Allison Pitaccio

Interview: ‘Son of Rambow’ Director Garth Jennings Unleashes Power of Childhood Imagination

HollywoodChicago.com — Fri, 09 May 2008 09:41:23 -0700

CHICAGO – A preacher delivering a sidewalk sermon followed by a boy’s inventive doodles and drawings are the opening images that launch “Son of Rambow”. This sets the tone for the unyielding power of childhood imagination that the filmmakers unleash upon moviegoers.

Set in the 1980s, two boys obsessed with the Rambo film “First Blood” are on a mission to make their own home video for a BBC screen test titled “Son of Rambow”. A hilarious and touching story ensues about cultural differences, friendship and boyhood dreams.

Will Poulter (left) and Bill Milner in “Son of Rambow”.
Photo credit: Paramount Vantage

In the HollywoodChicago.com interview with “Son of Rambow” director Garth Jennings (director of 2005’s “The Hitchhiker’s Guide to the Galaxy”) and producer Nick Goldsmith, these two have exposed not only their heart and soul in creating this feature but they have also touched on experiences from their own childhood adventures.

After learning that Jennings based some of its story after his own boyhood filmmaking and both Jennings and Goldsmith have been great friends for many years, the intimacy and spirit of this film became the focus of our interview with them.

Not only is this film absolutely enjoyable from every angle but it’s also refreshing to find two filmmakers both on screen and behind the scenes who have so much passion and boyhood spirit involved in their filmmaking processes.

This is a must-see film that will not only touch your heart but also your funny bone. It’s a heartwarming and familiar tale of adventure and imagination that will bring you back to your childhood and send you down your own memory lane.

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HollywoodChicago.com: Because this film is so close to your heart, did you take a different stance with it on distribution?
Director Garth Jennings: Because “The Hitchhiker’s Guide to the Galaxy” was a much different experience and it was sort of sucked out into the abyss of Hollywood and we had nothing to do with the distribution, this was all new for us.

Initially we had a delay because of the name of the film. (The “w” was added for legal reasons.) We took that time to go to lots of film festivals with it. We didn’t have a full marketing plan at that point and got to show the film raw to audiences.

It made for genuine experiences and responses from the audience. Since we did want to protect the film because it was so close to our hearts, we designed our own posters and we were involved with all the making of the trailers.

Bill Milner (left) and Will Poulter in “Son of Rambow”.
Photo credit: Paramount Vantage

HollywoodChicago.com: Did the production design and the fantastical scenes come out the way you had both visualized?
Director Garth Jennings: The special effects and animation came out better than we could have ever imagined. Basically it was all spot on and exactly how we wanted. In many senses, it came out much better.

Producer Nick Goldsmith: As far as production design, they bought lots of props off eBay that made the film even more hilarious.

When the brother talks on the giant cell phone, it came off as hilarious. While it wasn’t planned to be that way, the 1980s really had enormous phones. We seem to have forgotten that.

“Son of Rambow” director Garth Jennings on Jan. 22, 2007.
Photo credit: Fred Hayes, WireImage.com

HollywoodChicago.com: What was the most difficult aspect of making this film?
Director Garth Jennings: It took five months to find the right kids. We went to regular schools to find them. Also, financing was probably the most difficult aspect. Getting people to invest in our idea was tough, but as a whole, it was an absolute joy to film. Everything went smoothly.

Producer Nick Goldsmith: We had one issue with a location where we had signed a release to use an area that ended up not being owned by the person we signed with. They ended up holding our lights at ransom, but it was all part of the process and just a little snag.

HollywoodChicago.com: How was it working with such young and inexperienced actors?
Director Garth Jennings: They actually had no experience at all – well, one of them was a munchkin in a play – but basically this was an after-school program for them.

The two main actors were both very instinctive. We gave them very specific instructions and it worked out great. They were all economical. We would say ‘do this and say this very fast and stand on the blue line’ and they would follow very well. They had a great time.

They rode around in cranes and in jeeps and loved it every day.

It became infectious for them and the two became great friends. They still hang out all the time. It was really the easiest thing in the world. We were very careful to have no monitors or playback so we didn’t make them self-conscious on the set. It was awesome.

