PEN World Voices Festival 2012: New Technology & Conventional Literature Strike a Balance

I had the total lit-nerdy thrill to attend some exciting events during the 8th annual PEN World Voices Festival of International Literature. PEN American Center is the American chapter of International PEN, which is a literary and human rights organization that fights for the freedom of expression of writers all over the world. This year, PEN American Center's festival celebrated the ways in which literary expression expands across multiple artistic and technological mediums. The festival took place in various New York venues, from April 30th through May 6th, and included such authors as Martin Amis, Margaret Atwood, Jennifer Egan, Tony Kushner, Marjane Satrapi, Brian Selznick, and Salman Rushdie (who served as the Festival Chair).

From Margaret Atwood arguing for the internet as a useful literary tool, to Jennifer Egan discussing how Power Point worked conceptually and structurally in her novel, the festival events I attended proved that literature is evolving with (and not being destroyed by) new technology. The festival also showcased writers like Marjane Satrapi and Brian Selznick who are breaking literary conventions with their genre-challenging and medium-crossing narratives.

Highlights from my experience at the festival, after the jump.
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About All That Cabin in the Woods Buzz....

Cross-posted on and commissioned by Film.com

Ever since Cabin in the Woods had audiences freaking out at Butt Numb a Thon and even more so at SXSW (and for many of us, way before then), it's been perhaps the most buzzed about original film of the year. While running errands a couple days ago, two employees and two customers began talking about the film, seemingly prompted by nothing, discussing whether or not it will be like say, Saw, or something more subversive. So for the confused or uninitiated wondering what this buzz is all about, let me break it down for you - spoiler free of course.

The Hold Up

Cabin in the Woods was originally shot in 2009 for MGM, and when the studio went under, the film just kind of hung around for a while, wondering if it would ever see the light of day. So it's not like Cabin just popped up a couple months ago and people started gabbing. Some of us have been anticipating this film for *literally* years. Anticipating an ORIGINAL film for years is extremely rare. So when Cabin started screening, most notably at Butt Numb a Thon, and word on the street was that it was balls out amazing, well, you can imagine how difficult it became for us geeks to contain our excitement. While the hold up was initially so frustrating for us all, a lot of positives ended up coming out of it other than the long period of time to simmer in anticipation, including enough of a chance to resist 3D conversion (thank goodness for that) and the GIANT strides that have happened for the people involved since wrapping. 

Joss Whedon

Certainly this applies to Joss Whedon. Once and to a certain degree still, a geek's geek, beloved by a very specific niche audience, who everyone else ignorantly turns a nose up at, now Whedon is about to enter the arena of household name-big budget-massive franchises. If Cabin had been released when intended, maybe his involvement would have been brushed off by the more mainstream audiences. But here, in 2012, mere weeks after Cabin hits theaters, so will The Avengers, directed by none other than Whedon himself. The Avengers has already put Whedon on the map outside of the geek crowd. Remember when I mentioned hearing employees discussing Cabin a couple days ago? One of them got more interested the moment someone else mentioned that the writer is directing the Avengers. 

Chris Hemsworth

Not to mention the cast! Since wrapping, Chris Hemsworth went and oh you know, became Thor, NBD, and apparently ultimately got the job because Whedon called Kenneth Brannagh and recommended he give Hemsworth another shot. Then as luck would have it, Whedon and Hemsworth reunited to shoot The Avengers. Hemsworth has a huge following now and brings a star element to the film that previously didn't exist. I'm personally excited for the film to open so people will see what Kristen Connolly (who holds a masters in drama from Yale, whatwhat) can do and start propelling her towards stardom. 

Former Buffy/Angel Writers Taking Over The World

Continuing the trend of former Buffy writers taking over the world, Cabin in the Woods is Drew Goddard's directorial debut. Since Buffy's end, we've seen David Fury writing and producing for Lost, 24 and Fringe, David Greenwalt creating and showrunning Grimm, Jane Espenson writing for Once Upon a Time, Dollhouse, and Battlestar Galactica and showrunning Caprcia, Marti Noxon writing Fright Night and writing/producing for Mad Men and Glee, Drew Z Greenberg executive producing Warehouse 13, and the list goes on and on. The writing room for Buffy and Angel was the breeding ground for greatness and the proof is in the pudding. 

#discoverthesecret

Word on the street wasn't just that the film was great, but that it is important to not know anything going in. I echo this statement and hope you have done your best to avoid all trailers and simply know you are going next weekend. I went in 100% cold and was astonished at what I found. Other people will argue that the film is unspoilerable for reasons that will become clear to you, but I disagree. I think part of the wonder of Cabin, part of its genius, sits in the audience not knowing what exactly to expect, which simultaneously makes it impossible to market and yet all the more desirable to dedicated genre audiences.  If you *have* seen the trailer, don't worry, it's only the tip of the iceberg, but if you have managed to avoid it until now - keep it that way. But what builds more buzz than being told by multiple sources that you MUST see it before it gets spoiled for you and know NOTHING going in? OhgodIwanttoseeitagainrightnow.

Husband Bulge

Aside from being shrouded in secrecy, which certainly adds to the draw, the film is also intensely quotable. Most of the quotes at least to me, act as a spoiler, so best to only engage in a quote-off with other folks who have seen the film, but at least one of them, "husband bulge" spoils nothing while still being incredibly specific and reminiscent of some great moments in the film. Bring a pen and paper cause some of these lines you will not want to forget. 

It's Not Based On Anything and Not A Franchise

!!!!!! Huzzah for original genre material! ORIGINAL GENRE MATERIAL!!! That's enough on its own to get me buzzing.

It's Fantastic
In case you were wondering....:)

Are you planning on seeing Cabin in the Woods, opening today nationwide? Have you managed to avoid knowing anything about it? What excites you about the film? Sound off below!

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On The Scene - Jason Reitman Live Read of The Big Lebowski

Last night marked the final installment of what has in six quick months become a highly popular Los Angeles cultural touchstone, Jason Reitman's Live Series. Much to the delight of everyone in attendance, curator Elvis Mitchell announced right before the performance began that the Live Series would return in October with six brand new scripts. Reitman himself apologized for his "day job" that would keep him occupied during the summer, but expressed great enthusiasm about returning later in the year. Hell. Effing. Yes. This was easily the most packed of the six Live Reads, with a stand by line circling around the Wilshire LACMA entrance, triple the size I've seen in the past.

Both Reitman and Mitchell decided that the final script of the first series should be a crowd pleaser, something overlooked originally by critics, but that maintained a cult status in years to come specifically because of its strong script, or as Mitchell put it, a film "ignored by the mainstream, but still found a way into our hearts...and bongs as the case may be." Naturally, the film that ended up being chosen was the Coen Brothers' The Big Lebowski, which was released fourteen years ago this month. The film has over 40 characters so presenting it as a reading with only nine actors was no easy task. But, and I hate to sound like a broken record, but if it's true it's true - this Read was even better than the last one. Which was leagues better than the last one. Oh Reitman and your learning and applying your learning! 

The cast, sitting from house right to house left was as follows: Lebowski (originated by David Huddleston) : Jason Alexander, Brandt (originated by Philip Seymour Hoffman) : Fred Savage, Jesus (originated by John Tuturro)/Jackie Treehorn/one of the Germans/many more : Nick Kroll, Bunny (originated by Tara Reid)/waitress/Pilar/German woman: Catherine Reitman, Donny (originated by Steve Buscemi)/Dieter/more: Hank Azaria, The Dude (originated by Jeff Bridges) : Seth Rogen, Walter (originated by John Goodman) : Rainn Wilson, Maude (originated by Julianne Moore): Christina Hendricks, and The Stranger (originated by Sam Elliot): Sam effing Elliott, who got a standing ovation just for walking on stage. Because. Sam. Effing. Elliott. Reading. The Stranger. 

Where to even begin? Shampoo was a fine introduction, Reservoir Dogs was a raucous good time, but The Big Lebowski was in a league of its own. There was a level of professionalism and preparation among the actors that was unlike anything I'd seen yet, definitely the tightest script read of the three I've seen. Clearly each person on stage took this INCREDIBLY seriously and went to great pains to make sure he or she could deliver. Seth Rogen (who I kind of wished was wearing a bathrobe) and Rainn Wilson were so pitch perfect, I was not alone in thinking that if the movie had been made today, with those two actors in the roles, it would have worked just as well. It was as if Seth Rogen's stoner chill meets over the top exasperation and Rainn Wilson's comical intensity were crafted by the universe to play The Dude and Walter. They did not miss a word. They did not miss a moment. There was specificity, tactic changes, appropriate tonal shifts, I was FLOORED by what these guys were doing, and they made it look so easy. Word to the wise - this is *not* easy and it's rare to get through an entire live reading with a truthful, full fledged performance, without screwing up even once. And Rogen's rolled papers that he "smoked" from as a prop whenever the script called for it? Love.

More after the jump

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16 Reasons to See Hunger Games This Weekend

Happy Hunger Games!

If you weren't one of the one million people who saw the film at midnight last night and are wrestling with whether or not to go this weekend, here are my 16 reasons why you should make a point to make the trek out to your local theater and catch the film as soon as possible.

Jennifer Lawrence

Not only is Jennifer Lawrence the perfect Katniss (I take back all my naysaying!) who nails her internal struggles, telling us everything we need to know with her eyes, but as a person, she is one of those rare gems we need more of in this industry. Self-effacing, real, honest and unafraid, she has the potential to become one of the definitive great actresses of the next generation and here is the film that will catapult her into stardom. Seeing the movie both supports her career, and grants you the pleasure of watching her embody the iconic Katniss Everdeen inside and out.

To support films with female leads

They say films with a female lead generally can't open, no matter how often the mysterious "they" may be proven wrong. So continue to support strong leading roles for women by throwing your weight behing Hunger Games.

Katniss is the role model young women need

Unlike the lead in a certain other young adult series cum film franchise, Katniss' purpose isn't to simply be with a man, but rather  protect her family and *all* of the people she loves. She is fueled by keeping her promises and doing what is right, via wit, reasoning, and courage, despite her fears and insecurities. She may be a teenage girl, somewhat broken by poverty & war, who at times makes irrational decisions, as you do, but ultimately, her heart is in the right place and she exhibits all the qualities of someone we actually root for and want to succeed. Please prefer Katniss over Bella, future daughter. I beg of you.

Relevant

Author of the books and co-writer of the screenplay, Suzanne Collins, has been very open in talking about where her idea for Hunger Games came from. Yes, it all goes back to greek mythology ultimately, but the specifics came from flipping back and forth between war footage and reality television. Is the future we see in the Hunger Games really that much of a stretch? There are enough similarities in the world we see in the book and film to make it almost tangible, and thus all the more frightening. The series is ultimately about the awful truths of war, a war that is painted over, made to look pretty, disguised as something entertaining, as something necessary, as something we should be honored to be a part of. Collins does a great job of drawing us in, only to rip the rug out from under us. The film does a great job of beginning this journey at an extremely appropriate time in our history.

Josh Hutcherson

I doubted him. Boy did I doubt him. But that face! That sweet, expressive, totally in love face! Although I thought the character didn't get to do quite enough, I thought Hutcherson stepped up to the plate with gusto in order to nail what material he was given. The brief moment when he looks out the window and loses it while leaving District 12? The thoughts running through his head when he says he doesn't want to forget? The way he looks at Katniss ALL of the time?! Well done, Hutcherson. You have officially won me over.

To be a part of the conversation (potential spoiler alert)

I liked the movie. A lot. I also have some problems with it, namely the short shrift the Katniss/Peeta relationship gets. Not because I'm girling out and wanted a better makeout scene (but also, I am and I did), but because even though I understand certain areas had to be emphasized and other areas had to be deemphasized in order to properly set up the series' enormous tone shift of a final installment, putting Katniss' relationship with Peeta so far in the background takes away a lot of what the first book so wonderful and potentially harms the impact of certain events in book two and three. My ultimate theory is this will be fixed in book two, but, for those of who don't know what I'm talking about - don't you kind of want to? I want to debate! I want to see who feels similarly! Who agrees, who disagrees, who liked the movie and who didn't, and the long list of reasons why. If you don't see the movie, you will immediately be in the minority, especially if you are in the entertainment industry, and this is an *exciting* conversation to be able to partake in.

Maintains the integrity of the work

It's pretty rare that a movie so captures the tone and atmosphere of its source material the way Hunger Games does, and although it's not a word for word adaptation and many parts do get truncated, what the film gets right, it gets perfectly, and anything that is wrong seems to have a reasonable explanation. Everyone involved in the making of the film wouldn't have it any other way, and shouldn't we be supporting that when we can? The film was not dumbed down and did not placate to the Twilight audience. Quite the opposite in fact, as I mentioned above.

