Tag Archives: Kirsten Dunst

Interview with the Vampire

It’s that time of year again: Sean and I have fled cold, snowy Ottawa to celebrate his birthday in warmer or at least more exotic climes. Last year we were in Hawaii but this year we’ve set our sights on New Orleans, so you can count on the next several reviews carrying on in that theme.

Interview with the Vampire: The Vampire Chronicles came out in 1994, which means it may be older than some of you. Based on the best selling novel by Anne Rice, herself a New Orleans native.

So the premise is this: a reporter (Christian Slater) is interviewing a 200 year old vampire, Louis (Brad Pitt). He was formerly a plantation owner who lost his wife in childbirth, which threw him into a depression. This is when he met a vampire named Lestat (Tom Cruise), who turned him and taught him vampire ways.

Tom Cruise was not supposed to have been cast; when Rice wrote it in 1976, she had  Rutger Hauer in mind. The book was optioned a few years later with John Travolta attached but a glut of other vampire movies (Dracula, Nosferatu the Vampyre, and Love at First Bite, all in 1979) put the project on pause. When the wheels started turning again, Travolta was deemed too old. Rice met with Tom Hanks instead, but interview-with-the-vampire-kirsten-dunst-brad-pitt-hughe turned it down for Forrest Gump. Daniel Day-Lewis was cast but then dropped out just weeks before filming. Then it was offered to Johnny Depp, who turned it down. And finally it went to Tom Cruise, which made Anne Rice livid, certain he could not handle the part. Of Cruise’s casting, she said “it’s so bizarre; it’s almost impossible to imagine how it’s going to work” and “the worst crime in the name of casting since The Bonfire of the Vanities.” Rice recused herself from the production but when she eventually forced herself to watch it, she was so impressed by Cruise’s performance that she wrote him a letter of apology.

Jeremy Irons had also turned down the part because he didn’t want to spend hours in the makeup chair again, and he wasn’t wrong. The vampire makeup took hours to do, in part because the actors were required to hang upside down for up to 30 minutes at a time, allowing the blood to rush into their faces, making veins bulge out. The makeup artists would then trace the veins to create the vampire’s look. But then the blood would disperse and the process would have to be repeated several times. To keep the vampire look secret, Tom Cruise ordered the set to be completely private, necessitating tunnels to be built to shuttle the stars to and from the set.

Makeup is not the only reason Brad Pitt was completely miserable on the set and tried his darndest to get out of the contract. He also hated his costumes and coloured contacts, but most of all he hated playing second fiddle to Tom Cruise – ahem – both on and off the set.

Christina Ricci, Julia Stiles, Evan Rachel Wood, and Natalie Portman all tried out for the part of Claudia but it was a young Kirsten Dunst who won the role. She had her first on-screen kiss in the film – her 12 year old self to Brad Pitt’s 30 years. She wasn’t even allowed to watch the film when it came out; it was R-rated, and her parents thought her too young.

Speaking of age discrepancies, there was also a height discrepancy, and it forced Tom Cruise to act atop crates to try to appear level with the other vampires. Cruise has said that he watched videos of lions eating zebras to prepare for the role. In unrelated news: Tom Cruise is a strange man.

Christian Slater took over the role of Malloy upon the death of River Phoenix. In his honour, Slater donated his salary to two of Phoenix’s favourite charities. The film has a dedication to him at the end of the credits.

Rice was originally worried that the movie would never get made because the novel contained allusions to a possible sexual relationship between Lestat and Louis. Not only was she prepared to write this out of the script completely, for a while she even turned the part of Louis into a woman, and had Cher in mind to play her. Ultimately the two roles remained male, and Cruise and Pitt earned a Razzie for worst screen couple. Conversely, the movie was also nominated for two Oscars, but lost those – Best Art/Set Direction went to The Madness of King George, and Best Original Score went to The Lion King. Cher had actually written a song for the movie, called Lovers Forever, but because of that dicey word Lovers, it was rejected – but eventually appeared on an album of hers in 2013!

