#but not as writers or anything their role name/title are glitched out

[bywandandsword]

TMA fandom, why did I have to find out that the The Magnus Protocol trailer dropped from my youtube recs?

[avatar-news]

Everything we know about Avatar Studios’ first movie

It’s time for a good ol’ masterpost!

Here’s everything we here at Avatar News know about Avatar Studios’ first movie! Info that Avatar News is the exclusive source for is specified, otherwise everything is official public info from Paramount/Avatar Studios/etc.

Last updated on February 18th, 2023.

Title

The movie is currently designated “ANIMATED AANG AVATAR” in Paramount's slate, but is untitled

The Avatar franchise has been officially named “Avatar Legends” since 2022

A potential working title is Avatar The Last Airbender: Echoes and Aftershocks, based on a Paramount employee’s resume

A rumored title is Hidden Kingdom

Release

Release date: October 10th, 2025

Will be released in theaters exclusively at first, then stream on Paramount+ after

Previously estimated for 2024 internally at Paramount, but not announced publicly (source: Avatar News)

Story

Featuring “Aang and his friends”

Aang and Team Avatar will be young adults (source: Avatar News)

A movie with a Zuko-focused storyline was/is in development, it’s possible that this is that movie (source: Avatar News) - Update: The Zuko movie is separate

Brand-new original story, not an adaptation of an existing story from a comic, novel, etc.

Crew on this specific movie

Director: Lauren Montgomery (storyboard artist on ATLA, supervising producer on TLOK Books 2-4, showrunner of Voltron: Legendary Defender)

Writer: Kenneth Lin (Netflix’s House of Cards, Paramount’s Star Trek: Discovery)

Producers: Michael Dante DiMartino and Bryan Konietzko (showrunners of ATLA and TLOK, Chief Creative Officers of Avatar Studios), Eric Coleman (executive in charge of production of ATLA, suggested the creation of the character of Zuko in early development)

Production companies: Paramount Pictures, Nickelodeon Movies, Paramount Animation, Nickelodeon Animation Studio, Avatar Studios, Flying Bark Productions

Crew at Avatar Studios whose involvement in this specific movie, if any, we don’t know yet

Composer: Jeremy Zuckerman (composer of ATLA and TLOK)

Writer: Tim Hedrick (writer on ATLA/TLOK/VLD, showrunner of Fast & Furious: Spy Racers)

Head of story(board): Steve Ahn (storyboard artist and assistant director on TLOK)

Executive art director: Christie Tseng (character designer on TLOK)

Art director: William Niu (background designer on TLOK)

Consultant on native representation: Migizi Pensoneau (Reservation Dogs)

Many, many more crewmembers, of course.

Animation

Animation studio: Flying Bark Productions (Rise of the Teenage Mutant Ninja Turtles (2018-2020), Glitch Techs (2020), Monkie Kid (2020-), Marvel Studios’ What If...? (2021), Rise of the Teenage Mutant Ninja Turtles: The Movie (2022))

Animation style: traditional 2D + substantial CG

History of statements on animation style: Sep 2 2021: “series of CG films” - Brian Robbins (president and CEO of Nickelodeon and chief content officer of kids and family for Paramount+) Dec 2 2021: “outstanding and customized [...] unique production look” that “integrates [...] traditional 2D and CG” - Paramount recruiting for Avatar Studios Jun 29 2022: “our main bread and butter is 2D animation” / “homage to anime” / “[not] gonna be [...] hardcore straightedge 2D” / “start with hand-drawn, handmade artwork and then: what can technology do to help us enhance it, to help us deepen it, to help the filmmaking, to make it more cinematic” / “not [...] starting purely 3D and then trying to stylize” / “looking hard to form our own look” / “not doing anything purely 3D” - Bryan Konietzko (Avatar Studios co-Chief Creative Officer) Oct 13 2022: “2D Avatar feature film” / “couple traditional 2D animation with substantial CG elements” - Flying Bark Productions (the movie’s animation studio)

Cast

No cast info for this specific movie yet

Dante Basco is attached as Zuko, reprising his role from ATLA

A global casting call is going out for Asian and Indigenous voice actors in their 20s for Aang, Katara, Sokka, and Toph

Janet Varney, the voice of Korra in TLOK (2012-2014) has announced that she doesn’t want to voice Korra in the future; she wants an Indigenous voice actor to voice Korra (Korra is from the Water Tribe in the world of Avatar, which is inspired by Indigenous culture in the real world). It’s possible other voice actors will make the same choice.

