig

is charmingly dorkish. She steals your

heart. In black and white and thoroughly

entertaining.

Also of Note:

To the Wonder

Terrence Malick’s follow up to Tree of Life.

A moody, haunting exploration of desire and

regret.

Cloud Atlas

The Wachowski’s bring this visually stunning,

time warp classic to the big screen.

The Sessions

John Hawkes and Helen Hunt in a sensual

triumph. Extremely moving.

The Paperboy

Film noir thriller with great cast. Nicole

Kidman, Matthew McConaughey, Zac

Efron, and John Cusack as the villain.

Great Expectations

Mike Newell with a fine new version of the

Dicken’s classic starring Ralph Fiennes and

Helena Bonham Carter.

Bark back at Indestructo Man.

Questions, feedback, observations

[email protected]

10 | cinearts.com

Martin McDonagh looks and listens. While that may sound simplistic for a guy who has

written award winning plays, Academy Award winning short films, and has been nominated for a screenwriting Oscar, its actually much harder for him than it looks.

The writer and director of the new film Seven Psychopaths pays incredible attention to the smallest details of his subject matter, his actors, and the production of his films. It’s something he’s developed by looking and listening.

CinéArts had the chance to talk to Martin McDonagh recently about his latest film, Seven Psychopaths, and how he’s created in just two films, a new film language out of the marriage of violence and comedy.

Seven Psychopaths, like his first feature film, In Bruges, is a wildly entertaining, ultra-violent romp, complete with unforgettable characters, indelible performers, and a savage wit. It’s something fans of McDonagh have come to expect over the years. And while the façade of violence and mayhem are the first impressions one assumes, there’s a deeper core to his writing and how he subversively attacks a larger subject.

“I had written this script a while ago and at the time there was really nothing like it. I wanted to explore violence in films from the perspective of someone writing a script. I wasn’t sure how much violence to put out there. But I think exploring that theme was the first germ of the idea. To do something that debated or explored violence in movies,

but was still a bale of laughs too and wasn’t too heavy, I think that’s how I started Seven Psychopaths.”

McDonagh personally had no qualms about violence in movies, as long as they served the story and it wasn’t gratuitous. “A lot of my favorite movies have violence in them, but I wouldn’t have seen them just because of that. Films like The Wild Bunch, or Taxi Driver, are just fantastic movies. I think for me the violence is irrelevant, to a degree.

“With In Bruges it was always a movie about guys with guns, so with Seven Psychopaths it became interesting to question why do movies have to have guns and violence in it. But at the same time, can I enjoy those kinds of movies? It was fun to explore both sides of that question. I’d always liked the idea of questioning the topic, but I wouldn’t have written the film just because of that.”

He’s also quick to point out that even though this film is set in America, violence in American films was not a sermon he was attempting to preach, it was just a launching point for Seven Psychopaths. Citing directors like Scorsese and Malik, American film and America as a location were strong influencers on this film. “My earliest cinematic experiences and references were all American movies. It was what I grew up on and what I love.

“Everything from early Scorsese stuff to Terence Malik to Orson Wells even, I’ve always had a love for American storytelling. So it was a natural progression in some ways. And my Irish plays always did well in New

York, from the first one on. So I have been travelling to the states since I was 25, and I guess you want to tell stories about the place you’re at, or the places you’ve been. I’ve spent a lot more time in America lately so it’s fun and joyful. It’s where movies are physically; it’s where the game is played.”

But it did take McDonagh a while to work up to getting Seven Psychopaths onto the screen, not so much because it couldn’t be made, but because of his own inexperience behind a camera.

“The script for Seven Psychopaths was written just after I wrote the script for In Bruges, but had not made it yet. In a way this one was like writing a fairy tale in that I didn’t have any inkling that I’d be in any position to get it made.

