Movies

Subterms

    More stories

    • 63 Shares99 Views

      in Movies

      ‘V/H/S/94’ Review: The Right Snuff

      by

      This lo-fi horror omnibus is a grisly, gory gem.“V/H/S” is a series of found-footage horror anthologies whose constituent shorts are made to seem like the contents of old, and possibly haunted, videocassettes. The problem to date has been that, like most omnibus films, the quality of the segments ranges wildly, so that the odd effective short winds up sandwiched between shorts that are decidedly second-rate.“V/H/S/94,” the fourth movie in the franchise, is the first wholly successful one, for the simple reason that each of its four unique, 1990s-set segments is a winner. I suppose it doesn’t cohere into anything more than the sum of its parts. But this is the first time I’ve felt the anthology horror format really worked, and gosh, the parts are really good.The first installment, and my favorite, is Chloe Okuno’s “Storm Drain,” which stars a note-perfect Anna Hopkins as a daytime TV news reporter assigned to cover a spate of mysterious sightings around the city sewage system. Okuno and her cinematographer, Jared Raab, recreate the period aesthetic so precisely that the footage looks like it’s been unearthed from a local broadcast news archive; the low-grade video style is cleverly used to obscure the image, heightening the suspense. “Storm Drain” has wit, verve, and integrity, and its gross-out punchline is the highlight of the film.Things get grosser still in “The Subject,” Timo Tjahjanto’s gory, ludicrously over-the-top entry, which plays out with the madcap gusto of a first-person shooter. Tjahjanto had the best segment by far in the 2013 “V/H/S/2,” with the sinister cult thriller “Safe Haven,” but here he exchanges slow-burn dread for outrageous ultraviolence in the finest grindhouse tradition.It’s an exuberant counterpoint to the installment that precedes it, Simon Barrett’s “The Empty Wake,” which buzzes with some of the same nervous, understated tension of John Carpenter’s short “The Gas Station,” from the 1993 horror anthology “Body Bags.” The finale, “Terror,” is a playful, lo-fi lark centered on an extremist militia in possession of a dangerous supernatural weapon. Directed with humor and visual invention by Ryan Prows, it keeps its secrets under wraps until the very last moments, to compelling effect. The payoff makes for a terrific conclusion to a consistently impressive four-part film.V/H/S/94Not rated. Running time: 1 hour 40 minutes. Watch on Shudder. More

    • 138 Shares149 Views

      in Movies

      Clint and Ron Howard Remember When They Were Just ‘The Boys’

      by

      In a new memoir, the showbiz siblings recall their experiences growing up on “The Andy Griffith Show,” “Star Trek” and other Hollywood classics. But they weren’t all happy days.Growing up, Clint and Ron Howard never had to dream of stardom, because as children they’d already achieved it. Ron was just 6 when he was second-billed on “The Andy Griffith Show” and 8 when “The Music Man,” featuring him crooning “Gary, Indiana,” was released. Clint, his younger brother, was racking up roles on “Bonanza,” “Star Trek” and “Gentle Ben.”Today they are both Hollywood veterans: Ron, 67, is an Academy Award-winning director (“A Beautiful Mind”) and co-founder of Imagine Entertainment, while Clint, 62, is a prolific character actor who’s shown up everywhere from “Seinfeld” to the “Austin Powers” movies.But their lives were transformed by their time as child actors and the influence of their parents, Rance Howard and Jean Speegle Howard, who left Oklahoma to pursue their own ambitions of becoming actors — goals that were surpassed countless times over by the accomplishments of their two sons.Ron and Clint Howard retrace this formative period in a new book, “The Boys: A Memoir of Hollywood and Family,” which will be released by William Morrow on Tuesday. In their alternating accounts, the Howards look back on their parents’ lives, their own upbringings and their success at staving off the darker aspects of their profession — at least until the realities of adolescence and adulthood reared their heads.“The Boys” will be released on Oct. 12.William Morrow, via Associated PressWhen the brothers spoke in a video interview last month, they talked about how writing “The Boys” had helped reconnect them to each other and to their family history.“We’ve remained close, but we’re 3,000 miles apart and busy with our own families,” Ron Howard said, adding that the book “has everything to do with trying to put our lives into the context of who our parents were and what they gave us.”“We wouldn’t have done it just to tell our story,” he added. “Once again, Mom and Dad pulled us together.”Clint and Ron Howard talked about their early starts in show business, their earliest brushes with fame and how their parents helped them keep it together. These are edited excerpts from that conversation.It’s well-known that you’re the children of actors, but you’re not exactly Barrymore scions. What were your parents like? How did they find it in Hollywood?RON HOWARD There’s no reason they should have succeeded. They didn’t know a thing about where they were going. They weren’t bohemians, they weren’t hippies, but they certainly were not conservatives. But they had this dream. They had to chase that horizon. And when they got to the horizon, they never really fit in. They were always a little cornpone. Hence the term that they applied to themselves, sophisticated hicks.Were you ever made to feel that you were the breadwinners of your family?CLINT HOWARD We didn’t take show business home with us. Both Dad and Mom worked their tails off. Mom was just a championship mom. She was on the P.T.A., she was a basketball mom, she was a baseball mom.RON Dad was a kid-actor whisperer. But he said, I work with you boys because you’re my sons and I think you can learn something. I don’t think he believed this was our career for the rest of our lives. I don’t think he wanted to project that desire upon us.The book he and his brother wrote, Ron Howard said, “has everything to do with trying to put our lives into the context of who our parents were and what they gave us.”Tom Jamieson for The New York TimesYou probably could have lived much larger on the money you were earning — why didn’t you?RON We always lived on Dad’s salary. Somebody wanted to do an Opie line of clothing — I’m sure it would have meant hundreds of thousands of dollars at the end of the day. Mom and Dad turned that down for me