Characters we know will definitely be in this movie: Aang - previously voiced as a child by Zach Tyler Eisen in ATLA (2005-2008) and as an adult by D. B. Sweeney in TLOK (2012-2013) Katara (source: Avatar News) - previously voiced as a child by Mae Whitman in ATLA (2005-2008) and as an elder by Eva Marie Saint in TLOK (2012-2014) Zuko - see above “Aang[’s] friends”

Other

Three theatrical animated movies are currently in development at Avatar Studios

Each movie has a standalone story-- they’re not a trilogy-- so the story of this movie won’t be continued in the next movie after it

The second movie is focused on Zuko (source: Avatar News)

The third movie is focused on the new earth Avatar after Aang and Korra (source: Avatar News)

The image above is official canon art of the Gaang as adults, but it’s from the lead-up to the release of The Legend of Korra in 2012, not from this upcoming movie. Fun fact: it was drawn by Joaquim Dos Santos, co-showrunner of TLOK and director of Spider-Man: Across the Spider-Verse (2023) and Spider-Man: Beyond the Spider-Verse (2024)!

[kristenreviewsmedia]

The Barbie Movie

Teen Movie Title: The Barbie Movie Writer: Greta Gerway and Noach Baumbach Gerwig, G., & Baumbach, N. (Writers). (2023). The Barbie Movie. Warner Bros., Heyday Films, LuckyChap Entertainment, NBGG Pictures, Mattel Film

Rating: 5 stars The Barbie Movie by Greta Gerway and Noach Baumbach starts off in Barbie Land, where life is perfect for the Barbies. However, a glitch causes Stereotypical Barbie (Margo Robbie) to question her existence and mortality. Barbie notices something is off when things become imperfect, such as a cold shower, spoiled milk, and, even worse, flat feet. To understand what is going on, Barbie talks to weird Barbie, a Barbie with a funny haircut, face drawings, and always doing the splits because it got played with too hard. She learns from this that she must embark on a journey to the real world, accompanied unexpectedly by Beach Ken (Ryan Gosling), who constantly seeks Barbie's acceptance.

Barbie and Ken find themselves in Los Angeles, where Barbies starts to discover the flaws of the human world. For example, women are not in charge of things like back home, and she can sense but not understand why the comments make her feel uncomfortable. Barbie thought that she fixed sexism and made things better for women until she encountered Sasha, who let her know what the world is like. Meanwhile, Ken is getting to experience male privilege for the first time, and he sees that men here occupy many positions of power and are respected. Mattel then discovers Barbie is out in the real world and tries to get her back so they do not have another Skipper situation. After Mattel fails to capture Barbie Sasha's mother Gloria (America Ferrera) saves her and they head back to Barbie Land where we find out it was Gloria who was the source of Barbie's existential crisis. When they return to Barbieland, they discover Ken has overturned the matriarchal system and brainwashed the Barbies into being weak-minded and willing to follow anything the Kens want. A battle of ideologies comes to a head. Barbie and her group of friends devise a plan to unite the dolls by reminding them how impossible it is to be a woman; once they wake all the Barbies up, they plan to dismantle the regime by turning the Kens against each other to allow the restoration of Barbie land. In the end Barbies tells Ken that he needs to find out who he is without Barbie, the Barbies also make sure that the Kens have some part in the new system, but Barbie, is still uncertain of her purpose, encounters the spirit of Ruth Handler, the creator. Ruth encourages Barbie to embrace the ever-evolving journey of self-discovery. Barbie decides to venture into the real world and adopts the name Barbara Handler, which is Ruth’s daughter’s name, symbolizing a newfound sense of identity.

This movie has been controversial because some men feel as if it is bashing the male exitance by saying boys are dumb, but in fact, this movie is for men and women, but you have to be willing to listen and accept the message. The lessons that the movie tries to point out are that women do not need to fulfill the role of the “ideal” woman, that things will be complex, and that there will be heartache. As women, it's ok to have imperfections. We do not have to confirm the ideas that society puts on us. For men, it is essential to understand that you do not need to fit into this idea of hyper-masculinity. It’s okay to have emotions and really feel them. Don’t let what you wear or your job, or who you date be your identity. Like Ken’s sweatshirt said in the end, know that you are “Kenough.” There are some adult jokes in here, so watching with young children should be at the parent's discretion.