The film supposedly inspired a real life crime shortly after the film’s release. On November 17, 1994, Daniel Sterling and his girlfriend Lisa Stellwagen watched the film together. The next day, Sterling stabbed Stellwagen seven times in her chest and back and sucked the blood from her wounds. Stellwagen survived the multiple stab wounds and Sterling was arrested. He claimed the film influenced his plan but the jury convicted him of attempted first-degree murder, among several other charges.

Lots of the 1700s vampire stuff was filmed in and around New Orleans. River scenes were fudged by removing modern items like the Greater New Orleans Bridge and surrounding radio towers in post-production. The Old Coliseum Theatre was used for on-location shooting but sadly burned down in 2006 so Sean and I won’t be able to visit. The city and the businesses were quite cooperative to the film crew – they agreed to turn out their lights for the duration of the filming to preserve the illusion of the film’s time period.

You may recall that the film ends up in San Francisco, where Malloy drives across the Golden Gate Bridge. Sean and I are not visiting that esteemed city this trip but we have before, and reviewed the movies to prove it. The crew received permission to shut down 2 lanes of traffic on that bridge, which is reportedly very hard to get.

 

Have you ever been to New Orleans? What are your favourite spots? Any favourite movies set in the city? Predictions as to what I’ll review next? Be sure to check our Twitter feed for updates from the city – @assholemovies

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Woodshock

In the wake of her mother’s death, Theresa’s grief manifests itself in complicated ways. Her fragile emotional state is pushed off a cliff thanks to some powerful drugs she can’t help but mess with. The result? A film that is haunting, surreal, and hypnotic.

Brought to you by first time directors Kate and Laura Mulleavy, whose names  you may be more familiar with as the sisters behind the clothing and fashion accessories _DSC8956R3label, Rodarte. They’re not the only designers to make the leap to film: Tom Ford made the jump rather successfully not to mention stylishly with A Single Man, and Nocturnal Animals. As for the Mulleavy effort, I’m less convinced. In parts it is absolutely stunning to look at, and they certainly have an eye for what lingerie will best highlight the nipples of the film’s star, Kirsten Dunst. But it’s not quite enough, and perhaps not enough by a long shot.

I will give them this: they create a dreamy, half-conscious state where we’re not entirely sure what’s ‘real’ and what isn’t. The mood is heavy and stays that way. Woodshock is visually assured but that’s the only assurance you’ll get. Everything else is a negotiation game you’ll have to play with yourself, because neither the film nor the filmmakers (some of whom were in attendance at its New Hampshire Film Festival screening) are providing answers or even clues.

The story is as gauzy and ethereal as Rodarte’s 2018 spring collection. Woodshock is high on visual impact but the plot, which probably is a misnomer here, is more like aKIM_0049 series of impressions – you get whiffs of what might be going on, and if you’re nose is good and you’re super motivated, you might even convince yourself the story has bones. But if you’re the kind of movie-goer who likes things like Neon Demon where themes are explored and drama runs high if not in any specific direction, you might count yourself a fan of Woodshock. Crazier things have happened.

Hidden Figures

America, 1960s: the country is still very much divided by colour. Martin Luther King Jr is marching, JFK appears to be listening, but black people are still drinking for different fountains, still sitting at the back of the bus. Meanwhile, at NASA, about 2 dozen black women are working their fingers to the bone (actually, working their brains dry – they’re not labourers, they’re computers in the time before computers were machines). Does hf-gallery-04-gallery-imageNASA pay them equally? Not by a long shot. Treat them fairly? Not so much. Promote them? Never. But hire them they must because there’s a space race on with the Russians, and they can’t afford not to hire the best and the brightest no matter the skin colour encasing the brains.

These women, buried deep in the basement of a building far away from the main action, are fighting prejudice on two levels: race and gender. Hidden Figures follows 3 of them, real-life women who helped launch John Glen into space. Dorothy Vaughan (Spencer) does the work of a supervisor without the title or the pay. Not only does she get shit done, she intuits that the future of her computing department is changing and she takes it upon herself to learn the language of the future  – and International Business Machine is being installed painstakingly at NASA, and she’ll be the one to learn its code, and teach it to others. Mary Jackson (Monae) has an engineer’s talent and mind but she can’t get her credentials to match because the only education opportunity is at an all-white school. Katherine Johnson (Henson) is a single mother as well as a mathematical genius. When NASA discovers her talent she works overtime to help invent the new math necessary for John Glen’s orbit while still drinking out of the “colored” coffee pot.

