Film School Rejects » Tribeca 2008

Exclusive: Michelle Monaghan Talks ‘Trucker’

Robert Levin — Fri, 16 Oct 2009 22:51:48 +0000

To the uninformed, Michelle Monaghan might be little more than a recognizable face. Yet, the actress has had a strong start to her career, having appeared in several of the most successful recent movies. That’s her in The Bourne Supremacy, Mission: Impossible III, Mr. and Mrs. Smith and Eagle Eye.

Nothing she’s done to this point, to resurrect the age old cliché, will prepare you for her work in Trucker. A small, subtle character study set against the vast expanse of the American West and written and directed by James Mottern, it’s the story of a tough trucker named Diane (Monaghan) who finds her independence and isolation compromised when she’s reacquainted with the son (Jimmy Bennett) she abandoned as an infant. Film School Rejects spoke to Monaghan about the deeply personal project, which premiered at the Tribeca Film Festival in 2008 and is now in limited release.

What attracted you to Trucker?

To me it was so refreshing. … I read films that are one-dimensional a lot of the time and pretty predictable. And in predictable I mean melodramatic and sometimes they’re very sentimental. You play the victim. … When I read the script she was anything but that, Diane. She was very honest, she was unapologetic, she never makes any promises. … She doesn’t play the victim, and for me I thought that was so appealing. … It was a role of a lifetime for me. As an actor, you want to play characters like that.

What appealed to you about James Mottern’s directorial approach?

James is unique as a filmmaker. He really let the camera linger on me and allowed me to act. So often as an actor you’re bombarded with all this dialogue and you don’t feel like you’re getting to act. … I just feel like in those quiet moments Diane really discovers who she is. It’s not what’s coming out of her mouth. She’s kind of playing tough, but it’s in those quiet moments you find out who she is.

Why are Hollywood studios so scared of making movies in this sort of naturalistic vein? In the 1970s, they did so often: Alice Doesn’t Live Here Anymore, Five Easy Pieces etc.

Gosh, I wish I knew the answer to that. I truly, truly do. I don’t know if [maybe it’s just that] they’ve got their typical movies they want to make. Everything’s become formulaic. Those are real character driven dramas.

Can you talk about the long journey to getting the movie made, seen and released?

It really is a longtime coming, this movie. It landed in my lap in 2006, took a year to get financing attached, made it in Tribeca, and then a year, year-and-a-half to get distribution. The floor kind of fell out from under everybody. I never really lost hope, but for a split second I thought, “Gosh, is this really the end of the road for this movie?” It didn’t seem possible. That was the scary thing. Last year was a really dark time, I think, for a lot of independent films, particularly [at] all the festivals. There were a lot of films that played at the festivals that were really well received, critically acclaimed but walked out of the festivals without buyers.

What was working with Jimmy like? He projects a maturity that’s beyond many child actors.

It’s funny, Jimmy, I really seriously say this and I mean it, he’s got a longer resume than I do. I think if you pull it up on IMDb I think you’ll find that it’s longer. He was really like working with an adult in a 12-year-old’s body. He was always prepared and knew exactly what he wanted. Part of what he brought to the role that enhanced what James and I wanted to do in the relationship was [that] he avoided playing a whiny 12-year-old boy. He wasn’t annoying; he had that tough quality about him that he uses as a defense, which is oddly enough kind of the way Diane operates. I think they’re very similar to each other. I never wanted them to communicate as a mother and son, because they’re strangers to each other.

Why was it important for you to actually get a truck driving license, and learn how to drive a big rig?

They expected a stunt driver. But I sort of made a deal to myself, to James, long before we started shooting that I’d have to get my CDL. And I say that not to be like, “Oh my god, my CDL,” but you can see when you watch the movie it’s so integral to the character. It’s her livelihood, it’s who she is, [and] she loves being her own boss. I knew that if I did that and surrounded myself in that culture, in that environment, it would inform so much of that character. Frankly the role’s written in such an honest way that it deserves to be played as honestly as it should be.

In what ways does the California dessert setting inform Diane’s character?

I think there’s just something about the dessert. It really is a sort of character. It’s barren, hot, and dusty. I don’t know, you know, those are all things I think Diane is. Horses were a big inspiration. … You know when you’re trying to corral a wild horses and you can’t, and dust is coming up, I really saw Diane as a mustang, as one of these horses you’re trying to break and you just can’t break her.

Trucker is currently open in NYC, and will be expanding later in the month.

