The Susanna Wolff interview

Susanna Wolff of CollegeHumor.com gave FPM a little interview, where we talked about her favourite film: Everyone Says I Love You, among other things.



Tom: Alright, so i saw it around 3 weeks ago. Twice. It sort of set me off on a Woody Allen binge because I think the man's a total genius
Susanna: as you should
Tom: first off, why did you choose this film?
Susanna: It's a movie that I absolutely love and that almost no one has ever seen. I've recommended it to a bunch of people and they all always like it. Also, Woody Allen singing? I mean, come on
Tom: I can relate to that first point, I frequently campaign for my favourite smaller films to be seen and I'm never wrong. I was surprised by how good the cast was. I mean, considering the age some of them were, probably not big stars by then, it's a testament to Allen's eye I guess.
Susanna: Definitely. Natalie Portman at age 13-ish shows a lot of foresight on Woody's part
Tom: Even if she's a bit... "meh" for me.
Susanna: Haha, are you more of a Drew Barrymore man?
Tom: Not in THAT way. Gosh
Susanna: Haha. i'm just teasing you, I actually thought that Drew Barrymore was the most meh actor in the cast. Natalie Portman was cool by me, Julia Roberts was a little weird, but that may just have been her singing.
Tom: I think the whole semi-spoof vibe it had going on certainly helped to cover the slightly suspect acting of one or two of the cast. Also, i was a little surprised, not in a bad way, to see a bit of political commentary slipped in there with the Republican son
Susanna: The funny thing about Woody Allen's style of political commentary in his films, is that it's always just a given that the protagonists are liberals. And it's a safe assumption because most of his protagonists are NY Jews. I like that there is no controversy to the politics though. It's just there for background jokes.
Tom: I'm ashamed to say I never really thought of it like that
Susanna: Well, you don't have the viewing advantage of being a New Yorker. (Tom: NOT YET!) The movie is very very New Yorky in fact. Every location has specific connotations.
Tom: Oh man, they need to re-release it with a "Susanna info bar" down the bottom
Also, I've been curious about this: hypotheically, how would you feel if some guy employed Allen's character's actions to get close to you? Assuming you have a therapist, but let's face it, you're in NY
Susanna: Haha. I would find it crazy. (Even more crazy than I hypothetically am.) That sort of thing is just all kinds of Shakespearean messed up. It's the kind of plan that always backfires.
Tom: Yeah, i was SO waiting for it all to go tits-up in the film then when it all came out it wasn't really too bad. Well, you know what I mean, she didn't go crazy.
Susanna: Yeah, it was a very subtle unravelling. I really like that. It would have been so cheesy to have the secret come out and have there be some explosive fight. It's much nice to know that even if everything goes according to plan, the plan still won't work. That's a very Woody Allen conclusion.
Tom: I agree. It felt a lot more... real.
Susanna: Yeah. You've seen Annie Hall, right?
Tom: of course
Susanna: Then you know that the unhappy ending can really be delightful. What's more is that an unhappy ending isn't necessarily unhappy. It's just not what you expected in the beginning.
Tom: it's a common theme running through his films that I like. The plan or assumptions made ion the set up often turn out a whole lot differently, sometimes with little or no consequence
but it's how these people get to those places. I once had to describe VCB for a friend as she was a little sceptical and I went with "Nothing happens, it's just a whole bunch of really well-written conversations stringed together"
Susanna: Haha. That's my favorite kind of movie. It's all about the characters. Plot is just an excuse to get them to talk. Have you seen Play It Again, Sam?
Tom: I'm afraid not
Susanna: Oh man. That's another oft forgotten Woody Allen movie. You have to see it. Sorry, that's slightly off topic, but I didn't want to forget.
(It was on my rental list 15 minutes after the conversation ended)
Susanna: It's fantastic. What's really amazing about it and, actually, of all Woody Allen movies is that his character, that neurotic Jew shtick he does, was mostly made popular by him.
Sometimes you'll watch his old stuff and think, "This is just the same old gag I've seen a million people do." But he did it first. The New York Jew in therapy is him.
Tom: That's what it's like watching Emo Phillips do stand up, which I reccomend
Susanna: I am writing that name down.
Tom: alright, i was playing a game the other day, I had to think of who i would cast as my friends in a film on my life. Obviously, as you work with some people a lot of my readers are familiar with, who would you cast to play some of them?
Susanna: Wow, hard question. Let's think... I don't even know.
Tom: alright, it was a bit of a curveball question anyway
Susanna: I would probably make it some weirdo one man show. All one guy. Lots of costumes.
Bob Balaban does CollegeHumor.
Tom: I was about to say, if you had said Eddie Murphy the interview would have been over
Susanna: haha: Tyler Perry's Eddie Murphy does CollegeHumor: A Movie
Tom: Tow about this: if, God forbid, a remake of ESILY was in the works, and no matter how you felt about it, YOU had to cast it, who would you pick? re-casting the originals isn't an option.
This is a horrific alernate universe
Susanna: Jeez these question got hard. Let me think here. I know whatever I answer now I'm going to think about all day and want to change.
Tom: That's fair enough. It's clear you love the film and Woody in general, any other filmmakers you're very attached to?
Susanna: As girly as it sounds, I love Nora Ephron. When Harry Met Sally is one of the best movies. She is so great with dialogue.
Tom: You're certainly more of a character-centric dialogue person than anything else, do you still enjoy the more ridiculous and lavish Sci-Fi stuff out there?
Susanna: Definitely. If Die Hard is on TV, I'm watching it. Star Wars marathon? Yes please.
The only movies I can't stand are scary movies. Because I'm a wuss.
Tom: I can totally relate. I'll only watch a horror if it does amazingly well critically, like 28 days/weeks or The Mist or something. (Let The Right One In, too) I still haven't seen The Orphanage, which I must because Del Toro is my hero
Susanna: I had to leave the theater during 28 Days Later. It scared the crap out of me. I snuck into another theater and ended up seeing Alex and Emma, the most forgettable film ever.I only made it like 2 minutes in. I don't even know how it ends or what the explanation was. Honestly, even Shaun of the Dead scares me a bit.
Tom: It scared me a little the first time I saw it, but I was pretty young. Then I realised it's probably the best British comedy ever
Susanna: So hilarious, but that part when they're trapped in the bar is still a little frightening.
Tom: I can see what you mean. Are you one of those people that despite the plot or the jokes still finds yourself in the moment and imagining how you'd react to the situation within the film?
I did that with Saw the first time it came out. Screwed me up bad.
Susanna: Haha. I obsess over how I would react in a similar circumstance. The answer: I would absolutely die. No questions.