HollywoodChicago.com: How much of the filmmaking styles in “Son of Rambow” were like you as a kid?
Director Garth Jennings: That’s the easiest question in the world: none whatsoever. I mean, I did lots of dangerous stunts that could have killed me as a kid, but we heightened the drama aspect for the audience involvement.

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HollywoodChicago.com: Will your childhood Rambo footage be on the DVD extras?
Director Garth Jennings: Absolutely. We plan on having some.

HollywoodChicago.com: What was the best part of making this film?
Director Garth Jennings: We were a small unit. We were hands on in all aspects just like they are in the jeep making the film. That was pretty much how our crew was. We became one big gang.

Producer Nick Goldsmith: The actual filmmaking was great. Our film crew was a huge mob. We enjoyed the shoot so much. The best part for me was about three or four weeks after we wrapped when I was able to see the footage and realize what we had. I was really proud of it. That feeling was amazing.

Along with other cities, “Son of Rambow” from Paramount Vantage opened on May 9, 2008 at AMC Loews Pipers Alley in Chicago and the Cinemark CinéArts 6 in Evanston, Ill.

By ALLISON PITACCIO
Staff Writer
HollywoodChicago.com
allee@hollywoodchicago.com

Uwe Boll Pukes Out Another Opus of Insufferable Screen Time in ‘Postal’

HollywoodChicago.com — Tue, 29 Apr 2008 23:08:27 -0700

CHICAGO – At the Chicago screening of “Postal” for critics, director Uwe Boll introduced his new film as a personal “The Kentucky Fried Movie” attacking the heart of America. Boll – a German national – has produced several “B”-grade movies in both Germany and the U.S. However, “Postal” is his first attempt at writing and directing within the American market.

Including “Postal,” his last few films have all been notorious cinematic adaptations of controversial video games. Boll’s opening rant prior to the “Postal” screening offered his personal disgust for this forced and depraved genre.

Poking fun at himself and his filmmaking, this charismatic director expressed his political angst and outlandish humor to the audience and had them laughing and commiserating before the screening even began.

Read Allison Pitaccio’s full review of “Postal” in our reviews section.

View our full “Postal” image gallery.

I initially took this as a good omen and my previous notions of “B” cinema began to quell. That said, Boll’s final remark “if you were all drunk, you will like it” became an accurate adage of the film’s overall character.

This film offensively opens with two terrorists flying a plane and arguing over the amount of virgins they will each receive in Paradise. They end up settling the dispute by calling Osama bin Laden on the phone and are both perturbed that the number is less than they had originally thought.

Therefore, they change the plane’s direction for the Bahamas. While the plane changes course, the angry mob of American passengers storms the cockpit and the plane crashes into the World Trade Center. This commences Sept. 11, 2001 and sets the tone for a despicable, 109 minutes of cinema.

“Postal”.
Photo credit: MovieSet

Read Allison Pitaccio’s full “Postal” review.

Blueberries Meet Luscious Taste Buds in ‘My Blueberry Nights’ With Jude Law, Rachel Weisz

HollywoodChicago.com — Fri, 18 Apr 2008 07:01:00 -0700

CHICAGO – We see sensual close-up shots of blueberry pie overflow with aqueducts of vanilla ice cream in Wong Kar-Wai’s opening sequence of “My Blueberry Nights”. This dreamy scene sets the tone of the latest film from the famous Chinese director as he confronts the West with his unique cinematic style.

Split into three separate stories, the film begins in a bohemian New York café owned by Jeremy (Jude Law) where Elizabeth (Norah Jones) discovers that her boyfriend has left her for another woman.

Distraught, she leaves her keys with sympathetic Jeremy and hopes her ex will pick them up at the café and be out of her life forever. Elizabeth seeks comfort in Jeremy’s companionship and accepts his advice over leftover blueberry pie. Still, her heart is broken. Elizabeth decides she must go on a journey to reinvent herself.

Read Allison Pitaccio’s full review of “My Blueberry Nights” in our reviews section.

View our full, high-resolution “My Blueberry Nights” image gallery.