because they didn’t want me wasting my time on that.CLINT We were never short for anything. But we didn’t go on vacation. They didn’t buy new cars. Once a year, Ron and I got new school clothes. No one was chasing those intoxicating elements that modern life or show business can overwhelm you with.As children, you were regularly crossing paths with venerated Hollywood artists. Clint, you got to meet Walt Disney when you were working on “The Jungle Book.” What was that like?CLINT I was completely blown away when Walt walked in and said, “You’re doing a fine job, Clint.” I was truly a Disney baby. But I was a little irritated that I hadn’t worked in more Disney shows. [Laughter.]RON Too bad you didn’t just say, “What took you so long? Walt, how many times have I been to Disneyland? Where’s the quid pro quo here, Walt?”CLINT These people all seemed pretty friendly but they weren’t handing out the contracts. I never got on “The Mickey Mouse Club.”Were either of you ever jealous of each other?CLINT Our age difference was ideal. Being five years apart, I would look at my brother and go, there’s no chance that I can kick his butt. There were a few times we would get into a fight over baseball cards or a toy, and Dad would physically pull us apart. He would say, you boys are going to want to be good friends when you grow up. So why don’t you just knock it off?RON He would say you have a chance to be good friends when you grow up.There’s a period you describe in the book, where things were starting to wind down for Ron on “The Andy Griffith Show” and Clint was beginning to take off on “Gentle Ben.” Did that create tension between you?RON I felt envy over what Clint was achieving. He was really popular at school, an excellent athlete, gregarious, smart, confident. Things that I don’t necessarily feel or exude. And I admired that about his persona. And I could see it in the work he was doing as well. He was a hell of a good child actor. The system is set up to make child performers feel like failures as they go through adolescence, that most vulnerable period, and I was beginning to experience that. Clint experienced a version of it later.CLINT I worked on “Gentle Ben,” I was one of the coleads of a television series that was really popular for a short period of time. What really knocked my chin in the dirt was getting hired to work on a TV series called “The Cowboys.” The job ended up just sucking. It was a bad show. I was still making money but the work was poor. That, and then pimples. Dad and Mom warned us about this period of show business. We knew it was coming. There was just no way to really quantify how I was going to feel about it.“We were never short for anything,” Clint Howard said. “But we didn’t go on vacation. They didn’t buy new cars. Once a year, Ron and I got new school clothes. No one was chasing those intoxicating elements that modern life or show business can overwhelm you with.”Rozette Rago for The New York TimesIn an era and an industry where drugs were prevalent, Ron avoided them fastidiously while Clint had a long period of addiction and recovery. Why do you think you had such different experiences?RON I was very introverted and my group of friends were likewise. I wasn’t really allowed to go to parties. If I was invited once or twice, I think my parents said no. But Clint was in a different group, much more socially mature. I also resented some of the restrictions that my parents put on me, and I was constantly imploring them to use a lighter hand with Clint.CLINT I had just some sort of odd fascination with smoking weed. To the point where I literally practiced — I took some pencil shavings from my pencil sharpener and I twisted up a joint and tried to smoke it. Ron was the first, he was a little more nerdy. I was socially more outgoing. I ended up with a group of friends where it was no big deal. The problem is, once that train leaves the station, it can get going pretty darn fast. It’s a slippery slope and I was throwing down the Crisco.Ron, did you ever feel guilty that you had somehow let your little brother down and hadn’t protected him from this?RON Yes, I did feel that. When we knew Clint was smoking pot, I said, look, it’s not the horrible curse of the demon you fear it might be. But as Clint started to go further, by then I was married and beginning to have kids. I was concerned and I tried to offer support and go to meetings. I continued to work with Clint and cast him when it made sense. I remember telling him pretty late in his period of abuse — we used a lot of baseball terminology — I said, you’re a bona fide .300 hitter who’s batting about .217.CLINT I have that letter. You wrote it on stationery from a New York hotel room.RON I was thinking about you while I was on the road. But I was very proud of Clint for having navigated it. That achievement meant so much to Mom and Dad, probably more than anything any of us had achieved.CLINT My recovery wasn’t easy-peasy, clean and snazzy. Ron had a lot to do with it and Dad had a lot to do with it, too. I struggled with Mom passing away, but I was very proud of the moment I could drop my nine-year chip in her coffin. I only wish it was a 10-year chip.What’s your favorite performance that your brother has given?RON Clint was tremendous in “The Red Pony.” But as I was doing research for this, I had forgotten that we had both been on “The Danny Kaye Show,” and there was this sketch where I was supposed to be this kid James Bond character and Clint was my boss. He nailed that scene. When I watched it, I said, my God, look how present he is. He really is playing a 50-year-old, hard-bitten guy, and I buy it.CLINT He talks about me being in “The Red Pony,” but I never got a chance to do what he did in “The Courtship of Eddie’s Father.” There’s a scene in that movie where he has this panic attack that turns into a tantrum, and he just was so believable. I’m going, the guy’s got chops. Also, as a young man, he did a movie, “Act of Love.” That was weighty material and he nailed it.RON That was a euthanasia story, based on a real event, where a younger brother had been beseeched by the other to end it after a horrible accident. There’s a courtroom scene where he’s talking about how much he loves his brother and Clint was going through a difficult time during this period. It was one of the most personal moments I ever generated onscreen, because I was channeling my own sense of love and despair for what Clint was going through. The tears and the emotions were real — they came from my own gut. More

