Gaz Alazraki Director of "Nosotros Los Nobles" ("We Are The Nobles")

In Mexico, the last 6 months have been a box office boom.  What’s unusual is that filmgoers are flocking to the Mexican movies produced in their home country, not the Hollywood blockbusters.  Leading the renaissance is "Nosotros Los Nobles" ("We Are The Nobles") directed by Gaz Alazraki.  In March it broke the 11 year old all-time Mexican record, until it was replaced last month by a new box office champ.

“We Are The Nobles” opens in the United States on Friday, November 1st.  The satiric comedy tells the story of a rich father who teaches his three kids a lesson through an elaborate hoax where the family loses their fortune.  I spoke with Gaz Alazraki who himself comes from a prestigious Mexican family, but learned harsh truths while studying in the U.S.

Michael Carvaines:  Congratulations on all your success. 

Gaz Alazraki:  Thank you.  It’s an exciting time right now.  Audiences have renewed faith in movies made in Mexico, by Mexican filmmakers.  It’s great that they are taking these chances because it opens the door for more opportunity.

MC:  Where did your idea originate?

GA:  I attended film school in the United States and worked as an intern.  I was a nobody and was hazed, and experienced a meritocracy for the first time in my life.  When I moved back to Mexico, I wanted to live according to my means.  But no else did.  Certainly not my friends who worked for their family businesses.  They behaved very entitled, very demanding.  Not sensitive to their workers.  They wouldn’t have acted that way if they had seen what I’d seen.  They never were on the other side.  I wanted to capture that feeling.

Writer-Director Gaz Alazraki

MC:  What were some of your influences?

GA:  The old screwball comedies of the 1930s.  Great Depression-era cinema had a way of skewering the rich, and I wanted to capture that feeling of rich vs. poor.  So movies like “It Happened One Night,” “His Girl Friday,” and “The Philadelphia Story.”  I also watched the comedies from 1980s to develop the rhythms of the classic comedic structure.  “Trading Places” and “Arthur” were two big influences.

MC:  Describe your writing process.

GA:  I spent two years writing the script.  Revising over 18 drafts.  When I hit a wall, I brought in two screenwriters to collaborate.  Then in the editing room, I removed 30 minutes that I wished I’d cut out from the script.  It would have saved time and money.

MC:  Yeah, it’s funny how that works in hindsight.  Were you consciously writing for a Mexican audience?  Or isn’t there a difference?

GA:  I wanted to write universal characters, but in a Mexican way.  Good archetypes, that the world would appreciate.  I didn’t want to alienate other countries.  In that regard I was influenced by “Clueless” which is set in Los Angeles, but showed characters anyone could relate to.

MC:  Was it difficult getting the movie released in the United States?

GA:  It proved to be harder than I expected.  I showed it to various distributors who are used to foreign films being more art-house.  This was more “Hollywood” so they didn’t know how to market it.  Then some of the Spanish language companies weren’t sure because it doesn’t have major stars in it.  Finally the movie’s getting released in the U.S. but only in limited markets at first.  The distributor has to protect their investment because of piracy concerns, since it’s been out for so long in Mexico.

MC:  What’s next for you?

GA:  Several projects.  I’m planning a TV series in Mexico.  I’ve also started my own production company for Mexican films and filmmakers.  And I’m also developing an English language film for U.S. actors.  So a little of everything.  I’m chasing all of them.

Click HERE for showtimes and tickets in your area.

Ridley Scott and Cormac McCarthy Hit Rock Bottom with Lackluster "Counselor"

When the best thing about a movie is the Cleveland Browns pennant hanging in a bar, you know you're in trouble.  I really wanted to like this movie and have been looking forward to it all year.  And yet:  "The Counselor" may be the worst movie of 2013.  I'm not one to pile on a critical beating when a movie stinks, but it truly offended my sensibilities as a screenwriter.

This is the first original screenplay by Pulitzer Prize winning novelist Cormac McCarthy.  That doesn't make it more special than anyone else's first screenplay.  Which is to say it's amateurish, lacks active characters, has no visual conflict and simply doesn't understand the medium.  Make no mistake:  Cormac McCarthy is a brilliant novelist - one of the greatest living American writers.  But this failure shows how unique writing for the Big Screen is, and how it takes years of practice to write a compelling movie.

What bothers me more than the degree of crap onscreen is that this movie was made by a major movie studio with such talents as Brad Pitt, Cameron Diaz, Javier Bardem, Penelope Cruz, and Michael Fassbender.  It's sad to think about the truly deserving scripts that were passed over in favor of this, simply because of the writer's notoriety.