Awards: Golden Globe Awards (2024) - Cinematic and Box Office Achievement Alliance of Women Film Journalists - Best Screenplay, Original Critics' Choice Movie Awards-Best Production Design Chicago Film Critics Association Awards- Best Art Direction/Production Design Celebration of Cinema & Television -Groundbreaker Award - America Ferrera

[thearkhound]

Tomokazu Fukushima’s role in Metal Gear Solid 1 & 2

Tomokazu Fukushima/福島智和 was the co-writer for the original Metal Gear Solid, as well as Metal Gear Solid 2:Sons of Liberty and Metal Gear Solid 3: Snake Eater, helping Hideo Kojima write the scenarios for each title. He also wrote the script for Metal Gear: Ghost Babel (as covered in previously translated interviews posted in this blog) and the Snake Tales that were added in Metal Gear Solid 2: Substance, as well as assisted in the writing for the Metal Gear Acid series. He would leave Konami during the development of Metal Gear Solid 4 (being last credited in the TGS 2005 trailer) before being employed by SIE Japan Studio, where his name can be seen in titles such as rain, Soul Sacrifice, Everybody’s Golf, Freedom Wars and The Tomorrow Children.

There has been a bit of speculation and misinformation over Fukushima’s exact role in the writing of the first three numbered MGS titles. Because of this I took the liberty of translating content from two MGS related books with material written by Tomokazu Fukushima himself that shed some light on how Fukushima was involved in at least the first two MGS games. The first is Fukushima’s profile from World of the Metal Gear Solid, published by Sony Magazines in 1998, which covers his involvement in MGS1, when he joined the team and Kojima’s thoughts on the man himself. The second translation is a two-page interview from the 2002 book Metal Gear Solid 2: The Making, also published by Sony Magazines, naturally covering his involvement with MGS2. Both of these books feature extensive information on the development of each title, which I will someday post on my blog, but for now I wanted to focus solely on Fukushima.

World of the Metal Gear Solid

Tomokazu Fukushima (writer, script unit)

“While the system employed by cinema and literature is closed to spectators, video games as a medium employ an open system that assumes interaction from the user. There seems to be a misunderstanding that the two systems can be fused when faced with the illusion of “the realization of narrative”, but since essential differences exists between them, their possible expressions differ and on top of that, their effective crafts are also different. In Metal Gear Solid, we tried to express things that are not only suitable for a video game, but can only be expressed in a video game. For example, when talking to Master Miller or Nastasha Romanenko, it seems that their vast amount of knowledge of survival techniques and nukes respectively don’t contribute much to the game at a first glance. But in reality each element behaves in an emergent manner as they are calculated and created in a matter that contributes to Metal Gear Solid as a whole work.”

Codename: Fusshi

Joined the Kojima Group on May 1997

Became part of the Metal Gear Solid team on July 1997

Joined at the last minute to write the [Japanese] voiceover script.

Kojima on Fukushima: “After the plot was decided, I had Fukushima helped me out on writing the script for the voiceovers. The harsher terms in the script, such as 父殺し/chichikoroshi (patricide) and 怯懦と蛮勇/kyōda to ban’yū (bravery and cowardice) were his contributions.

Metal Gear Solid 2: The Making

How was the procedure of writing a script with Mr. Kojima?

“I actually took part in Metal Gear Solid 2 after Ghost Babel ended development, which I wrote the script for. By that point Mr. Kojima had already written a rough draft of the scriptment [Note:A term coined by James Cameron as a portmanteau of “script” and “treatment”. In Kojima’s case, a scriptment is an overly detailed game design document that covers all sorts of aspects such as plot outline, game features, level designs, specifications, ect. Every game directed by Kojima since MGS1 has had a scriptment written for it.]. From there on we started transferring files to a PC based on that scriptment. We would correct each other by writing amendments directly into the scriptment using differently colored texts and writing down the reason for the change. We made around 20 or so revisions.”

How was the work divided between you two?

