Into The Wild Tagged Articles at Cinematical

While Terrance Zdunich has worked behind the scene on everything from "The Starship Troopers Chronicles" to Into The Wild, he really became a phenomenon unto himself in the last two years, when his collaboration with director Darren Lynn Bousman, Repo: The Genetic Opera, made its slow but inevitable move to the silver screen. Not merely helping conceive and design the film but functioning as one of its primary performers – playing the mysterious, ubiquitous Graverobber – Zdunich proved himself a versatile artist whose canvas lies in more than one medium.

Since the release of Repo last year, Zdunich hasn't slowed down, even though the trek from its original stage show – which we put on as a one-man performance – to a feature film was arduous to say the very least. But with the army of Repo followers growing by the day, Zdunich recognized the value – if not the importance – of continuing to create new properties and opportunities for fans to experience his uniquely creative world view. As such, he has created The Molting, a 12-part series that is every bit as odd and intriguing as its predecessor. The first installment, "Guilty Susie," is available now, and it sets the stage for an epic saga about a dysfunctional American family whose lineage traverses and interconnects with the entirety of human history. (Or at least that's what it says on the book's website, anyway.)

In the last few years, Emile Hirsch has become a go-to resource for directors of all sorts of films: After starring in Sean Penn's Into the Wild, Hirsch took on the reins of Speed Racer, a massive, effects-driven action film from The Matrix's Wachowski brothers, and then collaborated on screen with Penn again, in a supporting but essential role in Gus Van Sant's Milk. In his latest project, Ang Lee's Taking Woodstock, Hirsch tackles yet another period character, this time playing a young Vietnam veteran who regains a little bit of his humanity when the iconic music festival descends on his hometown.

Cinematical recently spoke to Hirsch in an exclusive telephone interview about his role in Taking Woodstock. In addition to discussing the challenges of bringing a character to life whose behavior, if not very identity, has become as familiar to audiences as the imagery of Woodstock itself, Hirsch revealed some of the sources of inspiration he took for his portrayal, and talked about the futility of coming up with a strategy for one's acting career.

Cinematical: The character you played in Into the Wild had his own tragic past, but the way that he dealt with it was with a greater degree of serenity. Did you see any parallels or similarities when you took on this role in Taking Woodstock?

Note release dates, which are spaced from today through next Sunday.

Burn After Reading (12/21)
The Coen Brothers shine a bright light on Washington spy silliness, and then, by extension, all of the silly extremes we indulge in, producing a very funny comic fable that should reward multiple viewings. With George Clooney and Brad Pitt. Available on DVD and Blu-ray. Buy it.

The House Bunny (12/19)
Anna Farris' comic brilliance transcends the shopworn material. As Erik Davis suggested, "enjoy the movie for what it is: A simple, seductive slice of late-summer sunshine." Available on DVD and Blu-ray. Rent it.

Mamma Mia! The Movie (12/16)
I think you'd do better to spend your money on another album by Abba; this musical has bewildering choreography and a wandering camera that doesn't know where it should be. Still, Meryl Streep has a lot of fun with it, and her presence covers a multitude of sins. Available on DVD and Blu-ray. Rent it.

The Mummy: Tomb of the Dragon Emperor (12/16)
Big budget, big battle scenes, and big nothing when all is said and done. A huge waste of talent and time that fails to entertain on the most basic of levels. (But I still like Maria Bello!) Available on DVD (wide screen and full screen) and Blu-ray. Skip it.

Death Race (12/21)
Jason Statham I can understand, but how did Joan Allen keep a straight face? A monstrous disappointment for action fans, with its hyped-up CGI'd incomprehensible racing scenes. Available on DVD and Blu-ray "unrated," though you'd do better to leave it "unwatched." Skip it.

Also out: Dr. Horrible's Sing-Along Blog (Amazon.com Exclusive) (12/19), The Women (2008) (12/19), Traitor (12/19), We Are Wizards (Amazon VOD).

The conventional wisdom regarding Sean Penn's justly acclaimed rendering of Into the Wild is that the film is "faithful" to the Jon Krakauer book. This is utterly cracked, and the misconception is illustrative of my staunch "books are not movies" philosophy. Not only is Into the Wild not "faithful" to the book, but it couldn't possibly have been faithful and remain a narrative film. Sure, it dutifully replicates what Krakauer was able to discover about Chris McCandless' adventure – most of the supporting characters, destinations and events are here, and some lines of dialogue are lifted from Krakauer's account. If that's all it takes for a movie to be "faithful," then I guess it's faithful. But that ignores the fact that the book and the film were trying to accomplish fundamentally different things, and went about it in fundamentally different ways.