Susanna's superior wit and intellect can be further sampled in her articles, which can be found on her CH profile here: http://www.collegehumor.com/user:945989
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Review: Inglorious Basterds

Lord, where to even begin here? I’ve been actively dreading this review since I saw Inglorious Basterds a little while ago. Tarantino films are complicated enough to watch. The concept of giving an academic opinion on such a tricky film as this made me quake in my boots moments after leaving the cinema.

A second viewing recently quelled some of my fears. First-off, this is definitely a film you need to see more than once. I mean, sure, I loved it the first time round. Like, really loved it. But the second viewing, after I was free to research and dig without having to hide from spoilers, it just intensified and amplified the whole experience for me. I noticed the subtle nuances in the acting regarding the characters and where they were at that specific moment. Inglorious Basterds need to be seen, digested and seen again for full understanding and context. It was just made that way.

The premise of Inglorious Basterds, if you’ve not seen the trailer, appears to be this: 10 or so Jewish-American soldiers are dropped into a Nazi-occupied France during the closing stages of World War II. There, they pretty much wreak havoc on every Nazi soldier they find in a variety of gruesome and merciless ways (and the ones they do show mercy to are horrendously compensated for this). They decide disposing of the enemies in these outlandish and cruel ways isn’t quite awesome enough, so they decide to blow up a cinema on Nazi-night, thus ending the war.

Sounds pretty straightforward and cool, right? Ever seen a Tarantino film before? The trailer accounts for 2 of the 5 chapters of Inglorious Basterds. About halfway through this 152 minute-long epic, we realise that it’s not the Basterds who are really the main characters at all. The focus of the film shifts repeatedly between them and Shoshanna, who’s story is far too wonderful to give away.

Some would argue the pace is slow, where as I instead feel that the film lingers upon it’s own dialogue and characters, not wanting to spoil its own world by moving too quickly by them. The first chapter is a 20-minute conversation between two people sitting at a table. That’s it. The film maintains that perfect balance of making us relish the extended dialogue sequences, whilst cheering when these parts are interrupted by some good-old-fashioned Quentin-patented mayhem.

It certainly is a film that defies genre. While the action is important, it is not prominent. The drama is diluted by a lot of well-timed and well-placed black comedy and the magnitude of the war itself is only really touched upon in the final act. The best thing about all that is that each of these contradictions blend in with, and even complement each other to the point where what we’re viewing looks less like a jumbled mismatch of over-ambitious ideas and more a multi-layered, perfectly planned miracle.

