Category Archives: Entertainment Industry Coverage
IR Exclusive Print Interview: Andrew Rannells For “Black Sunday” [Showtime TCA Winter Press Tour 2019]
Andrew Rannells has run the gamut of interesting roles. From his breakout with Josh Gad on Broadway with the irreverent “Book Of Mormon” through his multi-faceted journey on “Girls” for HBO to the recent groundbreaking TV show: “The New Normal”, the challenge from him is to keep moving the dial. After conducting a panel with his fellow actors at the Showtime TCA Press Day for the new series: “Black Monday”, he spoke exclusively with The Inside Reel about character building, the journey and the importance of location.
When you look back at that period, is it the fashion that strikes you, the attitude, the drive?
Andrew Rannells: It’s a bit of everything, I mean the the humanity of the character that I’m playing is pretty easy to tap into. Like having like [me] move to New York at a young age…feeling like I was very much from the outside of where I wanted to be. But yes the second you throw on suspenders, that does a lot of work for you. I remember saying “I just want to look like Michael J. Fox”.
Could you talk about sort of the mentality, the mindset that this character has to be in.
AR: It reminded me a lot of what I got to do in “Book Of Mormon”…the character I played was a little boy…this young missionary who had a lot of knowledge but not practical experience. And that’s exactly who Blair is. He has this algorithm, he’s done all this homework and he’s never put it in practice. So he very idealistically thinks that he can come and take NYC by storm. And then another character really teaches him very quickly that “That’s not the way this works!”
But within the character it is also about playing the white noise…those beats between the lines…
AR: The tone’s a funny balance of finding exactly what it is we are doing. My scenes with Casey Wilson were very different to my scenes with Don and very different from my scenes with Gina. It was funny to have such a wide playing field, particularly later in the season because Regina [Hall] and I as characters become closer, in a very specific way. It was fun to have all of that exist at the same show.
“Black Monday” is set in New York. But it was filmed in LA. But then you shot “Girls” actually in NY. Can you talk about the sort of identity of New York in this from your perspective?
AR: Well, “Girls” was very much — we got to use the city. I hate when people say this, but it’s true. But you use the city as a character. And it was so important to the look and the feel of that show. We shot all over the city. And it really was a huge part of it. This is sort of the backdrop of our story. There’s an energy that I think just naturally kind of comes in from the idea that we are in New York. There’s a pace to it. It’s incredible to me what they did visually [in “Black Monday”] because I thought that it would film in New York. I was like — exciting to live at home (laughing). So I was a little disappointed but – what was it going to look like? Is it going to look right? Are we going to use back lots? Like, how are we going to be doing this? But then, when they came up with this stock footage thing, it’s really pretty crazy because I know where those moments are. And you can’t always tell. It’s pretty seamless, particularly in the pilot when they show my apartment. It’s like they blended it in so perfectly
Can you talk about building the character because Blair, like a reverse Clark-Kent in the sort of awkwardness narrative… it sounds like you had input on these aspects…
AR: I mean, the thing that I wanted — I wanted them to start off with “The Secret Of My Success”, and then sort of end up [somewhere else]. And that’s such an outside-in process. But I knew speaking with hair and makeup that there were just going to be subtle things that started to happen.
Like the colors in the wardrobe…
AR: The colors. Like, the glasses change. The hairstyle changes. My hair – because we shot over several months – it like, gets longer. And it gets like — it’s just sort of like finding who Blair thinks he is in that world and what he should look like, and what he was trying to emulate. And it’s those guys…like Michael Douglas in “Wall Street”….Blair wouldn’t want to look like that. So it was fun to get to play with that stuff. Generally, for me, wardrobe is very informative. It’s a huge part of building the character. So the fact that we got to like pace it out — I mean, it’s so silly. But like, what’s his hair doing? (laughing) Like, that weirdly became a big part of it to sort of track what his mental state is and where he is.
This era was a world of perception, a world of masks…how many layers do you have to put within Blair? Could you talk about – not so much the details — but that sort of structure.
