julian schnabel Tagged Articles at Cinematical

The 2008 Toronto International Film Festival is officially underway, and as always Cinematical is your one-stop-shop for all things TIFF. Our reviews, galleries, interviews and scene coverage will begin to populate the main page soon, but in the meantime we've been sharing some great exclusive clips, images and posters from some of the more talked-about flicks screening in Toronto this year. Below, feast your eyes on a clip from Picasso & Braque Go To The Movies, produced and narrated by none other than Martin Scorsese. The film, from art dealer-producer-director Arne Glimcher (The Mambo Kings) delves deep into the relationship between film and the visual arts, and it features folks like Scorsese, Chuck Close and Julian Schnabel. For more on Picasso and Braque, see the film's official summary over on the TIFF website.

One thing you should know about the Julian Schnabel-directed concert documentary Lou Reed's Berlin is that Lou Reed has personally instructed theaters to play the film at concert-level volume. That means it's really, really loud. When I saw it (at NYC's Film Forum, which is following Reed's command throughout the film's limited engagement), an elder woman walked out. Of course, I can't be sure that it was due to the sound, though the exit was during one of the loudest songs.

The volume may seem excessive and unnecessary to some, but at a time when concert docs are shown in IMAX and/or in 3-D, it really helps a film like Lou Reed's Berlin compete for audiences seeking a filmic experience comparable to the real thing. And leaving the theater with your ears ringing will help you think that you were actually there when Reed performed his 1973 album Berlin live for the first (and second, third and fourth) time in Brooklyn, New York, December 14-17, 2006.

Don't even get me started on last night's crapfest. I tuned in to NBC thinking they were going to air this so-called press conference, only to get an abbreviated Access Hollywood special that left out certain awards like best foreign language, best score and best song. And because I was still high on my Giants beating the Cowboys, I didn't realize NBC was on a delay, or that other channels had the press conference, etc ... It was awful. The entire thing was horrific. And then, to boot, the Hollywood Foreign Press clearly screwed over American filmmakers (moreso this year than in year's past), opting to shovel out several awards to individuals and films that were simply not the best of the year. Atonement wins over No Country for Old Men and There Will be Blood? Julian Schnabel wins best director over the Coen Brothers and P.T. Anderson? Cate Blanchett wins best supporting actress over Amy Ryan?

It's still too early to tell whether this whole debacle will hurt the Globes moving forward. And we still don't know whether something similar will happen with the Oscars (though I imagine the writers will have a much harder time f**king with Hollywood's grandest circle-jerk). The good news is that it's finally over. No more Golden Globe nonsense to deal with. But assuming you actually care about who wins and who doesn't, what was the biggest surprise/mistake of the evening in your mind?

Best Director

Nominees:

Tim Burton -- Sweeney Todd: The Demon Barber of Fleet Street

Ethan and Joel Coen -- No Country for Old Men

Julian Schnabel -- The Diving Bell and the Butterfly

Ridley Scott -- American Gangster

Joe Wright -- Atonement

Predicted Winner: Ethan and Joel Coen

No Country for Old Men could go on to win Best Director at the Oscars, but unlike the Academy, the Hollywood Foreign Press will actually recognize both of the Coen Brothers. Everyone knows that Ethan and Joel co-direct their films, but due to Director's Guild and Academy rules, only Joel is allowed credit for them. Therefore their win of the Golden Globe for Best Director will be the better honor. And boy do they deserve it! With No Country, they've delivered a stunning film that exemplifies the two major dimensions of the craft: visual storytelling and management of the acting performances.

Now it's your turn to vote ...

The Director's Guild has announced their five nominees for best director of 2007, and they are: Ethan and Joel Coen for No Country for Old Men; Tony Gilroy for Michael Clayton; Paul Thomas Anderson for There Will Be Blood; Julian Schnabel for The Diving Bell and the Butterfly; and Sean Penn for Into the Wild. For those of you paying attention to the major kudos, that's two different directors than the Hollywood Foreign Press nominated for the Golden Globes. Rather than recognizing Atonement director Joe Wright or American Gangster director Ridley Scott, the Guild has gone with Anderson and Penn.