More importantly Ridley Scott should have known better.  A director famous for his visual style should have recognized this script as a talky bore.  It lacks action, suspense, thrills or coherence.  The biggest problem begins with the worst protagonist in recent memory.  Michael Fassbender's "Counselor" does absolutely nothing but talk, listen, talk all through the movie.  And cries - at least three times, but all while on the phone.  He takes no action.  He just meanders and grimaces like he never knows what's going on.  Same for all the characters.  They never perform any act of consequence.  When people are eventually killed, it's random characters who do the killing in all instances.  Various other famous actors show up (Hank from "Breaking Bad" for example), but again they do nothing for no reason, then quickly disappear. 

If this movie is remembered for anything, it will be the scene where Cameron Diaz has sex with a Ferrari.  Even that one attempt to be shocking is mishandled.  The scene is narrated in flashback, rather than shown as it unfolds, eliminating any suspense or active drama.  What purpose does it serve?  A woman who will do that will do. . .what exactly?

Movies should not be formulaic, but they do need to be visual.  From "The Great Train Robbery" to "Gravity" - movies have moved audiences because of their storytelling imagery.  "The Counselor" relies on cryptic dialogue to advance the narrative, and that does not work.  I encourage aspiring screenwriters to see "The Counselor" so they learn what not to do.  Because this movie is full of it.     

Alexander Payne: His First Movie Reconsidered

The Greek-American writer-director Alexander Payne has made some of the best American movies of the last 15 years.  His influences range from such comedic greats as Billy Wilder and James L. Brooks, to the serious new American dramas of the 1970s.  In anticipation of "Nebraska" - his 6th feature film (view the trailer) - I decided to revisit his first movie.

Released in 1996, "Citizen Ruth" opened all the doors.  It's a movie about abortion - a fictionalized story that presents both sides.  It's very funny, yet serious when appropriate.  It's masterfully written by Mr. Payne and co-collaborator Jim Taylor.  They walk the tightrope of this divisive, emotional issue without forgetting to tell an entertaining story.  It's hard to imagine this movie getting made today.

Laura Dern plays Ruth, a drug-addicted homeless woman, cast adrift in middle-America.  A mother of 4 kids she no longer sees or parents, Ruth spends her time in jail or outside of dumpsters inhaling paint fumes.  When a fundamental Right to Life family takes a newly pregnant Ruth into their home, things get complicated.  The family's motives aren't entirely clear to Ruth; do they want to save the baby, or use Ruth to draw attention to their cause?  Ruth knows she can't bring another baby into her broken world so she joins a pro-choice group of feminists.  Only their motives are equally shady.  They too want to use Ruth as a weapon in their ideological war.  

Did I mention it's funny?  Payne & Taylor have an umatched skill bringing humor to the most painful situations.  Consider Paul Giamatti in "Sideways," or Matthew Broderick in "Election."  Mixed-up characters are their specialty.  Their writing skills thrive by understanding uniquely American issues, with a slant to poor people in poor places.  We can laugh with them because we are them. 

Ultimately the power comes from Mr. Payne's directing talent, especially with actors.  Laura Dern gives a hilarious and sad performance using her whole body as she tries to gain control of it.  It's a brilliant accomplishment, recalling Johnny Depp at his most physically funny.  Ruth becomes an unlikely American hero - a role she didn't want and can't comprehend.

Alexander Payne has a lot to say and many clever ways to show it.  He even critiques the media, while questioning fundamental institutions.  "Citizen Ruth" is an ambitious and bold debut film.  By tackling such a complex issue, he showed he could handle any material.  By elevating it to a poignant and satirical level, Mr. Payne proved he was the real deal.  This is something all young writers and directors should consider; can they be as deep and entertaining in their own work?   

Robert Redford through Hell and High Water in "All is Lost"

The performance of the year belongs to Robert Redford as a lone sailor fighting for survival in "All is Lost."  It's mesmerizing and profound and one for the ages - not just because of his acting skills.  It's amazing that Mr. Redford even agreed to this role - the boldest choice any actor has made in years.

"All is Lost" might be the only feature length movie I've ever seen with one - and ONLY one - actor in the entire film.  No gimmicks, no soliloquies, and no volley balls.  It's pure action, reaction, choice and consequence.  The fundamentals of acting, and the essence of screenwriting.  Credit goes to writer-director J. C. Chandor.

It's a master class in how to write visual action.  Mr. Chandor solves the issue of how to make one character fascinating and transparent without dialogue of any sort.  Even more impressive is that "All is Lost" is only his second film.  And 2011's "Margin Call" was completely different - an ensemble piece filled with words, talk, and theatrical staging.

Watch and see all the actions that Mr. Redford's character performs.  He fixes his boat, he repairs his radio, he learns celestial navigation, and he fights all the obstacles thrown at him.  He makes high-pressure decisions:  what to repair, what to save, how to survive.  Each endeavor is expertly written to maintain interest and tension, then skillfully enacted by a captivating figure.  The screenwriting and acting combination should be studied by all aspiring filmmakers.

