LISTFUL THINKING: Most Anticipated Films of 2018

1 01 2018

2017 is over! 2018 is here!

After a year when my top 10 list only featured one of my stalwart favorite filmmakers, I am very excited to see a number of great directors preparing exciting new works. I had to narrow it down to 10 just for my own sake, but here are some honorable mentions just to show you how stacked 2018 is going to be.

  • Ava DuVernay’s “A Wrinkle In Time”
  • Wes Anderson’s “Isle of Dogs”
  • Yorgos Lanthimos’ “The Favorite”
  • Laszlo Nemes’ “Sunset”
  • Asghar Farhadi’s “Everybody Knows”
  • David Lowery’s “The Old Man and the Gun”
  • Damien Chazelle’s “First Man”
  • Bradley Cooper’s “A Star Is Born”
  • Jacques Audiard’s “The Sisters Brothers”
  • Robert Zemeckis’ “The Women of Marwen”
  • Myroslav Slaboshpytskiy’s “Luxembourg”
  • Melanie Laurent’s “Galveston”

But without further ado, here are 10 movies that I will be anticipating the most in the coming year…


“Ocean’s 8”
Directed by Gary Ross
Written by Gary Ross and Olivia Milch
Starring Sandra Bullock, Cate Blanchett and Anne Hathaway

…and Sarah Paulson, Rihanna, Mindy Kaling and Helena Bonham Carter. I, for one, welcome this matriarchy to take over the summer screens.


“Under the Silver Lake”
Written and directed by David Robert Mitchell
Starring Andrew Garfield, Riley Keough and Topher Grace

Mitchell’s last film “It Follows” has lingered in my mind so much to the point that his follow-up is basically guaranteed a spot here. Working with Garfield and Keough, who are making some fascinating career moves, has me especially intrigued.


“Boy Erased”
Written for the screen and directed by Joel Edgerton
Starring Lucas Hedges, Nicole Kidman and Joel Edgerton

Lucas Hedges is on a roll between “Manchester by the Sea,” “Lady Bird” and “Three Billboards Outside Ebbing, Missouri” – one heck of a hat trick. The best might be yet to come with his role as a boy forced into conversion therapy for his sexuality.


“High Life”
Directed by Claire Denis
Written by Claire Denis, Jean-Pol Fargeau, Nick Laird and Zadie Smith
Starring Robert Pattinson, Mia Goth and Juliette Binoche

The Robert Pattinson arthouse director trophy case continues to grow as he notches a film with French icon Claire Denis. It’s a sci-fi script that Zadie Smith has a hand in? Um, yes please.


“If Beale Street Could Talk”
Written for the screen and directed by Barry Jenkins
Starring Dave Franco, Pedro Pascal and Ed Skrein

Barry Jenkins tackling James Baldwin should get everyone excited. Full stop. I cannot wait to see him bring Baldwin’s searing treatment of race in America to the big screen.


“Where’d You Go, Bernadette?”
Directed by Richard Linklater
Written by Michael H. Weber and Scott Neustadter
Starring Cate Blanchett, Kristen Wiig and Judy Greer

I am so curious to see how the unique, quirky narration style of Maria Semple’s novel gets translated into cinematic language. The book is in good hands with Linklater and Blanchett.


Directed by Jason Reitman
Written by Diablo Cody
Starring Charlize Theron, Mackenzie Davis and Ron Livingston

The “Young Adult” redemption tour is coming. Get ready.


Written and directed by Adam McKay
Starring Christian Bale, Amy Adams and Sam Rockwell

After “The Big Short” tore pre-recession Wall Street to shreds, I’m eager to see what Adam McKay has in store for Dick Cheney. It will certainly have fangs.


Directed by Steve McQueen
Written by Steve McQueen and Gillian Flynn
Starring Viola Davis, Liam Neeson and Colin Farrell

A melding of the minds behind “12 Years a Slave” and “Gone Girl” is the combination I didn’t know I needed. And now I just can’t wait for it to arrive.