So you can tell Jeff Wells what's what

He said you can't trust female reviewers of the movie and that essentially the only right answer is that the film is stupid because it alters itself to be more appealing to teen girls. This is so far from the truth or sense of any kind, that it makes me want to scream. Scream with me, won't you?

Elizabeth Banks

Thank goodness Banks campaigned so damn hard for this role. She is perfection, bringing in roughly 95% of the laughs in the film with her overly enthusiastic and forgivably snippy line readings. There is an authenticity Banks brings to the role with ease that I can't image other actresses fans considered, such as Kristin Chenoweth, could bring to the table.

Maybe it'll make you rent/buy Battle Royale?

One can always hope, right? PS - if you *wanted*, you could buy your new blu-ray of Battle Royale right here :)

Music

Okay, so this isn't really a reason to see the movie, but more a reason to buy the soundtrack. It's fantastic. Rock, appalachian, americana, alt-county, but all with a unifying sense of "We send our children into an arena to kill each other." Artists include personal favorites Low Anthem, The Civil Wars, Glen Hansard, The Secret Sisters and Arcade Fire, and that's just to name a few. Three of these songs play over the closing credits. So hey, that totally counts as a reason to see the movie after all! Huzzah!

Successful World Building

If you appreciate solid production design, costumes, hair, makeup, art direction and so on, you will get a huge kick out of Panem and everyone in it. The capitol is decked out in bright colors and outrageous accoutrements, each citizen a feast for the eyes. Meanwhile, District 12 represents the polar opposite, existing in seemingly another era, much more Appalacia of the 1800s then the flamboyantly variegated landscape of the distant future. While both areas are completely different, they still feel as though they exist in the same universe - not an easy feat. Overall, the movie is an undeniable treat for design junkies, however you may feel about any other part of it.

Caeser Flickerman

Stanley Tucci is aces in the role of Caeser Flickerman, completely encompassing what the "host" of the Hunger Games would really be like. He is a slightly more sinister Ryan Seacrest with blue hair and no apologies and watching Tucci have a ball with the role is a hoot.

Relate to the kids!

So I don't have kids or work with kids anymore, and frankly still kind of consider myself a kid, but if finding ways to relate to the youth is of importance to you, seeing Hunger Games will certainly help. Be the open parent that goes with your kids and discusses it afterward, or the hip parent that can impress your kids' friends with your insight and knowledge into their beloved franchise. Here is something you and your pre-teens/teens can enjoy together, that is potentially so important to them, that anything associated with it will create a long lasting and important memory.

It's even better the second time!

Anything that bothered me the first time melted away upon a second viewing, allowing me to truly dive in to the small, but crucial moments between Katniss and Peeta, and really take in every clue about how their relationship turns out post Hunger Games during the rushed ending. Once you're past the first viewing when you spend most of your time judging, you can settle in and let yourself absorb how solid the adaptation really is. But to get to a second time, there must be a first.

To be a part of the phenomenon

One million pre-sale tickets for a midnight show doesn't happen very often. As we've touched on, these ticket sales are for a film based on a book, written by a woman, with a *strong* female lead character, that doesn't compromise the ultimate point of the series or integrity of the story by dumbing it down for audiences, with an incredible soundtrack and spot on performances. Don't pass up the opportunity to see it during all of the excited fervor. Anticipation and quality rarely match up so heartily and it would be a shame to miss out on experiencing it properly. See full post

Here Are a Few Of My Favorite Things: Wondercon 2012

Cross-posted on Film.com


This weekend, Wondercon headed south to Anaheim where fans braved a stupidly intense storm and ridiculous traffic all weekend for the chance to see their favorite writers, creators, publishers, actors, directors, artists and personalities and hopefully take home a few souvenirs. We were on the scene from start to finish and compiled a list of the best this Wondercon had to offer. Details on the best finds of the floor coming in the morning.

Girl Power
Something that really stood out to me during Wondercon, especially in the main ballroom on Saturday, was the hearty amount of female empowerment. During the Sound of my Voice panel, co-writer, co-producer, and co-star Brit Marling talked about being fed up with the bland and sterotypical roles she was being offered, and after realizing her choices were get a sex change or create her own work, she began writing and producing, and soon both Another Earth and Sound of my Voice were born. The extremely well spoken creator struck me immediately as a great role model for disheartened aspiring artists out there, as well as fangirls in general. And fun fact - the film had a female DP in Rachel Morrison! Later panels saw Charlize Theron taking a real ownership of her take no prisoners sass, insisting that Michael Fassbender smells like "musk and chillies with occasional mint thrown in", and telling a small child who asked a question a. if he was single and b. if he would call her when he broke up with his girlfriend, Kristin Stewart talking about how great it was to play a strong character, and while never being unwise enough to insult Twilight, definitely seemed to have appreciated playing such a different character, and Milla Jovovich (headling the first ever series to have five films with a female action lead in Resident Evil: Retribution) discussing her weapon collection and love of She-Ra and Thundercats. Not to mention Maggie Grace and Emma Stone representing their respective movies without their male co-stars present. I felt some sort of unexpected camaraderie with the women on stage during Wondercon's Saturday that I don't recall ever feeling before. And that's not even taking into account the multiple female artists and creators with spotlight panels all weekend long, including Renae De Liz (debuting Womanthology!), Rebekah Isaacs, Carol Lay, Fiona Staples, Felicia Day and Jane Espenson. Hooray for fangirls!


More after the jump

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On The Scene - Jason Reitman Live Read of Reservoir Dogs

Cross-posted on Film.com

Okay. Yes, Shampoo was great, but it had NOTHING on tonight's Live Read.

In the fifth installment of this incredible series, Jason Reitman presented Reservoir Dogs in a brand new light. In honor of Black History Month, the cast was 99% black (the 1%? Patton Oswalt, once again using a variety of voices to fill in smaller characters) and 100% legendary. Sitting on stage from left to right was Reitman reading stage directions, Common as Mr Brown (originated by Quentin Tarantino) and Marvin Nash, Terrence Howard as Mr. Blonde (aka Vic Vega, originated by Michael Madsen), Cuba Gooding Jr. as Mr. Orange (originated by Tim Roth), Laurence Fishburne as Mr. White (originated by Harvey Keitel), Anthony Mackie as Mr. Pink (originated by Steve Buscemi), Anthony Anderson as Nice Guy Eddie (originated by Chris Penn), Chi McBride (originated by Lawrence Tierney) and the aforementioned Patton Oswalt as the K-Billy, Holdaway, and the cop in the bathroom.