Tribeca Red Carpet: Speed Racer Closes the Festival

Tara Settembre — Sun, 04 May 2008 19:08:57 +0000

Closing the Tribeca Film Festival this year was the anime cartoon inspired action film, Speed Racer from the Wachowski brothers, who created The Matrix trilogy. The film hits theaters on May 9th and stars Emile Hirsch, Christina Ricci, John Goodman, Susan Sarandon and Matthew Fox. The premiere’s red carpet was one of the busiest I’ve been to and this time I was definitely way at the end of the press line, however John Goodman was kind enough to speak with me though, as was the young actor Paulie Litt from Hope & Faith and actor Kick Gurry. I also saw and snapped photos/video of Christina Ricci (she’s so tiny), Susan Sarandon, Vincent D’Onofrio and Limp Bizket’s Fred Durtz. Stephen Colbert also attended the premier with his family, but he passed by while I was on the phone. However, I stayed late again on purpose hoping that Robert DeNiro would once again make an appearance and this time I was ready and grabbed a video of him as he entered the screening. Yay! Below is the final cut, as you can see I got a little fancy by adding in a remixed version of the Speed Racer theme song, which also helped reduce the background noise throughout the clips:

[See post to watch Flash video]

Also, check out our Tribeca Photos on Flickr to see more from the Speed Racer red carpet.

Tribeca Review: The Animated Films of Tribeca

Robin Ruinsky — Sun, 04 May 2008 19:06:26 +0000

I was lucky to catch two animated films at Tribeca, one from Bill Plympton whose been working at his art for many years and the second by a new animator Leetal Platt.

Idiots and Angels

Bill Plympton’s animation style is unique. If you don’t think you’ve ever seen his work, you have in commercials (United Airlines, Microsoft) and you might have seen the Oscar nominated Guard Dog and its sequel, Guide Dog.

His newest work “Idiots and Angels” is a dark, wonderfully demented animated feature that would make David Lynch look like he makes breezy little films about suburbia.

It’s about a not so great guy, Angel who to his dismay grows some wings that don’t fit his less than stellar personality. He’s no angel, but these wings command him to be and he’s not happy about it. His inner goodness isn’t welcome.

Where’s the joy in flight if you can’t do some mischief?

Angel wants to be rid of the wings. Sure he can fly, but the wings put a damper on his darker side.

What’s a disgruntled winged guy to do?

Bart the Bartender wants the wings and when he gains possession he manages to overcome their will to do only good and inflicts damage on the town.

The battle over the unwanted wings will turn epic as Bart and Angel slug it out in a battle between evil and good, not only for the wings, but for the heart of Bart’s beautiful mistreated wife who has fallen for Angel.

Plympton hand draws all of his work and it’s a pleasure to see hand animation at it’s best. It’s nice to know there are still animators like Plympton who create a film one glorious drawing at a time.

Zombie Gets a Date

The second animated film I saw is a short called Zombie Gets a Date by Leetal Platt.

Platt began the film in her final year at New York University. Platt demonstrates not only great skill as an animator but a terrific sense of humor as well.

This quirky, funny animated film delves into the world of a lonely Zombie who in his quest for romance goes out on a date. But dating the undead isn’t what it’s cracked up to be and complications arise on the path to true love.
The film maybe be just over two minutes long but it’s filled with original ideas and imagery.

Tribeca Film Festival Hands Out 2008 Awards

Robin Ruinsky — Sat, 03 May 2008 11:00:52 +0000

The Tribeca Awards were given out on May 1 at the Target Tribeca Filmmakers Lounge. The awards are all juried and recognize excellence in a variety of categories. It couldn’t have been an easy task to pick the best out of so many films.

I was particularly pleased that one of the recipients was Let the Right One In the Swedish film based on the novel by John Ajvide Lindquist.

It was the first film I saw at the festival and it’s extraordinary. The film was awarded “The Founders Award for Best Narrative Feature”. Director Tomas Alfredson wins a $25,000 cash prize for his film that is a reinvention of the vampire myth.

The Cadillac award has not yet been presented. This is the audience choice for best film of the festival and it will be announced on Saturday.

I’m surprised not to see an award for best animated short film and feature. There were quite a few at the festival. One was the hilarious short Zombie Gets a Date by Leetal Platt and the full length feature by the great animator Bill Plympton Idiots and Angels.

The awards categories give a good idea of the variety of different films from all over the world. I learned one thing about Tribeca and that it’s a film lover’s dream.

I’m impressed that all the films I viewed were good to great. Not something you get to experience these days when so many films fail to live up to their hype.

These films, none of which had much hype got their chance to shine because of the Tribeca Film Festival.

And now some of them not only have the reward of being seen but have the honor of receiving an award from the jury.

Highlights of the awards and the announcement of the Cadillac Award can be seen on WNBC at 7:30 on Saturday night.

Full list of Winners:

The Founders Award for Best Narrative Feature – Let The Right One In (Lat den rätte komma in), directed by Tomas Alfredson (Sweden). Winner receives $25,000 cash and the art award Maternal Nocture: Clearing Storm, created by Stephen Hannock.

Jury Comments: “For its mesmerizing exploration of loneliness and alienation through masterful reexamination of the vampire myth.”

Best New Narrative Filmmaker – My Marlon and Brando (Gitmek), directed by Hüseyin Karabey (Turkey, Netherlands, UK). Winner receives $25,000 cash, sponsored by American Express, and the art award Bonfire, created by Ross Bleckner.