“The Beach Bum”
Written and directed by Harmony Korine
Starring Matthew McConaughey, Zac Efron and Isla Fisher

SPRING BREAK FOREVER. About time Harmony Korine has a new movie for me to hook into my veins.



Top 10 of 2017: Connections, Failed and Imagined

31 12 2017

Per New Year’s Eve tradition, it’s time to unveil my top 10 list for the year. 2017 was … an interesting year, to say the least. I’m writing this paragraph at the tail end of a screener binge trying to catch as many movies as possible before sitting down to bang out this piece. Funny how you can see 148 films and somehow feel like you’ve failed to get a sense of the year. That’s a far cry from the glut I consumed in 2015, a whopping 200 films in the calendar year.

Yet I feel good about that, somehow. This was a banner year for me keeping my New Year’s resolutions, one of which was to rewatch more movies to gain a greater appreciation of what I’ve already seen. Another was to immerse myself more in classic cinema to better understand the influences of my favorite filmmakers. (If, for some reason, you feel compelled to see my media consumption habits in detail, check out my Letterboxd page.) Still, I don’t think many of you are going to shake a finger at me for seeing as much as I did. From 148 films, there’s more than enough to make a top 10 list.

(Also, I moved to New York in November. I had a lot on my plate besides just watching movies.)

An odd thing to note about my favorites this year: the top 5 has stayed unchanged since late May. That’s in part because I went to Sundance (and made the correct film choices), but I think something larger is at play here. Expectations. Filmmakers whose latest works I was eagerly anticipating largely did not deliver on the promise of their prior films. On the list below, the only director who I would have considered myself a devotee of would be Noah Baumbach.

The upside here is that now I have many new projects to eagerly anticipate! Several of these directors were ones that had just never quite clicked for me. Heck, one of them directed a movie which garnered this site’s only F rating.

I always construct this list purely on merit and feeling, never trying to meet any kind of quota or make any particular statement. But 2017’s list naturally came together to paint a picture of the industry I’d like to see. 3 films are directed by women, 3 films are debut features, 2 films are by black directors and 2 films are by queer filmmakers. There are studio films, indies and Netflix releases. Quality work is coming from every area of the business, and we need to seek out and amplify it as well as its creators.

Before I do my rundown, I suppose I should offer a word about the connective fiber between these films and the year at large. I admit to looking at this group and not having anything jump out immediately. A contemplative walk around the block made me realize that these movies are mostly, to some degree, about people trying to connect. It might be with family members, the love of one’s life, someone’s physical surroundings, or with one’s self. It is likely in spite of some greater obstacle, be they systemic ills like racism and sexism or merely personal hurdles like insecurity and timidity.

This is simplistic to the point of mockery, and I scoff at myself for even being the kind of writer who’d hang an entire year on a concept so nebulously defined that it could come to encompass virtually anything. But in a year when it seemed tough to reconcile seemingly disparate realities and communicate deeply-held values, I’m willing to venture out a bit on this flimsy limb. (Also, some of these don’t really have much to do with “connection” at all! So what!)

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INTERVIEW: David Lowery, director of “A Ghost Story”

3 10 2017

In July, I was able to interview David Lowery for a piece I wrote on Film School Rejects that contextualized his film “A Ghost Story” within a canon of existential films made by Texan directors that includes Terrence Malick’s “The Tree of Life” and Richard Linklater’s “Boyhood.” I had a full twenty minutes with him, which was more than enough to get the few quotes I needed to round out the piece. So with the permission of my editor, I’m publishing the full transcript of our talk here. There were just too many good tidbits here not to share!

Also, if you haven’t seen the film … you probably shouldn’t read this.

I’ve heard you say that A Ghost Story contains some elements of autobiography – as such, did you have to shoot it in Texas? Was there any other place you could have – or would have wanted to – shoot it anywhere else?

I didn’t have to shoot it in Texas, but it definitely made the entire process easier both in a practical sense and an emotional one.