    • 88 Shares189 Views

      in Movies

      ‘Distancing Socially’ Review: Scenes from a Quarantine

      by

      Little happens in this comedy that follows Hollywood players lonely in lockdown.“Write what you know,” the adage goes. Ben (Rory Scovel) takes these words to heart in “Distancing Socially,” a so-called comedy set during the coronavirus lockdown. Unfolding on screens in a series of interconnected vignettes, the movie begins with Ben, a screenwriter, pitching his idea for a romantic comedy that occurs over video calls.One would be forgiven for guessing that Ben is a proxy for Chris Blake, the movie’s writer and director, who conceived of “Distancing Socially” during the pandemic and shot it remotely by shipping iPhone rigs to actors. The vast ensemble of characters includes Ben’s producer Noel (Alan Tudyk), his financier Andy (Andy Buckley) and Andy’s colleague Ella (Melanie Chandra), who works in casting.A majority of the characters hold Hollywood jobs — save for a poet, a musician and a blogger — and an oddly large number are recently single and boohooing over their exes. Those in committed partnerships don’t get off scot-free, though; they insist that their wives or kids, somewhere offscreen, are driving them nuts.Predictable Covid-era gags about delivered groceries, germaphobia and computer glitches pepper the script, but the real problem here is the expository dialogue. Every time a new character appears, his or her name and relation to the story is awkwardly stated, and then likely reiterated in case we missed it the first time. It’s fine that nothing major happens in this charmless quaran-com; it is concerning, however, that neither the audience nor the actors, sitting stiffly behind their screens, are given reason to care.Distancing SociallyRated R. Broken hearts and bad Wi-Fi. Running time: 1 hour 24 minutes. Rent or buy on Amazon, Google Play and other streaming platforms and pay TV operators. More