Jury Comments: “For its skillful blending of documentary style with a classic love story and ultimate creation of a truly modern and unlikely international heroine.”

Best Actor in a Narrative Feature Film – Thomas Turgoose and Piotr Jagiello in Somers Town, directed by Shane Meadows (UK). Sponsored by Delta Air Lines. Each winner receives a business elite ticket voucher for anywhere Delta travels.

Jury Comments: “For an extraordinary and exhilarating rendering of a friendship found, the Narrative Feature Jury is awarding the Best Actor prize to this magical team.”

Best Actress in a Narrative Feature Film – Eileen Walsh in Eden, directed by Declan Recks (Ireland). Sponsored by Delta Air Lines. Winner receives two business elite ticket vouchers for anywhere Delta travels.

Jury Comments: “For her exquisite rendering of a lonely wife aching to be seen and heard.”

Best Documentary Feature - Pray the Devil Back to Hell, directed by Gini Reticker (USA). Winner receives $25,000 cash and the art award Liza Minnelli, created by Timothy White.

Jury Comments: “In a relentless pursuit of peace, the women of Liberia show us how community, motherly love, and perseverance can change the fate of a society. Pray the Devil Back to Hell is a reminder that we have the power to say ‘Enough!’ to the atrocities of our world.”

Best New Documentary Filmmaker - Old Man Bebo, directed by Carlos Carcas (Spain). Winner receives $25,000 cash, sponsored by American Express, and the art award Maquette for Primary Compass, created by Don Gummer.

Jury Comments: “We the jury feel that Carlos Carcas showed us that if you truly have art in your body and soul it will find its way out into the world. We applaud the filmmaker for bringing Old Man Bebo into our consciousness.”

New York State LOVES Film Best Documentary – Zoned In, directed by Daniela Zanzotto (USA,UK). Winner receives $5,000 cash, sponsored by New York State Governor’s Office for Motion Picture and Television Development, and the art award Table Odeon, created by Donna Ferrato.

Special Mention: Hotel Gramercy Park, directed by Douglas Keeve (USA).

Jury Comments: “This was a challenging and spirited discussion with two clear favorites: both films are very different and the jury felt that both should get equal mention even though only one gets the prize. We thought Hotel Gramercy Park was a highly entertaining and moving story about a New York family and a New York institution coming to terms with a changing city, but in the end we felt Zoned In deserved the prize for having the bravery to tell a seemingly typical story that ends up revealing bold and difficult truths.”

Made In NY Narrative – The Caller, directed by Richard Ledes (USA). Winner receives $5,000 cash, sponsored by The City of New York Mayor’s Office of Film, Theatre and Broadcasting, and the art award Nude on Guitar, created by Ralph Gibson.

Jury Comments: “The Caller superbly uses its New York locations, from the sleek mid-town high-rises to the desolate Brooklyn Bridge piers, to create a chilling and finally stirring suspense movie: an unusual thriller whose mysterious plot finally exposes the mysteries of the heart.”

Best Narrative Short - New Boy, directed by Steph Green. Sponsored by Edelman Studios. Winner receives $5,000 cash and the art award Air, created by Francesco Clemente.

Jury Comments: “New Boy took us on a complete emotional journey. It was moving, funny, and powerful.”

Best Documentary Short -Mandatory Service, directed by Jessica Habie. Sponsored by Edelman Studios. Winner receives $5,000 cash and the art award The Screamer, created by John Alexander.

Jury Comments: “Mandatory Service, a perspective of war and conflict from participants themselves. The Israeli’s empathy for the Palestinians is not a perspective we glimpse too often in Western media.”

Student Visionary Award – Elephant Garden, directed by Sasie Sealy. Sponsored by Apple. Winner receives an Apple Mac Pro Desktop with a 15″ Display, Final Cut Studio 2, and the art award Harmonium, created by Clifford Ross.

Jury Comments: “Elephant Garden captured the inner life of a beautiful young girl and her confusion as she becomes a young adult. Wonderful visual storytelling, and the performance of Kelley Mack is stellar.”

Tribeca Review: Boy A

Robin Ruinsky — Fri, 02 May 2008 19:29:58 +0000

Everyone who meets Jack Burridge sees a shy, amiable young man with a sweet smile and a quiet unassuming demeanor. But nothing about Jack is as it first appears because he’s hiding a terrible secret from his co-workers and his girlfriend.

Jack Burridge was once Eric Wilson a ten year old boy with no place of refuge. Bullied by older teens, neglected by his distant father and cancer stricken mother, Eric found solace in his friendship with Phillip.

Phillip, a victim of sexual abuse was a young boy seething with fury. Like a gun with the safety off and the trigger cocked he was always one moment away from doing something unthinkable.

The unthinkable is the secret harbored inside of Jack. It’s the murder he and Phillip committed. As ten year old boys they brutally murdered a young girl.