In a practical sense, it’s easier for me to make movies in Texas – especially at the scale we were making this movie on. I have the ability to call in favors in my hometown in a way I can’t anywhere else, and when you’re making a movie on this budget, that is something you just have to do. So on a very practical level, I was just able to make this movie in Texas. If I tried to make this somewhere else, I wouldn’t have.

But insomuch as it is a personal movie that does contain elements of autobiography, I wanted to feel like I was making a movie in my own backyard. I wanted to feel like I was making a movie in my own backyard. I wanted it to take place in the same landscapes that I live in (I still make my home here). I could have made exactly the same movie on a shot-by-shot basis somewhere else, and it wouldn’t have changed that much. It wouldn’t have been that quantifiably different. But it wouldn’t have been as personal to me. Because I wanted this one to be personal, it was important to let that connection extend to the geography in which the film takes place.

What is Texas to you? How has the experience of growing up and living in this state inform your sensibilities as a filmmaker?

It’s funny because I grew up wanting to get out of Texas. I moved here when I was 7, and I was not a fan. My mother’s from Fort Worth, and she predisposed me to not like Texas as a child. She did not love Texas –  I spent the first couple of years in my life in Wisconsin, and she was very happy there. When we moved to Texas, it was a disappointment in her life that she had to go back to the state that she was born and raised in. So I was naturally predisposed to not like it also.

As I got older, I wanted to stake out, or leave the state and move to New York or LA to find my path on one of the two coasts. That was definitely my plan for a long time, but at some point – I guess, rather than going into the long autobiography of my history with Texas – I stopped disliking it and become nonchalant about it. And then that nonchalance eventually turned into an affection. And then that affection turned into a part of my identity. At a certain point, I realized that I identified as a Texan, and it was important for me to stay here and keep making movies here.

Rooney Mara in A Ghost Story

From my understanding, this started as a personal story about the decision you and your wife were making about moving out of your house. At what point did you expand the story to encompass a more cosmic perspective? 

It was there from the very beginning. I often conflate the domestic and the cosmic on a daily basis, so I make those jumps all the time in my day-to-day life. It wasn’t that big of a leap when it came to writing that for the script. In fact, the very first image that I wrote for the screenplay was of the cosmos at dawn and the camera dropping down to find this little house. That’s not the first shot in the movie anymore, but it’s pretty close to the beginning and it’s the first thing I wrote down. That was always part of the story.

And the ghost was always part of the story, too. There was never a version of this movie that didn’t have the ghost there. But all these ideas entwined in my subconscious in just the right way that when I sat down to write the film, they were all already there. It wasn’t a matter of trying to find a way to represent my own personal history on film, nor did I just simply want to make a haunted house movie. In order to make a movie about life in a cosmic sense, all those things just naturally intertwined themselves as I was writing the script. There was no cart before any particular horse, in this case.

Which came first – your decision to take time as the subject of the film, or your decision to use time as the building blocks of the experience? Like the duration of the pie-eating scene or the monologue at the party.

Both of those, while intrinsically related, came from two different places. My initial idea was to let the temporal aspects of the movie simply exist in the filmmaking. It was going to be a movie comprised of very long takes and very few compositions. And I wanted it to be a movie that indulged in my own affection for slow cinema. I knew this would be the type of film that could utilize that in an effective way, it wouldn’t just be a stylistic trick, and I really wanted to lean into that – the idea of using time as a way to tell a story in a visual sense.

At a certain point, my own obsession with time as something that I process as a human being came into focus as a narrative element, not just a part of the form but a part of the content as well. The monologue is where that came into play most acutely. I can only assume that on a subconscious level, that was the result of me writing something that was already so temporally focused on a formal level. Eventually it just became text in the script in addition to just subtext. But when I look back now, they seem completely related to the other. But in the process of writing the film, the movie wasn’t going to use time the way it wound up using time. That was something that came about naturally while I was writing it.