    • 100 Shares179 Views

      in Movies

      Russian Film Crew Has Arrived at Space Station

      by

      The pair arrived at the International Space Station on Tuesday, aiming to shoot scenes for the first feature film made in orbit.The Russian crew — an actress, a director and their professional astronaut guide — arrived at the International Space Station with a mission to shoot scenes for the first feature-length film in space.Roscosmos, via ReutersThe first dog in space. The first man and woman. Now Russia has clinched another spaceflight first before the United States: Beating Hollywood to orbit.A Russian actress, Yulia Peresild, a director, Klim Shipenko, and their veteran Russian astronaut guide, Anton Shkaplerov, launched on a Russian rocket toward the International Space Station on Tuesday. Their mission is to shoot scenes for the first feature-length film in space. While cinematic sequences in space have long been portrayed on big screens using sound stages and advanced computer graphics, never before has a full-length movie been shot and directed in space.Whether the film they shoot in orbit is remembered as a cinematic triumph, the mission highlights the busy efforts of governments as well as private entrepreneurs to expand access to space. Earth’s orbit and beyond were once visited only by astronauts handpicked by government space agencies. But a growing number of visitors in the near future will be more like Ms. Sherepild and Mr. Shipenko, and less like the highly trained Mr. Shkaplerov and his fellow space explorers.A Soyuz rocket, the workhorse of Russia’s space program, lifted off on time at 4:55 a.m. Eastern time from the Baikonur Cosmodrome in Kazakhstan.Before the launch on Tuesday, the MS-19 crew posed for photos and waved to family and fans in Baikonur. Mr. Shipenko, the director of the film which is named “The Challenge,” held up a script as he waved to cameras.“We didn’t forget to take it with us,” he said, according to a translator, before he boarded a bus with the other crew members to get dressed in their flight suits.The crew then raced to catch up with the space station in a trip that took only three hours. Known as a “two-orbit scheme,” it was unusually fast, as journeys to the lab in space typically last between eight and 22 hours over multiple orbits around Earth. (The first three-hour trip was performed by a Soyuz spacecraft in 2020 for Russia’s MS-17 mission, carrying two Russian astronauts and a U.S. astronaut.)The MS-19 spacecraft carrying its three-person crew was expected to dock with the space station at 8:12 a.m. But because of what a mission control official in Moscow described as “ratty comms” between the capsule and mission control in Moscow, possibly the result of weather conditions on Earth, Mr. Shkaplerov, the mission’s commander, was forced to abort an initial automated docking attempt. Mr. Shkaplerov instead manually steered the spacecraft to a port on the station’s Russian segment.“Up, down, left, right,” the mission control official in Moscow instructed Mr. Shkaplerov, as he steered the spacecraft closer to the station’s Russian segment. “Do what you’ve trained for. You’ll be fine.”The capsule latched onto the space station around 8:22 a.m. slightly behind schedule. Opening the hatch door was also delayed as the crew checked for air leaks, and as the Russian astronauts already on the station lined up their first shot: Ms. Peresild’s arrival.“They’re going to open the hatch from their side, and then they’re going to float towards the camera, correct? So we need to stay out of the picture,” Oleg Novitsky, one of two Russian astronauts who’ve been on the station since April, asked mission control in Moscow.Pyotr Dubrov, the other resident of the Russian segment, was behind a large digital cinema camera, recording and waiting for the MS-19 crew to open the hatch door and board the station. When it finally opened more than two hours after docking, at 11 a.m., out floated Mr. Shkaplerov and a smiling Ms. Peresild, followed by Mr. Shipenko, her director. The three then participated in a welcoming ceremony with the space station’s current crew of seven astronauts from NASA, Russia, Europe and Japan, with Ms. Sherepild in a red jumpsuit while her fellow new arrivals wore blue.A screengrab from a video by the Russian Space Agency Roscosmos showed Yulia Peresild entering the I.S.S. on Tuesday.Roscosmos, via Agence France-Presse — Getty Images“I still feel that it’s all just a dream and I am asleep,” she said. “It is almost impossible to believe that this all came to reality.”The two film crew members will spend nearly two weeks moviemaking on the space station before returning on Oct. 17 aboard the MS-18 Soyuz spacecraft. Mr. Novitsky will leave with the film crew, and Mr. Shkaplerov will remain on the station.“Undoubtedly, this mission is special, we have people going to space who are neither tourists nor professional cosmonauts,” said Dmitri Rogozin, director general of Roscosmos, the Russian space agency. He said he hoped the flight would help the agency attract a new generation of talent.As an actress, Ms. Peresild has performed in some 70 roles onscreen, and Russian movie publications have named her among the top 10 actresses under 35 years old. She may be best known among Russian moviegoers for “Battle for Sevastopol” (2015), in which she played the role of Lyudmila Pavlichenko, the deadliest Red Army female sniper during World War II.But her prominence alone wouldn’t have been enough to secure her a seat to orbit: She was picked for the flight from some 3,000 contestants in a two-stage selection procedure that involved both tests of creativity and a stringent medical and physical fitness screening.Ms. Peresild will also become the fifth Russian woman to travel to space, and the first aboard the space station since 2015, when Elena Serova returned to Earth.Aboard the space station, Ms. Peresild will star in “The Challenge.” It’s about a surgeon, played by Ms. Peresild, who embarks on an emergency mission to the orbiting lab to save the life of an ailing cosmonaut (to be performed by Mr. Novitsky). Few other details about the plot or the filming aboard the station have been announced.The crew, using hand-held cameras both on board the capsule and in the space station, started filming scenes for the movie as the spacecraft approached the outpost, Rob Navias, a NASA spokesman, said on Tuesday.For “The Challenge,” cinematic storytelling may take a back seat to the symbolism of shooting a movie in space. The production is a joint project involving Russia’s space agency Roscosmos; Channel One; and Yellow, Black and White, a Russian film studio.Anton Shkaplerov, Klim Shipenko and Ms. Peresild boarding the Soyuz before launch on Tuesday.Roscosmos, via ReutersLike a lot of private missions to space these days, Channel One and Roscosmos hope the film can prove to the public that space isn’t reserved for only government astronauts. One of the production’s core objectives is to show that “spaceflights are gradually becoming available not only for professionals, but also for an ever wider range of interested persons,” Channel One said on its website.Mr. Rogozin, the Russian space agency leader, said he hopes the mission will make “a truly serious work of art and a whole new development of the promotion of space technologies,” in order to attract young talent to Russia’s space program.Funding for Russia’s space program is beginning to wane. Starting in 2011, when the U.S. space shuttle program ended, NASA could only send astronauts to the International Space Station by paying for expensive rides on one of Russia’s Soyuz rockets. But that ended in 2020 when SpaceX’s Crew Dragon proved itself capable of sending astronauts from American soil. And recently, the United States ended purchases of a Russian rocket engine long used for NASA and Pentagon launches to space, which generated billions in revenue for Moscow.Is this really the first movie that has been made on the space station?“The Challenge” is the first full-length movie that will use scenes filmed in orbit. The movie will include about 35 to 40 minutes of scenes made on the station, Channel One says.Other kinds of productions have been made in space in the past, like “Apogee of Fear,” an eight-minute science fiction film shot by Richard Garriott, a private astronaut, in 2008. Mr. Garriott, a video game entrepreneur, paid $30 million for his seat on a Soyuz spacecraft, which he booked through Space Adventures, a space tourism broker. The company is booking future missions to the space station aboard Russia’s Soyuz spacecraft.Several feature-length documentaries have relied heavily on video shot aboard the station. “Space Station 3D,” a short 2002 documentary about the space station’s construction, was one of the earliest IMAX productions filmed in space.Are there other plans to film in orbit?Tom Cruise may have plans to film something on the space station, but it’s unclear exactly when. Deadline, a Hollywood news publication, reported in 2020 that Mr. Cruise would fly to space aboard one of SpaceX’s Crew Dragon capsules for an action-adventure film directed by Doug Liman. Jim Bridenstine, who served as NASA’s administrator under President Donald Trump, confirmed the plans on Twitter at the time and lauded them as a chance to galvanize the public around space exploration.Russia’s space agency announced its intention to send an actress to the space station shortly after Mr. Cruise’s plans emerged.The Nauka multipurpose laboratory module, left, docked to the International Space Station alongside a Soyuz spacecraft in July.Roscosmos, via ReutersWhat problems have the Russians had with the space station recently?Astronauts have been living aboard the space station, a science lab the size of a football field, for more than 20 years, and it’s starting to show signs of decay, particularly on the Russian side.Several air leaks on the Russian segment of the outpost have been detected in recent years, although none have posed immediate danger to the station’s crew. Astronauts found a leak in Russia’s Zvezda service module last year by using tea leaves, and patched the leak with space-grade glue and tape. Another gradual air leak is ongoing, and its source has eluded Russian space officials.And in July, Russia’s new science module, Nauka, carried out a chaotic docking procedure: Shortly after locking onto the station, the module’s thrusters began to fire erroneously, spinning the entire space station by one-and-a-half revolutions. None of the seven astronauts on board were harmed, but it was a rare “spacecraft emergency” that sent NASA and Russian officials scrambling to return the station to its normal orientation.Who else is going to the space station soon?Traffic at the space station will be busy for the next few months.On Oct. 30, NASA is scheduled to send a crew of three U.S. astronauts and one European Space Agency astronaut to the space station for a roughly six-month stay. The mission, named Crew-3, will be NASA’s fourth trek to the station using SpaceX’s Crew Dragon capsule, a spacecraft developed with a mix of NASA and private funds.Then, more private missions. Yusaku Maezawa, a Japanese billionaire, will launch to the orbital laboratory aboard a Soyuz rocket on Dec. 8 for a 12-day stay. Mr. Maezawa, an art collector and the tycoon behind the Japanese fashion retail site Zozotown, booked his first mission to space with SpaceX in 2018, aiming to one day ride the company’s Starship rocket around the moon. That won’t come until 2023, and for Mr. Maezawa’s sooner Soyuz flight, he’ll bring a producer and a camera along to document his trip.Then on Feb. 21, three private astronauts, paying $55 million each, will fly to the space station in a Crew Dragon capsule booked by the company Axiom Space. They will be joined by a fourth crew member, a retired NASA astronaut who will essentially serve as their guide.Valerie Hopkins and Oleg Matsnev contributed reporting from Moscow.Sync your calendar with the solar systemNever miss an eclipse, a meteor shower, a rocket launch or any other astronomical and space event that’s out of this world. More