“But then I made the short film (Academy Award winner for Best Live Action Short Film in 2006, Six Shooter) and there was almost a choice of which one to go with first, In Bruges or this one. At the time I felt that the scope of Seven Psychopaths was much too big for a first-time filmmaker to try. With the flashbacks and the size of the cast, and the car chases, it was just felt too big for me. But after Bruges I realized that you just have to jump in! I learned a lot from making In Bruges.”

Probably the most important lesson he took from his first feature was to learn to discover the comfort level within him that allowed him to be the most creative.It was a process that included taking his time

Martin McDonaghPeople, Places and PsychopathsBy Frank Gonzales

continued on pg 23

IN SELECT THEATERS OCT. 5ADDITIONAL CITIES THIS FALL

12 | cinearts.com

It is that rare bird in Hollywood who not only can write and direct a movie, but also writes the source novel that the film

is based on. Stephen Chbosky is that kind of rarity. His 1999 novel The Perks of Being a Wallflower was not only a success, but the way it struck a chord with its readers signaled a new force in literature was on the horizon.

Chbosky then took some time learning the screenwriter’s craft, working on the film adaptation of the Broadway hit Rent and writing for the television show Jericho. Eventually he came back to writing the screenplay for Perks and then after meeting with the production company that bought the rights for the film, was tapped to direct the feature as well!

CinéArts recently discussed Chbosky’s work, from writing the story, to developing a screenplay, to directing the movie, and how this triple-threat bird learned to fly.

Perks is written from the point of view of Charlie (portrayed in the movie by Logan Lerman), who recalls his freshman year of high school in a series of letters to an unknown “friend.” It is a very ingenious literary device Chbosky had been working on for a while.

“The genesis of Perks came from a few different places. My original idea was to write a book called ‘Letters from a Friend’ as a book of letters and pass it off as real. In other words, claim some kid picked me out of a phone book and started writing me these letters. Then when Perks became another idea for a book I realized that it was Charlie writing the letters and that he was not writing to me but to someone out there. It just felt like the right fit.”

After its success as a novel, doors opened for Chbosky to try his hand at screenwriting, eventually landing him opportunities in film (the film adaption of Rent) and television (the CBS show Jericho). But adapting Perks for the screen was never far from his mind.

“I needed distance from the book to do a proper adaptation and I needed to learn a few things about adapting books and movies, and some time to write some television. All of

the things I learned from doing the screenplay for Rent and the television show Jericho I used to adapt Perks.

“On Rent, Chris Columbus was so gracious to call me in and observe on set. When this thing that I dreamt up in my living room in Brooklyn was suddenly being done by all these people and Chris was the maestro making it happen, I got the bug!

“Jericho was fantastic because I worked with Jon Turteltaub. Watching what he did with the actors and subsequently watching the other directors of the various episodes, I realized that each had his own style, but the result was always the same. I saw that I could do it my way. It was very freeing .”

Yet there was as a very valuable lesson he had to learn in the whole process of being a director, one he found inspiration from in an unlikely source. “There was a draft of the screenplay that was very, very long. So I had to learn to let go.

“I remember one of my inspirations for adapting came from, The Fellowship of the Ring. I love the Lord of the Rings books and I thought the movies were brilliant. But in Fellowship they cut out a character, Tom Bombadil, who was one of the most beloved characters in the books. And I thought it was such a gutsy move because ultimately he doesn’t serve the story. I thought, ‘Hey, not everything is precious. Just tell the story and let the story do the work for you.’”

The process of bringing The Perks of Being a Wallflower to the screen was not all technical, but relied heavily of the actors to bring the story to life as Chbosky imagined it. Casting was an essential part of the process. Chbosky struck gold with Emma Watson (Sam), Logan Lerman (Charlie), and Ezra Miller (Patrick).

“With Emma, I had seen one of the later Harry Potter movies and there was a

scene on the steps of the school she did with Daniel Radcliff. She was so great in that scene that I just knew she was Sam. Logan I was introduced to later. He came to the audition and was so brilliant I knew he was Charlie. Ezra’s such a gifted young actor. He’s such a free person that there is no limit to him. So I also loved all those qualities for the morale on set, because it was important for me that the kids have the summer of their lives.”