I’ve heard you talk about how Shane Carruth came in and helped you tinker with time to find the movie’s rhythm in the editing room. Was he helping you achieve your original vision of the film or showing you something you didn’t realize it could do before?

He was working on the assembly while we were shooting, and he completely threw the script away and cut the footage together based on his own intuition. He was looking for hidden connections and narrative jumps, and all the things you would recognize in one of his films. That was wonderfully liberating for me because, at that point, I had the screenplay and felt it was pretty solid. But I felt pretty rigid about it. I felt it needed to follow certain rules, particularly in regards to time. At a certain point in the film, time as a narrative construct gets very flexible. I felt that, on a formal level, time needed to be incredibly rigid and well-defined so it wouldn’t muddy the waters of the narrative later on down the line.

What Shane did was help me rid myself of that rigidity, basically. Although he only worked on the movie for a few weeks, what he put together was vastly illuminating. He wasn’t so much finding the rhythms I later employed so much as he was showing me that I did not need to follow my own rules so thoroughly. That the film could withstand a more flexible approach – and, indeed, benefit from it.

I’ve read some things where you talk about how your experiences with Catholicism and Buddhism might or might not have informed the film. But apart from religion, is there something spiritual about the land in Texas to you? Or something that transcends time?

I definitely feel that. I feel that about the houses I live in. There is a palpable sense of history in the homes that I choose to occupy. I think that’s one of the reasons I gravitate towards old homes, I really like that sense of history and that sense that I am one step in a very long process that trails out in both directions around me. Before me and ahead of me.

Texas, in general, for me has such rich history and amazing history that it’s impossible to separate the state from its own legacy. I value that. I really enjoy that. The same is true for any part of the country, or any part of the world. But because I’ve been raised in Texas and steeped in Texas history, that particular tradition and that legacy is readily apparent to me everywhere I look. It is not necessarily the most savory history, in its current form. We’ll look back at what’s happening now in the state and hopefully recognize that this particular chapter in Texas history is not the best one.

Nonetheless, that history is rich and vivid and angry and beautiful and sad – and has a spirit to it that is undeniable. I think that is what appeals to me about Texas above all else. It has this almost unquantifiable spirit that is both political and personal. I think the best metaphor for it, on a visual level, is to point to the flag which is historically the only state flag that can be flown at the same level as the U.S. flag. In that rambunctious, upstart spirit, I find a great deal of personal satisfaction. I like that. I don’t like where it leads all the time, on a political and personal level, but I like what’s behind it. I think that’s one of the reasons I gravitate not just to Texas history but to the state itself and why I want to reside there.

And what about music – that seems to be something that connects C and M across their different plains of existence?

I think music is just one of those things that can cut through whatever – you are catching me on a day when I have run out of all my vocabulary. Gosh, what word am I looking for?

I really find music combines things together in a way that nothing else can. It combines two people together with an expediency that no other form of communication can. It can cut through words and meaning and get directly to the heart of the matter. When I find myself in a narrative bind as a storyteller and screenwriter, I often use music as a way to get out of it. Music just solves problems. It can be a great equalizer and put all sorts of conflicts at rest – at least temporarily. In this film, the characters are having a dispute and reach an impasse. That impasse is ultimately resolved not through words or conversations but just through an exchange of music.

And that, in my life, has been a very meaningful experience which has proven to be true time and again. If there are no words in any given situation that can make a situation better or communicate an idea, music can often step in and provide that common ground for two people. And if you just want to boil it down just how it functions in a relationship, when two people get to know each other, the fastest way to understand the way in which a stranger feels or looks at the world or thinks about the world is to listen to their iTunes library to get a sense of their taste of music. You get to know someone so much more thoroughly when you’re getting to know them on a musical level. Once you build a relationship with someone, whether it’s a friend or a coworker or a collaborator or a spouse, the way in which music intertwines in your mutual lives is usually one of the most defining aspects of that relationship. At least that’s what I’ve found.