“While there were some parts that were edited by the both of us, but if I’ll be bold to say it, all the real-time cutscenes were written primarily by Mr. Kojima, as well as all the mandatory CODEC calls. I was assigned to writing all the optional CODEC. We ended up creating around 2,500 files.”

Were there any scenes that were particularly troublesome?

“The CODEC call with the Colonel and Rosemary at the end. We only had around two months to finish the script for the Plant chapter. There were many important scenes in the Plant chapter ,especially during the latter half, so we didn't have enough time to work on the CODEC calls. We even wrote the CODEC calls when the Colonel starts glitching out in a single draft, wondering whether our work was good. Perhaps there were lines of dialogue that didn't exactly convince Mr. Kojima.” (laughs)

Rosemary's lines were quite peculiar.

"We imagined her as something of an independent American office lady in her 20's, so we tried using movies and such for reference... It was pretty difficult... (laughs)"

What were you careful of when incorporating the theme of Metal Gear Solid 2 into the screenplay?

"There isn't just one theme, but we intended to have the problems that individuals and groups face in today’s information society manifest themselves in various ways. However, a script is just one part of the game during the planning phase. While the dialogue is expressed in a direct matter, we thought about effectively arranging the presence or absence of interactivity in certain parts while calculating its effects."

Which parts were you particularly fixated on when writing the script?

"It could be the modernity and the excess. For example I believe Metal Gear Solid 2 has both, real excess and imagined excess. Real excess would be things that are quantifiable like long CODEC conversations or long cutscenes involving each characters. Imagined excess would be excess of information of things such as anything involving the Patriots. If you pay attention closely, you will know that Metal Gear Solid 2 has an extreme balance between the acquisition and lost of excessive information. Naturally we were aiming for such results.”

“The character have an excessive expression, as well as a narrative aspect where they all betray each other. We put it there while calculating the effects it has on the player, although an interpretation is needed there. It is something that is difficulty to portray, but we wanted to show the possibility that it could be achieved on a major title.” Do you have any favorite lines in the parts that you in particular (Fukushima) worked on?

"I like Otacon's proverbs. They provided a relief during tension... They're so ridiculous, but fun... (laughs) Since he's an independent character, I was free to write him like I want."

Sources

World of the Metal Gear Solid/メタルギア　ソリッド　シナリオ・ 設定完全資料集 (ISBN 978-4789791854)

Metal Gear Solid 2: The Making/メタルギア　ソリッド2　ザ・メイキング (ISBN 978-4789718431)

[bigskydreaming]

meowmeowmeowkins Are you enjoying the show? :) It’s one of my favs. The books don’t read... all that great imo. Did you read them?

Yeah I like the show, its actually one of those rare adaptations where I think its better than the source material. I’ve read the books and I’m like.....eh, they’re hit and miss for me. The earlier books were better but the more the authors widened the scope of their narrative, the worse their characterizations got overall, I think. They traded strong character work for ambitious storytelling and I mean, it wasn’t without dividends, they definitely manage a “holy shit” factor at times, like I did NOT see that ending with Earth in Nemesis Games coming despite the writing being on the wall in hindsight. But I think the show actually has so far managed to balance the scope of the story with more contained, concentrated character work in ways the books haven’t.

That said, there’s still some elements of the books that have an edge over the show for me.....like the way they brought Havelock back from a bit character in the first book to being a major player in Book Four.....and then they went and cast Jay Hernandez as Havelock in S1 and I was like yesssssss because I thought he did a great job with the character despite it being a relatively small part.....and he’s a big enough actor that casting him for that role really only made sense by factoring in that he had a major role upgrade coming once they got to the storylines of Book Four....except by the time they DID get there in the show, like, they’d lost Hernandez to his own show as he was off starring on Magnum PI by now, and that’s just the downside of casting a bigger name with an eye towards the future but the possibility of him moving on before then. They took a gamble with that casting and lost, which meant Havelock ended up left out of the Ilus stuff entirely, which was kinda a bummer but like. The book version still exists so its all good.

And then there’s some parts where I’m like, I enjoy the show and I enjoy the books but in totally different ways. Like book Bobbi and show Bobbi come across extremely different to me but in very hard to define ways....its more of a feel than anything....but I like both versions just in different ways? Like Bobbi’s dynamic with Chrisjen on the show is similar to their dynamic in the books but also with its own ticks and nuances on the show, and I just appreciate both versions for entirely different reasons.

