Read On is a regular feature in which The Dissolve’s staff recommends recent film pieces. Because there’s always someone writing something notable about the movies somewhere on the Internet.
In Interview Magazine, Jennifer Lawrence interviews Eddie Redmayne:
LAWRENCE: I don’t know if you get this, but I get embarrassed really easily when I have to have big meltdown scenes. Do you get self-conscious?
REDMAYNE: Are you kidding me? I'm just one gigantic ball of rancid fear and self-consciousness. I'm entirely fueled by fear, so the fact that I knew it could be a catastrophic disaster made me unable to sleep, and made me work quite hard.
The Atlantic’s David Sims on why Amazon’s Woody Allen project is a risky one:
“Will the viewer boost outweigh whatever hit Amazon’s prestige might take? It’s hard to say. Thinkpieces will undoubtedly flood the Internet, but despite the chilling nature of Dylan Farrow’s public letter, when actors who worked with Allen were asked about it, they mostly referred to the matter as a complicated family issue too sensitive to wade into, and the furor eventually died down. Other networks have worked with unappealing creative personnel without really harming their brand—FX gave accused serial domestic abuser Charlie Sheen 100 episodes of Anger Management in 2012, but remains best-known for highly praised original programming like Louie, The Americans and Justified.”
Grantland’s Sean Fennessey talks to J.C. Chandor about how the director inverted the American crime saga with A Most Violent Year:
“‘There’s that longing for the other side of the horizon, and Abel is a man of the boroughs — his success has come from the outer boroughs and he’s only now expanding into Westchester and other markets,’ Chandor says. ‘So, certainly if I ever convince anyone to come back and get to make another movie with these same characters — which I would love to do, because they are such dynamic people in my brain now — the thought of Oscar and Jessica fighting to continue to move on is certainly … well, he’s looking across that river for a reason.’”
Vulture’s Bilge Ebiri talks to the Dardenne brothers about Two Days, One Night:
“What we wanted in each meeting with Sandra [Cotillard's character] and her colleagues was that it be in one take, because it forces the audience member to live it in real time. It underscores that experience of being there. And in terms of the direction, one of the most important things we did was to give as much importance in the take to Sandra’s colleague as to Sandra. Very often the camera is between them. Yes, sometimes it pans, but we kept it as limited as possible. So that, as an audience member, you keep hearing that sentence, ‘Put yourself in my place.’ Or, ‘What would you do if you were in my shoes?’ We felt that by doing this, you force the spectator to put themselves in that situation and ask that question of themselves: ‘What would I do in that situation?’”
Plus, the rest of today’s biz-ness:
- The Razzies' full list of noms includes, shockingly, Transformers 4
- IMAX is delaying its Game Of Thrones launch to Jan. 29
- The Directors Guild unveiled its nominees for TV and documentaries, including Citizenfour and Finding Vivian Maier
- Steven Soderbergh has cut his own version of 2001: A Space Odyssey