Damien chouly el, and best actor. It is an escapist musical . It is the film at the moment that is giving people a lift, a bit of sunshine in an ever darkening world is how it has been pitched. And that is interesting because for people who havent seen it, it is so los angeles, so hollywood, steeped in that world, and i think we were interested to see whether the British Academy, a different set of voters from the Academy Awards in the states, from the golden globe is, might not be quite as in thrall to that as an american judge might be. Indeed, but it turns out that the charm of the leads, ryan gosling and emma stone, and the craft of it all, it won for cinematography, those memorable shots of dancing on the freeware, the levitating people in the griffith observatory, the texture of the film, it has kind of one people over, and also the music which is rather an interesting score, because it is not an Old Fashioned musical. Score, because it is not an Old Fashioned musical. People sco
it s mischievous fun and, you know, that was a great part for that kind of devilish mischievous to come out. i drink your milkshake. i drink it up. don t bully me, daniel. with him, i saw a person working another way. once he was in character and people always say, he stays in character. it s kind of a mythology. well, it s easier, maybe not for the actor, but it s easier for me. it s not the actor, it s this character. i m talking to bill the butcher. somebody steals from me, i cut off his hands. he offends me, i cut out his tongue. he rises against me, i cut off his head, stick it on a pike, raise it high up so all in the streets can see. that s what preserves the order of things. daniel, once i saw him work that way, there was an intensity there that was very delicate.
you re going to get a medal of valor for this. i didn t shoot him. a room full of cops said you didn t. but i didn t. you did. every scene i did with him from that first day was the reason why i want to make movies. i was just so into watching these two guys performance that i forgot to yell cut sometimes, and they would keep going. player to player, pimp to pimp, i m letting you shoot me, nigger. don t do it. don t do it. i don t believe you got it in you. there was a scene where they got in a fight, and denzel put the cigarette down. he picked it back up, and i was about to yell cut because the scene was over, and he kept going. he lit it, and i saw it in his eyes. on the lens. it was a long lens, and i could see something happening. he was just on fire, man. i m the man up in this space. you ll never see the light of [ bleep ]. who the [ bleep ] do you think
means. i don t know what was in the water around mexico city, but alejandro, alfonso, guillermo del toro. that talent was unlike anything. it was a process we shared between each other. doing the writing process, we kept on sharing our screen plays and being brutally honest with each other. then, during shooting we were like support groups. we suffered so much, we need to talk to someone else who suffered a little bit more. these film makers don t come out of a void. they come out of a country with a rich cinematic tradition. so they bring a very special perspective which has evolved over a long period of time. pan s labyrinth took people by storm. if they weren t interested in
oh, perfect. do you love it? she s a humanist, and her films are so funny. and they re cinematic. it s a very quintessential mother/daughter story but also feels very personal. how come there haven t been more movies like that? that s a really interesting time of life for a lot of girls, and it s been ignored. sean baker is a very inventive, independent filmmaker. he first was on my radar screen for his movie tan jen reason which he shot entirely with an iphone and which captured women in a trans community in los angeles. the world can be a cruel place. yeah, it s cruel. don t even got a penis. that s pretty damn cruel, don t you think? i want to tell universal stories. i want to tell stories with universal themes.