So I wanted that to be common ground in which the two characters come together in an important moment in their lives.

I seem to recall you hitting back at some of the lazy characterizations of Ain’t Them Bodies Saints as Malick-inspired, but those light refractions inside the house did remind me some of the flickering flame in The Tree of Life – so I have to ask, was this project influenced by Malick at all?

Definitely. There’s no way for me not to be influenced by Malick just because I have definitely found a great deal of value in what he is contributing to cinema, on a formal level and the cinematic grammar that he employs. And the idealistic one, because I do like what he is after – particularly in The Tree of Life, he is seeking after something that can’t be contained in mere narrative.

So I definitely will cop to being influenced by him, there’s no doubt about it. In this movie, there is that flickering little ghost light on the wall that does exist in The Tree of Life. I can’t say that that wasn’t an influence but that also in my friend John’s [movie title – unintelligible] and that was probably a bigger influence. I saw his movie and was like, “Huh, I might borrow that some day.” And I did. It wasn’t until later where I was like, we probably both got that from The Tree of Life.

I don’t bristle at being compared to Malick because I like the same things he likes and respond to the same things he responds to.  I think – I’ve never met him – but I can tell in what he does that I want to do similar things. But I don’t want to limit myself to that. There’s truth in every single comparison but I also feel there’s a lot more going on under that. Hopefully, in particular with A Ghost Story, it manages to break free of those comparisons. Although I’m totally fine if they’re made.

LISTFUL THINKING: The Most Anticipated Films of 2017

1 01 2017

No more ink need be spilled on the collective dumpster fire that was 2016. There were plenty of good movies to be found, but the anticipation factor felt relatively lacking as the year went on. That is likely to change in 2017 given the amount of projects coming from some of cinema’s most talented artists. We’re at the right time in the cycle of production for a serendipitously large amount of directors, and thank goodness for that.

I usually do a few honorable mentions just given the likelihood of many of these films not theatrically releasing in the current calendar year. So here are a few: “Okja,” Bong Joon-Ho’s follow-up to “Snowpiercer,” has Tilda Swinton and Jake Gyllenhaal in wacky costumes, so I’m in. After “Sicario,” I am very much down for Denis Villeneuve to do anything, including “Blade Runner 2049.” Edgar Wright is such a bonkers and brilliant stylist that “Baby Driver” is sure to get me excited. Sequels to “Star Wars” (especially after Carrie Fisher’s passing), “Planet of the Apes,” “Prometheus” (known as “Alien: Covenant”) and “10 Cloverfield Lane” (still untitled) will pack me in.

But now, on with the top 10! (NOTE: I’m tired on New Year’s Day and will add in more underneath each title on the morning of the 2nd. Sorry, folks, only human.)

Michael Haneke Happy End

“Happy End” (TBD)
Written and directed by Michael Haneke
Starring Isabelle Huppert, Mathieu Kassovitz and Jean-Louis Trintignant

Michael Haneke’s cinema of cruelty feels like the kind of thing we deserve in 2017 – especially in regards to the migrant crisis in Europe, the backdrop of this film.

Woody Harrelson and Laura Dern in Wilson

“Wilson” (March 24)
Directed by Craig Johnson
Written by Daniel Clowes
Starring Woody Harrelson, Laura Dern and Judy Greer

Somewhat showing my bias here since the director, Craig Johnson, is someone I know – but darn if this movie doesn’t look hilarious and awesome.


“Downsizing” (December 22)
Directed by Alexander Payne
Written by Alexander Payne and Jim Taylor
Starring Matt Damon, Kristen Wiig and Christoph Waltz

Even though I wasn’t a huge fan of “Nebraska,” I will always be excited for a new Alexander Payne movie. The fact that his latest is a high-concept satire only has me more intrigued.

Molly's Game

“Molly’s Game” (TBD)
Written and directed by Aaron Sorkin
Starring Jessica Chastain, Idris Elba and Kevin Costner

Aaron Sorkin’s directorial debut. Incredible cast. Need I say more?