So, which grouping will be closest to the Oscars? Who cares? I hate that with every announcement about non-Academy-related awards we get a statement like "since ____, only _____ winners have failed to claim the Oscar ... " Well, the fact that there is some divergence means there is no predicting who will get the Oscar nominations, let along the award. So, let's just appreciate the Director's Guild Awards for what they are. That said, I haven't seen all the films (I'm actually about to head out the door to finally catch There Will Be Blood), so I can't fairly pick my favorite. In fact, two of the nominated films that I have seen are so different in style that it's quite difficult for me to decide which I think is more deserving of this honor. Ultimately, despite the fact that I greatly admired Schabel's ability to make a first-person POV-shot engaging throughout the majority of his film, I'd have to go with the Coen Brothers. Except for that one controversial shot, I think they gave us the best visual storytelling of the year and I also think that they managed to get some of the most amazing performances of the year from their actors. However, my mind could easily change in about an hour when I sit down in front of the work of Paul Thomas Anderson. The winner will be announced on January 26.

(With the Diving Bell and the Butterly opening in America this weekend, we're re-running James's review of the film from the Cannes Film Festival in May of this year.)

After seeing Julian Schnabel's Cannes competition entry Le Scaphandre et le Papillon (The Diving Bell and the Butterfly), I staggered into the light awestruck, a little moved, my heart and mind both racing with the excitement and power of the film I'd just seen. I ran into a fellow film critic, who wanted a fast take on the third film from painter-turned-director Schnabel, his follow-up to Basquiat and Before Night Falls. "Imagine a Spike Jonze-Charlie Kauffman-Michel Gondry-style film," I said, "but with a warm, beating heart instead of cool, detached hipster irony. ..." Based on the true story of Jean-Dominic Beauby, the editor-in-chief of the French edition of Elle, The Diving Bell and the Butterfly begins in blinding, blurry light; there's been an accident, and Jean-Do (as his friends call him, here played by Mathieu Amalric) has just woken from a coma. We're seeing the world through his eyes, and things don't look good.

Jean-Do's had a massive cerebro-vascular accident, as his doctors tell him in hushed tones; all Jean-Do can move is his left eyelid. "It won't comfort you to know," one notes, "that your condition is extremely rare." Soon, therapists are suggesting to Jean-Do that he can communicate by blinking; one for 'yes,' two for 'no' with longer ideas expressed by someone reading a list of the letters of the alphabet, starting with the most frequently used and moving down the line, waiting for Jean-Do to blink and indicate which letter he wants. A letter becomes a word become a sentence, blink by blink -- but is this really a way for Jean-Do to communicate with the world?

Christmas time isn't only for Santa and kidlets. In the world of cinema, some filmmakers and actors get notable awards to scatter amongst their presents, while others only get to scatter empty space and the dismal tarnish of broken dreams. As films push to get themselves into the running before the ball drops, critics have started to share their picks. So, while we were all enjoying our weekends, the Los Angeles, Boston, New York, and D.C. critics were picking their best films of the year. B-town was all over a certain country for old folks, while the others were crazy for a little blood. Many of the critics picked the same films, so peruse this list and weigh in on who/what they're all forgetting about.

Here are the lucky winners, all courtesy of Variety:

Los Angeles

Paul Thomas Anderson was victorious in LaLa land, with his most recent film, There Will Be Blood -- the story of a Texan prospector during the early days of the oil business. The film nabbed the best picture slot, best director, best actor for Daniel Day Lewis, best production design for Jack Fisk, and then runner-up slots for screenplay, music, and cinematography.

Julian Schnabel also made a solid showing with The Diving Bell and the Butterfly, the story about French Elle EIC Jean-Dominique Bauby and the stroke that changed his life. The film won only the award for best cinematography for Janusz Kaminski, but it received some runner-up nods as well -- best picture, director, and foreign language film.

Other winners include: La Vie en rose, 4 Months, 3 Weeks, 2 Days, and a tie between Ratatouille and Persepolis for best animated feature.

I was going to headline this post with something about 'being there in spirit,' but I decided that's a lame way to start things off. Obviously, I'm being lame anyway by pointing out that I wasn't going to begin that way, while in effect beginning that way. So, why don't we just get to the news about the Independent Spirit Award nominations, shall we?