AR: It’s so much about labels, and the Rolex, and the cars, and the what kind of suit [you’re wearing]. All of that was a thing. And I think it was just to show it’s all very different. I guess we didn’t really do that with the actresses as much, but certainly on Wall Street at that time, that was a way to show you’re successful, right? So I think as Blair proceeds to becoming more successful, he has to do those things. He has to get better clothes. He has to get a better hairstyle. So it was in a lot of ways that I think Blair goes through sort of maybe the most changes personally and physically through the course of the season. So it was fun to get to do that.
By Tim Wassberg
Kinga Kierzek is the Angel Of The East and has surprised everyone in Hollywood. For the past few years her genuine smile and her deep stare have conquered a few directors and producers. From “Happy Birthday Rita” to “Sharkproof” to Citizens United’, Ms. Kierzek knows how to captivate an audience with a flair for striking pauses and a mastering of a language that is not her first. Indeed, Kinga was born in Poland and moved a little while ago to the USA. She always had the dream to become an actress and, with her ever expanding resume, one can tell she must have been guided by an invisible angel. And an Angel she is becoming herself, gaining with each role her pair of wings and gracing the screen with splendor. A few people have made it in La La Land but with her persistence, charm and skills Ms Kierzek can flirt with the idea of an Oscar one day as long as she keeps her craft blossoming. As the slogan of “Sharkproof” says: “It’s sink or swim” and for sure this little mermaid has learned how to survive among the Hollywood sharks. I heard she has an inspiration also to produce and even direct her own project. Now, this is how to take your destiny in your hands and shoot for the moon. It’s about faith and courage, it’s about hard work and hard will. This is the American dream and Kinga Kierzek is now part of it. Long live the Angel of the East and we are looking forward to her next features on Netflix or at a theater near you.
By Emmanuel Itier
The texture of a film festival is based on the aspect of identity. The location and breathe of Macao, a former Portuguese colony off the coast of Hong Kong and literally right next to Mainland China gives it an undeniable influence but diversity of ideas which is refreshing. Add into play the aspect of religious history keyed into Catholicism on the roughly 30km territory as well as the Vegas sized (and at times slightly bigger) breath of the casino properties, it creates a unique dynamic. The programming at the International Film Festival & Awards Macao [IFFAM] reflects this sense of dynamic quality in some of the films experienced as well as a masterclass by the undeniable Nicolas Cage.
Masterclass – Nicolas Cage Cage was designated the talent ambassador for the IFFAM this year which makes undeniable sense since he is interestingly poised with a great dynamic lure creatively to this part of the world. While he has not made a full fledged descent into the Asian cinema market (China included), that would seem the most logical next step. He cites “Face Off” as one of his favorite movies to make since he is always seeing how to push the boundaries of naturalism in acting and, by essence, surrealism which he counts director Hong Kong director John Woo as a pinnacle of. It would be great to see Cage and Woo collaborate again. Cage gave many interesting perceptions in his discussion. He talked about advice Martin Sheen gave him when he used to hang out with Charlie Sheen at the Sheen household in Malibu when they were kids. This makes total sense since the elder Sheen made “Apocalypse Now” with Cage’s uncle Francis Ford Coppola. Cage also instills that his approach to naturalism was instilled in him by his aunt Talia Shire (known for her roles in “The Godfather” and “Rocky”). There is also the aspect that he shared regarding that Cher really wanted him for the “Moonstruck” role but he didn’t want to do it interestingly. This was very interesting in its candor. Cage said his agent Ed Limato convinced him that he could do “Vampire’s Kiss” if he did “Moonstruck” and he admits it worked out well. He cites “Vampire” as one of his other favorite movies he has made as well as “Bad Lieutenant – Port Of Call – New Orleans”.
In an unusual approach, Cage spoke about making “Wild At Heart” and that he had found that snakeskin jacket at a thrift store before they filmed. His spot on David Lynch impression saying “Nikky” (also Cher’s nickname for him) really gave ideal credence to the storytelling. Cage spoke about going to the New Beverly Cinema in Los Angeles as a kid to see James Dean movies (Tarantino now owns and operates the New Beverly). That is where he said he fell in love with movies since he grew up in LA and not San Francisco. He also spoke to his new embrace of VOD where people can see many of his movies now. He says that rather than turn away from it, he has leaned into it since the films that he initially made at the beginning of his career were small independent films and this is the arena you can make those types films now. The studio movies offered him a way to experiment with character structure and development on a grand scale. These new films from “Mandy” to “Mom & Dad” to the upcoming “Prince Of Ghostland” which he says by far will be the most “out there” film he has made yet (he has yet to film it) allows him to push the style of film performance in an age where it is harder to do so in a large film. He credits Jerry Bruckheimer for giving him the ability to experiment but, on those types of films starting with “The Rock, he explained that Bruckheimer told him he could play between the lines as long as it didn’t impact the story beats that needed to be hit. And that is how the Beatles and vinyl loving Stanley Feelgood in that movie came to be. Cage, a long time resident of Las Vegas, did his master class in the grand ballroom at the Wynn Macau which more than nicely gave an undeniable nod to his roots.
Loro This loose biopic of the recent Italian leader Silvio Berlusconi is lurid at times in its approach but distinctly and delightfully schizophrenic in its texture. This festival cut was initially a two part film, the first being from the perspective of a pimp/business operator trying to get to Silvio and then the second from the breakdown of the leader himself and how the two worlds collided. Director Paolo Sorrentino is sometimes known for his visual excess and the first half of the film is like the “Boogie Nights” of the political bribery world. The excess is meant to show the irony but sometimes passes over into self-satire especially with a doctor coming on camera to explain a drug fueled party involving MDNA. When the film switches over to the political leader’s machinations as he moves back to office, it becomes a different film entirely…not a bad one mind you…but different. But when it tries to engage across the board it is interesting yet clanky. Silvio always wins yet always loses. It is as if he is lost in the essence of what power means in comparison with the act governance though there is an aspect of ambition as well as the dream. Riccardo Scarmarcio plays Sergio the pimp. He brings both a humanity and a darkness that was also present in last summer’s “Euphoria” (which played Cannes) for director Valeria Golino. His journey and star power is undeniable so it will be interesting to see the progression of his ongoing career. Toni Servillo plays Berlusconi as a twirling vision of masks to the point that the performance is a perception of how far down the leader could bury himself from himself.
Jesus In a place like Macao, this kind of movie has particular resonance because of the Portuguese and Christianity influence. Made in Japan, the story here follows a boy who, after the death of his grandfather, comes with his parents to a small town outside Tokyo to take care of his grandmother. He is enrolled in a Christian school and begins his journey within this new space with no friends. The story of Yura is an existential one as he questions the essence of God and specifically what religion adheres in him. Out of the blue, a thumb sized Jesus (who doesn’t speak) appears out of nowhere and seemingly begins to grant wishes, although in abstract way. After Yura has finally makes a friend at school, the essence of tragedy strikes which gives him the perspective of what prayer might really mean. The movie is shot starkly and quietly in the 1:33 format (like the recent “Cold War”). Using reflexive nature and parallel scenes structure, director Hiroshi Okuyama creates a simple and clear but also eccentric portrait of a boy trying to come to terms both with life and death.
Happy New Year Colin Burnstead This dysfunctional family diatribe from BBC Films brings to mind such elements of drama and comedy as the film “Peter’s Friends”, a small piece Kenneth Branagh made as a director between projects like “Dead Again” and “Hamlet”. The main gist of the story here reflects in Colin, the supposed alpha male of a British family who picks up the pieces of his clan after his father has dropped the ball financially. Colin faces off against his would be deadbeat brother David who, in his mind, defiled everything of what it means to be “family”. David ran off on his wife and child and did not come back to see his family (blood or not) for 5 years. While this might sound sort of like a downer, like the ensemble volleys on screen before in this genre, there are enough sub stories with all the other characters to keep the pace moving. While not slapstick or laugh out loud in its texture, the slights and jokes continue to jab until they reach a pinnacle. As with most protagonists in these stories, no one is inherently bad or good per se but actions speaks louder than words especially when characters don’t listen to each other. The ultimate resolution works because like with all self confident movies, it knows not to spell out to the audience exactly what will happen after the credits close.
By Tim Wassberg