The Killing of a Sacred Deer

“The Killing of a Sacred Deer” (TBD)
Directed by Yorgos Lanthimos
Written by Yorgos Lanthimos and Efthymis Filippou
Starring Nicole Kidman, Colin Farrell and Alicia Silverstone

More English-language fun with the director of “The Lobster” is very much what the doctor ordered. Hopefully this is a surreal movie perfectly timed for our surreal times.


“Mother” (TBD)
Written and directed by Darren Aronofsky
Starring Jennifer Lawrence, Domnhall Gleeson and Javier Bardem

I am glad Darren Aronofsky got “Noah” out of his system so now he can return to thrillers like “Black Swan.” Hopefully Jennifer Lawrence’s supposed romance/showmance with him does not cast a cloud over the film.

Paul Thomas Anderson Daniel Day-Lewis

Untitled Paul Thomas Anderson/Daniel Day-Lewis Fashion Project (TBD)
Written and directed by Paul Thomas Anderson
Starring Daniel Day-Lewis

There is literally no other information about this film other than the fact that PTA is writing/directing it, DDL is starring and it somehow involves fashion. That’s all I need.

Tully Jason Reitman

“Tully” (TBD)
Directed by Jason Reitman
Written by Diablo Cody
Starring Charlize Theron, Mackenzie Davis and Mark Duplass

The dream team of Jason Reitman, Diablo Cody and Charlize Theron is reuniting. Prepare for my pieces claiming that “Young Adult” is a forgotten gem of the decade.


Untitled Katherine Bigelow Detroit Project (TBD)
Directed by Kathryn Bigelow
Written by Mark Boal
Starring John Krasinski, John Boyega and Anthony Mackie

Kathryn Bigelow and Mark Boal have made two great movies about recent history and the American character, so I’m very curious to see what they’ll find when they venture back a half-century to Detroit’s race riots. They’ve assembled an all-star cast to help them, too.


“Dunkirk” (July 21)
Written and directed by Christopher Nolan
Starring Cillian Murphy, Tom Hardy and Mark Rylance

Chris Ryan at The Ringer said it best: “I Hope ‘Dunkirk’ Is Four Years Long.” Bring it on, Christopher Nolan. I am ready for your war movie. Reach into my chest, pull out my heart, and make it beat at your desired frequency.

In A World… (The Top 10 Films of 2016)

31 12 2016

“In a world…”

Any self-respecting ’90s moviegoer can never forget announcer Don LaFontaine’s literally trademarked invocation. It was an invitation to enter a world apart from our own, be it an entirely invented fantasy realm, a different country or a fresh perspective.

I bring this up in regards to a year end list of 2016 because so many things I could say to describe the events of this year feel so unfathomable that they could only follow “In a world…” Both personally and culturally, the past 12 months have upended plans, expectations and assumptions. It’s not just the result of the 2016 election in America, or the outcome of the Brexit referendum, or whatever the hell happened when Batman battled Superman – and on the positive side, it’s not just the fact that I covered Sundance, tackled SXSW, and interviewed some really talented cinematic artists. It’s everything that led up to that, all the many breaks that went the way they did to get us to this point.

I always do my best to rewatch any movie I put on my year’s best, but this year I found that I had to rewatch more 2016 films not to determine whether they were as good as I had originally thought. Rather, I had to reexamine what I thought they were about at their core. I could go on and on, but for some examples: “Christine” played like a personal psychodrama at Sundance and an elegy for the dignity of television journalism in December. “Jackie” felt like an empowering tale of a former First Lady gaining her agency at the New York Film Festival in October, yet it seemed more like a requiem mass for a fallen dynasty in late November.

Melissa McCarthy as Michelle Darnell in The Boss

Films whose attitudes I had dismissed – “Deadpool,” “The Boss,” “War Dogs” – seemed validated. Others that seemed to champion the virtues of our era – “Denial,” “The Magnificent Seven,” “Neighbors 2” – felt somewhat hollow, if not completely naive.

