Posted by Danielle Berrin
I interviewed J.J. Abrams by phone last week but I wish I would have seen this first, so I could ask him about it!
In a playful blog post for New York Magazine, Logan Hill wonders if J.J. Abrams has “daddy issues” by examining subplots in his work:
He is a Hollywood brat who grew up following his father, the producer Gerald W. Abrams, around movie back lots. On the eve of his Star Trek reboot, J.J. Abrams is now a 42-year-old father himself—and one of the most powerful producers in the business. Review the two-decade span of his eclectic work, and two quirky hallmarks emerge: time-shifting (Lost, Alias, Trek, even Felicity) and daddy issues, which seem to go beyond the typical “atonement with the father” phase in Joseph Campbell’s hero’s journey. Below, we survey the oeuvre.
Regarding Henry, (1991)
In Abrams’s second script, Harrison Ford is a jerky lawyer, bad husband, and absentee father—until he gets shot and becomes a kind, caring amnesiac.
Felicity’s pop was a successful doctor. She rebelled and chose the arts. Then, in a shockingly realistic turn, she realized Dad was right and went premed.
In the pilot, Sydney finds out Dad has been lying for years—and his lies may have triggered her fiancé’s murder. Major trust issues ensue.
It begins as Jack wakes up, finding the empty bottle of vodka he downed mourning the alcoholic dad he’ll spend the series coming to terms with.
The X-Files with a twist: Peter (Joshua Jackson) is tormented by his doddering, mad-genius father (John Noble) but learns to love him.
Star Trek, (2009)
Spock clashes with his Vulcan father. Kirk’s father sacrifices his life for his son. “He saved 800 lives, including yours,” Kirk is told. “I dare you to do better.”
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May 5, 2009 | 7:40 pm
Posted by Danielle Berrin
The short film that was meant to be actress Scarlett Johansson’s directorial debut has been cut from the portmanteau film “New York I Love You.” Following the tone set by the like-minded “Paris Je T’aime,” “New York I Love You” is a series of love-themed vignettes helmed by various directors, including Natalie Portman and Brett Ratner, who each produce their own segments. Of the lot, it was Johanssons’s unconventional narrative that clashed with producer Emmanuel Benbihy’s vision of the film. Opinions as to why this might have happened to Johansson, a young actress who is otherwise on the ascending arc of her career, are mixed.
The New York Post’s Page Six reported that her segment, starring Kevin Bacon and shot in black and white, was “unwatchable” and quotes an anonymous source that said, “It was really bad, so it was cut.” E! Online, drawing from the The Post, was equally mocking. They fronted the headline, “New Career Path? ScarJo, Oh Helm No.”
Only The Guardian’s Peter Bradshaw came to Johansson’s rescue and instead, attacked Benbihy for his trite sensibility: “Benbihy is already the producer of the treacly cine-short-story collection Paris Je t’Aime, from 2006, a mostly intolerable collection of coy, self-regarding doodles from people who ought to know better: a series of stories about love in or for Paris, like a chocolate boxy set of micro-Amelies.” According to Bradshaw, Johansson fortunately “escaped” Benbihy’s maudlin narrative motif, which the producer plans to franchise around the world (there is even talk of a “Jerusalem I Love You”).
As to why Benbihy nixed ScarJo’s baby, he has said: “The story did not specifically involve an interpersonal relationship, and it was conceptualised to be filmed in black-and-white – both of which were extreme departures from the other films. Scarlett presented me with an extremely compelling, albeit unconventional narrative that appeared as though it would not necessarily conform to the overall approach of the entire collective.”
As to why gossip columns are making a big deal over this, I can only presume a degree of schadenfreude: Johansson is the most glamourous starlet of her generation, so delighting in a nic on her resume makes her lips slightly less threatening.
May 4, 2009 | 3:45 am
Posted by Danielle Berrin
Came across this read in today’s NY Times and wanted to share. There’s something intriguing about the idea that funnymen aren’t satisfied with playing for laughs, they feel they have to do something serious to elevate themselves. Sometimes it goes well (see Jim Carrey in “The Truman Show”) and sometimes it does not (don’t see Robin Williams in “What Dreams May Come”), but either way the endeavor usually fizzles when audiences demand an actor return to their “roots.” This summer we’ll see Judd Apatow and Adam Sandler (who are longtime friends, once roommates) tackle the moribund topic of mortality in “Funny People.” Only the heavy theme is couched in a Hollywood context which sometimes means serious subjects are treated with indifference. If anything I suppose it will be fascinating to see how two of Hollywood’s hottest comic talents use comedy to underscore the sadness of a tragic hero.
From the NY Times:
Despite Mr. Apatow’s ubiquity as a producer of sloth-celebrating movies like “Superbad” and “Pineapple Express” and a recent spate of comedies about emotionally stunted males (“Role Models,” “I Love You, Man”) that share his influence if not his input, “Funny People” is only the third film that he has directed. But moviegoers expecting a breezy romp in the style of his hit movies “The 40-Year-Old Virgin” and “Knocked Up” had better hold onto their bongs.
In part, the film is about an established comedian (Mr. Sandler) who takes under his wing an insecure neophyte (played by Mr. Apatow’s disciple Seth Rogen). To this extent, the story is inspired by the earliest professional breaks Mr. Apatow received from stars like Garry Shandling, Roseanne Barr and Tom Arnold, and how he later returned the favor to emerging talents like Mr. Rogen.
But sensing that his own Horatio Alger-style ascent wouldn’t provide a movie with much tension, Mr. Apatow said, “I thought: What if I did a movie that was like ‘Tuesdays With Morrie,’ but the main character learns nothing?” So, after that sympathetic video introduction to Mr. Sandler’s character, the next scene finds him being informed 22 years later that he has a rare blood disorder with no known treatment. In the time that he believes he has left, he resumes his stand-up career and tries to reconcile with a lost love (Leslie Mann, Mr. Apatow’s wife and a regular in his films).
Asked why, at 41, he would follow movies about sexuality and childbirth with a film about mortality, Mr. Apatow was circumspect. “I’ve unfortunately been around people who have been ill and seen people figure out how to deal with it,” he said. Some, he added, “just keep plowing on forward, and they don’t seem to change.”
May 1, 2009 | 6:13 pm
Posted by Danielle Berrin
Move over Bocelli. Adam Lambert’s rendition of “The Prayer,” which he sang on the holiest evening of the Jewish calendar (Kol Nidre) may send Italian tenors back to training. Listen to his duet with Temple of the Arts’ cantor, Illysia Pierce here.