A funny and touching coming-of-age story based on the beloved best-selling novel by Stephen Chbosky, The Perks of Being a Wallflower is a modern classic that captures the dizzying highs and crushing lows of growing up. Starring Logan Lerman, Emma Watson and Ezra Miller, The Perks of Being a Wallflower is a moving tale of love, loss, fear and hope—and the unforgettable friends that help us through life. The film is now showing at CinéArts Theatres.

For the full interview with Stephen Chbosky, go to...facebook.com/CineArts/notes

Official Website: wallflower-movie.com

Facebook:facebook.com/WallflowerMovie

The Perks of Being Stephen Chbosky By Frank Gonzales

COLUMBIA PICTURES AND ANNAPURNA PICTURES PRESENT A KATHRYN BIGELOW FILM JESSICA CHASTAIN“ZERO DARK THIRTY”

PRODUCEDBY MARK BOAL KATHRYN BIGELOW MEGAN ELLISONWRITTEN

BY MARK BOAL DIRECTEDBY KATHRYN BIGELOW

EXECUTIVEPRODUCERS COLIN WILSON GREG SHAPIRO TED SCHIPPERJASON CLARKE JOEL EDGERTON MUSIC

BY ALEXANDRE DESPLAT

BÉRÉNICE MARLOHE WITH ALBERT FINNEY AND JUDI DENCH AS “M”NAOMIE HARRISRALPH FIENNESJAVIER BARDEMCO-

PRODUCERS ANDREW NOAKES DAVID POPE MUSICBY THOMAS NEWMAN EXECUTIVE

PRODUCER CALLUM MCDOUGALL WRITTENBY NEAL PURVIS & ROBERT WADE AND JOHN LOGAN

PRODUCEDBY MICHAEL G. WILSON AND BARBARA BROCCOLI DIRECTED

BY SAM MENDES

“SKYFALL”ALBERT R. BROCCOLI’S EON PRODUCTIONS PRESENTS DANIEL CRAIG AS IAN FLEMING’S JAMES BOND IN

JAVIER BARDEM

ALBERT R. BROCCOLI’S EON PRODUCTIONS PRESENTS DANIEL CRAIG AS IAN FLEMING’S JAMES BOND IN

BellflowerQ&A with Cara Lyon

20 | cinearts.com

Argo

Director: Ben Affleck

Cast: Ben Affleck, Bryan Cranston and John Goodman

While 50 Americans are held hostage by the Ayatollah Khomeini’s Revolutionary Guard, six U.S. Embassy employees hiding at the Canadian ambassador’s residence in Teheran stage a daring escape. “Extraction” expert Tony Mendez (Ben Affleck) enlists a veteran Hollywood make-up expert and producer (John Goodman and Alan Arkin, each giving disciplined comic performances) to create a sham sci-fi movie epic in the hopes of finding a way out of the country. Affleck directs with formidable precision and documentary-style immediacy, intercutting between turf battles

The 39thTellurideFilm FestivalBy Cara Lyon

For the past 39 years, cinephiles have been packing their bags and heading to the scenic mountain village of

Telluride, Colorado for Labor Day weekend

to get a first look at this Fall’s lineup. The

festival starts with a kick-off BBQ on Main

Street and ends on Labor Day with a picnic

in the park, complete with ice cream sundaes.

Other than that, this festival is all about film.

Forget the red carpets and after parties

that you find at Toronto, which began just

one week after Telluride this year. To ensure a

low key environment the festival is primarily

funded through donors rather than corporate

sponsors which have a habit of ruining the

‘vibe.’ They also keep the lineup of both new

and classic films a secret until the day the

festival begins to avoid paparazzi and celebrity

chasers from making the trip, which makes

Telluride a favorite for A-listers. It is not

uncommon to see Jennifer Garner walking

down the street pushing a double stroller with

husband Ben Affleck alongside, who was in

town for the world premiere of his new film

Argo, or Bill Murray standing on the sidewalk

just taking in the view. I’m sure it also helps

that the tiny mountain town is not necessarily

easy to get to. Ariel Vromen, director of The

Iceman, mentioned that it took him 24 hours

of travel and 4 flights- Venice to Frankfurt

to Chicago to Denver to Montrose- to get

there from the Venice Film Festival where his

film had its world premiere just days earlier.