    • 175 Shares129 Views

      in Movies

      The Future of Movies Collides With the Past at the New York Film Festival

      by

      Memory and storytelling are intriguingly intertwined in work by world-class filmmakers that confounds and intrigues.For almost six decades, the New York Film Festival has offered a glimpse of the movie future. That has certainly been true this year, with the Lincoln Center screening rooms populated and a busy season of streaming and theatrical releases ahead. Over two autumn weeks — the 59th edition of the festival runs through Sunday — New York cinephiles are treated to a series of sneak previews, early chances to see films that will make their way into the wider world over the next few months.Part of the function of the event is to spark word of mouth and media coverage, to tease the Oscar race and handicap the art-house box office, and to see what people are inclined to argue about. Will it be the lurid provocations of Julia Ducournau’s “Titane”? The wide-screen western psychodrama of Jane Campion’s “The Power of the Dog”? The aching, low-key intimacy of Mike Mills’s “C’mon C’mon”? There has been something reassuring about the ritual of those questions, and about the conversations, blessedly unrelated to pandemics or politics, that they promise.But the excitement of novelty has been tinged with nostalgia. Apart from the required masks and proof of vaccination, this New York festival seemed a lot like the earlier ones. The blend of favored auteurs and up-and-comers felt familiar, and not in a bad way. We expect to see Todd Haynes, Wes Anderson, Bruno Dumont and Hong Sangsoo in this setting, and also to stumble into discoveries and reappraisals. I didn’t know what to expect from “What Do We See When We Look at the Sky?,” from the Georgian director Alexandre Koberidze. After having seen it — a slow-moving, semi-magical romance with a ruminative voice-over and leisurely shots of the town of Kutaisi — I’m still not sure what to make of it. That, too, is a quintessential festival experience.A scene from the Bucharest-set “Bad Luck Banging or Loony Porn.”Silviu Ghetie/Micro FilmAfter watching most of the main slate and a handful of other offerings — and dealing with the inevitable regret about what I’ve missed — my main takeaway is a feeling of comfort. This is unusual, and in the past I might have seen that as a form of disappointment. What I tend to look for, what I believe in to the point of dogmatism, is art that is challenging, difficult, abrasive, shocking. I saw a few attempts at that, including “Titane,” which in spite of its bright colors, extreme violence and sexual aggression didn’t quite succeed for me, and Radu Jude’s “Bad Luck Banging or Loony Porn,” which very much did.Jude shot his film on the streets of Bucharest in 2020, where people are masked, anxious and rude. Like that setting, the story — of a schoolteacher caught up in a culture-war sex scandal — is unpleasantly contemporary, and the overall mood of the picture is rough and dyspeptic. This is the opposite of escapism, and while I can’t say “Bad Luck Banging” is a lot of fun, it has a purgative, present-tense power. This is how we live, and it’s awful.What’s the alternative? Or, more precisely, is there a kind of aesthetic relief from current reality that doesn’t amount to a denial of it? An answer that seems to appeal to many filmmakers at the moment is to treat the medium as a vehicle of memory, to use its tools to construct a record of the past with room for its ambiguities, blank spaces and clashing perspectives.Tilda Swinton is an Englishwoman living in Colombia in “Memoria.”NeonThe most radical and overt gesture of this kind comes, aptly enough, in “Memoria,” from the Thai director Apichatpong Weerasethakul. Like his earlier features (including “Uncle Boonmee Who Can Recall His Past Lives”), this one is dreamy and elusive, less a story than a succession of moods and existential puzzles. Tilda Swinton plays an Englishwoman living in Colombia who starts hearing a loud noise inaudible to anyone else. She asks a young sound engineer to help synthesize what she hears, which turns out not to be the only strange phenomenon she encounters.In a small town in the mountains she meets a man with the same name as the engineer who claims to remember everything that has ever happened to him. Not only that, he can decode “memories” of past events stored in rocks and other inanimate objects. His consciousness is so saturated, he says, that he has never left his hometown, and never watched any movies or television. His new acquaintance is surprised, and tells him some of what he’s been missing. Sports. News. Game shows.It doesn’t sound very persuasive. What would he do with those images? But I don’t think “Memoria” is dismissing its own technology so much as it’s reminding the audience how much more there is to reality than our attempts to represent it. The film is mind-blowing in its ambition and strangeness, but also decidedly modest, as if it were one of those stones packed with information that we might someday learn to unlock.The most memorable films about memory at the festival felt similarly (though also specifically, uniquely) open-ended, inconclusive. Joanna Hogg’s “The Souvenir Part II,” like “Memoria,” evokes memory in its title, and looks through a double rearview mirror. Julie (Honor Swinton Byrne), a London film student in the 1980s, recovers from the death of her lover (Tom Burke, as seen in “The Souvenir”) by turning their relationship into the subject of her thesis project. That movie is also called “The Souvenir,” which makes “Part II” a kind of making-of pseudo-documentary as well as a memoir, a coming-of-age story and a time capsule of the later Thatcher years.Milena Smit, left, and Penélope Cruz in Pedro Almodóvar’s “Parallel Mothers.”Sony Pictures Releasing InternationalPedro Almodóvar’s “Parallel Mothers” moves both forward and backward, with love and politics on its mind. It follows the entwined lives of its two main characters, women (played by Milena Smit and Penélope Cruz) who give birth in the same hospital, over a period of several years. Their fates unfold under the shadow, at times imperceptible, at times unavoidable, of the Spanish Civil War and the dictatorship that followed. The intersection of historical trauma and individual destiny isn’t an uncommon theme in contemporary cinema, but Almodóvar handles it with characteristic elegance and a profoundly melancholy humanism.Almodóvar, the avatar of Spain’s youthful post-Franco awakening, is now in his early 70s. His film will close the festival this weekend, bookending a triptych of major work by his generational cohort. Joel Coen, born in 1954, and Jane Campion, born in 1957, both came on the scene, like Almodóvar, in the 1980s, and are both asserting their seniority by breaking out in new directions: Coen with his swift-moving, stirring “The Tragedy of Macbeth” (his first film without his brother, Ethan) and Campion with the tragic “Power of the Dog.” These movies look like throwbacks — “Macbeth” to the black-and-white Shakespeare of Orson Welles and Laurence Olivier; “Power” to sprawling Technicolor epics like “Giant” — but they are also signs of life. And portents, maybe, of the future. More

