news archive - september 2000 |
poll results for
September: What else would you want him to do - besides acting? 33% - Writing a book. 32% - Do more modeling. 23% - Directing a movie. 10% - Recording an album. Saturday, September 30 2000 ... Suddenly, the hotel room door bursts open, making Gray jump up. The dark-haired Joaquin Phoenix is now literally lying on top of him, giving Gray a huge hug. "Great to see you man," says Phoenix, dressed in a wrinkly white dress shirt, black suit jacket, baggy black pants and Nike sneakers. (Phoenix will later say, in a private interview, that, "You don't want to know what I've been through this last few days ... that's why I look like this. So don't judge me.")... ...Shortly after, I
catch up with Phoenix, who is a tad (and this is
understatement) upset, peeved even, as he looks at the
huge movie poster for The Yards, set up in the hotel
room. "See this jacket I'm wearing in this picture?
Well, they airbrushed that on me after. I was ----------------------------------------------------------------- Joaquin Phoenix (in Toronto for "The Yards"-Premiere) interviewed by Christopher Heard on 'Real to Reel', Rogers Cable Channel 10, Toronto, September 14, 2000 Christopher Heard: Joaquin Phoenix was also here.... Now, I must admit he was a bit of a handful at first. It looked like trouble. He was tired and he was -- 'running on empty' was his quote. But you go with that and you let him come to you. By the end, we were conversing quite voluminously about the movie [The Yards]...right out the door and he's still taking as we're walking down the hall! Start of interview. Joaquin: Mmmm (nodding) CH: I spent a lot of years in the martial arts and that's what it looks like. It doesn't look like you see in a lot of films. And that sort of defines the movie when you're watching -- you think, OK, this feels real to me. Joaquin: It certainly has an authentic feel and it is authentic. It's really a lot of James Gray's [the director's] experiences growing up and people that he knew. That was really important to us as actors, something that we just developed in rehearsal. It was a really amazing, somewhat unconventional rehearsal process because normally you go in, you kind of get to know each other, you read through the script a lot. And we didn't read from the script that much, which was surprising to me. And we started -- James would sit with me, Mark, Charlize. And he would just bring up a topic that seemed to come out of left field and just kind of rope us into a conversation. And the second day, I realized that we were discussing a lot of themes of the film. And it was brilliant, because what I realized in retrospect was that what he was doing was creating this atmosphere of total honesty, which is kind of a given, you know, something you need. You love to have that relationship with the director, with the other actors and feel secure. But particularly in a film like this, which is very emotional -- to feel that kind of safety. You know, James was 29 when we made the movie. And he seemed so together and confident. And, you know, I'd say, "God, James, I don't know...I'm so nervous. I don't know what I'm going to do yet. They're gonna think I'm a fraud. I'm not from New York. I'm not this guy." He says, "Don't worry. I won't let you be bad." And no one had ever really said that to me. You know, I've kind of had directors laugh me off...But, you know, he seemed so certain and so secure in his ability that of course it filled me with a great sense of confidence. CH: This guy that you play in The Yards. Do you decide going in if you like him or not? Or does it matter? Joaquin: Doesn't matter. CH: Did you? Joaquin: It's not about liking. It's about understanding. CH: Is he a good guy who's wired a little wrong or is he a bad guy that's trying to find some goodness? Joaquin: I
don't think he's either. I don't think he's wired wrong.
I think, you know, he's misguided. It's very sad to me.
What really drew me to this film and to this character --
I thought it really spoke about my generation and this
generation of broken families, broken CH: Which is pretty much a lack of morals? Joaquin: Right. End of interview. Transcribed by Gladiatrix (=Lisa) ----------------------------------------------------------------- Marquis Value ----------------------------------------------------------------- ----------------------------------------------------------------- "Quills" AND "The Yards" will be shown at the London Film Festival. "Quills" on Friday, November 3rd at the Odeon West End 2 at 8:45 PM. ----------------------------------------------------------------- ----------------------------------------------------------------- ... The increasingly interesting Joaquin Phoenix plays the priest who runs the asylum and tries to keep Winslet out of the Marquis's clutches. ... For more infos on "Quills" look at the filmlover-page. ----------------------------------------------------------------- Joaquin
Phoenix ----------------------------------------------------------------- JOAQUIN
PHOENIX has spoken of passionate clinches with Kate
Winslet on screen. Phoenix, who was the schizophrenic
emperor Com-modus in Gladiator, appears with Kate in the
movie Quills. The film explores how the Marquis de Sade
overcame hardship to express his artistic desires.
Phoenix, who plays a priest, said: 'I learned a lot from
Kate because, while I want to examine every which (Thanks to Samantha for sending this in!) Monday, September
25 2000 Hollywoodreporter.com:
Friday September 22 04:01 AM EDT LOS ANGELES (The Hollywood Reporter) --- Joaquin Phoenix is set to topline FilmFour/Odeon Film's dark comedy "Buffalo Soldiers" for writer-director Gregor Jordan. Production on the $15 million-budgeted film is slated to begin Nov. 3 in Germany. Based on Robert O'Connor's cult novel of the same name, the book deals with a criminal subculture that exists among a group of young U.S. soldiers in West Germany during the fall of the Berlin Wall in 1989. The story centers on Army Spc. Ray Elwood (Phoenix), clerk to the battalion commander, who uses his street smarts to swing deals and manipulate the system to create a relaxed atmosphere in which to spend his two-year stint in the military. Unbeknownst to Elwood, Army investigators operating through Elwood's enemy, Sgt. Lee, are zeroing in on him. Meanwhile, Elwood is falling in love with Lee's daughter Robyn. FilmFour, the stand-alone film company of U.K. broadcaster Channel 4, is co-financing the project with German production, distribution and financing company Odeon Film. Germany's Gorilla Entertainment, headed by Rainer Grupe, will co-produce the film with Odeon Film chairman Reinhard Kloos and New York-based Good Machine's James Schamus. Good Machine
International will sell worldwide rights for FilmFour
outside Germany, where Odeon retains all rights and is
expected to license the theatrical rights to distributor
Constantin. FilmFour Distributors will handle the release
in the United Kingdom. FilmFour head of acquisitions
Bobby Allen brought the project into the Phoenix, co-repped by CAA and Iris Burton, most recently starred in the summer boxoffice blockbuster "Gladiator" and next stars in Miramax Films' "The Yards" and Fox Searchlight's "Quills." "Gladiator," which Phoenix starred in for director Ridley Scott and DreamWorks and Universal Pictures, has grossed $185 million domestically to date. ----------------------------------------------------------------- D'WORKS TO BOW
COLOSSAL 'GLADIATOR' DVD DreamWorks is hoping to slay all comers in the DVD arena with its elaborate double-disc special edition of "Gladiator" on Nov. 21. Package will include more than four hours of extra material -- among the most for a release of a recent theatrical hit. Studio is expected to announce today that it is mounting its biggest single marketing campaign ever for homevid. Release includes a rental-priced VHS edition, but most of the media blitz slated for Thanksgiving weekend will focus on the DVD edition, the most elaborate ever created by DreamWorks. Company officials are said to expect near-record initial sales of 2 million to 3 million units and anticipate that the pic -- which generated $185 million at the domestic B.O., the second highest tally of the year -- will be the best-selling DVD of the year. The price point of $29.99 (comparable to some standard edition releases) will help. It is also one of the few titles to feature both Dolby Digital and the space-hogging DTS surroundsound on the same dual-layered disc featuring the 2½-hour movie, just as DreamWorks' "American Beauty" will when it is released on Oct. 24. The second dual-layer disc contains all the extra features, which include 11 deleted scenes with commentary by director Ridley Scott; a complete film audio commentary by Scott; a seven-minute montage of never-before-seen footage put together by editor Pietro Scalia exclusively for the DVD edition; and HBO and TLC cable specials related to the movie. While some upcoming DVD releases, including Universal's "U-571," are being held for release by several weeks after the VHS version, DreamWorks is releasing both editions simultaneously in hopes that the strategy will help the title become one of the biggest rentals of the fourth quarter as well. That's a new approach for DreamWorks, which has released titles such as "Saving Private Ryan" and "American Beauty" first on VHS only at a rental price, and months later at a reduced price on VHS simultaneously with the titles' debut on DVD. The
"Gladiator"-DVD is up for pre-order at amazon.com. The Release date will be November
21th and the price is 17.99$. With many many special
features: ----------------------------------------------------------------- Wednesday,
September 20 2000 ----------------------------------------------------------------- Mark Wahlberg and Joaquin Phoenix, costars in the upcoming urban drama "The Yards", "went at [a fight scene] with such ferocity that it left them black - and - blue for days," says a source close to the production. "They tore each other to pieces." The actors, who are friends offscreen, were so sore the next day, "they walked like robots." Also at the bottom there is a little picture that is so cute with him smiling and all, and the caption says: "Gladiator's" tough Joaquin Phoenix takes to the streets. ----------------------------------------------------------------- ----------------------------------------------------------------- article: Joaquin on the rise from Toronto Sun TORONTO -- James Gray, the director of a Toronto filmfest movie called The Yards, turns to the door of a room in the Hotel Inter-Continental yesterday to shoo away actor Joaquin Phoenix. A few minutes earlier, Phoenix had scurried in to sit in the director's lap. He was back now for another shot of security, the kind that Gray, as a kind of surrogate older brother, can give his fragile, shy star with a little friendly attention. "Not now," Gray cautions him quietly, with affection in his voice. "I really have to finish this. I'll see you later." Phoenix leaves. Gray smiles and says of his friend and Yards star: "He's fantastic. But he's crazy." ....... read on ----------------------------------------------------------------- ----------------------------------------------------------------- ----------------------------------------------------------------- This is London: Friday, September
8 2000 According to reports from last year's Toronto International Film Festival, American actor Joaquin Phoenix found himself in an elevator at the Four Seasons Hotel with a tall English gentleman. With deference bordering on shyness, the Englishman approached the young star of Clay Pigeons: "Excuse me. You're Joaquin? I'd just like to say how much I admire your work." Phoenix, who had been out partying much of the previous night, mumbled a quick "thanks" before brushing the fellow off by smiling vacantly and turning his back on his new admirer. It wasn't until the Brit had exited the elevator that Phoenix's co-star, Vince Vaughn, blurted out the identity of the courteous "fan." "You idiot! Don't you know who that was?" "No," came the reply. "That was Eric Clapton," groaned Vaughn, who's 10 years older than Phoenix and knows a major rock star when he sees one. Joaquin seemed nonplussed: "How was I supposed to know?" Sunday, September
3 2000 What kind of roles attract you? Phoenix: I'm definitely a sucker for family movies - I love those kind of films. I mean, I have no problem with explosions. I'm a huge fan of `Star Wars' movies. That's all fine and dandy. But, generally, I like to see real people. That doesn't mean I'd turn down any specific role. You know, movies can also be a good time and I'm still having a blast acting. Actually, I'd do anything. Like, say, Chewbacca? Phoenix: I'd be Chewbacca. Absolutely. I love that guy. Saturday,
September 2 2000 ----------------------------------------------------------------- He had
to be fast on his feet for 'Gladiator's' fight scenes,
but Joaquin Phoenix says his latest movie, the crime
drama, 'The Yards,' ----------------------------------------------------------------- But it's more than just acting. Writer Doug Wright, adapting from his own play, brings a clear focus to the storytelling here. He manages to control the wave of emotion without allowing the story to become trite or predictable. His taste in using Sade's words is impeccable. And he allows all four major characters and a number of secondary characters fully rounded lives, even when we just see a sliver of their worlds. Particularly effecting are Coulimier's young wife and Winslet's washerwoman mother. And
then there are the lunatics. And this is where director
Philip Kaufman must be given credit, blurring into the
screenplay. Kaufman creates the most realistic, yet still
macabre, cast of lunatics since One Flew Over The
Cuckoo's Nest. They are bizarre and extreme, yet each has
a distinct and predictable personality. And so, when they
act out, you are not surprised, and they are ----------------------------------------------------------------- So, of the four movies I've seen, which one do you think is the one that will garner between 7 and 11 Oscar nominations if its studio handles it right? A.