Flashbacks will show us the tension that leads up to the crime. We never really know what Eric’s part in the killing was, but we see him follow his friend Phillip into the abyss.

The adult Jack is mentored by his counselor, Terry, played by Peter Mullan (Trainspotting, Children of Men) who becomes a surrogate father to Jack.

The world the newly named Jack enters is a place he’s been isolated from for fourteen years. He’s more boy than man and struggles to catch up to his peers and to the vastly different world he’s re-entered as a young adult.

Director John Crowely is working from an adaptation of the novel by Jonathan Trigell. He approaches the material with a sure sensitive hand.

His cast is excellent led by Andrew Garfield (The Other Boleyn Girl, Lions for Lambs) a BAFTA nominee for the role of Jack. He effectively portrays the confused boy in a man’s body. His Jack wants to become part of the world even as the lie he’s living eats away at him. He’s well on his way to becoming the man he wants to be when the past rears its ugly head.

Peter Mullan does a fine turn as the father figure who takes pride in the progress of his charge. Alfie Owen and Peter Doherty, two very good young actors portray Eric and Phillip.

The film won a jury prize at the Berlin International Film Festival and makes it US debut at the Tribeca Film Festival.

I believe there’s an audience for this film. It’s a beautifully realized exploration of a difficult subject. The idea of second chances isn’t an unusual one. But when applied to this story of two young boys murdering a young girl, it takes on a new slant.

Can the child be held in prison then released as a man and given that second chance? Can he find redemption and free himself from his past?

Boy A is a powerful film that won’t let go of you when the credits roll. It stays with you and makes you think.

Robin’s Tribeca Blog: The Festival Continues

Robin Ruinsky — Fri, 02 May 2008 02:40:18 +0000

In this edition I:
1. Observe and learn the proper method of swiping the metro card.
2. I take some photos of the theater marquee proving that I can take an incredibly dull photo of an exciting event and I seize the opportunity to take a photo of the red carpet area which looks lonely and forlorn when not bedecked with movie stars.
3. I nearly lose my press pass twice and I become emotionally attached to the above nearly lost press pass.
4. I learn not to be so stupid as to take a cab.

I was running late on my way into the film festival. I wanted to, was determined to see Boy A and it looked like I wouldn’t’ make it. Against my better judgment I decide to take a cab instead of the subway followed by walking cross town. I like walking in the city. It’s just a great place to walk. But I feared not making it to the film. The cab got me as far as 14^th street and fifth avenue before I left it stuck in traffic and walked to the theater on 2^nd avenue and 12^th street. As I walked into the theater I was asked for my press pass. It was buried in my bag. I’m struggling to get it free while the big bouncer sized guys at the door say:

“It’s stuck?”
“Yes”
“Can you get it?”
“Yes.”
“Okay. It’s stuck?”
“Yes.”
“But you can get it.”
“YES…”

Finally it is free and I flash it and run in so someone else can look at it. Then I finally get to the table to check in.

“Boy A?”
“Your pass?”
“Sure.”
“Film School Rejects. I LOVE that name.”
“Thank you.”
“Boy A?”
“It’s a unique name.”
“Thank you. Boy A?” Interlude where check in person stops to talk to another check in person.

“BOY A” starting in like two minutes.

“Oh, Theater 2, downstairs.”

I run downstairs and am almost to Theater 2 when I realize I’m wearing a nice purple press pass holder, but no press pass is dangling from it. I turn and there is at the bottom of the staircase. I retrieve it and get on line. One of the film publicists takes my name, email and phone number so she can follow up to see what I thought of the film. Right at the door to the theater a festival volunteer takes info for the pass. Finally I’m in and ready for the movie which is pretty full. My review will be done soon!

I realize that I am becoming addicted to my press credentials. I wave them and doors open, angels sing and clouds part. It’s heady stuff. I can go to the press head quarters and get bottles of water, work on Macs, watch movies if I want, pick up press kits and even get Target bulls eye dog animal crackers which come in a silly little dog house box that you know makes you look like an idiot. It’s addictive to have people say “Press?” To which you reply with a cool knowing nod “Yes.” And they let you in to the movies. I’m afraid it won’t work at my local multiplex.

I have a camera with me and decide to take some photos. There aren’t any movie stars but I take a picture of the red carpet area which has no red carpet without the movie stars. It looks kind of tired and sad but I’m sure perks up considerably when the star power arrives.

As I descend into the subway I carefully observe the swiping methods of more experienced commuters. It’s a fluid motion where you don’t really stop at all but swipe and walk. I do think it’s risky especially for men who might walk into the turnstile and that could end in a bad bad way. But I’m not a guy and I’m brave and also the entrance on 14^th street has those metal revolving doors that look like they were designed from plans originally drawn during the Spanish Inquisition.

I swipe and it says go! YAY! I did it. But then I walk into the second opening in the revolving door that looks like a torture device or giant cheese slicer stops cold and the little message is:

“Please swipe again.”