Todd Hayne's I'm Not There received four nominations, including one each for Cate Blanchett and Marcus Carl Franklin, who are up for supporting actress and supporting actor, respectively, for their semi-portrayals of Bob Dylan. The film was also recognized in the Best Feature category, in which it's competing against Juno, The Diving Bell and the Butterfly, Paranoid Park and A Mighty Heart, and Haynes was nominated for Best Director, going up against Jason Reitman (Juno), Julian Schnabel (The Diving Bell and the Butterfly), Gus Van Sant (Paranoid Park) and Tamara Jenkins (The Savages) -- meaning A Mighty Heart's Michael Winterbottom was shut out despite his film's receiving the Best Feature nomination. I'm Not There is already the winner of one Independent Spirit Award, the newly conceived, and appropriately titled Robert Altman Award, which honors the film's director, casting director and ensemble cast. Because of that win, I'm Not There has been labeled the leader of the nominated films, although Juno, The Diving Bell and the Butterfly and The Savages all received the same amount of actual nominations as Haynes' film.

Since I haven't seen any of the major nominees (yet), I will take this opportunity to celebrate a few films, which I have seen, that have been deservedly recognized in other categories. First, I'm excited to see that Adrienne Shelly is up for Best Screenplay for Waitress. I doubt she'll win, unless enough voters want to further highlight her posthumous success, but I'm happy to see her included. I'm delighted to see Jennifer Jason Leigh nominated for Margot at the Wedding, considering Nicole Kidman, who wasn't nominated, has been receiving most of that film's accolades. And finally, I am ecstatic to see that Vanaja, which I loved, has been given two nominations, one for Best First Feature and one for Best Cinematography. Overall, we should all be glad that this year's crop of nominees includes few huge stars, Angelina Jolie being the one major exception, in the acting categories. The 2008 Independent Spirit Awards will be presented on February 23.

Back in October, Woody Allen changed the title of his next shrouded-in-secrecy film from Midnight in Barcelona to Vicky Cristina Barcelona. While it's not the choice I would have made, considering the 473 titles that the new Rambo flick went through, there's a chance it will get changed again. However, beyond bits of news like that, word on the production has been pretty meager. We know it's about a painter who gets interested in some American tourists, and that his jealous ex isn't too happy about this. Now the painter, one Mr. Javier Bardem, has spoken with MTV about the title of the film and his artsy role in Woody's first bilingual production.

As he confirms, the title comes from the names of the two tourists, Rebecca Hall and Scarlett Johansson's characters. As Bardem describes it: "[They're] the two girls that go to our salon; but I don't know if that is going to be the final title or not." I imagine the "our" is Bardem's character and his ex, played by Penélope Cruz. Early reports have suggested that Cruz is his ex-girlfriend, but Javier says she's his ex-wife in the triangle, but also notes that "it is much more than that."

He paints in the film (Anyone want to make bets that he'll partake in some risque American tourist nudes?), and says he got inspiration for his role from the man who painted the works in the film, as well as from director and artist Julian Schnabel, who worked with him on Before Night Falls. But if you're one of the people allergic to subtitles, he also discusses just how bilingual the film is. While most of his lines are in Spanish, he explains: "It has both, Spanish and English, but most of the time English." We'll get to see what Woody makes of his love for Barcelona some time next year.

A couple hours north of New York City is a small town you may have heard of before: Woodstock. Its place in music history is secure, and it's home to a rather impressive film festival, too, running Oct. 10-14 this year. The opening and closing films were announced a few weeks ago -- Julian Schnabel's The Diving Bell and the Butterfly to kick things off, Todd Haynes' I'm Not There to wrap things up -- and now the full schedule shows that there's a lot of great stuff in between as well.

Considering the fest only runs four days (Oct. 10 is just a kick-off party), they've filled it with a surprising number of films: 23 narrative features, 28 documentaries, and 58 shorts. Some of the notable entries:

Narrative: Mary Stuart Masterson's directorial debut, The Cake Eaters; the rotoscoped Chicago 10, about the 1968 Democratic National Convention, which was Sundance's opening night film this year; Grace Is Gone, already earning Oscar buzz for John Cusack's performance as an Iraq War widower; and Terry George's Reservation Road.

Documentary: Festival-circuit favorite Billy the Kid, about an emotionally troubled teenager; Chasin' Gus' Ghost, about the history of jug band music; "Peanuts" profile Good Ol' Charles Schulz; rock doc Joe Strummer: The Future Is Written; the touching Holocaust love story Steal a Pencil for Me; and Super High Me, in which comedian Doug Benson stays sober for 30 days and then spends another month smoking pot every day.

Looks like a great fest, and it's in a beautiful part of the country. For all the details on the Woodstock Film Festival, visit their website.