I ran the Walt Disney World Marathon on Sunday, January 12, 2020. Before delving into the magic of the runDisney weekend and event, the five-park course (Epcot, Magic Kingdom, Animal Kingdom, Hollywood Studios, and one of the water parks), the Disney characters and exhibits set up for picture-taking every few miles, classic Disney clips and tunes played on screens and speakers throughout the course, and exclusive memorabilia, many readers may be wondering why anyone not named Pheidippides, carrying the timely news of the Persians’ defeat to the Athenians, would run a marathon to begin with. In fact, running 26.2 miles “for fun” seems downright insane. My first cousin, Steve “Pre” Prefontaine, about whom Hollywood made two films, Prefontaine and Without Limits, had that brand of insanity.
Even after running the marathon, I still can’t fathom how certain people make them a regular part of their annual running schedules. I’ve always questioned whether or not I inherited the degree of insanity with which Pre carried himself on the track. However, after running the event, I know for certain that some of that fire roars in me now.
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When the term character actor is used in film discourse, Willem Dafoe is one of the most common actors to come to the collective mind of cinephiles. However, he is, and always has been, a leading man who simply isn’t deterred by the size, or lack thereof, of a given role to which he connects. The Wisconsin native could turn even the most seemingly banal character into something singularly mesmerizing. This intuition to excavate the humanity out of the roles he chooses is part of what makes Dafoe so effective as an actor. Perhaps it’s also what draws skillful auteurs like Wes Anderson, Martin Scorsese, Paul Schrader, Lars von Trier, Abel Ferrara, Sam Raimi, and Oliver Stone back to him for memorable repeat collaborations. Whether as a character actor, leading man, or disembodied voice (Vox Lux), Dafoe remains one thing above all: A universally sought-after director’s actor.
One collaboration that evaded Dafoe for nearly three decades was that with legendary Argentinian filmmaker Hector Babenco (Kiss of the Spider Woman). It wasn’t until 2015 when the two longtime acquaintances finally made a film together with Babenco’s autobiographical My Hindu Friend – also titled My Last Friend – in which Dafoe plays a stand-in for the director during a particularly grim period in his life. My Hindu Friend is a thoughtful, honest exploration of death, life, cinema, and unlikely yet timely human connections. Shortly after the 2016 Montréal World Film Festival, Babenco passed away, delaying the film’s release nearly four years.
On the cusp of My Hindu Friend’s January 17, 2020 theatrical release, I spoke with Dafoe about his experience on Babenco’s final film, his aptitude for portraying real-life figures, the existential weight of death in cinema, The Lighthouse, the politics of the Oscars, and his storied career, including his collaborations with Anderson, Scorsese, and von Trier.
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Lauren Greenfield has been a professional photographer since the Reagan era, documenting the American Dream’s devolution into insatiable avarice and a form of capitalism increasingly based on cruelty through a singular lens. She’s also an acclaimed documentarian of the 21st century whose latest film, The Kingmaker, about former First Lady of the Philippines Imelda Marcos, tells a very different kind of wealth story than her previous films. Greenfield is a renaissance woman in every sense of the term. Working on her first narrative feature, Man Under, penned by Better Call Saul’s Ann Cherkis, Greenfield is at the peak of her burgeoning artistic career.
When speaking with Greenfield, it becomes immediately clear that she has a deep love for film. It was always destined to be her endgame. Further, it’s abundantly apparent that Greenfield’s work has consistently been driven by her cinematic inspirations throughout her career.
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Traversing slapstick comedy, political satire, and political docudrama sharpshooting seamlessly, director Jay Roach’s unorthodox career trajectory serves as a testament to both his artistic range and tireless work ethic. Not associated with the end product of Zoo Radio, Roach considers Austin Powers: International Man of Mystery to be his first project at the helm. A cultural sensation, it launched one of the highest grossing comedy trilogies ever made. In fact, Austin Powers in Goldmember remains the fourth highest grossing spy film in cinema history behind Mission: Impossible II, The Borne Ultimatum, and Skyfall.
The James Bond spoofs paved the way for Roach to align his directorial chops with subject matter that was closer to his heart. Recount, Game Change, and Trumbo allowed him to explore relevant current and historical political affairs, while The Campaign in 2012 bridged his background in comedy with his newfound aptitude for political perspicacity.
Dissecting the Roger Ailes scandal of 2016, Roach’s latest film, Bombshell, is an amalgamation of his most recent body of work. With help from Oscar-winning screenwriter Charles Randolph (The Big Short) and three impressive performances by Charlize Theron, Nicole Kidman, and Margot Robbie, Roach infuses a tragicomic, meta perspective into the narrative, crafting a biting critique about gender and power structure in the workplace and beyond.
On the cusp of Bombshell’s December 20 wide release, I sat down with Roach to discuss his career, the importance of authenticity in a story such as this, breaking the fourth wall, the progress of the #MeToo movement, the prospect of another Austin Powers film, and more.
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