I do the fluid swipe and get the “Go”. This time I use the correct part of the door. I wish I could just flash my press pass.

Tribeca Review: War, Inc.

Tara Settembre — Thu, 01 May 2008 21:32:33 +0000

One of the more star studded films at this year’s Tribeca Film Festival is War, Inc., a political satire co-scripted by John Cusack who also stars in the film along with Ben Kingley, Marisa Tomei, Hilary Duff, Joan Cusack and Dan Aykroyd. Unfortunately though, the film doesn’t live up to the expectations of its impressive cast.

War Inc. is set some time in the future—but when is never made clear— in the fictional desert country of Turaqistan, which has recently been liberated by a private corporation, owned by the former US vice-president (Dan Aykroyd), which has taken over the whole state. Brand Hauser (John Cusack) is a James Bond like hit man who is depressed and moral, and is hired by the corporation’s mysterious Viceroy to kill a Middle Eastern oil minister. Everything changes though when the ruthless killer finds himself head-over-heels in love with a liberal reporter portrayed by the lovely Marisa Tomei, and put in charge of the oversexed Central Asian pop star Yonica (Hilary Duff) as she prepares for her high-profile wedding. Still with me? Along the way there are jokes and comparisons to the current Iraq war and Bush of course. Basically though none of that really matters, the only thing good about this film are the three stars I just mentioned, who keep the movie watchable.

Making a big switch from her Disney image is Hilary Duff who plays a vixen obsessed with Western culture and looking to be understood. She outrageously flirts and comes on to Cusack, who has some dark secrets of his own (murdered wife, kidnapped daughter, stomach issues and a crazy CIA boss played by Ben Kingsley). In one very talked about scene at the festival and in the news is when Hilary’s character puts a scorpion down her pants and moans in ecstasy. In fact, this was one of the highlights of the film really.

The beginning is painful and I felt like I was out of the loop on an inside joke, but I started to keep pace eventually. It’s not because I’m slow on the uptake or anything, I just think the film tries to be cleverer than it really is and forgets to clue audiences in on the joke.

Overall, the film is hectic with scenes badly sewn and jumbled together with random flashbacks and characters and plots that aren’t fully introduced. The narrative resembles the war torn battlefield where the film is set and the transitions are abrupt and come at you like rapid fire. However, I’m not sure if this is done on purpose or due to bad directing, editing or cut scenes.

Now, I didn’t hate this movie nor did I love it by any means, but it would still make for a decent rental if you’re a Cusack fan or have a crush on Tomei or Duff.

The Upside: Hilary being a bad girl.

The Downside: Rocky start, minimally funny and bloody at parts.

On the Side: War, Inc was filmed in Bulgaria.

Robin’s Tribeca Blog: I Fought the Metro Card and Won

Robin Ruinsky — Wed, 30 Apr 2008 17:52:36 +0000

In the days of yore there were subway tokens. Little coins dropped into a slot that magically let you push the turnstile and enter the subway. Now we have Metro cards, those handy little cards with a black strip that are swiped at the turnstile. May the Gods damn them to the utter ness of hell.

I have discovered that I’m hopeless with a Metro card. On my way to the movie theater I pull out my Metro card and swipe it:

“Please swipe again”

Swipe.

“Please swipe again”

The messages mock me as people all around me whip their cards out, swipe like champions and proceed without missing a beat to their trains.

Swipe, swipe, swipe.

“Please swipe again.”

A passerby asks if the card is bent. No, I answer, not continuing that clearly the card is possessed like Linda Blair in The Exorcist. I’m expecting green pea soup to come flying out of its thin little paper body at any moment. A woman swipes her and gets the same message. I don’t feel so bad. There’s another person being victimized by the Metro card. Then I swipe again and I’m through. It’s survival of the fittest and I leave the poor victim of her card behind.

It’s pouring out but the festival is still buzzing with press, the theaters are busy. The festival has taken over two multiplexes in the downtown area. I see my films, spend some time with a friend and then go back to do battle once again with the Metro card. It tries to defeat me, but in the end I triumph.

As I’ve mentioned before the festival has an enormous amount of films and I’m only seeing the teeniest tip of the cinematic iceberg. But it’s an incredible experience to see so many people congregating for films that are amazing in their diversity. I’ve seen films that I’m certain I’d never get to see if not for the Tribeca Film Festival. And that’s what it’s about to me. It’s about these smaller movies that struggle to find an audience. The film makers have dedicated themselves to bringing their vision to the screen.

Sure, there are movie stars and the celebs come to Tribeca. I mean hey, I’m there! But in the end it’s all about movies. Lots and lots of movies! Whether it’s drama, satire, comedy, animation, documentaries about everything from baseball to the Butcher of the Balkans, from vampires to dysfunctional families they are getting seen by audiences hungry for more than the typical film at the multiplex.

It’s all great, but if I could get that Metro card to work on the first swipe it would be amazing.

