Posted on Tuesday, June 21st, 2011 by Angie Han
Richard Linklater has put out several films over the last decade — School of Rock, Before Sunset, Me and Orson Welles and the upcoming Bernie, just to name a few — but during all that time, he’s been slowly working on another, quietly epic project as well. Linklater began shooting Boyhood (formerly called Growing Up) back in 2002, following one young actor (Ellar Salmon) as he ages naturally from first grade to the start of college. Linklater recently reported that he has three more years of shooting left to go, which, yup, sounds about right — a six-year-old in 2002 would be eighteen in 2014. Ethan Hawke and Patricia Arquette also star Salmon’s parents. Read more about the project after the jump.
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I’ll see your RoboCop rap and the Predator rap recaps and raise you the same approach applied to Richard Linklater‘s great film Dazed and Confused. Because where the RoboCop recap took ten minutes, this one is done in a delirious two. Read More »
Recently, I had the pleasure of interviewing author and renown pop culture critic, Chuck Klosterman, for /Film on subjects ranging from whether or not Avatar will be the cinematic equivalent of Chinese Democracy to the abstract theory that our society is unconsciously working for Don Draper. I’ll be posting the results shortly, but for the time being, here is what Klosterman had to say regarding the film adaptations in development of his books Killing Yourself to Live and Fargo Rock City, the latter of which we reported on back in October. Interview excerpt after the jump…
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When it comes to a working actor who humorously perfects the modern guy as a hip scepter for perpetual thought and frazzled irritation, Adam Goldberg holds the key to today’s conflicted kingdom. Like his characters dating back to a break out role in Dazed and Confused and on to an ace performance in 2007’s 2 Days in Paris (a rare romantic comedy that is meaningful and tolerable), part of Goldberg’s charm seems channeled via friendly reluctance. He continues to mine such neurotic territory playing the lead in (Untitled), a surprisingly accessible quasi-satire of the contemporary New York art world.
Portraying a struggling artist named Adrian Jacobs who composes abstract atonal music—and weighs suicide at age 30 for the sake of integrity—Goldberg captures, often in silence, the nagging doubts and petty contradictions of a personality burdened by the mythical qualifiers for “real art” and the “true artist.” Standing in face of this absorbed ethos is Adrian’s brother, who rakes in tons of dough and a thick coat of normalcy with abysmal paintings sold to tasteless lobbies all over the world. (Untitled) features a romantic subplot that’s distracting and predictable, but watching Goldberg maintain composure alongside absurd (and absurdly rich) artists, especially a hustler played by the Vinnie Jones, will ring true throughout any metropolitan art scene. Goldberg talked with /Film about his opinions on the character, his fabled performance as The Hebrew Hammer, and what he’s been up to at home, and totally content, in Los Angeles.
Hunter Stephenson: Hi Adam. What surprised me most about (Untitled) is that it doesn’t pander directly to New York audiences. It’s more accessible, almost like a mainstream movie that skewers an elitist niche. Would you agree with that? And are you surprised by how few comedies have examined the art world?
Adam Goldberg: Yeah, a few people have compared it to Art School Confidential, but I guess there aren’t many films about the art world. And obviously, it’s set in New York for practical reasons because that’s the most symbolic place, but it didn’t really even need to take place contemporarily. It’s really has an anywhere-anytime sort of vibe, because it’s about these loftier ideas, like “What is art?” and “What is music?” And, you know, what is the value of something and how things are valued. So, it’s definitely not indigenous to New York culture. A lot of the music my character makes in the film is actually based on what people were doing in the late ’60s and early ’70s, which is funny because my character fancies himself being on the cutting edge and new school. But it’s hardly revolutionary.
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