As last time, the house was absolutely packed, but I know at least twenty people got in from stand-by, and word to the wise, folks got there as early as 5, so if you plan on seeing the final show in March (already sold out), you'll want to arrive to the stand-by line as early as possible. The energy in the room was palpable even before the actors came on stage. This crowd was clearly more passionate about Reservoir Dogs than anyone in the audience was about Shampoo last month. Which makes sense. The film that put Tarantino on the map is also the film that made Jason Reitman want to be a director when he saw it in high school. After his introduction from Elvis Mitchell, Reitman warned "If you brought children, the time to leave is now … This will be the most profane screenplay you'll ever hear in the Bing Theater." Naturally, Reitman, Mitchell, Common, Howard, Gooding Jr, Fishburne and Mackie were decked out in a black suit and tie, dressing the part, and looking amazing, Howard in particular, who added some flare with a dress vest.

As last time, the locations of each scene were projected onto a screen with the actors digitally removed, but an added bonus for this screenplay? Music! It seemed to be the question on many of our minds. With a writer like Tarantino, who puts such great stock into the music he uses, would music play a role in the reading? Only three songs were played, but man what a difference it made. There was such an excited buzz in the air when Stuck in the Middle With You started playing as Howard danced in his chair and Reitman read the stage directions detailing everyone's favorite cinematic ear chopping. Also different from readings past? This one used the deleted scenes as well, going off of the screenplay itself, not anything that was added or deleted on set or in the editing room.

Details on each performance after the jump!

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The Third Annual Fangirl Awards - Nominations

These nominations do not reflect the opinions of the editors at All Things Fangirl, but rather the Fangirl Academy, made up of over 100 lovely ladies who follow us on Twitter, read the blog, or know us in real life. In the case of a tie for the final slot in a category, the ATFG editors acted as the tie-breaker. Some ladies couldn't get their ballots in on time, but the everyone in the Academy will be allowed to vote on the winners.

Ballots to pick the winners will go out this week & the results will be announced February 24th!

* - Editor's Choice - Certain categories have an extra nomination. These additions represent something one of the editors at ATFG feels passionately about that we want to encourage you to check out! Often, the editor's choice was in 6th place for the nomination.

Enjoy!

Best Picture

The Artist

Bridesmaids

Drive

The Girl With The Dragon Tattoo

Harry Potter and the Deathly Hallows Part 2

The Help

Hugo

Midnight in Paris

Shame

Tree of Life

Honorable Mentions: We Need To Talk About Kevin, Captain America, 50/50

Best Actor

Gary Oldman - Tinker Tailor Soldider spy

Jean Dujardin - The Artist

Joseph Gordon Levitt - 50/50

Michael Fassbender - Shame

Ryan Gosling - Drive

Honorable Mentions: George Clooney - The Descendants, Brad Pitt - Moneyball, Tom Hardy - Warrior, Leonardo DiCaprio - J Edgar

Best Actress

Kristin Wiig - Bridesmaids

Michelle Williams - My Week With Marilyn

Rooney Mara - The Girl With The Dragon Tattoo

Tilda Swinton - We Need To Talk About Kevin

Viola Davis - The Help

Honorable Mentions: Meryl Steep - The Iron Lady, Charlize Theron - Young Adult, Elizabeth Olsen - Martha Marcy May Marlene, Kirsten Dunst - Melancholia

Best Supporting Actor

Alan Rickman - Harry Potter and the Deathly Hallows Part 2

Albert Brooks - Drive

Andy Serkis - Rise of the Planet of the Apes

Ben Kingsley - Hugo

Christopher Plummer - Beginners

Honorable Mentions: Benedict Cumberbatch - Tinker Tailor Soldier Spy, Patton Oswalt - Young Adult, Tom Hiddleston - Thor

Best Supporting Actress

Berenice Bejo - The Artist

Carey Mulligan - Shame

Jessica Chastain - The Help

Melissa McCarthy - Bridesmaids

Octavia Spencer - The Help

Honorable Mentions: Helen McCrory - Hugo, Shailene Woodley - The Descendants, Marion Cotillard - Midnight in Paris

Best Director

David Fincher - Girl With The Dragon Tattoo

Martin Scorsese - Hugo

Nicolas Winding Refn - Drive

Steve McQueen - Shame

Woody Allen - Midnight in Paris

Honorable Mentions: Terrance Malick - Tree of Life, Michel Hazanavicius - The Artist

The rest after the jump!

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What's Joseph Gordon Levitt Been Up To Lately?

Commissioned by and cross-posted on Film.com

Since reappearing on the film scene big time, Joseph Gordon-Levitt has been one of the most prolific and beloved actors around, rocking six projects in 2009, and five in 2010 (and winning the Fangirl Award for Actor I Most Want To Marry two years running, his crush-worthiness inspiring this article). But with only one 2011 release, 50/50, which hit theaters back in September, we can’t help but wonder, what has he been up to since? We took a look at his last few months and broke it down.

Shooting His Five 2012 Projects

From May to November, Levitt found himself shooting scenes for Chris Nolan’s The Dark Knight Rises. I’m sure lots of people know who he is playing, or at least have an idea, but not me! After an initial casting rumor that he was stepping in as Alberto Falcone, most notably from The Long Halloween, I removed myself from speculation and have stayed safe from any and all news and rumors since. But in addition to that, he shot or began shooting Premium Rush, Looper, Lincoln, and Django Unchained. For those keeping track at home, that means in 2011 he worked with Chris Nolan, Steven Spielberg *and* Quentin Tarantino, just to name a few. Damn, boy.

Tweeting (though he hates that phrase)

Whenever you find yourself wondering what JGL might be doing with himself, you can always take to his verified Twitter account and/or tumblr. Mostly what he says is themed to hitRECord, his collaborative production company, with announcements about artists or shows, but every so often we also get treated to personal photos, musings (including a favorite tweet where he admits to being a bad Jew by eating latkes with ham and cheese) and favorite links, including this one which, if you like music at all, you should click on right now, recommendations (Movies: La Strada, Pizza: Antonio’s in the Valley), and pimping out his friends (see below), like any other Twitter account. This is easily the best way to stay connected to JGL during those long months when you can’t catch him on the big screen or on the red carpet.