Bring It On The answer is a resounding "C." I wrote that Almost Famous was one of the three best movies of the year. That may well still be true. But Quills has taken over the second slot, behind Erin Brockovich, who is holding on by her fingernails. I'm not going to expound on Quills right now, as I have a bunch of other films to write about. Look for more on Monday. But I see serious Oscar® contention for Philip Kaufman (Best Director), Doug Wright (Best Adapted Screenplay), Geoffrey Rush (Best Actor), Kate Winslet (Best Actress), Joaquin Phoenix (fighting himself for a Best Supporting Actor slot for his Gladiator performance what a year for this kid!), Rogier Stoffers (Best Cinematography), Jacqueline West (Best Costume Design), Martin Childs (Best Production Design), Nuala Conway, Peter King & Jeremy Woodhead (Best Make-up) and for Julia Chasman, Peter Kaufman & Nick Wechsler (Best Picture). Plus, maybe, Michael Caine as Best Supporting Actor in a role diametrically opposed to the one he won for last year. And I wouldn't be shocked if every single one of these people got a nod. The movie is that good. The production is that fine. The acting is that perfect. And the movie is that important. Damn it, I love it when a movie I wasn't really expecting magic from comes through in spades. ----------------------------------------------------------------- Visit also this Quills-page with news, gallery, articles, reviews, info about the play , ... ----------------------------------------------------------------- Phil Kaufman has always been one of those Hollywood "what if?" stories. What if the critically acclaimed "The Right Stuff" had been a hit? What if "Henry and June" had not been the first studio film to receive an NC-17 rating? What if "Rising Sun" had actually been good? Kaufman has directed everything from cult classics such as "The Great Northfield, Minnesota Raid" to the highly regarded film of Milan Kundera's novel "The Unbearable Lightness of Being." But he's never been on Hollywood's A-list. And it's doubtful if "Quills," Kaufman's first film in seven years, will put him there. Not that it doesn't sound interesting: It's based on Doug Wright's controversial play about a spiritual contest between the Marquis de Sade (Geoffrey Rush) and a priest (Joaquin Phoenix) for the soul of a maid (Winslet) working at the asylum where the marquis is an inmate. Sexy material. Outrageous. Maybe even compelling. But does anyone think this will be box-office catnip? And as far as Kaufman is concerned, he keeps making the films he wants to make grosses be damned. ----------------------------------------------------------------- An ex-con (Mark Wahlberg) is hired by his uncle (James Caan) to work on a New York City subway repair firm and is lured into a world of sabotage, payoffs and murder. Director James Gray showed a good feel for local atmosphere with his Brighton Beach flick "Little Odessa." He also grew up in Queens hearing all about the ins and outs of city politics from his dad. The word on the street is that this is an effective and gritty crime drama. ----------------------------------------------------------------- The
Big Picture: "It's about the timeless debate over
censorship," Phoenix (Gladiator) says of the movie,
which playwright Doug Wright adapted from his
controversial off-Broadway play. "Amidst the tumult
of France during that period," Phoenix adds,
"the safe haven is in the madhouse." From the
madhouse to the White House, then: "[The script]
came to me during the summer of '98," says director
Philip Kaufman (The Unbearable Lightness of Being, Henry
& June), "when Ken Starr was busily pursuing
Bill Clinton. That kind of moralizing, persecuting spirit
was revived in America." Kaufman relished the
opportunity to indulge his own provocative impulses. Says
Rush: "He was always sort of gleaming off-camera in
the rehearsal room, saying, 'It's the Marquis de Sade!
He's the alchemist of sssexxx!' " But the film gives
voice to a rigorous moral debate as well. "It's a
true story that is humorous and witty in its
inception," Kaufman says, "but finally shows
some of the bloody, dire consequences of both pornography
and the repression of pornography." Not to mention
the perverse fun of it. "In every waking
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