Krakauer's book – which, by the way, is a national treasure – is first journalistic, and then philosophical. The author did painstaking research to piece together the details of McCandless' journey and death from interviews, personal observations, and Chris's own writings. What emerged probably wasn't what Krakauer, who obviously sympathizes and identifies with his hero, would have preferred: the picture of McCandless his sources paint is that of a young man who is bright and curious, but also inconsiderate, arrogant, and often downright unpleasant. (The letter he wrote to "Ron Franz," Hal Holbrook's character in the film, haranguing the octogenarian to sell his possessions and go on the road, is painful to read.)

I'm sorry I never had the chance to see Into the Wild when it was originally released in theaters, because it probably would've been a nice experience to watch up on the big screen. Needless to say, it's still one of the best films from 2007, and one that was kind of overlooked once flicks like No Country for Old Men, There Will Be Blood and Juno hit the streets. Into the Wild isn't the kind of film you watch for set pieces, story points or character arcs -- it's an "experience" film; whether or not we like Christopher McCandless (Emile Hirsch) as a person or believe in whatever it is he's trying to achieve, we're stuck with him -- forced to join him on this journey across the country.

And we feel for him; we feel for his friends, we feel for his family -- but we can't help but get sucked up in the beauty of life, of nature. I don't fully agree with James' review of this film when it premiered at the Toronto Film Festival last year, though I completely understand how McCandless, as a character and a person, might not be the most likable guy. He makes choices we don't understand, and while he may appear as if he's out to intentionally hurt the ones he loves -- all he's really hurting is himself. But McCandless never saw it that way. This is what he wanted. This is the road he chose to walk down. Based on the best-selling book by Jon Krakauer, and directed by Sean Penn, this is a story that's magnificent and heartbreaking all at once. Yet that's exactly the way McCandless lived his life, and I imagine it's the way he'll always be remembered.

The big indie DVD release this week is Sean Penn's cinematic version of the true-life adventure story Into the Wild, starring Emile Hirsch and Hal Holbrook. But there are several other intriguing new titles that you might have missed during their theatrical engagements, starting with Susanne Bier's Things We Lost in the Fire. By our usual definitions, it's not really an "indie," since it was released by a big Hollywood studio (Paramount Pictures), but I think Bier's distinctive directorial vision is the very definition of "independent." It's certainly not an easy film to watch or to like, yet the performance by Benicio del Toro is a knock out and I think a rental is justified. The DVD includes deleted scenes and a discussion about the film.

When he saw My Kid Could Paint That at Sundance, Scott Weinberg wrote: "I love a documentary that doles out both sides of an interesting story and then forces you to decide for yourself where the truth actually lies." Directed by Amir Bar-Lev, the documentary tells the story of a four-year-old girl who may -- or may not -- be an immensely talented artist. Sony Pictures Classics' DVD includes an audio commentary and two behind-the-scenes features.

An intimate drama that divided festival audiences, Chilean filmmaker Matías Bize's En La Cama (In Bed) sets all the action in a single motel room as a man and a woman alternately have passionate sex and engage in spirited debates. This sounds like a couples film -- as long as the couple is comfortable watching softcore porn together. Koch Lorber's DVD includes deleted scenes, a bonus interview, rehearsals, TV spots, and a short film by the director.

Oscar night is over, and everyone is basking in the glow of the winners. Or, excuse me, the "recipients" of the Oscars. Not too many years back, the politically-correct police changed the language from "and the winner is" to "and the Oscar goes to" because that made the losers sound less like losers. It's a joke now when someone says, "It's an honor just to be nominated," but I believe that's true. I think it would be unbelievably cool to be nominated, even if you were in the Best Documentary Short category and the bouncers tried to keep you from entering the theater. This week's column is dedicated to the losers that were honored just to be nominated.

My favorite film of the year, The Assassination of Jesse James by the Coward Robert Ford, which is gone from theaters and available on DVD, received two nominations and lost both, which I expected. But this is a film that, like Anthony Mann's The Naked Spur and many other Westerns, will grow in stature despite its lack of Oscars. The year's other big Western, 3:10 to Yuma, also lost its twin nominations, but will probably endure as long as there remains a small, dedicated audience for Western adventures. On the other hand, I find that very few films in the "disease of the week" genre have much life after the Oscars. But The Diving Bell and the Butterfly (161 screens) will be different, for two reasons: 1) it was actually really, very good, and 2) it didn't win anything.