Tribeca Review: The Zen of Bobby V

Robin Ruinsky — Wed, 30 Apr 2008 17:36:32 +0000

Hello baseball fans! This is a movie you’ll want to see. This ESPN produced documentary follows Bobby Valentine during his 2007 season as manager of the Japanese ball club the Marines. The film is the work of three young directors Andrew Jenks, Jonah Quickmire Pettigrew and Andrew Muscato who do a good job not only at capturing the personality of Bobby Valentine but of baseball in Japan. For anyone who roots for a team, nothing will prepare you for the devotion that the Japanese fans have for their favorite team and players.

As one man says early in the film, “I had no life until I found the Marines.” Some might suggest he still doesn’t but hey, he’s clearly enthusiastic and happy, thrilled with being a part of something that he sees as greater than himself. We see him at every game in every city. We’re never told how he quite manages to do it, but he does.

Bobby Valentine started as a player but most of his career his thirty plus year career in baseball has been spent as a coach or a manager. He spent a brief period of time in Japan as a manager, but returned to the US to manage the New York Mets in 1996. In 2000 he managed the team to a World Series against their New York rivals the Yankees. The Mets lost and by 2002 couldn’t rise above last place. Valentine was fired and returned to Japan.

His life in Japan is that of a national hero. He’s beloved and can’t walk the streets without people taking pictures, calling out his name and stopping him for a high five. There’s even a burger and a beer named after him.

No wonder he loves it there, even though it means seeing his wife every other month when she comes to visit. But he says he warned her when they got married that baseball always would come first. He wasn’t kidding. While following the Marines quest to play in the Japan Series, the film also follows Valentine’s quest to expand baseball in Japan. There’s fear that baseball in Japan will decline. Some Japanese teams have lost their following because their best players have left for the big money and challenges of Major League Baseball in the United States.

The players themselves come across as dedicated to their sport. Their devotion to their team and to their fans is intense. The fans return the feelings singing, chanting, praying for their team.
One thing that was notable, at least in the parts of the games shown in the film, was that there was no booing when a player didn’t perform up to expectations.

The film is most definitely for baseball fans and the look at baseball in Japan is fascinating. That was the big surprise of the film and what makes it enjoyable. Bobby Valentine’s an outspoken, somewhat wacky guy, intensely devoted to his sport, but a little of him goes a long way. 93 minutes of him would wear thin.It’s the look into the world of baseball and the sports fans in Japan that make the film work.

Tribeca Review: Milosevic on Trial

Robin Ruinsky — Wed, 30 Apr 2008 07:00:57 +0000

There are films that entertain and take us places we are unlikely to ever see in person. Then there are films that make us uneasy, are hard to watch because they explore the darker side of our fellow human beings.

Danish director Michael Christoffersen shows us this dark side of humanity with his documentary about the war crimes trial of Slobodan Milosevic, the perpetrator of genocide in the former Yugoslavia. It was an act of genocide that was politely renamed “ethnic cleansing” and took the lives of at least 125,000 people while displacing 3 million.

The film follows the long road that the trial took over a period of four years beginning in February 2002. Nicknamed “Butcher of the Balkans” Milosevic was brought to The Hague to be tried for his crimes.

Cristoffersen clearly was devoted to exploring the entire process of a trial that moved like a glacier. He edited 2000 hours of trial footage to add to his own behind the scenes interviews with lead prosecutor Geoffrey Nice and Dragoslav Ognjanovic, Milosevic’s friend, advisor and lawyer. He shot 120 hours of film and between both he somehow managed to distill it all into a tight 70 minute documentary film.

The film of the trial wasn’t shot for artistic purposes but the director uses the file footage effectively to give insight into the events at the trial. He shows the central drama of the courtroom where the action takes place. The strategy is behind the scenes outside the courtroom. Mioslevic remains defiant throughout, a man who won’t recognize the legitimacy of the proceedings. His lawyer pronounces him a hero and seems as blind as his client to the reality of the destruction left in his wake. Milosevic chose to defend himself, but avoided paying for his crimes when he died of a heart attack four years into his trial before a verdict could be reached.

But even if he escaped a verdict the trial and this film will let people reach their own verdict about the “Butcher of the Balkans”.

Tara’s Tribeca Blog: War Inc. at the Cadillac Lounge

Tara Settembre — Wed, 30 Apr 2008 06:39:44 +0000

Tonight I attended the Cadillac Lounge after party at Tenjune for the satire War, Inc. starring John Cusack (who also wrote the screenplay), Hillary Duff, Marisa Tomei, Sir Ben Kingsley and Joan Cusack. However, the only cast member to appear at the 11 p.m. party was Hilary Duff with her sister Hailey, plus the director Joshua Seftel. Everyone was asking “Where’s John?” even guest Chazz Palmanteri asked a PR person if he was there. Apparently he had a filming conflict or something.