    • 163 Shares119 Views

      in Movies

      Watch Live: Russia Launches Film Crew to Space — Time and Video Details

      by

      The first dog in space. The first man and woman. Now Russia is about to clinch another spaceflight first before the United States: Beating Hollywood to orbit.A Russian actress, a director and their professional Russian astronaut guide launched on a Russian rocket toward the International Space Station on Tuesday. Their mission is to shoot scenes for the first feature-length film in space. While cinematic sequences in space have long been portrayed on big screens using sound stages and advanced computer graphics, never before has a full-length movie been shot and directed in space.Here’s what you need to know:What happened during the launch and what happens next?Who is on the flight?What movie are they making on the space station?Why are they making a movie in orbit?What happened during the launch and what happens next?The Soyuz MS-19 spacecraft lifted off from the Baikonur cosmodrome Tuesday, carrying a film crew to orbit.Roscosmos/Via ReutersA Soyuz rocket, the workhorse of Russia’s space program, lifted off on time at 4:55 a.m. Eastern time from the Baikonur Cosmodrome in Kazakhstan. The MS-19 spacecraft carrying the three-person crew is expected to dock with the space station about three hours later, at 8:12 a.m.The MS-19 crew posed for photos and waved to family and fans during launch preparations in Baikonur on Tuesday. Klim Shipenko, the director of the film, “The Challenge,” held up a script as he waved to cameras.“We didn’t forget to take it with us,” he said, according to a NASA translator, before he boarded a bus with the other crew members to get dressed in their flight suits.NASA, which manages the space station in partnership with Russia, will host another livestream for the spacecraft’s docking beginning at 7:30 a.m. You can also watch the video in the player embedded above.The three-hour trip, called a “two-orbit scheme,” is unusually fast for journeys to the space station, which typically last between eight to 22 hours over multiple orbits around Earth. The first three-hour trip was performed by a Soyuz spacecraft in 2020 for Russia’s MS-17 mission, carrying two Russian astronauts and a U.S. astronaut.Who is on the flight?Yulia Peresild, a Russian actress, during a training session at the Baikonur Cosmodrome in Kazakhstan last month.Andrey Shelepin/GCTC/Roscosmos, via ReutersYulia Peresild, a Russian actress, Mr. Shipenko and Anton Shkaplerov, a veteran astronaut who has completed three treks to and from the space station since 2011, are strapped inside the MS-19 capsule on their way to the space station. Ms. Peresild has spent months training for the mission.The film crew will return to Earth on Oct. 17 along with Oleg Novitsky, an astronaut who’s been on the station since April.“Undoubtedly, this mission is special, we have people going to space who are neither tourists nor professional cosmonauts,” said Dmitri Rogozin, director general of Roscosmos, the Russian space agency. He said he hoped the flight would help the agency attract a new generation of talent.As an actress, Ms. Peresild, has performed in some 70 roles onscreen, and Russian movie publications have named her among the top 10 actresses under 35 years old. She may be best known among Russian moviegoers for “Battle for Sevastopol” (2015), in which she played the role of Lyudmila Pavlichenko, the deadliest Red Army female sniper during World War II.But her prominence alone wouldn’t have been enough to secure her a seat to orbit: She was picked for the flight from some 3,000 contestants in a two-stage selection procedure that involved both tests of creativity and a stringent medical and physical fitness screening.What movie are they making on the space station?The movie’s working title is “The Challenge,” and it’s about a surgeon, played by Ms. Peresild, who embarks on an emergency mission to the space station to save an ailing cosmonaut’s life. Few other details about the plot or the filming aboard the station have been announced, although NASA said on Tuesday that Mr. Novitsky, one of the Russian astronauts currently aboard the station, will play the role of the sick cosmonaut.The crew, using hand-held cameras both on board the capsule and in the space station, started filming scenes for the movie as the spacecraft approached the outpost, Rob Navias, a NASA spokesman, said on the livestream.Why are they making a movie in orbit?For “The Challenge,” cinematic storytelling may take a back seat to the symbolism of shooting a movie in space. The production is a joint project involving Russia’s space agency Roscosmos; Channel One; and Yellow, Black and White, a Russian film studio.Like a lot of private missions to space these days, Channel One and Roscosmos hope the film can prove to the public that space isn’t reserved for only government astronauts. One of the production’s core objectives is to show that “spaceflights are gradually becoming available not only for professionals, but also for an ever wider range of interested persons,” Channel One said on its website.Mr. Rogozin , the Russian space agency leader, said he hopes the mission will make “a truly serious work of art and a whole new development of the promotion of space technologies,” in order to attract young talent to Russia’s space program.Funding for Russia’s space program is beginning to wane. Starting in 2011, when the U.S. space shuttle program ended, NASA could only send astronauts to the International Space Station by paying for expensive rides on one of Russia’s Soyuz rockets. But that ended in 2020 when SpaceX’s Crew Dragon proved itself capable of sending astronauts from American soil. And recently, the United States ended purchases of a Russian rocket engine long used for NASA and Pentagon launches to space, which generated billions in revenue for Moscow.The Nauka multipurpose laboratory module, left, docked to the International Space Station alongside a Soyuz spacecraft in July.Roscosmos, via ReutersIs this really the first movie that has been made on the space station?“The Challenge” is the first full-length movie that will use scenes filmed in orbit. The movie will include about 35 to 40 minutes of scenes made on the station, Channel One says.Other kinds of productions have been made in space in the past, like “Apogee of Fear,” an eight-minute science fiction film shot by Richard Garriott, a private astronaut, in 2008. Mr. Garriott, a video game entrepreneur, paid $30 million for his seat on a Soyuz spacecraft, which he booked through Space Adventures, a space tourism broker. The company is booking future missions to the space station aboard Russia’s Soyuz spacecraft.Several feature-length documentaries have relied heavily on video shot aboard the station. “Space Station 3D,” a short 2002 documentary about the space station’s construction, was the first IMAX production filmed in space.Are there other plans to film in orbit?Tom Cruise may have plans to film something on the space station, but it’s unclear exactly when. Deadline, a Hollywood news publication, reported in 2020 that Mr. Cruise would fly to space aboard one of SpaceX’s Crew Dragon capsules for an action-adventure film directed by Doug Liman. Jim Bridenstine, who served as NASA’s administrator under President Donald Trump, confirmed the plans on Twitter at the time and lauded them as a chance to galvanize the public around space exploration.Russia’s space agency announced its intention to send an actress to the space station shortly after Mr. Cruise’s plans emerged.What problems have the Russians had with the space station recently?Astronauts have been living aboard the space station, a science lab the size of a football field, for more than 20 years, and it’s starting to show signs of decay, particularly on the Russian side.Several air leaks on the Russian segment of the outpost have been detected in recent years, although none have posed immediate danger to the station’s crew. Astronauts found a leak in Russia’s Zvezda service module last year by using tea leaves, and patched the leak with space-grade glue and tape. Another gradual air leak is ongoing, and its source has eluded Russian space officials.And in July, Russia’s new science module, Nauka, carried out a chaotic docking procedure: Shortly after locking onto the station, the module’s thrusters began to fire erroneously, spinning the entire space station by one-and-a-half revolutions. None of the seven astronauts on board were harmed, but it was a rare “spacecraft emergency” that sent NASA and Russian officials scrambling to return the station to its normal orientation.Valerie Hopkins and Oleg Matsnev contributed reporting from Moscow.Sync your calendar with the solar systemNever miss an eclipse, a meteor shower, a rocket launch or any other astronomical and space event that’s out of this world. More