Another one of Telluride’s unique perks

is that they leave the majority of the last

day open for TBAs and wait to schedule

these shows until the end of the festival.

They fill these spots with the festival’s

most in demand and buzzed about films

to give festival goers one last chance to see

anything they might have missed. As an

extra bonus, as part of next year’s 40th

anniversary celebration, the festival will be

adding a 5th full day of films to the program.

Here are some of the highlights from

this year’s festival that will be coming

to CinéArts theatres this Fall/Winter:


between the CIA and Washington diplomats, the chaotic street violence during Iran’s revolution and the black comedy of spies pretending to be Hollywood types. This is thrilling, nail-biting entertainment. (U.S., 2012, 120 m)

The Sapphires

Director: Wayne Blair

Cast: Chris O’Dowd, Deborah Mailman and Jessica Mauboy

In a remote Australian village in 1968, where white racism rules, an Aboriginal country-western singing group struggles to make it in the music business. Their fortunes change when they meet the drunken pianist Dave (Chris O’Dowd, Kristin Wiig’s love interest in Bridesmaids) who recognizes their talent and adds soul music to their repertoire. Soon, the precocious singer Julie (real-life music star Jessica Mauboy), boy-crazy Cynthia (Miranda Tapsell), the tough and tart-tongued leader Gail (Deborah Mailman), along with a cousin who wishes she were white, score a gig: entertaining American troops in Vietnam. Wayne Blair, directing from Tony Riggs’s and Keith Thompson’s screenplay, tells a rousing tale that’s based on Riggs’s true-life family. Gail and Dave’s charming, surprising romance is convincingly slow-burning, and the musical numbers—Motown classics sprinkled with Aboriginal folk songs—are performed against the chaotic and bloody background of war. It’s smashing entertainment. –LG (Australia, 2012, 98m)

Hyde Park on Hudson

Director: Roger Michell

Cast: Bill Murray, Laura Linney and Olivia Williams

In 1939, Franklin Delano Roosevelt and his family invite the timid new King of England to visit. Though desperate to convert the U.S. into an ally in the struggle against the Nazis,

nothing could prepare the Royals for a trip to rural America, nor the harem of FDR’s caretakers and lovers jockeying for power and influence. Bill Murray gives a subtle and credible performance—one of his career bests—as the persuader and seducer-in-chief who is also the sly Machiavellian stage manager of his public image. Director Roger Michell and screenwriter Richard Nelson weave together a gentle comedy of manners with an inside glimpse of how political goals get achieved. Telluride favorite Laura Linney is compelling and poignant as Margaret Suckley, FDR’s shy young cousin, invited to help steer the visitors. The superb supporting cast includes Samuel West as George VI, Olivia Colman as Queen Elizabeth and Olivia Williams as Eleanor Roosevelt. –LG (U.S., 2012, 95m)

No

Director: Pablo Larraín

Cast: Gael García Bernal, Alfredo Castro and Antonia Zegers

In 1988, Chilean voters prepare to head to the polls to vote on the future of the brutal dictator Augusto Pinochet. René Saavedra (the charismatic Gael García Bernal), a guileless, opportunistic and successful ad exec, is approached to mastermind a media campaign. The goal: defeat Pinochet. His strategy? Rouse voters from their apathy and fear with the same glitzy, pop-driven style he uses to sell cola. But René’s fluffy,

jingle-filled spots enrage both the left and

the right, endangering him and his loved

ones. Following his acclaimed Post Mortem

and Tony Manero and working from a script

by Pedro Peirano, Pablo Larraín continues

exploring the moral and spiritual costs of

Pinochet’s rule with this prizewinner at

Cannes. No paints a vivid, funny depiction

of true-life heroism, showing how crisis can

elevate even the most unexpected of us to be

our best selves. –LG (Chile, 2012, 117m)