I actually have always really liked Thomas Jane though, so I think they really lucked out by getting him for Miller on the show, because Miller is just UNBEARABLE for me in the books, lol, like I can not stand the guy and have wanted him to die since book two, which is awkward because like....he did. And it, y’know. Didn’t help. hflakhflahflafhal

But Jane brings just enough of like....idk, maybe even self-deprecation to the role? Whatever it is, its enough to make his scenes kinda more poignant than just omg can this be over already, can he be gone now. Like, those moments where he kinda glitches and you remember that for all his romanticized soliloquies, he’s not really MIller, he’s just a kind of self-aware program that remembers being Miller even though he wasn’t ever really? Ouch. And those moments would never land like that for me in the books, like I think Jane really did just bring something to the role that then informed how the writers wrote his depiction of Miller moving forward. And I really enjoy when an actor’s performance like....then feeds back into how a show’s writers write future material for them. Gives the role a life of its own beyond what the source material ever envisioned for that specific character.

Also, the show does a good job of not over-using the character, which I think goes a long way towards making his appearances actually resonate. Frankly, I think the books’ writers are just too in love with their version of Miller and took full advantage of the narrative loophole that basically made him damn near accessible for every part of the story even when he reeeeeally didn’t need to be there, and like yeah. 

But yeah, I like the show, and its had enough near misses with cancellation that I’m really glad its been planned to end with season six since before season five even started, because it gave them two full seasons to work in everything they needed to give the show a satisfying ending instead of just a cliffhanger cancellation. That said though, I really have no idea how they intend to fit the rest of the major storylines into just this last season now, like, they’re going to have to trim some fairly sizable plots, I just have no idea what they’re gonna pick to do that.

Like, Season 5 isn’t over yet, and the finale has the fairly ominous title of Nemesis Games, and is written by the book’s writers so I think its safe to say at least what the S5 cliffhanger will be.....which makes me think that S6 will mostly be a mash-up of Babylon’s Ashes and Persepolis Rising.

And so I’m tempted to think that like, maybe they’re planning on just ending it there, instead of trying to bridge the practically seismic shift in tone from Persepolis to Tiamat’s Wrath? Because I mean, in the books, Tiamat’s Wrath basically completes the gradual evolution of the series from nearish-future space exploration to full-on space opera. Like.....Leviathan Wakes is space opera in the sense that like, Battlestar Galactica was space opera, but Tiamat’s Wrath is space opera more in the sense that Star Wars is space opera, y’know? Like, they’re both space opera but in ENTIRELY different ways and with completely different feels.

And so I’m wondering if the show’s plan is to like just end things with the conclusion to Persepolis and like, set up the potential for the later books like lay stuff with Duarte in motion, etc...but then try and springboard that into another project entirely, like a sequel show? After all, there is a thirty year gap between books there so there’s a built in development breather for production to almost take a break and then try and come back later with a successor show that picks up with Tiamat.

The only thing keeping me unsure about that is like.....in the books, the threat from whatever destroyed the Protomolecule Builders, like....still very much has not been shown or dealt with as of Tiamat, and its pretty much a given that final conflict will be the focus of the upcoming final book, Leviathan Falls......so there’s no way to end the show with a potential bridge to be crossed later with a sequel about Tiamat’s Wrath, etc.....unless you leave the Who Killed the Protomolecule Builders mystery still unsolved as well. And I don’t know if the show’s going to want to do that, because that will leave some very dissatisfied fans....but I mean, the show does like to take risks so maybe that is the plan. I don’t know. I’m definitely interested in seeing what they decide however.

[wavenetinfo]

How rare it is to find a romantic comedy about a middle-aged couple in this day and age of American cinema. The marriage at the core of Azael Jacobs’ “The Lovers” is so authentically rendered to the audience that many of the scenes come off as painfully real.

“The Lovers” is about those who love, but also about those who discard love. The couple at the center of this tragi-comedy are Mary (Debra Winger) and Michael (Tracy Letts), both pursuing seperate affairs and all, but having given up on their marriage. Don’t be discouraged by the morose nature in which I describe “The Lovers,” for it springs surprises of hope and healing in its tightly-knit running time o 94 minutes, that no writer should reveal.