Supporting Zooey Deschanel

JGL has tons of equally well known friends, but the one that by far gets the most love on his Twitter account and sparks the imagination of his fans the strongest, is Zooey Deschanel. He regularly posts about or in support  of her. Join me over here for Exhibit A, Exhibit B,  Exhibit C, and of course Exhibit D, which leads me to...

Singing

So much singing. Swoon.

-Thriller, with a full band including Sean Lennon on bass

-Doing a cover of Redneck Woman by Gretchen Wilson

-With Anne Hathaway

-An original song!

hitRECord – Website & Shows

The main focus of JGL’s 2011 was his website and arts collective of sorts, hitRECord. I’ve been a fan of hitRECord since its inception (see what I did there?) and seriously regret not participating more before it became as huge as it is now. The idea is simple – contribute your art. That’s it. A writer posts a poem. An actor submits a recording of himself reading the poem. An illustrator submits a series of illustrations. An animator animated them. A composer adds a score. Suddenly, a short film is created, the product of artists from all over the world, brought together thanks to one mister Joseph Gordon-Levitt. Ever seen theMorgan M. Morgensen shorts? All started (and ended) with hitRECord. Furthermore, hitRECord hosted a creative center called the RECroom at Sundance and is returning this year with a show, and JGL regularly puts on similar events where collaborative projects are screened and created, always featuring a few surprise guests and at least one musical number from JGL himself. I’ve been to two, one in New York and one LA, and have always had a great time. The Fall Formal, which boasted Anne Hathaway singing, also had Gary Oldman stepping in to do a reading (an activity that famous friends and audience members get to partake in from time to time) and a foray into scripted work done live, filmed, and later edited, like this scene with Neil Patrick Harris, written by Rian Johnson.

Occupying Wall Street

In November, Levitt spent some time Occupying Wall Street in NYC, and went on to turn the footage into a hitRECord project. The result will screen on January 26th at Sundance.

Releasing RECollection and the new edition of  The Tiny Book of Tiny Stories

The Tiny Book Of Tiny Stories is a compilation of multiple stories made up of only a couple sentences, each written by a hitRECord member and illustrated by another. RECollection is  a 64 page book, DVD and CD collection, comprised of work from 471 hitRECord artists. Badass.

All in all, the coolest thing about Joseph Gordon-Levitt is how active he is – CONSTANTLY – and it all stems from his true passion for art. I know people who have gone to hitRECord shows and found the whole thing a little self important, but frankly, the reason why thousands of people go to these shows across the world (yes, he had a show in London and Toronto for TIFF in 2011) is mostly because of *him*, and yet it exposes them to the art of people who aren’t famous and normally don’t get a showcase like this. And if JGL has an air of “what I’m doing is awesome”, well, that’s because it is. I recently had the chance to chat with Pete Forester, a filmmaker based in New York, whose piece Find the Sun was turned into a short film with hitRECord and played at the 2010 Sundance Film Festival, who was able to speak brilliantly to this,

At the heart of all this is Joseph Gordon-Levitt, or as anyone from hitRECord knows him: Joe. Joe created the original website with his incredible brother, Dan, and has ushered it into the gigantic force it’s become. The way that he’s done this, though, has not been through talking about his indie accolades or the long list on imdb. He’s done this by caring about content and quality. Joe goes by “Joe” – sometimes “Regular Joe” – to make a point, I think. That when you sit down with him as a hitRECorder, you sit down with a fellow hitRECorder. Sure that fellow hitRECorder happens to be in the next Batman movie, but the discussion is about the short film you’re going to make together, not some study in celebrity. In 2010, anyone who came into the RECroom would have to take a second to find Joe – as we were all at our computers working as hard as we could to get done what we could. And Joe was there, in the trenches working with us – he blended right in: falling asleep at his computer and taking showers whenever there was a free minute. But what’s funny, from someone who was there, is that this isn’t remarkable at all to me – or to anyone else who was in that room. Because to me, to us, to the hitRECord community: Joe is Joe. He’s a worker, a curator, a fellow artist who is eking out the best that he can from us. He definitely acts as a shepherd to his flock, but he’s as elbow deep as anyone else.

I should say that Joe does use his celebrity in the hitRECord community. He uses it to inspire and to add volume to voices that would otherwise go unheard. He’s quick to mention that his career started because of a great number of variables that leaned beautifully in his favor. But he doesn’t think creative enterprise should be hampered by visibility. And the only way to change the system is from within – he’s our ace in the hole; he’s the mole. But it’s not a secret. You can see that when he has a mic in his hand: he speaks into it so more people can hear what others are saying. That’s Joe: turning up the volume on what he sees as beautiful.

So, to answer the question, what has Joseph Gordon Levitt been up to lately? A LOT more than anyone might have expected.

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Predicting The Top Line Oscar Winners: Six Week Mark

Cross-posted on and commissioned by Film.com

Oh Oscars. Here you are, a mere six weeks away! This time last year I was writing epic pieces on how The King's Speech didn't have a chance in hell of winning, and why The Social Network was the best ever and would easily walk away with the trophy. How quickly things turned around. This year no category is set in stone, though the Critic's Choice Awards would certainly like us to think otherwise. For those of you that aren't plugged into the scene, here's a look at what the safe bet predictions are at this time. Though, between you and me, I hope most of these drastically change by February 26th and below you'll also catch my two cents on the upset front. I should note: These were all the safe bet predictions BEFORE the Critics Choice Awards aired so….yeah. Let's just hope some of these are wrong and this year doesn't become another snoozefest.


Supporting Actress

Six Weeks Out Safe Bet: Octavia Spencer, The Help


Everyone loves The Help and Spencer was fantastic, providing a lot of the films comedy where Davis provided the heart, but still managed to be completely sympathetic in her…questionable practices. Personally, I think Chastain's role was a bit more of an acting challenge, but nailing a role simply is not something to be discounted either. Still, I wonder if a flashier role will end up upsetting come Oscar night. Something's got to be slightly unpredictable. Will this be the category to fulfill that duty?


But Don't Be Surprised If: Melissa McCarthy, Bridesmaids


A lot of people are arguing that Melissa McCarthy has the potential to upset here, and while I think that is valid and possible, it also strikes me as just SO bizarre. Comedic performances should be appreciated and acknowledged more, yes, and McCarthy stole Bridesmaids out from under the whole rest of the cast. But to win? An Oscar? Seems more about riding the Melissa McCarthy train than really awarding her performance, and I would hate to see her reach the pique of praise in one year and than have everyone forget about her or call her overrated. Let's just calm down here a little bit, I think. Still, I would be remiss in my duties if I didn't seriously acknowledge her dark horse potential. Assuming she even gets a nomination, I can see more passion behind Academy voters checking the box for McCarthy than for the other favorite to upset and critics prize leader, Jessica Chastain.


My Hope: A category where I doubt my two favorites will be nominated, so I don't really have much at stake, but both Spencer and Chastain were fantastic, I'm happy to root for The Help picking up an award here, especially if Davis ends up not getting Actress.


For Your Consideration: Vanessa Redgrave in Coriolanus gives one of the top five performances of the year, hands down. The fact that she isn't making most short lists is absurd, and every actor should be somewhere between ashamed and offended. I find it hard to believe that ANYONE would watch Coriolanus and think Redgrave doesn't deserve a nomination. If she doesn't make the cut, mark my words, it's because no one bothered to put on the screener. Carey Mulligan also deserves a nomination here for breaking out of the box so triumphantly in Shame. She defied all expectations of what she is and can do, thanks to this fearless performance. The fact that she isn't being more seriously considered is baffling. I never thought Janet McTeer was a man for a SECOND! Berenice Bejo didn't even have to memorize lines! (Okay, that's a cheap shot, cause she was top notch at what she did do, but STILL.) Fingers crossed the actors branch doesn't go the obvious route with nominations here.


More after the jump!



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Armie Hammer, Finnick Odair And The Fan Hive Mind

Cross-posted on Film.com

Casting fan favorite properties has always been a beloved past time of mine, and I know I'm not alone. Especially when it comes to expansive universes (Game of Thrones) or casts that need actors of such a specific age that the best folks for the job are in constant rotation (Marvel's Runaways). Growing up in a media heavy environment, I am one of those folks whose brain tends to cast an actor immediately, if possible, to aid with the storytelling process when I'm reading. I know fans who disagree with this notion and don't even see adaptations so as not to tarnish their personal vision of who the characters are. Although I don't function that way, I admire that staunch loyalty to the written word. But for the fans out there who live to see something they love brought alive on the big screen, casting is major, and it's rare that we all universally agree that it has been done correctly. Even though most Captain America fans are on board with Chris Evans now, that was certainly not the case when he signed on. Same with Jennifer Lawrence as Katniss in the Hunger Games.

Which brings me the strange Hive Mind experience that occurred as I was finally reading Catching Fire this past week. There I was imagining Jennifer Lawrence, Josh Huchinson, Elizabeth Banks, Woody Harrelson, Donald Sutherland in their respective roles, doing a great job, surrounded by mostly faceless blobs representing the other characters, my brain not finding it necessary to cast anyone particular yet, when all of a sudden I got to the character of Finnick Odair. The dashing charmer with a touch of cheese, the prince charming-ish looker who everyone assumes is a player, the classically beautiful golden skinned hunk. For some reason, my brain immediately went to Armie Hammer. Armie Hammer? He doesn't necessarily have golden skin. He certainly doesn't have bronze hair, though I suppose that could be fixed. But my mind had made its decision. Finnick would be played by Armie Hammer in my imagination and nothing could stop that. So I continued reading. And man, was Armie good. His build was perfect, so tall and muscular, his voice and eyes seamlessly making the transition from smooth and pompous to genuine and heroic. It felt so right in my bones.

So naturally, I took to Twitter to see what other people thought. Simply asking the question "Who did everyone cast as Finnick when reading Catching Fire?" and I was surprised to see multiple people respond, you guessed it, Armie Hammer. This was baffling to me. He doesn't really have golden skin or bronze hair. And yet so many of us went straight to his face. And then, the kicker. I was directed to this Facebook page: https://www.facebook.com/ArmieForFinnick. Yes, that's right. Completely unbeknownst to me when I randomly cast Armie Hammer as Finnick, there is already a Facebook movement going to get him cast. Not only that, but any Finnick page I could manage to get to while still avoiding spoilers, had Hammer in the profile picture or taking up a lot of space in the "Who should play him" section, easily more so than anyone else.

What does this all MEAN? Why did so many of us see someone, THIS someone, in this role immediately? Mirror Mirror, in which Hammer plays a prince, hasn't come out yet, and even if it had, when we first meet Finnick, we don't think of him as a genuine hero, we think of him as kind of smarmy. It's not like Hammer's role in The Social Network had anything in common with Finnick except, what, being popular? Normally if something like this happens, it's at least because the actor in question had just played a role of the exact same type. But this is not the case here.

To me, this is no doubt an example of the Hive Mind. Of course, unlike the Borg, we fans have our own individual identities and lives, but somehow, in this particular case, our brains linked up and decided collectively who should play the role of Finnick Odair in The Hunger Games. In all my years of being a fan and fantasy casting, something this peculiar and specific has never occurred before. The closest I've seen is Zach Levi circa Chuck season one for Yorick in Y: The Last Man, but that was because Chuck practically *was* Yorick, and in any event, that ship has long sailed. Perhaps none of this seems that bizarre or interesting to you, readers, but experiencing all of this myself hasn't happened before and I think it's pretty damn cool.

So this leaves me with one simple plea to whoever is casting Catching Fire. Though he may not seem totally right for the role, I encourage you to at least audition Armie Hammer for Finnick Odair. You don't want to see the Fan Hive Mind angry. See full post

Muse's Top Ten Movies of 2011

Honorable Mentions: Warrior, Pina, Kid with a Bike, The Adventures of Tintin, The Trip, Rise of the Planet of the Apes, The Descendants, Beginners, 50/50, Rango, Tree of Life, Drive

Definitely spoilers, at least in the Favorite Scene sections!

10. Tie: Girl With The Dragon Tattoo & War Horse (dir. David Fincher & Steven Spielberg)

Whaaat?! I know, outrageous! But for realsies. While Tattoo is not Fincher’s best and War Horse is not Spielberg’s best, both films demonstrate why the two men are masters at what they do and I loved each. War Horse is Spielberg’s old fashioned epic, paying tribute to one of his own favorite directors, John Ford, and he achieves the schmaltzy tear jerking results of this horse’s story in a completely genuine way. I was swept away and an experience that strong shouldn’t be discounted. Fincher elevates a fairly pedestrian murder mystery with a dark sensuality and the moody, raw precision he always brings to the table and creates an energy between Rooney Mara’s Lisbeth and Daniel Craig’s Mikael that make their scenes together crackle. Mara is a revelation and her Lisbeth is the heroine I’ve been waiting for.

Favorite Scene: Lisbeth takes her clothes off and tells Mikael what’s about to happen. She continues on the path towards claiming her power by claiming her sexuality and Mikael is drawn to her intensity as much as we are.

Favorite Scene: Wire cutter scene. Wire. Cutter. Scene.

9. Footnote (dir. Joseph Cedar)

From AFI Wrap Up:

As a Jew who went on birthright this year, I have no qualms about calling this movie, Israel’s official foreign language selection for the Oscars, one of the most delightfully Jewish pieces of fiction I’ve seen in years. It’s witty, intelligent, moving, and riddled with guilt and inferiority complexes. This story about a father and son, Professor Shkolnik and Professor Shkolnik, who both work at Hebrew University in Jerusalem studying the Talmud, asks the question, when does a role model become a rival and the student become the competition? It presents the theory that in a battle of egos, he who realizes humility first is always the winner. Expect your loyalties to fly all over the place in this smart, whimsical, and ultimately tragic intellectual comedy from acclaimed director Joseph Cedar. Inventive storytelling, a jaunty score, and top-notch performances help elevate an already brilliant script (it won the Screenplay award at Cannes) to even greater heights. To delve too much into the specifics of why this tale is so riveting would be to give too much away, but it’s an absolute must-see.

Favorite Scene: It involves Uriel (the younger Shkolnik) and a tiny room full of scholars and a lawyer, and is one of the only sequences in the entire film where the score drops out completely.

8. Young Adult (dir. Jason Reitman)

A film I wasn’t expecting to make it onto my top anything, due to the fact that I tend to dislike both Jason Reitman and Charlize Theron. But leave it to Diablo “Jennifer’s Body is highly underrated and I love it” Cody to bring them together in a fashion as exciting as Young Adult. I’ve encountered more people who hate this film than perhaps any of the smaller divisive movies this year, and that’s the way it should be. The protagonist, if one can even call Theron’s Mavis Garry that, is an awful human being, and represents all that we keep repressed (and for good reason). Whether or not people this awful actually exist is beside the point. The whole movie is one ballsy choice after after, one tip of the hat and then slap in the face to every cliche that could exist in a film like this, and climaxes with one of the most upsetting scenes on the big screen this year when Mavis has a conversation with someone stuck in the same arrested development that she is (played fantastically by Collette Wolfe) and we see her grip on the doorknob to reality slowly start to loosen. We see the hero’s journey on the screen all the time, but how often do we see the hero take the journey and get talked out of learning anything from it? Controversial, and to many a poor choice, to me, was exciting and fresh, and has stuck with me weeks and weeks after seeing the film.

Favorite Scene: At the child’s naming ceremony, we find out why Buddy and his wife have been so nice to Mavis.

7. The Loneliest Planet (dir. Julia Loktev)

From AFI Wrap Up:

The winner of the Grand Jury prize at AFI, and for good reason, this story about the notion of what is masculine and feminine and the roles their fluctuation plays in our lives and relationships connected with me on a deep and immediate level. Nica (the charming Hani Furstenberg) and Alex (Gael Garcia Bernal) are on a backpacking trip together in the Republic of Georgia, happily engaged to be wed. She is goofy yet tough, he is strong yet caring, and they are the picture of perfection. While in the mountains with their tour guide, Dato, a moment occurs that is so small, so brief, so fleeting that if you look down at the wrong time you *will* miss it, but a moment so powerful that it dramatically alters the dynamic of this perfect couple, perhaps forever. Guilt, shame, resentment, and passive aggression swallow the second half of the movie, a sharp contrast from the light, adventurous beauty of the first half. A landscape which at once seemed so freeing and filled with potential becomes claustrophobic and uncomfortable. A film like this, with little dialogue and almost no action, could have easily crashed and burned in lesser hands, but Loktev’s confident direction has you completely enraptured, aching for a satisfying resolution but unsure if one could ever be possible. In a year filled with films about the huge ramifications of something tiny (A Separation, Margaret), The Loneliest Planet got to me the most.

Favorite Scene:  Directly after the “incident,” Nica and Alex walk on opposite sides of the screen, a range of emotions hanging in the air, the only sound to speak of coming from the repetitive plodding of their shoes in the muddy terrain.

6. The Skin I Live In (dir. Pedro Almodovar)

My favorite of Almodovars oeuvre, this mad scientist tale about power and identity with a B horror movie spin immediately entered my top ten the moment it ended. Beautifully stylized and disturbing in all the right ways, this is not only one of the best by Almodovar, but it also manages to comment on our expectations of him while combining many of the themes and motifs he holds so dear. The first half of the film, he takes great care to convince us he might be headed one way, a way we would expect, and then turns our expectations so on their head, it’s a type of shocking I didn’t know existed. One of many films this year that deals with the relationship between father and daughter and mother and son, but the only one featuring synthetic skin, most beautiful woman in the world, Elena Anaya, Antonio Bandares scaring the bejesus out of me, wardrobe by Gaultier, and perhaps my favorite score of the year by Alberto Iglesias, stop whatever you’re doing and go find it now before it leaves theaters.

Favorite Scene: We are simultaneously relieved and horrified to discover Vera is not Dr.Ledgard’s daughter as Almodovar had been leading us to believe, but the boy who unwittingly sexually assaulted her. Best. Revenge. Story. Ever.

5. Take Shelter (dir. Jeff Nichols)

This real world telling of the week leading up to the apocalypse and the man who sees it coming (or such is my interpretation) hit me very strongly. Michael Shannon as Curtis won we over right away. No matter how drastic or crazy his actions may have seemed to everyone else in his small town, I was with him from start to finish. The differences between dream, hallucination and reality are all in the details in a film like this and the clues are there if you can catch them. A wonderful little film with a powerful lead performance by Shannon, supported by the warm, effective Jessica Chastain, nailed exactly what it set out to do. I love it when stories are “secretly genre”. About time travel, about aliens, about a man becoming a prophet, whatever it is, but set in such a real world setting that we as an audience question which direction it will head in until the very end. Unlike movies which call themselves “superheros in a real world” but clearly exist on another plane of reality, movies like Take Shelter ring home and ring true because it’s so far from typical genre fare. The fact that it is all a strong metaphor for how the economic crisis is affecting families across the country makes the film not only powerful on its own, but a true signifier of the times, tapping into our current collective fears on the basest of levels. A wonderful outing by Nichols. I look forward to his work in the future.

