As the director, co-screenwriter and star of Appaloosa, Ed Harris follows up his Oscar-nominated work as an actor-director in 2000's Pollock with an adaptation of Robert B. Parker's novel, revolving around two old friends and partners (Harris and Viggo Mortensen) in 1882 New Mexico trying to enforce the rule of law in a town threatened by a corrupt power-broker (Jeremy Irons). Harris spoke with Cinematical in Toronto about working on Appaloosa, adapting Parker's novel, co-starring opposite Mortensen and how hard it was to find financing for a traditional Western like Appaloosa: "Pretty hard. I mean, it was very interesting; people really responded to the script, and if the budget for it had been half of what it was, we probably could have got it made pretty easily. ... But we needed the budget to serve the production values; it called for that. I didn't want to make a little intimate art-house film. I wanted to make something that respected the space that it took place in ... it deserves it; it calls for it; so, it was pretty tough; it was a real battle."

Cinematical's podcast content is now available through iTunes; you can subscribe at this link. Also, you can listen directly here at Cinematical by clicking below:



As ever, you can download the entire podcast right here -- and those of you with RSS Podcast readers can find all of Cinematical's podcast content at this link.

Pack your passport and brush up your hockey small talk -- the Toronto International Film Festival is just around the corner. This week, The Rocchi Review features James chatting with Michael Lerman, a filmmaker who also programs for the Woodstock Film Festival, and blogger for IndieWire. Is it true some in the industry see Toronto's enthusiastic audiences as the "kiss of death"? How many films can you squeeze into one festival? What's the difference between watching a film as a journalist and watching one as a film festival programmer? And why is Midnight Madness, for some, the best part of the Toronto International Film Festival? Cinematical's podcast is now available through iTunes; you can subscribe at this link. Also, you can listen directly here at Cinematical by clicking below:



As ever, you can download the entire podcast right here -- and those of you with RSS Podcast readers can find all of Cinematical's podcast content at this link.

Steve Coogan, 42, is perhaps best known for his TV persona, the part-arrogant, part-clueless sports announcer Alan Partridge. And though Coogan could go on playing him forever, he has instead used his budding American film career to branch out, try different things. His collaborations with "serious" director Michael Winterbottom were a good start; 24 Hour Party People (2002) and Tristram Shandy: A Cock and Bull Story (2006) earned rave reviews here in the States. He appeared opposite big stars such as Jackie Chan (Around the World in 80 Days) and Ben Stiller (Night at the Museum, Tropic Thunder) and answered the call of a handful of cult directors, making small appearances in films by Jim Jarmusch (Coffee and Cigarettes), Sofia Coppola (Marie Antoinette) and Edgar Wright (Hot Fuzz).

His name appears alone above the title of his new film, Hamlet 2, in which he plays Dana Marschz, a washed-up American actor now teaching drama at a Tucson high school. To save his class and his career, he writes a sequel to "Hamlet" that causes a huge ruckus. (Hint: it has something to do with "Sexy Jesus.") The one connecting factor with all these movies is that Coogan's characters are more or less awful, but compulsively watchable, people. Coogan -- who is conversely very nice in person -- recently chatted with Cinematical about his new movie.

Cinematical: How did your gallery of humorously annoying characters come about?

Steve Coogan: I don't know. It just sort of happened. I'm just attracted to playing people who are ostensible unlikable. That's not to say that there's something in there that makes you care. It might be that you just find them so awful that you just can't stop watching, like a car crash. And they're not self-aware. I think somehow, whenever I see a character on screen who I feel is trying to get me to like them too much, it has the reverse effect. It kind of puts you off. It's: "Quit looking at me with those doe eyes. I want to kill you." It's not like I've thought this through. It's just, you do stuff often enough and you see patterns. You see them, and I see them too. Sometimes they're not self-conscious. I guess that's why I'm probably doing it.

"I tend to make an ass out of myself a lot. And so that's kinda the cool thing that comedy has given me -- the ability to laugh at myself." -- Anna Faris

You might not know it yet, and she might not know it yet, but the female answer to Judd Apatow and Seth Rogen and all those, well, dudes, has finally arrived in the form of ... a Playboy bunny? In her latest film The House Bunny, Anna Faris plays a Playboy bunny who's kicked out of the mansion, and, in searching for a new place to crash, stumbles into the dorkiest sorority house on campus and signs up to be their house mother. It's a familiar PG-13 comedy that doesn't exactly re-invent the wheel, but if there's one reason to see the film, it's Faris. Here, at least, she proves there's definitely room for big, female-centric comedies in Hollywood.

Cinematical sat down with Faris earlier this week, where we spoke about her new film, what it's like to be on the cover of Playboy and how, exactly, she went from starring in dramatic theater productions in Seattle to landing the lead role in a little comedy called Scary Movie.

Cinematical: So congrats on landing the cover of Playboy!

Anna Faris: [laughs] Thank you!

Cinematical: What's up with that? Was anyone caught by surprise or freaked out at seeing you on the cover?

AF: Yeah, I thought it was awesome -- it was rad -- and that all my ex-boyfriends would think, ya know ...

Cinematical: They'd be feverishly flipping through the pages thinking your career was over and this was a last ditch effort to do whatever ...

AF: [laughs] Probably ... but yeah, it was great. Ya know, we planned it awhile ago and just wanted it to tie into the film and all that. My parents are pretty conservative, but they were really happy and excited for me. In fact, I'm taking them to the premiere tomorrow, which the party afterwards is at the [Playboy] mansion ... so [laughs] I'm going to try to drag them up there.

Above: Rainn Wilson lets his hair down for The Rocker.