Hidden Figures is conventional story-telling all the way, relating the story of ground-breaking women in the least ground-breaking way possible. But it’s crowd-pleasing: it thumbnail_24795had the audience applauding. These women are so inspirational that it would be hard to mess up the story, and Hidden Figures manages not to stand in its own way. At the Toronto International Film Festival this fall, Pharrell Williams, who collaborated on the score with Hans Zimmer, gave a concert of all the original music he’d worked on for the film. I worried that he might overshadow the film, but in fact his music fits right in very comfortably, establishing the time period in a pop-heavy way.

The cast is stacked with heavy-hitters. Octavia Spencer is nominated for a Golden Globe for her role, and she’s as good as we know she can be. But I was impressed with Taraji P. Henson, who plays a vamp and a bit of a diva with the press, and an outspoken, strong contender on Empire, but in Hidden Figures managed to play bookish and humble with a shy strength and subversive self-confidence.

Hidden Figures is a feel-good tribute; a story that was meant to be told. The script is a charmer, and surprisingly humourous, and the three leads infuse it with power. Sure it’s a bit run-of-the-mill, but it’s also a positive way to start the new year, and a movie you won’t be able to resist.

Dick

I wonder why I’m so attracted to satirical political movies lately? I’m in some kind of mood I guess.

Two ditzy, boy-crazy blonde teen girls (Michelle Williams and Kirsten Dunst) are on a field trip to the White House in 1972 when they wander away only stumble upon the President himself, Richard Nixon! This film is a parody, a not-true imagining of who and what brought down Nixon with the Watergate scandal. What if Deep Throat is actually two fifteen year old girls?

MSDDICK EC003In light of recent events, I suppose a film like Dick actually harkens back to simpler times, and I don’t just mean a time when Dunst would get top billing over Oscar-nominated  Williams. It was a time when teenaged girls had the luxury of not thinking about the president very much.

With a cast including Harry Shearer, Dave Foley, Dan Hedaya, Will Ferrell, and Bruce McCulloch, it’s a great big serving of farce, an alternate version of history, and maybe one we could live with. I can’t help but wonder how people will rewrite the new administration, and if Trump’s legacy will eclipse Nixon’s as Biggest Joke Ever. The thing is, it seems to take at least a generation before we can find these things funny. At the time, Nixon was the guy swimming in corruption, sending your brother off to die in Vietnam. The reality of Trump as president may be even worse than that. It seems to already be inspiring some extremely  gross acts of hatred.

In order to buy the girls’ silence, Nixon appoints Arlene and Betsey dickpromo02sthe official White House dog walkers. Meanwhile, Trump’s shoe-horning his kids into his cabinet is an even scarier prospect. Since when can a 70 year old man not do business with being able to ask  his kids for advice? I guess that’s what you get for electing a dude with no experience. His kids are probably the least scary amid the many “contestants” he’s considering for staffing the White House.

As Nixon’s “secret youth advisors”, Arlene and Betsey have the president’s ear, and manage to influence a lot of his policies. Which has more positive outcomes for America than, say, Putin’s input will, or the KKK’s. And eventually it’s these sweet, optimistic young women who reveal the truth, which is a stirring reminder that the youth can indeed make a difference (whether or not they accidentally witness majorly classified evidence of wrongdoing).

Actually, I read an article recently that really broke my heart. It was about the fracture between young women and their fathers. The fathers, middle-aged white men, are the demographic who voted Trump in. Their daughters, however, not only abhor him, but will suffer the consequences of his actions for years to come. It feels like a betrayal to learn that their fathers so devalue their worth, their health, their bodies, and their prospects. That the men who raised them can also vote for a racist, a bigot, and a misogynist, a candidate who violates almost every lesson we teach our children from the youngest age. If you want to give it a read, you can find it here. And if you want to give yourself some hope that this too shall pass, watch Dick, a movie that re-writes a painful political past.