Favorite Scene: We start to shift from thinking he is crazy to thinking he might be right when a lightening storm reflects on his face. If he is hallucinating, how is this visible when the camera turns around? He asks “Is anyone seeing this?” And the remainder of the film hurtles toward a conclusion that supports this glimmer.

4. Midnight in Paris (dir. Woody Allen)

We all have a tendency to think we belong in another time period. That people used to have it so good. That we don’t belong here. When the fact of the matter is we are the masters of our own universe and are always capable of reaching the magic of our fantasies in the present. Owen Wilson’s Gil goes through a lot to get there. I see Midnight in Paris as almost a personification of a man going on an educational journey of sorts, reading all the greats in fiction and theory, in finding a journal of someone majestic and inserting himself into her life. But seeing his learning process played out in reality with these famous figures, and with this woman, makes the process of a life lesson all the more enjoyable. Gil learns a lot on his magical journey, but most of all that he can apply everything he has gained into the present as well and make the most of what he has and can have. Paris is the film this year that brought me the most pure joy. A brilliant company of actors having the time of their lives, locations to die for, dialogue an actor must ache to say, this charming Woody Allen flick is easily one of the best of the year.

Favorite Scene: In a clever storytelling move, Gil goes back with Adriana to her favorite era, the 1890s, and makes the decision to return to the present.

3. Melancholia (dir. Lars Von Trier)

I saw this film the earliest of every movie on this list, and it’s one that has stuck with me most through thick and thin over the past several months. From the stunning opening, to the longest wedding scene since The Deer Hunter to the inevitable inching closer of the Melancholia we all try to battle away and cope with in our own ways, the film is at once depressing and uplifting. Even if Melancholia impacting our lives and existence is inevitable, it is up to us how we respond to it and Lars Von Trier presents us with an array of attitudes to adopt and ways to go: the fatalist, the coward, the optimist, the innocent, etc. Ultimately, dealing with tragedy with a curiosity, an honesty, and an understanding are the methods that stand out most. And perhaps the best part of Melancholia? Everyone has a different interpretation and each one I read affects me just as much as the last. With stellar performances all around, deserving of a Best Ensemble award as much as any other film this year, and using the medium of cinema to its fullest degree, Melancholia would be my choice for the “artsy fartsy” slot at the Oscars,though I know it will most likely go to Tree of Life, with an outside chance  of it being Drive, if any "artsy fartsy" film is rewarded at all.

Favorite Scene: Justine’s forelorn new husband says goodbye to her as she is overwhelmed with her depression and he realizes it just won’t work. Her disinterest and his heartbreak are palpable.

2. Hugo (dir. Martin Scorsese)

Scorsese’s latest was an unexpected joy this year. A love letter to cinema much more than the other ode to silent film out this year, for the first time, a director  utilizes the medium of 3D as an integral part of storytelling, perhaps only rivaled this year in necessity, though for different reasons, by Wim Wender’s Pina. Telling a story about a man who dreamed big and put those dreams on celluloid, inspiring the rest of the world is one thing. To use the newest form of technology we have in cinema today to actually make us *feel* how Georges Méliès’ audiences felt when watching his innovative films that pushes the boundaries of what movies could be? That takes a master. We learn about one of the true early auteurs who shied away from the art he loved so for reasons based in upsetting reality, and get to see a beautiful take on this alternative universe tale of the boy who helps him rediscover his passion and the impact he made on the world. This is the film for anyone who has lost sight of their dreams, and in today’s world, that’s just as important as a movie that makes us think about war, about humanity, about the economic crisis, about family, and more, because ultimately, dreams are what keeps us going and Hugo explores this beautifully.

Favorite Scene: Hugo, Isabelle and Rene show up at Méliès’ house and play the film for his wife. Everyone in the room and the audience is moved and reinvigorated.

1. We Need to Talk About Kevin (dir. Lynne Ramsey)
No amount of nurture seems to be able to bring the titular boy in Lynne Ramsay’s bold return to the silver screen out of the darkness. This is a film so relentlessly upsetting that to even think about it is to rip a tiny tear in your soul. Tilda Swinton plays Eva, a mother dealing with her son’s unquenchable thirst for destruction. Screaming nonstop as a baby and staying in diapers till well into elementary school are signs pointing to a defect in the boy, but all the doctors deem him normal.  Still, Eva sees a side to him hidden from the rest of the world. The rot inside of him seems aimed solely at his mother and taking her down one notch at a time. But no matter how disturbed she gets by his actions, and how designed he is to ruin her, he is her son, she loves him, and nothing means more to her than his acceptance, no matter the cost.

Ultimately, Kevin feels the same way about his mother, seeking a deeper connection to the person he felt never truly loved him, as he was initially unwanted and the reason why his mother’s passion for travel had to come to an end. I’ve heard the the film described, specifically by David Ehrlich at Movies.com as a “lovestory” between Kevin and Eva,and I couldn’t agree more. Because we see the film from Eva’s perspective, we relate to her exasperation with him and it isn’t until the movie is long over that we begin to think back on her mothering skills and wonder how much they may have affected Kevin’s outcome and his idea of how to connect with her.

Tilda Swinton bears her soul with the performance of her career, John C. Riley does a fine job as her optimistically oblivious husband, and Jasper Newell and Ezra Miller shine as Kevin. Both (along with toddler Kevin Rock Duer) are stunningly beautiful and portray their up and down moments with a twisted believability.

Favorite Scene: Kevin gets sick to his stomach and for a brief evening, shows his mother the love she craves. Although he resorts to his cruel tendencies the next morning, their bond on that night has repercussions for years to come. Whether his behavior was genuine or part of a plan to upset his mother further is left to the viewer, as all dissections of the emotions running so high in this film are, but no scene better captures the heartbreak of a parent’s worst nightmare coming true, than this all too momentary look into what Eva’s life could have been.

List of films I’ve seen this year can be found here.

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