Fans of Rainn Wilson's offbeat, hilarious and strangely endearing performance as Dwight Schrute on NBC's The Office might expect him to transition into film work with straightforward comedy, and The Rocker confirms that suspicion. However, they might not realize the serious professional motives behind his choice. In the movie, directed by Peter Cattaneo (The Full Grown Monty), Wilson plays a grown-up dolt named Fish with a scary fixation on classic rock. Abandoned by the band Vesuvius in his teens -- before they became a commercial phenomenon -- Fish spends the next twenty years working deadbeat jobs and wishing things happened differently. Naturally, he gets a second chance: When the opportunity rolls around to drum for his nephew's high school, Fish goes for it. Ageism and slapstick humor ensue.

While not exactly a classic, The Rocker proves Wilson has the charisma to carry a movie. The script could use some polishing, but Wilson manages to play a completely dysfunctional human being without ever becoming an annoyance. It's a testament to his skill as an actor with calculated timing. The humor emerges from the naturalism of his performances, which make you believe in the outlandish characters he portrays. In a conversation with Cinematical recently, Wilson elaborated on his particular strategies as his career advances, reminisced about his days as a New York theater actor, and shed some light on a few upcoming projects.

With Fall Festival season about to kick off, this week The Rocchi Review features James chatting with Cinematical's Film Festivals Editor Kim Voynar about the strange splendor of the Telluride Film Festival, what the most-anticipated movies will be at this year's Toronto Film Festival and much, much more. Will Zack and Miri Make a Porno make a splash? Will Rachel Getting Married get Anne Hathaway some respect? And does one of the most-anticipated films for Toronto really star Jean-Claude Van Damme? Cinematical's podcast is now available through iTunes; you can subscribe at this link. Also, you can listen directly here at Cinematical by clicking below:



As ever, you can download the entire podcast right here -- and those of you with RSS Podcast readers can find all of Cinematical's podcast content at this link.

Gathered to talk about Woody Allen's Vicky Cristina Barcelona, Pénelope Cruz, Rebecca Hall, Chris Messina and Scarlett Johansson all had similar praise for their director and writer -- even if they took different paths to get to the film. Cruz's agent actually reached out to Allen when Vicky Cristina Barcelona was in development, on the off chance Allen might have a role for her: "My agent said ... 'We found out you're doing a movie in Spain, do you want to meet Pénelope?' We met in New York, a very short meeting, which took less than one minute, and he told me 'I saw Volver, and I'm writing this story, it's not finished yet, but if it keeps going in this direction, the script, I think you could be right for this part. ...' He didn't tell me anything more about the story, or the characters, but I felt like we connected; we were laughing, and when I left, the people who work with him told me 'You've been there for such a long time.' ..."

Even after being asked, though, Cruz found the prospect of working with one of film's best-known directors daunting: "You can trust the director -- you're working with Woody Allen, you're working with a genius -- but that doesn't mean you're not going to be doubting yourself. ..."

Things get a little lively on The Rocchi Review this week, as we look at Comic-Con's biggest surprises and let-downs with Alex BIlington of First Showing. But there's plenty else going on, too -- from all the reasons James and Alex are dreading The Spirit to the question of if Comic-Con is selling sexiness or sexism, as well as what recent films in development are earning enthusiasm or scorn, and a brief argument about entertainment journalism vs. 'entertaining' journalism. ... Cinematical's podcast is now available through iTunes; you can subscribe at this link. Also, you can listen directly here at Cinematical by clicking below:



As ever, you can download the entire podcast right here -- and those of you with RSS Podcast readers can find all of Cinematical's podcast content at this link.

By: James Rocchi

(With American Teen opening nationwide this week, we at Cinematical are re-running our Sundance 2008 interview with director Nanette Burstein.)

One of the biggest word-of-mouth buzz hits of the 2008 Sundance Film Festival, Nanette Burstein's American Teen follows a handful of high school students in Indiana for 10 months; the resulting documentary somehow has the look and feel of a Hollywood-manufactured piece of teen fiction, with stylish and surreal animated sequences -- and still offers a touching, bold, you-are-there window into the state of adolescence in America. Paramount Vantage purchased the documentary's rights only a few days ago, but when the director met Cinematical, it looked as if her schedule hadn't gotten any less harried. Asked if she has a future project in mind, Burstein laughs ruefully: "The next thing I'd like to do is sleep for a really long time." Burstein spoke with Cinematical about how she came to be in Indiana, the media-savvy minds of today's kids, the sequences she had to lose from her original "8 hour cut," and much more.


This interview, like all of Cinematical's podcast offerings, is now available through iTunes; if you'd like, you can subscribe at this link. Also, you can listen directly here at Cinematical by clicking below:

By: James Rocchi

(With Baghead's limited release expanding this week, we at Cinematical are re-running our Sundance 2008 interview with Jay and Mark Duplass.)

In Baghead, the writing-directing team of Mark and Jay Duplass (The Puffy Chair) combine not two, but three separate traditions of American Indie Cinema: It revolves around two couples; it celebrates and mocks the world of indie film ... and it takes place in an isolated cabin in the woods where a masked stranger hovers outside in ominous silence. Cinematical spoke with the brothers at the 2008 Sundance Film Festival about delusions of adequacy, clumsy passes, awkward pauses and genre-melding on a minimal budget. Mark tries to sum it up: "Baghead is a movie about the funny, horrific, tragic, terrible life of being a desperate actor. ..."

This interview, like all of Cinematical's podcast offerings, is now available through iTunes; if you'd like, you can subscribe at this link. Also, you can listen directly here at Cinematical by clicking below: