HILLARY WESTON

Rachel Weisz is known for taking on roles that entice and challenge—she’s even won an Oscar for it. But it’s her latest role as Hester in Terence Davies’s The Deep Blue Sea that resonates in a most powerful way. The film tells the story of a woman who throws herself into a self-destructive love affair with an emotionally distant Royal Air Force pilot and the madness in which it causes her to descend. As the wife of a tame yet loving judge, she makes the decision to leave him in pursuit of her extreme desire, only to end up shattered by the passion she possesses but does not receive. Known for his unique cinematic works, Davies has crafted a brilliant adaptation of Terence Ratigan’s play that feels almost like a nightmarish, lovesick dream that can feel at once relatable or completely out of one’s emotional sphere. We caught up with Rachel to discuss what attracted her to Hester, how love makes one mad, and working with such an iconic director. Rachel Weisz Talks About Her New Film The Deep Blue Sea
Mar 27

Rachel Weisz is known for taking on roles that entice and challenge—she’s even won an Oscar for it. But it’s her latest role as Hester in Terence Davies’s The Deep Blue Sea that resonates in a most powerful way. The film tells the story of a woman who throws herself into a self-destructive love affair with an emotionally distant Royal Air Force pilot and the madness in which it causes her to descend. As the wife of a tame yet loving judge, she makes the decision to leave him in pursuit of her extreme desire, only to end up shattered by the passion she possesses but does not receive. Known for his unique cinematic works, Davies has crafted a brilliant adaptation of Terence Ratigan’s play that feels almost like a nightmarish, lovesick dream that can feel at once relatable or completely out of one’s emotional sphere. We caught up with Rachel to discuss what attracted her to Hester, how love makes one mad, and working with such an iconic director.

Rachel Weisz Talks About Her New Film The Deep Blue Sea

Tony Kaye and Adrien Brody make a perfect coupling: an acclaimed Oscar-winner known for taking on difficult and harrowing roles and one of Hollywood’s most controversial directors who makes films that not only brutally inform but possess. With their new film, Detachment, they both prove their immense strength in their craft, creating a powerful film that challenges one’s emotional strength and enlightens. The film tells the story of Henry Barthes, a downtrodden substitute teacher who takes a temporary position at a high school in shambles. Barthes, a somber man plagued by flashbacks of his mother’s suicide, is an empathetic and gifted teacher, desperately trying to connect to his students while dealing with his dying grandfather and the teenage prostitute he’s taken in. Shot by Kaye himself, the film cuts between the narrative, interviews with Barthes, and morose animated blackboard drawings used to illustrate everyone’s darker urges. It’s a scathing portrayal of the public school system as well as one man’s story to find meaning in a vicious world. We caught up with Brody and Kaye to find out what drew them to this film, their shared desire for a deeper sense of entertainment, and the state of Hollywood today. Adrien Brody and Tony Kaye Discuss Their New Film ‘Detachment’
Mar 20

Tony Kaye and Adrien Brody make a perfect coupling: an acclaimed Oscar-winner known for taking on difficult and harrowing roles and one of Hollywood’s most controversial directors who makes films that not only brutally inform but possess. With their new film, Detachment, they both prove their immense strength in their craft, creating a powerful film that challenges one’s emotional strength and enlightens. The film tells the story of Henry Barthes, a downtrodden substitute teacher who takes a temporary position at a high school in shambles. Barthes, a somber man plagued by flashbacks of his mother’s suicide, is an empathetic and gifted teacher, desperately trying to connect to his students while dealing with his dying grandfather and the teenage prostitute he’s taken in. Shot by Kaye himself, the film cuts between the narrative, interviews with Barthes, and morose animated blackboard drawings used to illustrate everyone’s darker urges. It’s a scathing portrayal of the public school system as well as one man’s story to find meaning in a vicious world. We caught up with Brody and Kaye to find out what drew them to this film, their shared desire for a deeper sense of entertainment, and the state of Hollywood today.

Adrien Brody and Tony Kaye Discuss Their New Film ‘Detachment’

(via bbook)

Watching Justin Kurzel’s Snowtown is a haunting and visceral experience. As one of the best crime thrillers to emerge in recent years, the film showcases the work of a brilliant first-time director who knows exactly what he’s doing. Based on Australia’s most notorious serial murders – also known as the “Bodies in Barrels” case – the film tells the story of the events leading up to and surrounding the killings in a quiet Australian town. One part desolate portrait of a community, the other a character study of a 16-year-old boy named Jamie (played by Lucas Pittway in his film debut) who falls in with John after he begins dating his mother and making himself a father figure to him and his brothers. In a bleak yet frighteningly powerful portrayal of the chilling crimes, we follow Jamie as he transitions from apathetic victim into a nightmarish world of violence. Before the film’s American premiere, we caught up with Kurzel to talk about why he wanted to tell Snowntown’s story, how he brought about such brilliant performances, and what the community had to say about his film. Australian Filmmaker Justin Kurzel Talks About His Disturbing & Poignant ‘Snowtown’
Mar 14

Watching Justin Kurzel’s Snowtown is a haunting and visceral experience. As one of the best crime thrillers to emerge in recent years, the film showcases the work of a brilliant first-time director who knows exactly what he’s doing. Based on Australia’s most notorious serial murders – also known as the “Bodies in Barrels” case – the film tells the story of the events leading up to and surrounding the killings in a quiet Australian town. One part desolate portrait of a community, the other a character study of a 16-year-old boy named Jamie (played by Lucas Pittway in his film debut) who falls in with John after he begins dating his mother and making himself a father figure to him and his brothers. In a bleak yet frighteningly powerful portrayal of the chilling crimes, we follow Jamie as he transitions from apathetic victim into a nightmarish world of violence. Before the film’s American premiere, we caught up with Kurzel to talk about why he wanted to tell Snowntown’s story, how he brought about such brilliant performances, and what the community had to say about his film.

Australian Filmmaker Justin Kurzel Talks About His Disturbing & Poignant ‘Snowtown’

(via bbook)

Finding inspiration in everything from the mysterious world of David Lynch to the chills of John Carpenter, English graphic designer, photographer, and filmmaker Caspar Newbolt has created a unique aesthetic that blends the world of science fiction with the dark emotions of everyday life. Since co-founding Version Industries in 2003 when he was just 23, Caspar has acted as lead designer for the company, producing websites, printwork, and video pieces for clients such as Daft Punk and Louis CK, to name a few. As an important part of his work, Caspar spends most of his time art directing and designing for bands such as The Protomen, 65daysofstatic, Makeup and Vanity Set, Big Black Delta and SONOIO, as well as giving independent filmmakers the support they need online and in print. When not busy creating a new album cover or film piece, Caspar writes critically on art and film for various publications. We caught up with Caspar to dive deeper into his creative process, his love for David Lynch, and working with Louis CK. Visual Artist Caspar Newbolt’s Otherworldly Projects
Feb 16

Finding inspiration in everything from the mysterious world of David Lynch to the chills of John Carpenter, English graphic designer, photographer, and filmmaker Caspar Newbolt has created a unique aesthetic that blends the world of science fiction with the dark emotions of everyday life. Since co-founding Version Industries in 2003 when he was just 23, Caspar has acted as lead designer for the company, producing websites, printwork, and video pieces for clients such as Daft Punk and Louis CK, to name a few. As an important part of his work, Caspar spends most of his time art directing and designing for bands such as The Protomen, 65daysofstatic, Makeup and Vanity Set, Big Black Delta and SONOIO, as well as giving independent filmmakers the support they need online and in print. When not busy creating a new album cover or film piece, Caspar writes critically on art and film for various publications. We caught up with Caspar to dive deeper into his creative process, his love for David Lynch, and working with Louis CK.

Visual Artist Caspar Newbolt’s Otherworldly Projects

(Source: bbook)

Billed as an “explosive Mexican thriller,” Gerardo Naranjo’s Miss Bala feels more like a simmering pot of anxiety. Inspired by the true story of Laura Zuniga, a Mexican beauty queen arrested in 2008, the film follows an innocent young woman who, upon witnessing a murder, is abducted by a gang and forced to smuggle drugs across the U.S. border. As Laura, Stephanie Sigman delivers a standout performance in a film that offers a fresh take on an issue so often tackled in film. The 23-year-old actress may not yet be known in the States, but her haunting performance is sure to resonate with audiences of all cultures. We caught up with Sigman to talk about the personal and political ramifications of the film. Stephanie Sigman Discusses Her Intense Star Turn in ‘Miss Bala’
Jan 27

Billed as an “explosive Mexican thriller,” Gerardo Naranjo’s Miss Bala feels more like a simmering pot of anxiety. Inspired by the true story of Laura Zuniga, a Mexican beauty queen arrested in 2008, the film follows an innocent young woman who, upon witnessing a murder, is abducted by a gang and forced to smuggle drugs across the U.S. border. As Laura, Stephanie Sigman delivers a standout performance in a film that offers a fresh take on an issue so often tackled in film. The 23-year-old actress may not yet be known in the States, but her haunting performance is sure to resonate with audiences of all cultures. We caught up with Sigman to talk about the personal and political ramifications of the film.

Stephanie Sigman Discusses Her Intense Star Turn in ‘Miss Bala’

(via bbook)

With music that’s as haunting and heartbreaking as it is playfully sinister, Chicago-based musician Daniel Knox’s music has a rare but addictive sound. As a misanthropic cinephile, Knox recently took a break from his job as a projectionist at Chicago’s Music Box Theatre to collaborate with photographer and dear friend John Atwood on a piece that will premiere tonight at 92YTribeca: “Daniel Knox: John Atwood Black & Whites.” After applying at the very last moment, Knox was accepted as an artist in residency at the esteemed Watermill Center where he created a long-form composition based on Atwood’s photographs depicting their mutual hometown of Springfield, Illinois. The result is an evocative and stirring experience that brings together sight and sound and creates an emotional landscape for Atwood’s photographs in a unique way. At 8pm tonight, the piece will be performed live with a full band, elevating their collaboration to a new level. We caught up with John before the show to chat about his inspiration for the exhibit, having dinner with David Lynch, and inheriting a desolate Springfield. The Sinister Sounds of Daniel Knox
Jan 26

With music that’s as haunting and heartbreaking as it is playfully sinister, Chicago-based musician Daniel Knox’s music has a rare but addictive sound. As a misanthropic cinephile, Knox recently took a break from his job as a projectionist at Chicago’s Music Box Theatre to collaborate with photographer and dear friend John Atwood on a piece that will premiere tonight at 92YTribeca: “Daniel Knox: John Atwood Black & Whites.” After applying at the very last moment, Knox was accepted as an artist in residency at the esteemed Watermill Center where he created a long-form composition based on Atwood’s photographs depicting their mutual hometown of Springfield, Illinois. The result is an evocative and stirring experience that brings together sight and sound and creates an emotional landscape for Atwood’s photographs in a unique way. At 8pm tonight, the piece will be performed live with a full band, elevating their collaboration to a new level. We caught up with John before the show to chat about his inspiration for the exhibit, having dinner with David Lynch, and inheriting a desolate Springfield.

The Sinister Sounds of Daniel Knox

(via bbook)

Joe Carnahan has always been a Hollywood wild card.  But with his latest film, The Grey, he tries to dive a little bit deeper into the psyche of man. Starring fellow go-to guy for action, Liam Neeson, the film follows an unruly pack of oil-riggers stranded in the Alaskan wilderness after a disastrous plane crash. A survivalist film of the highest order, the guys must battle nature’s brutality as well as the vicious and bloodthirsty wolves that surround them. With the tag line, “Live and die on this day,” the film showcases Carnahan’s affinity for the fight as well as Neeson’s career as a leading man of force. We caught up with the director to discuss his primal attraction to a film like this, seeing Pikachu before death, and allowing the audience to walk away with questions. Director Joe Carnahan On ‘The Grey’ & Filming His Worst Nightmare
Jan 20

Joe Carnahan has always been a Hollywood wild card.  But with his latest film, The Grey, he tries to dive a little bit deeper into the psyche of man. Starring fellow go-to guy for action, Liam Neeson, the film follows an unruly pack of oil-riggers stranded in the Alaskan wilderness after a disastrous plane crash. A survivalist film of the highest order, the guys must battle nature’s brutality as well as the vicious and bloodthirsty wolves that surround them. With the tag line, “Live and die on this day,” the film showcases Carnahan’s affinity for the fight as well as Neeson’s career as a leading man of force. We caught up with the director to discuss his primal attraction to a film like this, seeing Pikachu before death, and allowing the audience to walk away with questions.