Luckily, I was the only one Hilary gave an interview with on the broadcast side after posing for photos. My in was that I was wearing her perfume With Love. I said to her, “I have a confession to make,” and to that she gave a nervous/scared look and I exclaimed, “I’m wearing your perfume,” which made her happy. She said “I thought I smelt it!” and went on to talk about how she’s been wearing her newest perfume Wrapped With Love. She was very cute and pretty in her black strapless dress, black pumps and was about my height (5’2). I then snuck in another question by commenting on the fact that War, Inc seemed very different than the other films that she’s been in, I.E. she went from Disney and Cheaper by the Dozen to this political satire where she plays a sexy pop star, Yonica Babyyeah.

I went on to speak with the director Joshua Seftel who said the film was shot in Bulgaria and made to look like Turaqistan, which is the fictional war town where the film is set.

The producer was there too, but yeah whatever. It was rainy and late so I can’t really blame the rest of the cast for not being there especially since they just did the red carpet screening hours before.

Each celeb guest meanwhile arrived in a black Cadillac SUV and a Hybrid Cadillac was behind red velvet ropes in front of the club. Below you will find a picture of Hilary Duff on the red carpet.

Tribeca Review: War, Love, God and Madness

Robin Ruinsky — Sun, 27 Apr 2008 14:45:22 +0000

Director Mohammad Al-Dardji is a man who believes in the power of art to transcend tragedy. In 2003 he put this to the test when he left London where he’d studied film to return to war torn Iraq to make a film.

For Mohammad the very act of making a film was a way of bringing his shattered Iraq back to life. It was a sign of hope that life could return to something resembling normal. His film, Ahlaam Dreams about three people scarred by war, would not be made easily. His decision to film it on location on the streets of Baghdad was a risky one. Forget expensive stars who want bottled water and trailers. He had to contend with suspicious Iraqi officials, cautious US military, reluctant actors afraid for their lives, bombs, missiles, gun fire, checkpoints and the overall chaos of a war zone.

But he didn’t give up. He fought for his film because in his heart it was like planting a seed of hope for the people of Iraq and the family he’s left behind. The film also gives a close up look at the daily lives of Iraqis who live surrounded by threats, by the risk of death at any time, but who strive to live as normal a life as possible.

This isn’t just a film about making a film, but a film about not letting go of your dreams even when circumstances are at their worst. At one point members of his crew, which included two teenage sound engineers, were kidnapped by terrorists, escaping only to be picked up by US military who interrogated them for five days. The were finally released, the youngest, fifteen had been shot in the leg by the kidnappers. But they all survived the ordeal.

Even with this near tragic event, the film maker pushed on and finished his film. The director was at the screening and talked about why he made not only “Ahlaam Dreams” but this documentary about the experience of creating a film in a country torn apart by war. It’s a country with only four working cinemas.

Mohammad Al-Dardji is a man committed to his country and to the art of film. He has a deep belief it is a way for his country to survive, heal and thrive. His love of his art and his country is reflected in this film and it’s definitely worth seeing.

His film “Ahlaam Dreams” was shown in Baghdad and at numerous film festivals. The director is planning another film to be made in Iraq.

Tara’s Tribeca Blog: The Robert De Niro

Tara Settembre — Sun, 27 Apr 2008 13:30:37 +0000

And a dream of mine has finally come true. While at the Tribeca Film Festival today covering the red carpet premiere of Tennessee I got to see stars like Mariah Carey and Ben Kingsley but nothing compared to seeing the great Bobby D, my favorite actor ever. I already finished my interviews and most of the press left the minute Mariah Carey went by. For some reason I was taking my time gathering my stuff and good thing because a last minute suprise arrival was in store for the remaining 15 or so press. Robert DeNiro came walking down, gray hair and in a nice suit. I swear I was stunned and I ran back to my spot to get a photo, however in my haste I stupidly hit the stop button instead of record. I’m kicking myself now because when I daringly yelled out “Bobby” to him, he looked right at me, smiled, nodded his head and continued on into the theater.

I was freaking out. My cameraman said I looked like a little girl and that my voice went all high pitch. I started crying after he walked by. I know this sounds pathetic, but I swear this is literally a dream come true for me and I cursed like a truck driver when I realized I messed up on the video. I would have had a video of him staring right at me, dammit!!! Anyway, it was still awesome. I’m so surprised he was even there since he’s known to be reclusive despite the fact that he was the founder of the festival and for rebuilding so much of the Tribeca area in Manhattan. I was hoping I would see him back in 2006 when I covered the festival, so I had given up hope this year and then bam!

For more coverage, check out our Tribeca Homepage and our Tribeca Photos on Flickr.

Robin’s Tribeca Blog: Finally Some Movies!

Robin Ruinsky — Sun, 27 Apr 2008 13:27:07 +0000

Having learned East from West on my last trip in my travels went much smoother. I arrived on time to the AMC VII theater on third avenue near 12th street. Seeing a seven theater multiplex given over to screenings gives you a good idea how many films there are in the festival.