A Royal Affair

Director: Nikolaj Arcel

Cast: Mads Mikkelsen, Mikkel Boe Følsgaard

and Alicia Vikander

The most scandalous chapter in Denmark’s

history also provides romantic tragedy

worthy of Ibsen or Tolstoy. Around 1770,

as King Christian VII struggles with mental

illness, Johann Struensee, his trusted

physician, begins an adulterous love affair

with Queen Caroline Mathilde. A political

reformer dedicated to Enlightenment ideals,

Struensee soon consolidates power, creating

laws intended to seed a new society. Instead,

sexual intrigue, political uprisings and the

birth of an illegitimate princess dominate

his reign. Writer-director Nikolaj Arcel and

cowriter Rasmus Heisterberg (working from

Bodil Steensen-Leth’s novel) spin a hugely

entertaining tale of lust, ego, vanity, power

and liberation unfolding in Copenhagen’s

royal corridors. Mads Mikkelsen (Casino

Royale, Flame and Citron), who effortlessly

conveys Struensee’s charisma and

intelligence, is matched by Alicia Vikander

as the recklessly passionate Caroline. But

Mikkel Boe Følsgaard, as the tortured manic-

depressive King Christian VII, nearly steals

the film. He is first saved, and then betrayed.

–LG (Denmark, 2012, 137m)


with the actors through rehearsal and with the production through prep work. “I was scared when I made my first film.

“But with Bruges I made sure to have three weeks of rehearsal and I sat in the room with Colin Ferrell and Brendan Gleeson, and then I realized that I knew, just from that time with the actors, that I was ready to jump in there. And it wasn’t as terrifying as I thought it would be. If you do enough prep work on the visual side, and you work with a good director of photography, then if you care enough about the actors and their process, which I always do, then that’s kind of all you need. You have to have both of those things going in conjunction.”

This kind of advance preparation yielded great results in Seven Psychopaths. McDonagh is quick to compliment the actors as much as anything he might have done and how they all worked together. “It’s all about the rehearsals. We had about two weeks on this one, but it was sitting down across a table and

reading the script, talking about character and plot, and just making sure that everyone knew where they were all at.

“There’s so little time on a film set to go through all of that stuff so its good to have everyone flesh it out beforehand to make sure they know their place in the story, and get an idea of where they want to take the characters, and see if their ideas fit in with mine. And they always do when you’re working with good actors.

“Obviously I’ve worked with Colin, and I’ve done a play with Christopher [Walken] and Sam [Rockwell]. I knew Woody [Harrelson] from years before, strangely enough, so it was almost like working with family.

“Colin is very open and sensitive as an actor. He’s happy to show his sensitivity and vulnerability as an actor. And he’s got an awful lot of integrity too. Plus he’s funny; that was one of the prime reasons for casting him in both films. Sam is a joy to be around.

He’s really inventive and can play crazy really well.”

McDonagh also heaps plenty of praise on Christopher Walken, who almost works against type by playing what amounts to the “sanest” of the

seven psychopaths. “Christopher is like a god to me.

“He’s a cinematic icon, but he’s got his strange, beautiful idiosyncrasies too which were perfect for Seven Psychopaths. He almost plays it straight in this movie. His reactions should be more dangerous and more psychopathic, but it almost makes him scarier when he reacts in a non-violent, more peculiar way.”

His final piece of magic was in the casting of Tom Waits. “I’ve loved his music since I was about 10, and

he too is like a god to me. He’s one of the greatest poets of American music. His lyrics are still amazing.

“We almost did a play together about 4 years ago so that’s how I became acquainted with him. I never dreamed he’d be in this movie, but I thought ‘why not?’ So I sent him an email describing Seven Psychopaths and asked him if he wanted to do it. Then I

got an email back the next day saying if there are rabbits and he gets to hold a gun then he’s in! And he looked so comfortable and really loved the rabbit, too.”

