If you don’t love Almost Famous as much as most of the staff of /Film does, then you might not know that the original title for the film was Untitled. If you watch “The Bootleg Cut” (or director’s cut) that was released on DVD back in 2001 and re-released on Blu-ray in 2011, you’ll see the real title appear, as it was preferred by director Cameron Crowe (who is the one doing the handwritten opening credits as well).
Before the title Almost Famous was settled upon, there was a time when Cameron Crowe was trying to figure out what else he could call the movie, since Untitled was not the most desirable name for the studio to sell. One person who tried to help Cameron Crowe figure out a satisfying alternate title was supporting star Jimmy Fallon, and the director recently revealed the full list of options he was presented with by the man who would go on to host The Tonight Show. Read More »
“The only true currency in this bankrupt world is what you share with someone else when you’re uncool.” – Lester Bangs, Almost Famous
With that quote, writer director Cameron Crowe smashed through levels upon levels of truth. He’s talking about art, he’s talking about loss, he’s talking about individuality, basically he’s talking about everything. What we talk about among friends is what defines us and the films of Cameron Crowe have always been about that. They’ve been about more too, but they’ve always have been about the human experience. In the best cases, Crowe’s words, choice of music and actors have greatly enhanced that human experience too, making the uncool cool.
This week marks the release of Crowe’s eight narrative feature, Aloha. It’s a film fans have anticipated for sometime, mostly because we trust in the work of this iconic, wonderful filmmaker. To celebrate the occasion, we’ve ranked all eight of his narrative features films (he’s done two documentaries too, Pearl Jam Twenty and The Union, which we’ve omitted just to keep things focused). What’s number one? Below, read our rankings of the best Cameron Crowe movies Read More »
It seemed like a pretty good bet that Paul Rudd and Leslie Mann would appear in Judd Apatow‘s currently untitled comedy set for release June 1, 2012. After all Mann, his wife, has been in every single movie Apatow has directed and Rudd has only missed one, Funny People. What no one could have seen coming, though, is that they’ll be reprising their roles as husband and wife from Apatow’s 2007 hit Knocked Up and according to Variety, that’s exactly what they’ll be doing. But no, it is not officially a spin-off, says Universal. It’s reportedly a new story featuring the same characters. Think Get Him To The Greek and Forgetting Sarah Marshall. Read more after the jump. Read More »
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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There are a bunch of movies opening this Friday, which explains the abundance of new movie trailers hitting the interwebs today: Gentleman Broncos, Law Abiding Citizen, The Fourth Kind and now the trailer for (Untitled). Yes, that’s the name of the movie — Untitled. And I’m not talking about the brilliant but flawed director’s cut of Cameron Crowe’s Almost Famous, which yes, too, was released under the non-title Untitled (but without the brackets).
Adam Goldberg stars as a musical modern art creator who, well, creates nonsense. (Untitled) is notable for a couple reasons. First off, (Untitled) was directed by Jonathan Parker, who was the writer, director, producer and composer of Bartleby, the absurd 2001 indie adaptation of Herman Melville’s Bartleby the Scrivener And no, that film isn’t anything to write home about, but its just so strange that I often find myself recommending it to those who love fringe films. Secondly, Untitled premiered at the Palm Springs International Film Festival in January, where it recieved some good buzz amongst audience members (but not the trades).
It certainly doesn’t look like a movie for everyone. Watch the trailer embedded below, and leave your thoughts in the comments.
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