    • 200 Shares169 Views

      in Television

      The Best Movies and TV Shows New to Netflix, Amazon and Stan in Australia in October

      by

      Our picks for October, including ‘Colin in Black & White,’ ‘Poltergeist’ and ‘Diana: The Musical’Every month, streaming services in Australia add a new batch of movies and TV shows to its library. Here are our picks for October.New to NetflixOCT. 1‘Diana: The Musical’The writing and composing team of David Bryan and Joe DiPietro — who won four Tonys, including Best Musical, for their show “Memphis” — reunite for this high-energy, rock ’n’ roll fueled version of the Princess Diana saga. Jeanna de Waal plays the popular, scandal-plagued royal, in a story about her seemingly storybook romance with Prince Charles (Roe Hartrampf) and its unhappy ending. “Diana: The Musical” officially opens on Broadway later this year, but the cast and crew taped a performance over the summer, giving theater fans who can’t make it to New York a chance to see the show.‘The Guilty’In this taut mystery-thriller, Jake Gyllenhaal plays a dedicated but overzealous police officer, who is stuck working at a dispatch desk when he gets a call from a woman (Riley Keough) who claims to be in fear for her life. The director Antoine Fuqua and the screenwriter Nic Pizzolatto follow the lead of the intense 2018 Danish film on which “The Guilty” is based, telling the story mostly from inside the police station. The hero scrambles to use all the investigative resources available to him from his computer and his phone, to try to figure out how to stop what may or may not be a crime in progress.‘Maid’Netflix‘Maid’Based on Stephanie Land’s memoir, the mini-series “Maid” stars Margaret Qualley as a broke single mother named Alex, with very few viable options for work, child-care or safe housing. When she takes a job working for a cleaning service catering to wealthy families in the Pacific Northwest, Alex becomes acutely aware of how much her survival depends on a steady paycheck and a lot of good luck. Qualley gives an outstanding performance in this riveting drama, which turns something as simple as having gas money (or a functioning car) into a source of nail-biting tension.OCT. 6‘There’s Someone Inside Your House’The director Patrick Brice (best-known for the offbeat genre films “Creep” and “Corporate Animals”) and the screenwriter Henry Gayden (who co-wrote the lively superhero movie “Shazam!”) have adapted Stephanie Perkins’s young adult novel “There’s Someone Inside Your House” into a different kind of teen horror movie. Sydney Park plays Makani, the new girl at a Nebraska high school where students with dark secrets are being stalked by a serial killer who wears a mask that resembles the victims’ faces. While these kids try to dodge murder, they also hustle to avoid having their deepest regrets made public.‘The Baby-Sitters Club’ Season 2One of 2020s most delightful surprises returns for a second season of family-friendly television. Based on Ann M. Martin’s beloved book series, “The Baby-Sitters Club” is about a circle of industrious teenage friends who run a child-care business while also helping each other with their problems. The show uses the plots of the novels as a starting point for modern stories about school, parents, relationships and responsibility.‘Colin in Black & White’NetflixOCT. 29‘Colin in Black & White’The Colin in the title of “Colin in Black & White” is Colin Kaepernick, the former NFL quarterback and social activist who sparked controversy across the United States when he started kneeling before football games during the singing of the national anthem. Here, Kaepernick and the producer-director Ava DuVernay tell the athlete’s story by looking back at his childhood, revisiting moments when the biracial Colin (Jaden Michael) came into conflict with his coaches, his classmates and his adoptive white parents (played by Nick Offerman and Mary-Louise Parker) as he tried to embrace his cultural roots.Also arriving: “On My Block” (Oct. 4), “Backing Impossible” Season 1 (Oct. 6), “Pretty Smart” (Oct. 8), “Bright: Samurai Soul” (Oct. 12), “Convergence: Courage in a Crisis” (Oct. 12), “The Movies That Made Us” Season 3 (Oct. 12), “The Four of Us” (Oct. 15), “Karma’s World” (Oct. 15), “You” Season 3 (Oct. 15), “Found” (Oct. 20), “Night Teeth” (Oct. 20), “Stuck Together” (Oct. 20), “Sex, Love & goop” (Oct. 21), “Inside Job” (Oct. 22), “Locke & Key” Season 2 (Oct. 22), “Maya and the Three” (Oct. 22), “Hypnotic” (Oct. 27), “Army of Thieves” (Oct. 29).New to Stan‘Sort Of’StanOCT. 6‘Sort of’ Season 1This Canadian dramedy stars Bilal Baig as Sabi, a gender-fluid child of Pakistani immigrants. While working as a nanny by day and a bartender by night, Sabi tries to maintain meaningful relationships with both their traditionalist family and their L.G.B.T.Q. friends — two very different factions who are sometimes equally confounded by what it means to be nonbinary. This is a show about a person making a space for themselves, outside of the conventional categories.Oct. 8‘One of Us Is Lying’ Season 1Like the Karen M. McManus young adult mystery novel on which it’s based, the teen drama series “One of Us Is Lying” is part “The Breakfast Club,” part “Gossip Girl” and part Agatha Christie whodunit. When five students are framed by a troublemaking peer and stuck in after-school detention, four of them become murder suspects after one of their group — an incorrigible gossip named Simon (Mark McKenna) — drops dead under strange circumstances. To clear their names, the other kids work together, forming an “us against the world” bond as their secrets become public.OCT. 16‘Boogie Nights’The cinephile favorite writer-director Paul Thomas Anderson has a new movie coming out later this year: “Licorice Pizza,” a teen dramedy set in Los Angeles’s San Fernando Valley in the 1970s. So now is the perfect time to revisit Anderson’s breakthrough film, 1997’s “Boogie Nights,” also set in the Valley in the ’70s (and ’80s). Ostensibly the story of a fast-living, sweet-natured porn star named Dirk Diggler (Mark Wahlberg), “Boogie Nights” is really about L.A. misfits forming a makeshift family and then fighting to hold it together as drugs, money, fame and changing cultural attitudes start pulling everything apart.OCT. 21‘Poltergeist’Looking for some classic horror this October? You can’t go wrong with 1982’s “Poltergeist,” a witty and frightful tale about ancient spirits terrorizing a pristine new suburban subdivision. Directed by Tobe Hooper (best-known for “The Texas Chain Saw Massacre”) and produced and co-written by Steven Spielberg (riding high at the time from the success of “Raiders of the Lost Ark” and “E.T.”), “Poltergeist” starts out as a dryly funny portrait of a pleasant middle-class family. Then all hell breaks loose, turning an ordinary American neighborhood into a village of the damned.OCT. 28‘Love Life’ Season 2The romantic comedy anthology series “Love Life” returns for a second season with a new story, featuring a few of the first season’s characters in smaller roles (including last year’s protagonist Darby, played by the show’s co-producer Anna Kendrick). This time out, William Jackson Harper takes the lead as Marcus, a New Yorker still reeling from a recent divorce from the woman he thought would be his partner for life. As he re-enters the dating world, which has changed drastically since the last time tried to find a mate, Marcus takes the opportunity to re-evaluate what he really wants from a relationship.Also arriving: “A Good Man” Season 1 (Oct. 13), “Canada’s Drag Race” Season 2 (Oct. 15), “Hightown” Season 2 (Oct. 17), “All American” Season 4 (Oct. 26), “The Last O.G.” Season 4 (Oct. 27), “Sisterhood” Season 1 (Oct. 29), “Walker” Season 2 (Oct. 29).New to Amazon‘Welcome to the Blumhouse’ Season 2AmazonOCT. 1‘Welcome to the Blumhouse’ Season 2The second round of original feature-length horror films for Blumhouse Productions’ anthology series “Welcome to the Blumhouse” follows a slightly different formula from last year’s batch. The movies “Bingo Hell” (about senior citizens protecting their gentrifying neighborhood from a demonic villain), “Black as Night” (about a New Orleans teen hunting vampires who prey on the homeless), “Madres” (about Mexican American migrant workers plagued by terrifying premonitions), and “The Manor” (about a nursing home under siege from supernatural forces) put unique twists on conventional genre fare, telling stories about people on society’s margins who battle insidious evils.OCT. 15‘I Know What You Did Last Summer’ Season 1Based on a 1973 Lois Duncan horror novel (and its hit 1997 movie adaptation) the teen slasher series “I Know What You Did Last Summer” follows a group of high school friends and acquaintances whose lives change after a terrible accident. As a serial killer targets the kids involved in a fatal car wreck, they realize they have to abandon their carefully crafted public personas so they can solve the mystery of who knows their terrible secret.OCT. 29‘Fairfax’ Season 1In this edgy animated satire, the voice actors Skyler Gisondo, Kiersey Clemons, Peter Kim and Jaboukie Young-White play a group of Los Angeles teens who dedicate most of their energy and talent to becoming social media influencers. “Fairfax” is partly a knowing look at plugged-in American youth in the 2020s, and partly an absurdist comedy in which the pursuit of clout frequently turns into surreal adventures.Also arriving: “All or Nothing: Toronto Maple Leafs” (Oct. 1), “My Name Is Pauli Murray” (Oct. 1), “Justin Bieber: Our World” (Oct. 8). More