The film is a scathing, but humorously authentic take on the state of true love and being faithful to one another. Its young writer-director, helmer of the vastly underrated “Terri,” is asking tough, everlasting questions about what love means and if it could ever be realistically sustained trough a lifetime. The film implies that middle aged couples can be, and are, as sexually screwed up as any younger couple in their mid-20s.

Debra Winger is at the center of these sustained, depth-filled questions. She gives one of the very best performances of her career as Mary, a woman filled with disappointment, wounded by a lackluster marriage and on the brink of telling her spouse she’s had enough. There’s an abundance of passion and wit in Winger’s tour-de-force performance. Unpredictable, intense and filed with abundant wit, Winger shows a vulnerable side to her art by opening herself up to a role that Jacobs had specifically written for her.

She spoke to me about the film and what it means to have such a depth-filled, female role come her way at this stage of her career, a role which, as I cross my fingers, could land her a fourth Best Actress nomination.

It’s a pleasure meeting you, despite this little hiccup we just had on the phone. What was that music as we weren’t being put on hold!?

Hello Jordan, did you have the same technological glitch there? From my perspective I was stuck in what sounded like, you know the music you have no control over when you’re on hold, it was sort of like an elevator between a piercing place and a tattoo salon, the kind of music they would play in a place with that hybrid.

I think that’s what I was listening to as well

So we’re already on the same page here [Laughs].

Well, I have to say, loved your performance, loved the movie so it’s very exciting to talk to you about this. So I presume you still have offers to act in movies. What made “The Lovers” the right movie for you? Did it come at the right time?

I had met [director] Azael Jacobs before, so I knew him. I had written him a letter, I had asked him if he ever had anything where he felt like somebody like me could be in. So we kept a relationship where we spoke a couple times a year. At some point the script arrived and I knew that I really wanted to work with him.

Oh really? So you write notes to directors often? Or was it just Azael?

I wouldn’t say often, but I have been known to drop the occasional fan note.

Any other directors you would be allowed to name check in this interview?

Oh, I think I’ve written notes to Paul Thomas Anderson, I think I’ve written notes to Mike Leigh, Olivier Assayas, yeah I’ve written some notes [Laughs].

You definitely have good taste

So you like the film. You sound like a younger person.

Yeah, I loved it. I got married a year ago, so it still feels fresh.

So this movie didn’t depress you?

No, because I know all about the territory that I’m getting myself into.

Yeah, that’s true. You don’t have to be married to know that the institution creates some traps. I remember the first time I got married around 31 years ago. The first movie that we saw, oh shit can’t remember the title, but it was Meryl Streep, Jack Nicholson and Nora Ephron wrote the screenplay about marriage, and it was so depressing and it was like everybody hated each other, marriage was horrible and I was like this is not a good honeymoon movie.

Are you talking about “Heartburn”?

“Heartburn,” yeah, but I feel like “The Lovers” is a cautionary tale and I think in my life, as far as love is concerned, because I do love love stories, always liked to tell love stories, I find them mysterious and the question about how to make love stay is a lasting question and I like to keep asking it and I think cautionary tales are a good thing.

Well, I find the movie is, in the end, not that depressing because it feels almost hopeful, it gives you hope!

I agree.

It also explores all the strains that eventually develop in marriage and how to defeat those demons.

Right, and how easily we could fall asleep and how we don’t even notice it because it just seems more convenient not to confront it. And also I have this whole theory going in that good writers don’t even realize it, they’re writing on such an intuitive level, that when the actors start pulling it apart and inhabiting it, things come out. And when we got up to Santa Clarita, where it was shot, and I saw where we were going to shoot, this suburban middle class neighborhood, I was like, man this is a whole sector of America that is white-knuckling it right now, you know? And it’s a luxury to afford to divorce. You’re not getting along, your relationship isn’t going well, “oh let’s get two apartments, pay two electric bills.” People don’t realize what a privilege decision that can be.

Oh yeah, completely agree with that. That side of the story is never tackled.

So, I was very interested in the socio-economic side of it in that, you stay in the same house, you kind of avoid each other, you try to find some happiness wherever you can, then one day you wake up and you’re like “wait a minute, this is my life?”