Acting-wise, it’s no surprise Christoph Waltz was named Best Actor at Cannes. It’s a part that quite literally has to be seen to be believed. Keep an eye out. Elsewhere, Pitt impresses with a predominantly comedic turn as Aldo Raine, leader of the Basterds. Pitt’s at his best in the second chapter as he interrogates a Nazi Officer on the whereabouts of another squad in the area. On his refusal, he send out Eli Roth’s Donny Donowitz, a huge, angry Jew with a baseball bat. Awesome.

It’s actually Roth who impressed me more than most in Inglorious Basterds. The scene where he delivers some almighty punishment using his weapon of choice is preceded by Donowitz inspecting the officer’s badge and asking “you get that for killing Jews?”. It’s a perfect question, injected with so much controlled anger and sadness that it makes for one of the most powerful moments in the film. Despite Chapter 2’s more fun-loving tone, it’s certainly one of the more affecting moments in the entire thing.

Tarantino here has not only exceeded expectations, but exceeded them to such a degree one wonders if Inglorious Basterds could ever truly be topped as his best film. The film’s final line echoes this. And, to be honest, if this is the best we ever see of him, it’s a more than fitting case for his genius overall.

*****
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Review: Let The Right One In

Alright guys. Before we start, elephant in the room. You may or may not know Let The Right One In is a romance/vampire film, and you WILL know that, last year, a very popular and very high-profile romance/vampire film was released. It was almost impossible for me, as I watched Let The Right One In to not compare it to Twilight in my critical consideration. The concepts are undeniably similar, and I believe it's this coupled with the fact Let The Right One In is Swedish that caused the film to go largely unnoticed in a mainstream audience.

Let The Right One In opens in a small Swedish town. It is 1982 and Oskar finds himself bullied daily. He spends his nights planning and practicing violent revenge against his attackers. One night, while out stabbing trees, he meets Eli. Who's a vampire, just so you know.

What follows is a bleak, heartbreaking, solid, beautiful and real story of the two. It's gripping and intensely frightening, even without the horror subplot. Most of the credit here has to go to the two young actors who play Oskar and Eli (Kåre Hedebrant and Lina Leandersson) who give performances that actors 6 times their age would be commended for.

The film itself is written to perfection. Subtle indications of a character's fate/nature are alluded to and then never mentioned again, leaving it to you to piece together some of the facts. The dialogue is affecting and low-key, in keeping with the colour palette and soundtrack. This is not a horror that relies on CGI or jump-out-of-your-seat moments which, given some of the scenes, it very well could have been. When CGI is finally used in an obvious sense, it doesn't quite work and transports you out of the film for a short while, before quickly rediscovering its pace.

By far the best thing about Let The Right One In is the seamless integration of a real horror story with a real love story. While it isn't a blend by any means, both are represented side-by-side and complement each other until the very end. One minute you find yourself reeling at one of the very graphic horror scenes (one guy gets half his face burned off at one point. It's mental. Worse than Harvey Dent in The Dark Knight) and the next moment Eli and Oskar are standing on either side of a window, following each others handprints while I sit, 8 inches from the screen in hysterical tears shouting "LOVE EXISTS AND IT'S BEAUTIFUL".

Inevitably, things start to go tits-up for everyone and, as the film concludes we are treated to one of the best scenes in film of the last, well... ever. It's shocking, disturbing and just a little pleasing. The film ends on a high, but deliberately leaves a bloody trail behind it. Come the finale, morality grips and we find ourselves wondering if the bloodshed was worth it for the freedom of our protagonists.

Watch it, I beg you. Forget the subtitles and just get lost in the story. It's so worth it.

*****
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The 5 Best John Hughes films.

I miss him already. Despite the fact he pretty much became a recluse in '94, it was a comfort to know he was still out there. It's still very affecting for me, I've been singing his praises ever since I got into the whole film game. But everything must end.

Chances are, if you ever saw a comedy film in or from the 80's, Hughes was involved somewhere along the line. The impact he had back then, the ripples of which we are still experiencing today, is astronomical. So here it is, my way of a sendoff. Hughes' finest five. In my opinion, of course.

5. Home Alone
The film that inspired thousands of at-home accidents. Hughes is here, and always has been proof that a high-concept idea doesn't necessarily doom it to conforming to broad and jarring humour.

4. The Breakfast Club
One of Hughes' famous and most-loved. Stunningly heartfelt and funny without sacrificing too much social realism and relevance. Like most of his films, this is an unparalleled feelgood film.

3. Uncle Buck
Hughes' long-time friend and cinematic legend John Candy steals not only the show here but pretty much everything to go along with it. Stunningly warm with a neat edge and some subtle commentary on the changes youth culture has seen since Hughes grew up. A joy.