She travels the country by bus and stops first in Memphis where her part in the film becomes more of an observer than a participant. Elizabeth takes on two jobs: one as a diner waitress and the other as a cocktail server. She befriends a customer at the bar, Arnie (David Strathairn), who’s an alcoholic cop grieving the loss of his wife’s faithfulness.

Rachel Weisz plays Arnie’s wife, Sue Lynne, who parades around in sultry scenes with younger boyfriends until Arnie loses his cool. He not only threatens her young boyfriend but also threatens Sue Lynne’s life. After realizing his marriage has ended, he offs himself by crashing his car and leaves Elizabeth to comfort his now-heartbroken wife.

Norah Jones (left) and Natalie Portman in Wong Kar-Wai’s “My Blueberry Nights”.
Photo credit: MaCall Polay, The Weinstein Company

Rachel Weisz in Wong Kar-Wai’s “My Blueberry Nights”.
Photo credit: MaCall Polay, The Weinstein Company

Read Allison Pitaccio’s full “My Blueberry Nights” review…

Interview: Blind Man, Teens Literally Scale Mountains in Awe-Inspiring ‘Blindsight’

HollywoodChicago.com — Fri, 11 Apr 2008 00:25:20 -0700

CHICAGO – Set in the humbling peaks of the Himalayas, the Robson Entertainment documentary “Blindsight” redefines the true meaning of inspiration. East confronts West in this film that captures the journey of six blind Tibetan teenagers led by blind mountain climber Erik Weihenmayer to a place higher than anyone could ever imagine.

Erik Weihenmayer (left) and Tashi in “Blindsight”.
Photo credit: Robson Entertainment

Filmed among the highest peaks in the world, director Lucy Walker examines the Weihenmayer’s pursuit – the only blind man to have climbed Mount Everest – along with teacher Sabriye Tenberken (the founder of a Tibetan school for the blind) in their pursuit toward solidarity.

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Together they lead six blind teenagers toward the 23,000-foot peak of Lhakpa Ri, which is next to Mount Everest. The team faces altitude sickness, endurance, injury, weather and the greatest challenge of their lives.

Backgrounds on each teenager are explored and the cruelty and hardships of being blind in Tibetan society are exposed throughout the film. Dachung, Gyenshen, Kyila, Tashi, Tenzin and Nguyen are the blind teens who accept Weihenmayer’s challenge and allow the filmmaker access into their lives.

While Walker explores each teenager’s personal life, the 19-year-old Tashi becomes the film’s mascot. Homeless when discovered by Tenberken, Tashi’s story of being sold by his family and the scars of physical abuse are major heartstrings plucked throughout the film.

Tenberken’s school for the blind – called Braille Without Borders – has given these children hope. Her amazing courage brings together Weihenmayer’s indestructible passion for achievement.

“Blindsight”.
Photo credit: Robson Entertainment

A team of expert climbers train the teens and guide them toward the peak of Lhakpa Ri in a grueling journey toward equality and solidarity. Walker keeps the fly-on-the-wall mentality and exposes various viewpoints.

Arguments build tension throughout the journey and the fine line between too much protection and letting go is challenged.

At times, there are scenes that are a bit tedious and full of extensive conversation. However, they often work in favor of building suspense among the rising tensions of the climbing party.

Enormous philosophical questions arise regarding camaraderie and togetherness versus how high they can be pushed. Ending with “the real blind summit,” the film closes and can’t help but make the viewer question his or her own journey in life.

“‘Blindsight’ is not a film about blindness. It’s about dreams.

There is life before ‘Blindsight’ and life after, but making this film has changed my life forever.”

~ Producer Sybil Robson

In interviewing producer Sybil Robson from Chicago, she revealed several difficulties that came with the film’s production. Each crew member not only had to carry a minimum of 40 pounds on their backs during the expedition but they also faced five days in a negative 40-degree blizzard where solar-powered batteries had to be kept warm with body heat so they could resume shooting.

Robson also described the obstacles of mandatory shot lists needed by the Chinese government and permits required for each religious building filmed. When asked if she would take on a project like this again, she humbly stated: “There is life before ‘Blindsight’ and there is life after ‘Blindsight,’ but making this film has changed my life forever.”

The film’s setting makes for unbelievable cinematic imagery and the sequences of ice sculptures and jagged peaks are truly breathtaking.