    • 138 Shares129 Views

      in Television

      How the ‘Many Saints of Newark’ Stars Remade Key ‘Sopranos’ Roles

      by

      Actors in the prequel had to put their stamp on favorite characters from the original series, whether they had watched it or not.From its debut in 1999 to its blackout finale in 2007, “The Sopranos” set a seemingly unsurpassable benchmark for acting. The cast members of that HBO crime drama, leading players and supporting performers alike, became synonymous with the menacing mobsters and manipulative family members they portrayed. When it was all over, you couldn’t imagine anyone else playing those roles.This posed a problem for the creators of “The Many Saints of Newark,” the cinematic prequel that explores the origins of “The Sopranos” during the 1960s and ’70s, and that enlists new actors to play younger versions of those indelible characters.It also a presented a challenge for the actors in “The Many Saints of Newark” — some of whom were “Sopranos” fans and others who had never watched the series — and who had to walk a careful line between preserving what audiences already expected from their characters and putting their own stamps on the roles.Vera Farmiga, who plays the film’s Livia Soprano, explained that their task was complicated by the typical time constraints of making a movie. “We didn’t have the luxury that a series allows you — that indulgence to get to know your character and get multiple tries at them,” she said. “I could do the ‘Saturday Night Live’ version, but you have very little time to get it right. And what does right even mean?”Here, five stars from “The Many Saints of Newark” discuss how they landed their roles and prepared to live up to the standards of “The Sopranos.”Vera FarmigaRole: Livia SopranoOriginated by: Nancy MarchandWatched original run of “The Sopranos”? NoWhen Farmiga, a star of “Up in the Air” and the series “Bates Motel,” was approached to play the role of Tony Soprano’s controlling mother, Livia, she knew that it was significant — but only by proxy. “There were loads of giddy responses around me,” Farmiga said. “My husband was freaking out. My agents were freaking out.” Though she hadn’t seen the series when it first aired, she said, “I understood that it was a cultural phenomenon. I understood it came with a legacy.” Farmiga also found it meaningful that David Chase, the “Sopranos” creator and “Many Saints” co-screenwriter, did not require her to audition: “All he wanted to do is meet up at a really beautiful spot and eat together,” she said. “So we blasted through a couple bottles of white wine at dessert. We got loaded and jacked up on sugar.” For her performance, Farmiga studied the work of Marchand, who died in 2000, and requested a prosthetic nose to more closely resemble her. Farmiga also sought guidance from Chase, who based Livia on his own mother. But the screenwriter proved to be characteristically tight-lipped, as Farmiga recalled: “I would press David — let’s talk about your mother. ‘Nah, she just was.’ But why? Was she dissatisfied with maternity? She wanted a career? ‘Nope. She just was. That’s who my mother was.’” Eventually, Farmiga said she found her answers in the screenplay: “You know what? Just give me the words,” she said.Corey StollRole: Corrado “Uncle Junior” Soprano Jr.Originated by: Dominic ChianeseWatched original run of “The Sopranos”? YesStoll, the ubiquitous star of television (“Billions,” “House of Cards”) and film (“Ant-Man”), was a “Sopranos” devotee who watched the series to its conclusion, then binged it again with his wife, Nadia Bowers, when she was pregnant with their son and yet again in preparation for this film. But Stoll said he may have gained just as much from catching a serendipitous revival-house showing of “The Godfather Part II,” in which Chianese, then in his 40s, played the mobster Johnny Ola. As Stoll explained, “It was super-helpful to see that Dominic Chianese, kind of like me, was always a little bit older than his years. I’ve been playing old men since I was 11. It was good to see that I didn’t have to do back flips to make him a young man. Just being in my body and in my voice, that is different enough.” His key to Uncle Junior, Stoll said, was listening to Chianese’s rhythmic speech patterns: “He has this staccato — he can speak very quickly and ratatat — and then he also has this wistful, lyrical mode that he goes into.” For extra motivation, before a scene Stoll would utter an obscene phrase favored by Junior that can’t be fully reproduced here — the first two words are “your sister’s.” “Sometimes shouting it, sometimes whispering it,” Stoll said. “But there’s something about those three words that just brought me right into character.”John MagaroRole: Silvio DanteOriginated by: Steven Van ZandtWatched original run of “The Sopranos”? YesMagaro (“First Cow”) became close with Chase when he starred in the writer’s 2012 directorial debut, “Not Fade Away.” As their friendship progressed, Chase shared a crucial piece of information: “David said that he was going to do a ‘Sopranos’ prequel,” recalled Magaro, who had no expectation he would be involved. “Then a couple of years passed and he and his producing partner Nicole Lambert, started mentioning, would you be willing to shave your head? Would you be willing to gain a lot of weight? It seemed like there was an idea of someone I could play in the film.” That turned out to be Silvio, created by Van Zandt, whom Magaro also knew from “Not Fade Away.” And there was plenty of source material that Magaro could study from the guitarist’s performances and interviews with the E Street Band: “There’s a confidence, there’s an ease to his language,” Magaro explained. “Even the way he carries his shoulders raised a bit from years of playing guitar. I kept an eye on that stuff and let it inform where I would go with the young Silvio.” The movie also confirms what some “Sopranos” viewers suspected about the older Silvio: that he is bald and wears a hairpiece. “To achieve that,” Magaro said, “I agreed to shave the horseshoe shape in my hair. For the ’60s version we would shave that every morning and make it look like a balding man. For the ’70s we would throw on a really crappy toupee.”From left, Samson Moeakiola as Big Pussy, Corey Stoll as Junior Soprano and Billy Magnussen as Paulie Walnuts.Barry Wetcher/Warner Bros.Billy MagnussenRole: Paulie “Walnuts” GualtieriOriginated by: Tony SiricoWatched original run of “The Sopranos”? NoMagnussen, a dashing star of films like “Aladdin,” “Into the Woods” and “No Time to Die” and TV’s “Made For Love” may not immediately strike you as a young Paulie Walnuts, but he was just flattered to be a part of “The Many Saints of Newark.” As he explained, “I had the opportunity to audition for a different role” — he did not say which one — “and so I did an audition that way.” Through exaggeratedly clenched teeth, he added, “I guess I didn’t get that role. But they came back and they were like, hey, what do you think about trying Paulie? Would you want to do that? Knowing the ‘Sopranos’ legacy, I would be honored. Because, yeah, I think it’s a stretch. But isn’t that what acting is about?” To get into his role, Magnussen used a prosthetic nose (“My nose isn’t that wide, is it?”) and watched Sirico’s speech patterns on the TV series: “I had noticed how he talked out of the side of his mouth. And then it’s just sitting there with it, over and over again, to where you don’t have to think about it.” Magnussen may have undertaken other efforts to get to know his predecessor, too: “I broke into his house,” he said. “I went through his trash. I’m sure I slept in his underwear.”Samson MoeakiolaRole: Salvatore “Big Pussy” BonpensieroOriginated by: Vincent PastoreWatched original run of “The Sopranos”? NoMoeakiola, who is appearing in his first Hollywood film, didn’t have the benefit of a full immersion in the “Sopranos” TV series (“My parents wouldn’t let me sit around to watch it as a 7-year-old,” he said) or even know quite what he was auditioning for when he tried out for what he was told was called “Untitled New Jersey Project.” But as he remembered, “on the breakdown you can see who’s directing and who’s producing. I saw Alan Taylor and then I saw David Chase, and I was like, oh, this is ‘The Sopranos.’” But once he landed the role, Moeakiola got a leg up from Pastore, who befriended him and helped him practice dialogue. “We were on the phone at first and he was like, ‘Let me hear you, you do it first,’” Moeakiola said. “Finally I was like, just record it, bro.” Moeakiola also visited an acting class that Pastore teaches, but had to maintain strict omertà about his involvement in the film. “He was like, this is my nephew — don’t bother him, he’s not even here,” Moeakiola said. “Some students were like, you know, they’re making a prequel to ‘The Sopranos,’ you should play Vinny. I’m like, ah, I’m not an actor.” More