2. Ferris Bueller's Day Off
Ridiculous, unbelievable and over-the-top. And brilliant. Another defining teen film from Hughes. Matthew Broderick enjoys himself in and out of character, here. Bringing a charm and flare to this already so-enjoyable-it-should-be-banned piece.

1. Planes, Trains and Automobiles
What to say? A masterpiece. The film that showed the world Steve Martin and John Candy CAN act. More tonal and emotional shifts than any other Hughes films helps this become an all-inclusive classic. The ultimate buddy movie sees Martin's uptight and neurotic businessman Neal Page pair up with Candy's warm but irritating Del Griffiths in a bid to get home for thanksgiving. Needless to say, bad luck ensues.

With a shocking and heartbreaking twist at the end, Planes, Trains and Automobiles establishes itself as Hughes' best and most charming film ever.


One last time, goodbye, John. We won't forget about you.
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John Hughes.

Reblogged from my website:

I know I’ve been posting a lot in the 2 days I’ve been here, but the news has just reached me that today, John Hughes, director of one of my favourite films of all time (Planes, Trains and Automobiles) passed away at the age of 59.

Hughes was an incredible filmmaker and his work today remains regarded as some of the funniest, most heartfelt and most influential stuff to have ever been seen in cinema. An extraordinary talent, he will be sorely missed.

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Review: Moon

As most of you die-hard fans will know, I wasn't a huge fan of JJ Abram's latest try at directing in Star Trek. It was good and everything, but the pretentious film-lover in me has been very vocal this summer, prompting me to dust off some of the films that may be considered very limited in their nourishment of the intellect. Star Trek was 80% bang and 20% other stuff. I guess sci-fi just lends itself to that kind of thing. I mean, space adventures are pretty unbelievable to begin with so it's pretty easy to lure an audience with any kind of plot you can care to think up. Star Trek, Transformers, these are the films to which Moon provided a timely antidote. A brainteasing, minimalist and character-driven space story with more depth and intrigue than any overlong robot/alien "epic".

Moon opens, unsurprisingly, on the Moon. In the not-too-distant future Sam Bell (Sam Rockwell) sits alone on the far side of Earth's iconic satellite in a station, collecting energy and sending it to earth via little rocket things. He's been there for nearly 3 years and in 2 weeks, he goes home to his wife and baby daughter. All seems to be going well with Sam, although even at the beginning there's an underlying feeling of menace and foreboding as we witness him talking to himself and advising his bosses through a recorded message that 3 years is far too long for any man to remain in solitude. He's not COMPLETELY alone, though. He is assisted in everyday routines by Gerty (Kevin Spacey). Gerty is an intelligent but low-tech (by normal sci-fi standards) robot that moves about the station and talks to Sam, keeping him company. It's a relationship that builds throughout the film rather than deteriorate, a route so many man-and-machine stories go down eventually. Anyway, yes, everything seems to be going relatively well with Sam until certain events begin to occur. Nothing major, just a small indication that maybe he has been up on the Moon for too long. The event occurs again while he's performing a routine check in a buggy, causing him to crash, which is when things really get interesting.

Sam awakes in the base's infirmary. This here is a mystery in itself. In an uninhabited environment apart from himself, how did he get back to the base? Gerty is on hand to comfort Sam after his crash (remember his words in this part) and the routine begins again. That is, until Sam begins to get ever-so-slightly suspicious and decides to go back to the crash site. There, the film takes the most important twist in its modest 100-minute running time as Sam discovers Sam, still unconscious in the crashed Buggy.

To continue with any kind of synopsis would be cruel and detrimental to the impact the film has. What ensues is a thought-provoking, emotion-evoking and above all EXCITING drama about the human condition and morality. The best thing about Moon is arguably Rockwell himself, who channels both the main characters as very different personalities, despite the fact they are the same person. The interaction between the two of them is not only a testament to Rockwell's acting ability which really does excel here, but also the special effects that allow them to interact so seamlessly. All the more impressive when you consider Moon's small budget.

As the plot thickens and a small race-against-the-clock element is introduced, one would expect a third act lull in quality and intrigue as most films like this tend to fall for, replacing the heart and soul that originally transfixed us with a lot of running and shooting. Magically, Moon keeps its own pace and the finale unfolds on its own terms, offering not only an extremely satisfying conclusion but an overwhelming sense of reward on the audience's behalf.

In a Summer bloated with money and gloss, it's a relief to find such an elegant and beautiful film in Moon to enjoy. With an consistent, engaging story and some mighty fine acting, I might be inclined to say it's the best film of 2009 so far. Maybe.

*****
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