So while Seven Psychopaths comes around when McDonagh is riding high on a crest of theatrical and film successes, he’s taking his time before coming up with this next project.

“I’ve got another film script that’s set in America and that’ll probably be the next thing I direct, but I’ll probably not do that for a few years. I’m going to take a bit of a break and travel around and see some of the world. It’s set in Missouri and has a very strong female lead. So I’ll get to that in three-to-four years, but in the meantime I’ll just travel and write.”

And like his previous travels to America that led to informing the heart and soul of Seven Psychopaths, this upcoming sabbatical will probably lead him down a few roads to more stories and more films.

“Just getting around people and hearing different perspectives and that kind of stuff is invaluable as a writer. The idea for In Bruges came from a weekend trip there. I realized how cinematic a place it is, yet people have never really heard of it. My travels to America definitely influenced the setting for Seven Psychopaths. So maybe there are a couple of towns out there waiting for just such a treatment!”

Seven Psychopaths opens in CinéArts Theatres in October 2012.

Martin McDonagh continued from pg 10

Join the Dallas Film Society and enjoy year-round invitations to movie screen-ings, insider information and unique access to the annual Dallas International Film Festival. Membership in the Dallas Film Society - it's your magic ticket!

For more information on the Dallas Film Society and year-round benefits,visit DallasFilm.org.

Another Happy CinéArts Contest Winner

Congratulations again to Marie on her trip to Ireland!

You Could Be Next!


The genesis of the Cinemark Classic Film Series began on a hot Manhattan Saturday morning

last fall. We, the royal we, were at the New

York Film Festival. Nothing, whatsoever,

was scheduled to play that morning expect,

believe it or not, Ben-Hur, a Tale of the Christ,

from the 1950’s. Charlton Heston! Yikes! We

swallowed hard and went in for a 3 hour plus

investment. We approached the ticket taker

with out ticket and with clenched teeth “I will

give up my ticket when you take if form my

cold dead hand.” The ticket taker snatched

the ticket from my grasp and smiled thinly.

“I am getting a lot of that this morning.”

“Really?” “You are the third so far.” “ Really?”

Faster than you can say “Ann Coulter’s Adams

apple,” I am ushered into a packed house at the

Lincoln Center. Ben-Hur had been digitally

remastered and was breathtaking; knock your

socks off, impressive. It was a super memorable

experience. The chariot race, itself, was one of

the greatest action sequences ever recorded.

No CGI. Real stunts. Real stuff. Riveting.

The following week, back at the

Dallas office, we met with our supervisor

and pitched the idea of a classic film series,

beginning with of course, Ben-Hur, in 100-

150 theatres. The rest is history. At present,

Cinemark presents a classic movie nationwide

every week. So far, our popular performers

include Ben-Hur, The Godfather and The

Godfather: Part II, Jaws, North by Northwest,

A Clockwork Orange, and Doctor Zhivago.

Coming up this Fall and Christmas we have

Rocky, Some Like it Hot, Raging Bull, 2001:

A Space Odyssey, A Streetcar Named Desire,

Butch Cassidy, Miracle on 34th Street, Saturday

Night Fever, Apocalypse Now, Grease, Vertigo,

Dr. Strangelove, and From Here to Eternity.

We welcome your suggestions for further

presentations.

Indestructo Man Presents theCinemark Classic Film Series

Have any classic film suggestions? Bark back at me: [email protected]

“I just went to see Doctor Zhivago on the big screen at Century 20, and it was amazing. They showed it in their best theater, which has ‘Extreme Digital Cinema’ (which probably didn’t make a difference to this film) and fantastic sound and very nice chairs.

“They did not show trailers but instead played the introduction music, which sounded like it was being played by an orchestra in the theater because of the great sound system. They honored the intermission, too.