“Blindsight”.
Photo credit: Robson Entertainment

Director of photography Keith Partridge overcame incredible production feats throughout the filming of “Blindsight” from extreme weather and altitude issues. Still, he captured remarkable Tibetan scenes for the first time on in high definition.

Aside from the numerous heroes and heroines of the film, the major success of its production can be attributed to director Walker and producer Robson.

Robson added: “‘Blindsight’ is not a film about blindness. It’s a film about dreams. These kids have shown me that absolutely anything is possible.”

Maintaining an objective perspective, they have allowed each character to honestly express themselves and show the true nature of the human spirit. While taking a production team to the peaks of the Himalayas is an amazing feat in itself, actually creating an incredibly inspiring documentary in the process is nothing less than award worthy.

This is a film that not only every skeptical teen should be forced to swallow in the high school repertoire but also anyone in need of self-reflection in their lives should go and see.

In Chicago, “Blindsight” opens exclusively at the Music Box Theatre on April 11, 2008.
Producer Sybil Robson will in attendance on opening night for a Q&A
following the 7:20 p.m. show. Tickets are on sale now.

By ALLISON PITACCIO
Staff Writer
HollywoodChicago.com
allee@hollywoodchicago.com

Despite Stylistic Inconsistency, George Clooney’s ‘Leatherheads’ Feels Good

HollywoodChicago.com — Thu, 03 Apr 2008 23:53:10 -0700

CHICAGO – George Clooney’s latest film, “Leatherheads,” brings light-hearted, screwball antics and slapstick blunders to the screen with a romantic tale that tells how professional football came to be.

Read Allison Pitaccio’s full review of “Leatherheads” in our reviews section.

View our full “Leatherheads” image gallery.

Set in 1925, fading football star Dodge Connelly (George Clooney) attempts to save the professional game by recruiting a college football hero to save the sport. The film begins with a game of ragtag football in a stadium shared by cattle where oddball plays and dirty tricks are welcomed.

Few fans come to the games and barely follow the sport – due to their often illegal consumption of booze – but when Dodge is told the team is bankrupt and the sponsors are selling, he’s determined to find a solution for his beloved team (the Duluth Bulldogs).

George Clooney (left) in “Leatherheads”.
Photo credit: IMDb

Renée Zellweger and George Clooney in “Leatherheads”.
Photo credit: IMDb

‘Wild Ocean 3-D’ in IMAX Offers Breathtaking Cinematography, Profound Message

HollywoodChicago.com — Mon, 17 Mar 2008 21:15:19 -0700

CHICAGO – “Wild Ocean 3-D” – an unforgettable nature documentary playing now in IMAX at Chicago’s Navy Pier – dives to the depths of the ocean and through the vastness of the sea with breathtaking 3-D cinematography and a profound message for all mankind.

From plankton to sardines, dolphins, seals, whales, sharks, gannets and man, Mother Nature’s greatest example of the food chain has been captured off the Wild Coast of South Africa and preserved on film in this educational documentary.

The film takes place along the spectacular South African coast where the Zulu and the Western worlds meet at Kwazulu Natal, which is where tropical meets the sea on the Wild Coast.

Click here to read Allison Pitaccio’s full review
of “Wild Ocean 3-D” in our reviews section!

Click here for our full “Wild Ocean 3-D” image gallery!

An African penguin stands tall atop a rock on Bird Island, Eastern Cape in the IMAX film “Wild Ocean 3-D”.
Photo credit: Steve McNicholas

Breaking surf sprays behind a fisherman on Sezela Beach, KwaZulu-Natal in the IMAX film “Wild Ocean 3-D”.
Photo credit: Steve McNicholas

Dr. Seuss’ ‘Horton Hears a Who!’ Heard Loudly Into Instant Children’s Classic

HollywoodChicago.com — Thu, 13 Mar 2008 19:37:13 -0700

CHICAGO – One of Dr. Seuss’ most famous storybooks has finally been granted life with its self-titled animated feature “Horton Hears a Who!,” which involves a morally righteous elephant, philosophical timbre and Dr. Seuss’ ingenious lyrical rhymes.