I remain uncertain as to which of these films is weaker or stronger for accommodating such a panoply of vantage points. In a world where nothing seems certain, it was a valuable and instructive experience for me to remember that while a film as an object stays the same, our ideas and understandings about are invariably shaped by the worldview from which we approach them. The conditions of its creation are unchangeable. The context of our reception is always subject to forces beyond our control.

So … in a world where seemingly so much is at stake and so little is known, what place do movies have? And what importance does writing about them take? When I started paring down the 200 theatrical releases from 2016 that I viewed this year (fun fact: that’s exactly the same amount as 2015), I was struck by how many of them had created an irresistible world or replicated our present one with a staggering amount of accuracy and honesty. I realized that for so much of the year, the best cinema was not an escape from the world but a means for better understanding it in this crazy year.

Without further ado, here are my selections for the top 10 films of 2016. Rather than lavish them with superlatives, I simply hope to convey what I found of value in those worlds. (If you want all the praise, look to my reviews – the titles hyperlink to them.) Now, on with the show: in a world…

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INTERVIEW: Paolo Sorrentino, writer/director of “Youth”

4 09 2016

In the social sciences, published literature carries a bias of statistical significance. If a journal accepts a given study or finding, it rises to the level of carrying less than a 5% likelihood of occurring due to chance. What that leaves out of the record is what doesn’t work – an equally valuable set of knowledge for anyone looking to do similar research.

What does any of this have to do with my interview of Paolo Sorrentino, writer/director of last year’s “Youth” and Academy Award winner for “The Great Beauty.” Well, aside from some notable cringe-worthy interviews that can play for laughs, we seldom see interviews with talent that don’t go well. As much as I’d like to say everyone can form rapport with their subject in an exchange, it doesn’t always happen.

And let’s just say my talk with Sorrentino wasn’t pretty. It’s been almost 10 months since I recorded this 10 minute phone interview, and I’ve been too scared to listen to it again. I don’t know what all went wrong. I was the last interview of the day, so was he tired from a long day of talking? We had to speak through an translator, so did something get lost in Italian? Could he tell that I just didn’t feel passionately about his movie?

Whatever it was, I feel compelled to revisit my pain on the occasion of Sorrentino’s mini-series “The Young Pope” premiering at the Venice Film Festival. Perhaps it will provide someone with the tools to avoid a similarly awkward interview. The talk definitely taught me to be careful about assuming autobiographical links, even when a film like “Youth” featuring an aging director makes the temptation too irresistible. Here we go…

Paolo Sorrentino directing Youth

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INTERVIEW: Chad Hartigan, writer/director of “Morris from America”

21 08 2016

In case you haven’t noticed from talented actors committing major blunders or fouls in an interview, the press process is long and grueling. I’ve sat at many a roundtable where journalists ask the most basic questions that were probably answered in the press kit (that the same interviewer probably chose not to read). In many ways, I almost cannot even blame talented filmmakers for getting frustrated right off the bat when beginning an interview.

That’s not what happened when I sat down with Chad Hartigan, writer/director of “Morris from America” – in case you thought that’s where my lede was heading. Quite the contrary, actually. He had a level of respect for my questions due in large part to the fact that he himself spent many years doing writing about film himself on the site In Contention. Hartigan was also just three hours removed from the rapturous premiere of his latest film in front of the largest auditorium at the Sundance Film Festival, which didn’t hurt either.

But search “In Contention” here on my site, and you’ll see just how formative that site was for my opinions and writing style in the early days of Marshall and the Movies. Hartigan served as their box office writer, a hat he wore on the side while pursuing filmmaking. We got to talking about both sides of his persona and how they didn’t really collide in “Morris from America,” a sincere and hilarious coming-of-age comedy about a black teenager (Markees Christmas’ Morris) and his widowed father (Craig Robinson’s Curtis) trying to acculturate in a small German town.

Chad Hartigan Sundance Award

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