One film in particular out of all the films being shown caught my eye and I was determined to see it. It’s a Swedish coming of age vampire film. I really wanted to see what sounded like a very unusual film. My game plan has been to try to find films in different genres. The second film on my list was a documentary about film making in war torn Iraq. The festival screenings are well organized. It’s not hard to leave one film and go directly into another.

The AMC VII is aptly named since there are seven theaters one on each floor. I started at what I like to call base camp where I was checked in and told where my chosen film was playing. My film was in theater seven. It was way above base camp by escalator. It’s an interesting setup. As I rose higher and higher I noticed the floors went in the following order:

Theater
Bathrooms
Theater
Bathrooms
Theater

You get the idea.

When I reached the top I knew I had triumphed. I looked out at the street thinking of where I was! I had ascended to Theater VII. I know how those climbers feel who reach the summit of Everest. At each theater there are many very helpful volunteers to check the members of the Press in again.

I was asked for my name and they checked my pass. Then they asked the name of my news outlet. I told them Film School Rejects. I was then asked if we’re online. I said yes, though I wanted to say we’re a subsidiary of The New Republic or The Wall Street Journal just for fun. Now here is the Pass hierarchy. There are passes of many different letters.

The Franklin Pass A through J and the Hudson Press and Hudson Charity. They basically cover different areas and mine which is a Franklin D. This gives me quite a lot of access and I’m proud to be a Franklin D. But it seems that some who have an A pass see the festival a bit differently.

Now, don’t get me wrong. I’m not knocking the people of the press who have enough clout to get the first letter in the alphabet, but sometimes things can get just a bit amusing. At the screening for Let the Right One In, the Swedish coming of age vampire story, there were two aisle seats taped off with a reserve sign. Hey, I understand that desire for the perfect seat in the theater but this was a press screening of a subtitled Swedish coming of age vampire film. Which was excellent, by the way, but still off the beaten path of film subjects.

It was three in the afternoon. The theater though not huge wasn’t tiny. It had plenty of room. But I suppose some people like to plan ahead. A volunteer showed the A’s to their taped off seats and they were properly thanked for the reserved seating. I still think my seat three rows back on the right was a superior seat and I got it without any tape.

While waiting for the start of the film I listen to people talking and you can hear voices and dialects from all over the world. It’s then I realize the European film goers are doing things like pulling out fine healthy snacks like apples from their messenger bags and back packs. The Americans, such as myself have decided to help the failing economy by buying healthy over priced snacks of M&M’s and buttered popcorn. The movie starts and there are some little commercials, one for Cadillac because they give a nice award to the film chosen best film by the audiences.

Then the credits start to roll. Alright, they’re in Swedish. I can’t read Swedish, but the mood is being set, the film is starting. It’s that moment when everything begins. A woman, a member of the Press who I certainly hope was not a Franklin D, walks down the aisle and stands watching the credits.

And watches… And watches.

Just as I’m about to say hey, you, sit down, she looks around, clearly overcome with emotion that the place has seats and takes one. I do hope she was a Hudson or a Franklin A, B, C, E, F, G, H, I or J. I hate to think a Franklin D would have been so thoughtless as to stand blocking film goers from the opening credits. At the end of the film I went descended to the first floor to see War, Love, God & Madness and it was then the full impact of being a proud wearer of a Franklin D press credential hit me. As I walked in I was asked for my ticket. I held up my credentials and was told to go right in.

Yes, I had arrived!

My euphoria quite literally dampened a bit upon leaving the theater when I discovered my bottle of water had opened in my messenger bag. The moral of the story is never carry a sports type bottle with a flip cap in your bag.

Tribeca Red Carpet: Mariah Carey at the Premiere of Tennessee

Tara Settembre — Sun, 27 Apr 2008 13:10:54 +0000

Yesterday an indie film called Tennessee gave its world debut at the Tribeca Film Festival. Directed by Aaron Woodley and written by Russell Schaumburg, Tennessee is an intimate road movie with two brothers traveling to the hometown that they fled as teenagers to find their estranged father. When they are joined by a spirited woman (Mariah Carey) running from her abusive husband, they begin to grow closer and the truth of their journey comes to light. This is Mariah’s first feature film since the disaster that was Glitter. I’m seeing a screening of the film this week, so a longer review will be up here soon.

In the meantime, I got some inside information on the film from Ethan Peck, the grandson of the famous Gregory Peck, who plays Ellis, one of the brothers in Tennessee. I also got up close and personal with the diva herself, Mariah Carey. Other celebs in attendance at the red carpet premiere included: Sir Ben Kingsley, Robert DeNiro (he smiled and nodded at me when I shouted “Bobby” as he walked on by— a dream come true for me, seriously) and The Sopranos’ Edie Falco. Here’s the resulting video:

[See post to watch Flash video]

As well, here are some select photos from the event:

Ethan Peck

Mariah Carey and Producer Lee Daniels

FSR’s Tara Settembre on the Red Carpet

For more photos, check out our Tribeca Photo Set on Flickr.

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