If you still haven't seen all the Oscar-nominated films, you're not alone. I still haven't seen a number of them, and I have less excuse than most people. After all, I live in a city in which pretty much every nominee has played. Some major contenders I haven't gotten around to -- with little reason for not -- include Atonement, Sweeney Todd: The Demon Barber of Fleet Street and Into the Wild, all of which are still in theaters and are probably best to see on the big screen.

Apparently, at least according to Variety, a lot of people are seeing the Oscar nominees on the big screen compared to in previous (recent) years, as cumulatively the five Best Picture contenders have seen a significant bump at the box office since the nominations were announced. I would be extremely excited if I didn't believe the truth is that Juno's tremendous success has elevated the Best Picture box office average. The comedy is showing on far more screens, is much more accessible to a wide audience and has so far earned twice as much money domestically as the next highest-grossing Best Picture nominee. Variety also this week had published a story about how Juno is the one movie that may save the Oscar telecast's ratings, since it's the one movie people have actually been able to or bothered to see. One thing I will note, though, is that Best Picture nominee Michael Clayton came out on DVD this past Tuesday and yet there was still a significant number of people seeing it in theaters through the week. Additionally, I would be interested to know how many people took advantage of yesterday's AMC Theatres-hosted Best Picture marathon.

As my wife said, it's just not the Oscars if there's nothing to complain about. However, I was impressed that two of the year's toughest films, Paul Thomas Anderson's There Will Be Blood (389 screens) and Joel and Ethan Coen's No Country for Old Men took the most nominations. Typically, the Academy is attracted to much less challenging and easy-to-categorize films (like Atonement). Both films are fairly bleak in their vision, but I suspect There Will Be Blood will sneak out ahead for two reasons: it's an epic, and epics almost always win. And, to quote a character from Sunset Boulevard, it "says a little something" about the current sociopolitical climate.

One of the biggest controversies cropped up over the foreign film category, which came up with five nominations that no one has ever heard of. (The Counterfeiters opens sometime next month and Mongol opens in June.) Not to mention that they ignored top contenders like 4 Months, 3 Weeks and 2 Days (opening this week) and Persepolis (30 screens). Thankfully the outrage has begun discussions on changing the stupid, ancient rules for the category. Currently these rules require each country to submit one film, and multi-national films, such as The Diving Bell and the Butterfly (107 screens), to be disqualified. A small group of "specialists," rather than the Academy as a whole, votes on the small list of films. The documentary category was less obscure, and although I saw 19 documentaries in 2007, I only managed to see two of the five nominees, No End in Sight and Sicko. I have an Academy screener for Operation Homecoming that I hope to catch soon, and Taxi to the Dark Side (1 screen) is screening for Bay Area press next week.

Well, I bet I can name one awards ceremony that won't be picketed this year, home-skillet. Yup, the WGA (Writer's Guild of America) have announced their nominees in three different screenplay categories today, and while there weren't any big surprises, one film did stand out among the rest. Nominated for best original screenplay was something called Knocked Up, written by Judd Apatow. Not sure where that one came from; I haven't seen it nominated for anything else this year, so perhaps there's a mistake somewhere. Maybe I'll write a letter:

Dear WGA: I think you're mistaken in nominating this film called Knocked Up for best original screenplay. No one else is nominating it for anything because I believe it's too funny. And, c'mon, if something is that funny, it certainly doesn't deserve a special award, right. Please remove it from your list like everyone else has been doing. Good Day.

Anyway, joining Knocked Up in the best original screenplay category is ... JUNO ... and then a bunch of other films. Do their names really matter; can't we just skip all this junk and name Diablo Cody Screenwriting Goddess of the Decade? In the best adapted category, we have names like Ethan and Joel Coen (No Country for Old Men), Paul Thomas Anderson (There Will be Blood), Ronald Harwood (The Diving Bell and the Butterfly), Sean Penn (Into the Wild) and James Vanderbilt (Zodiac). Wait. Zodiac? Holy sh*t! Someone actually remembered that film. Nice. The WGA will hold simultaneous awards ceremonies in LA and NYC on February 9.

See all the nominees after the jump, courtesy of The Hollywood Reporter.

UPDATE: Variety now tells us that the WGA-W has canceled its own awards ceremony in Los Angeles, while the WGA-E is still deciding whether they will also cancel the awards ceremony in New York.