“I assume the print was a restoration because it looked as clean as if we were the first audience to see it. Even though we have both seen this movie multiple times, it was quite an experience to see the vast Russian steppes and the wide train shots upon the big screen. Kudos to Cinemark for running this classics series.” - J. Davis, Cinemark Customer

Move to MoveNederlands Dans Theater Sept 23 & 25

La Sylphide Bolshoi Ballet OCt 7 & 9

L'Altra Metà del CieloTeatro alla Scala OCt 21 & 23

Swan LakeRoyal Ballet NOV 4 & 6

An Evening With Kylián / Inger / Walerski Nederlands Dans Theater NOV 25 & 27

The Pharaoh's DaughterBolshoi Ballet DeC 2 & 4

The Nutcracker Royal Ballet DeC 23

Online tickets: cinemark.com | Additional information: www.balletincinema.com

© J

OH

AN

PE

RS

SO

N

CiNEmARk & EmERgiNg PiCtuRES

PRESENt

5 DAYS • 99 FILMS • 11 SPECTACULAR LOCATIONS

NOV 7–11, 2012

NAPAVALLEYFILMFEST.ORGFILM FOOD WINE

While traveling the adjacent freeway at night in Boca Raton, Florida, arriving

patrons could easily be forgiven for thinking that the lit up Cinemark Palace 20 was as pretty as a major motion picture.

Guests of Cinemark Palace 20 will be treated royally when visiting this 140,000 square foot megaplex, built with a nod to famed Boca architect Addison Mizner’s faux-Mediterranean style, and a wink to the ornate studio owned movie theatres from the golden age of Hollywood.

Upon arrival visitors need not concern themselves with choosing a spot from the more than ample parking provided. Instead they can simply glide under the port-cochere, admiring the magnificent chandelier style lamp above as they depart and the valet takes care of the rest.

Cinephiles will have found a welcome home at the Cinemark Palace 20 box office. The twenty all-digital, all-stadium seating auditoriums, ten with 3D capability, are just the right amount to exhibit a cornucopia of mixed visual delights, exhibiting wide

commercial releases along with more limited foreign and independent movies as well as select NCM Fathom Events.

Tickets-in-hand moviegoers cross the grand atrium and are met with 100 feet of pop, bubble and sizzle deliciousness to gobble, sip and munch at the Cinemark Palace 20 concession stand.

Date night is no problem at Cinemark Palace 20 as patrons can take advantage of the onsite, professionally supervised children’s playroom for children aged 3-10.

For those kings and queens, prince and princesses who really require the red carpet treatment a visit to the Premier Level of Cinemark Palace 20 is the only way to see a movie.

Entering the theatre through the separate VIP box office, guests 21-and-over can wonder at those opulent studio owned theatres of yesteryear by gazing upon the elegantly framed photos adorning the walls as they travel the escalator to the top floor of Cinemark Palace 20. This is where the fun begins as Cinemark Palace 20 Premier Level moviegoers can also chose to become

restaurant goers at the classy Bogart’s Bar & Grille, an upscale offering from local restaurateur Burt Rappoport that serves up made-to-order succulent selections of popular American fare. Visitors are welcome to take a seat and eat in the restaurant or enjoy cocktails at the bar or even bring their food and drink into the movie. Guests often chose to later capitalize on their event and table tennis facilities as well.

Benefiting from complimentary valet and popcorn, relaxed Premier Level guests are led to their plush leather, oversized, reserved ‘love seats’ in one of the six Premier balcony auditoriums. The magic of cinema awaits and there is not a more comfortable or luxurious way to experience it.

A visit to Cinemark Palace 20 is already a very memorable experience yet there is still more to come. Before this year is over Cinemark Palace 20 will be showing The Metropolitan Opera in its Premier Level auditoriums, as well opening an XD auditorium with a wall-to-wall screen and an immersive, custom built JBL digital surround sound system. At Cinemark Palace 20 it is always show time. See you at the movies!

Theatre Spotlight:Cinemark Palace 20

CinéArts Film Guide | FAll 2012 | 29

Cinearts Film Guide - Fall 2012

Documents

Transcript of Cinearts Film Guide - Fall 2012