A star-studded cast supports this vibrant tale and Dr. Seuss’ ethical elephant and morally slated advice about equality are well represented in this CG-animated adaptation.

The elephant Horton (Jim Carrey) comes to the rescue of a speck crying for help as it floats by in the colorful jungle of Nool. When Horton decides to help the speck even though he can’t see the Whos who inhabit it, the famous line “a person’s a person no matter how big or how small” comes into the film and sets the Suessian tone of the tale.

Click here to read Allison Pitaccio’s full review
of “Horton Hears a Who!” in our reviews section!

Click here for our full “Horton Hears a Who!” image gallery!

Isla Fisher in “Horton Hears a Who!”.
Photo credit: IMDb

“Horton Hears a Who!”.
Photo credit: IMDb

Despite Potty Humor, ‘CJ7’ Crosses Into Cliché to Reveal Alien Lassie

HollywoodChicago.com — Wed, 05 Mar 2008 22:19:51 -0700

CHICAGO – Stephen Chow, who directed “Shaolin Soccer” and “Kung Fu Hustle,” brings us his latest eccentricity in the form of the kid-oriented film “CJ7”. Slapstick antics, sarcastic humor and excessively absurd characters are simply a few of Chow’s cinematic trademarks and “CJ7” is no exception to his design.

This sci-fi tale of whimsy takes place in Hong Kong with Ti (played by Stephen Chow) as the single father trying to properly raise his son, Dicky (played by Jiao Xu), on the wages of a construction worker.

The film begins by exploiting the poverty Dicky and Ti live in by showing Dicky’s worn-out shoes and dirty clothing. Dicky’s desire to assimilate to school fashions and to possess toys like his schoolmates is overwhelming and his father struggles throughout the film to fulfill his son’s needs.

Click here to read Allison Pitaccio’s full review
of “CJ7” in our reviews section!

Click here for our full “CJ7” image gallery!

“CJ7”.
Photo credit: IMDb

Oscar-Winning ‘The Counterfeiters’ a Bravely Told Gem From Depths of Nazi Germany

HollywoodChicago.com — Fri, 29 Feb 2008 02:18:08 -0700

CHICAGO – “The Counterfeiters” is a historical gem bravely told from the depths of Nazi Germany. An opening scene of a dismal sea sets the tone of Stefan Ruzowitzky’s historical jewel with a sense of despair that raises curiosity to the physical level.

Based on a true story and scripted from the novel “The Devil’s Workshop” by Adolf Burger, the film exposes the untold tale of Salomon “Sally” Sorowitsch and a group of concentration camp inmates as they struggle with the principles of survival.

The film begins in Monte Carlo with Sally – played by Karl Markovics – experiencing the royalties of high-stakes gambling. After a night of glitz and glamour, he goes to bed with a beautiful woman who quickly discovers his concentration camp tattoo. This propels the audience into Sally’s darkest memories.

Click here to read Allison Pitaccio’s full review
of “The Counterfeiters” in our reviews section!

Click here for our full “The Counterfeiters” image gallery!

“The Counterfeiters”.
Photo credit: IMDb

Gondry’s Cinematic Breakthrough ‘Be Kind Rewind’ Proves Again He’s an Artistic Goliath

HollywoodChicago.com — Fri, 22 Feb 2008 02:26:44 -0700

CHICAGO – Michel Gondry’s latest cinematic breakthrough “Be Kind Rewind” grants passage into his magical imagination and proves yet again he’s one of today’s artistic giants.

Whimsicality, childlike humor and unforgettable imagery line the palette of this film, which is a heartfelt yet hilarious tale of two friends saving a VHS rental shop (itself named Be Kind Rewind) from technology by instigating a passion for film in their neighborhood.

Set in tired Passaic, N.J., the shop is located in a building that’s rumored to be the birthplace of jazz icon Fats Waller. It’s owned by Mr. Fletcher (Danny Glover), who is faced with the inevitable gentrification of condominiums and DVD rental stores.

Click here to read Allison Pitaccio’s full review
of “Be Kind Rewind” in our reviews section!

Click here for our full “Be Kind Rewind” image gallery!

Jack Black in “Be Kind Rewind”.
Photo credit: IMDb