Director Joe Carnahan On ‘The Grey’ & Filming His Worst Nightmare

(via bbook)

How did you decide on the film’s aesthetic? It’s interesting because I just started shooting with Brit to try and find the aesthetic, but I knew I wanted it to be like a documentary. I wanted it to feel more naturalistic, a poetic realism. There’s a sensual aspect to filmmaking you can find, and it opens up a different part of your mind besides just the eyes and the ears, so I look for that a lot. How did you come up with the film’s concept? I was making all this video art, and I made a piece where I interviewed myself and then I also made a piece where I put an earth up in the sky, very simple. I’m big into the tech, I like touching and playing and editing and shooting, so I was experimenting and I composted another earth in the sky that looked authentic and real, and I was like, alright this is interesting. And Brit and I were talking about the emotional side, which is the confrontation of the self. I wanted people to leave the theatre and look up and be like, Is there another earth up there? Director Mike Cahill on His Film, Another Earth
Dec 25

How did you decide on the film’s aesthetic?
It’s interesting because I just started shooting with Brit to try and find the aesthetic, but I knew I wanted it to be like a documentary. I wanted it to feel more naturalistic, a poetic realism. There’s a sensual aspect to filmmaking you can find, and it opens up a different part of your mind besides just the eyes and the ears, so I look for that a lot.

How did you come up with the film’s concept?
I was making all this video art, and I made a piece where I interviewed myself and then I also made a piece where I put an earth up in the sky, very simple. I’m big into the tech, I like touching and playing and editing and shooting, so I was experimenting and I composted another earth in the sky that looked authentic and real, and I was like, alright this is interesting. And Brit and I were talking about the emotional side, which is the confrontation of the self. I wanted people to leave the theatre and look up and be like, Is there another earth up there?

Director Mike Cahill on His Film, Another Earth

(via bbook)

“My whole body understood it and I had cramps after, as if I’d been onstage myself,” says German director Wim Wenders of the first time he saw a piece by his dear friend Pina Bausch, the late German choreographer and subject of the filmmaker’s latest tour de force, Pina (Sundance Selects, December 23). Unlike in conventional 3-D movies, the figures in Wenders’ documentary do not pop out or invade your space—in fact, they do quite the opposite. Using Steadicam rigs, Wenders adroitly dissolves the distance between dancer and spectator so that, in observing every curvature of the bodies in motion, the viewer becomes part of the Tanztheater Wuppertal, the experimental dance-theater ensemble Bausch led from 1973 until her death in 2009. Staged in settings ranging from a busy intersection in Wuppertal to a glass room in the middle of the woods, the dancers merge reality and fantasy, like an expressionist painting brought to life. Celestial Bodies
Dec 24

“My whole body understood it and I had cramps after, as if I’d been onstage myself,” says German director Wim Wenders of the first time he saw a piece by his dear friend Pina Bausch, the late German choreographer and subject of the filmmaker’s latest tour de force, Pina (Sundance Selects, December 23). Unlike in conventional 3-D movies, the figures in Wenders’ documentary do not pop out or invade your space—in fact, they do quite the opposite. Using Steadicam rigs, Wenders adroitly dissolves the distance between dancer and spectator so that, in observing every curvature of the bodies in motion, the viewer becomes part of the Tanztheater Wuppertal, the experimental dance-theater ensemble Bausch led from 1973 until her death in 2009. Staged in settings ranging from a busy intersection in Wuppertal to a glass room in the middle of the woods, the dancers merge reality and fantasy, like an expressionist painting brought to life.

Celestial Bodies

(via bbook)

There’s that line in the film that says, “What are we longing for? Where does all this yearning come from?” I feel like that’s a central theme in so much of your work and this was a way to physicalize this deep longing. That was something that maybe tied us together, Pina and me. When I saw her pieces for the first time I realized we had a subject in common, as well. Many of my films were trying to deal with the same issues in different ways, [but] certainly not in the same way she was able to do it without words and without story. There was never a story; in some of her pieces there is a red line going through, but it’s not a plot; in movies you always have a story to carry you, and I realized that maybe stories are in the way…[of] the core of things. The way Pina gets to the core of what love and loss means… I just don’t know a single film that has been able to come remotely close to that. Wim Wenders on His Dear Friend Pina Bausch and the Film He Made in Her Honor
Dec 18

There’s that line in the film that says, “What are we longing for? Where does all this yearning come from?” I feel like that’s a central theme in so much of your work and this was a way to physicalize this deep longing.
That was something that maybe tied us together, Pina and me. When I saw her pieces for the first time I realized we had a subject in common, as well. Many of my films were trying to deal with the same issues in different ways, [but] certainly not in the same way she was able to do it without words and without story. There was never a story; in some of her pieces there is a red line going through, but it’s not a plot; in movies you always have a story to carry you, and I realized that maybe stories are in the way…[of] the core of things. The way Pina gets to the core of what love and loss means… I just don’t know a single film that has been able to come remotely close to that.

Wim Wenders on His Dear Friend Pina Bausch and the Film He Made in Her Honor