I know a couple that’s in that situation. They’re pretty open about it as well.

Yeah, well it moves to that stage if it doesn’t move to the other stage, which is where “The Lovers” is. I think it also is a timing thing. You could do that for a while, but when your kid goes off to college and you’re left with this glaring lie in your life, it’s pretty hard to realize that you’re not doing well. We forget how tentative we are, we’re only here for a little while.

That moment of finiteness. But, yeah when the kid goes to college you both just look at each other and you’re like “Ok, I have to be with YOU now?”

Well, you know, if you’re doing this whole sneaking around and cheating thing just to keep the structure of a marriage which is somewhat familiar to a child, that tends to fall apart, plus, for the most part, you find out that he’s known all along anyway because as we know when we have a baby they are totally vibratory creatures, I mean they pick up on everything and it doesn’t matter what they “know or don’t know”, they know it in their bodies.

The chemistry that you have in the movie with Tracy Letts to showcase these details is quite incredible. I know him mostly as a playwright, what was it like working with him?

Yeah, he’s been a sort of late bloomer to movies and, as he would tell you, usually plays the guy in a suit ordering the drone strike. For him, I think he was kind of lit up by the role itself. You know, being able to be in that situation in a film, I mean, I’m sure he’s done it on stage, but I was just so delighted because he was just so available and for me, I say yes to a director, and I mean YES. I show up and if I’ve said yes, I’m pretty much willing to explore anything. If you make yourself available you don’t really have much protection and that can be super painful, not in a physical way, but it’s like any other situation in life, movies are no different if you’re doing it right, so I don’t have a craft that allows me to go in and protect all my corners and, sort of, nooks and crannies and give an honest and open performance. I have to be in a trusting environment and I think Azael created that and I think Tracy was just so up for that, that’s how he looks at having a scene partner. We hit it off and we used that feeling and we ran with it and I think that when you’re younger you mistake that feeling in life and that’s when so many actors screw up [Laughs].

A whole bunch of stuff happens

Yeah, a whole bunch of stuff happens in a movie because you’re emotionally available and, in this case, the right exact thing happened. You know, we’re both happily married to other people and we just access that part of ourselves that would have probably gone wild and off the rails years ago.

How long was the shoot?

24 days.

That’s fairly …

Shocking. That was shocking to me. I mean, I come from a world where we shot almost three months on a film. I’m telling you, it was rollicking, I don’t mind it, but I think that a few more days would have been nice.

That’s actually a very common thing for an actor to tell me these days, that the shoot was way too short.

Well, because independent films now are just, you know, shot out of the canon. There’s usually not a lot of time for preparation, I was lucky enough to have some time on this, and you’re working, you know, 14 hour days, and you’re driving yourself to locations. I’m really hoping that the business is finding its watermark because when the bottom fell out of the independent film business it was just so shocking that all that could be made was a 500 thousand dollar or a 500 million dollar film and we’re starting to see the advent between a $1M movie and a $30M movie, which we haven’t seen since, I don’t know, the late ’70s early ’80s. I made one called “Mike’s Murder,” sort of at the beginning of the independent film boom and then, of course, “Big Bad Love” was at the end of it, so I think we just have to find this place where we can make right-sized movies that good actors want to make and you don’t have to sit for five hours and have to play a superhero’s movie or a purple Amoeba from another planet, but that you can tell some stories that we need to hear. Hopefully the budget can come up a bit from this one and give you a little more time so you all don’t fall under the weather and we can make some movies.

I guess this is a little better than shooting “Sheltering Sky” for, what was it, five months?

No, I don’t think it’s better. That was a transformational experience. I had my kid with me, I had my whole life with me, I loved that shoot, I have no complaints about that shoot. I don’t think every movie should be five months. I do also find that the experience of making “The Lovers” was transformational for me because, at my age, to be able to tell a story about the vivacity and the connection into life that I feel inside, it so rarely finds a place in society to live. You know, we like to put older people in a box and keep them separate and believe that it’s never going to happen to us. I’m here to say that at 61 it’s a really vibrant time.

I’m sure you’re always searching for those opportunities

I am, I just don’t think that they’re written for the most part.

    1 June 2017 | 5:24 pm

Jordan Ruimy

Source : Awards Daily

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