Ultimately, what is this about?  Survival, perseverance and hope?  On the surface, yes.  But the casting of the All-American Golden Boy of the West says something more.  Any living actor could have played this role, young or old, American or international.  Mr. Redford's presence transforms it into a statement on masculinity.  Forget the young turks, this is a job for a real man.  He's a different sort of American than we frequently see in contemporary movies.  A father or grandfather with strength, skill, and integrity.  The Analog Man is not the obsolete man.  He's better equipped to survive, lead and rebuild.  Sure he's rich and well-provided, but he's no fat cat.  His privilege was earned with hard work.  Against the odds, against all hope, he makes sound choices and pulls off every physical action.  His character has no name except in the credits.  And it's most fitting:  he's "Our Man."

It's also worth noting the excellent song in the end credits.  Written by Alex Ebert, "Amen" is a haunting composition (listen here).  It's the perfect backdrop to stay and ponder the images and themes of the previous 100 minutes.

Costume display from the Arclight Theater in Hollywood

 
 

The Coen Brothers: 5 Neglected Movies

On December 6th, Joel and Ethan Coen release their 16th feature film:  "Inside Llewyn Davis."  Will it be a big hit, or a cult oddity?

Their fascinating, eclectic career includes both.  I tend to like their more obscure movies, the box office failures, the "off year" titles.  

Here's a list of my 5 overlooked favorites.  Only one grossed more than $10 Million domestically and none were Oscar winners.   

5.  "Intolerable Cruelty"  2003

If you're not familiar with the Coen Brothers, this is a gateway into their world.  Not one of their best, but the banter and retro charm elevate it above similar movies in the genre.  The Coen Brothers picked up "Intolerable Cruelty" when their previous film abruptly fell apart.  They were in pre-production on an adaptation of James Dickey's "To the White Sea" starring Brad Pitt (download the screenplay here).  The estimated costs ran over budget and an agreement with the distributor could not be reached.  As a result, they needed a new project.  Hence this silly, conventional romantic comedy.  Because of the star power, this is one of their highest grossing movies, yet most people forget this is even a Coen Brothers film.  It's one of the few movies where the Coens share writing credit, on a story not originally from their imagination.  The cast have a great time, especially George Clooney at his most Cary Grant.  

4.  "Barton Fink"  1991

It's hard to imagine "Barton Fink" neglected as it's one of only 10 American Films ever to win the Palme d'Or at the Cannes Film Festival.  It's even been referenced on "The Simpsons."  Yet I'm always amazed at how many people - even cinephiles and Coen Brothers fans - who confess to having never seen it.  It's definitely a difficult movie, as it's subject is the dark mind of the writer and the act of creation.  Essentially a surreal horror comedy, "Barton Fink" is the Coen Brothers most abstract film.  And yet it's filled with their signature witty lines, hilarious characters and formal beauty.  This story of a New York City playwright who meets the great Hollywood Nightmare is essential viewing for anyone wishing to work in the entertainment industry.
 
3.  "The Hudsucker Proxy"  1994

"You know, for kids."  At their most absurd and clever, this is the epitome of the Coens' synthesis of style and wit.  The screenplay was actually co-written by Sam Raimi, who adds an even more bizarre sense of humor.  The result is like a classic episode of "The Simpsons" right down to the Mr. Burns-esque corporate mentality.  This movie might be The Coens' closest relative to "The Big Lebowski" in terms of wordplay, off-the-wall oddity and Hollywood references.  The Coens' love for old Hollywood is visible in every movie, and especially detailed here.  It almost feels like every line is taken from the Golden Age.  And the production design is breathtaking, with art deco skyscrapers creatively imagined from the dungeon-like mailrooms to the inner workings of a clock tower.  Take it all in because it needs redeeming.  Even with Tim Robbins, Jennifer Jason Leigh and Paul Newman, "The Hudsucker Proxy" is The Coen Brothers' lowest grossing movie to date. 

2.  "Blood Simple"  1984

The template for how to make an independent movie, "Blood Simple" won the Grand Prize at Sundance in 1985.  One of the most impressive debut films by any director - it almost seems unfair because there's two of them.  The first image of a deserted highway set the tone for an entire career, including it's unofficial and unrelated companion piece "No Country for Old Men."  Featuring beautiful neo-noir cinematography by Barry Sonnenfeld, "Blood Simple" is innovative in style, yet traditional in its themes of sinners and justice.  And no one gets away clean.  It undoubtedly influenced Tarantino, Scorsese, and most recently "Breaking Bad."  At times violent, at times quirky and hilarious, this is the ultimate Coen Brothers universe.  It's Texas, it's America, and it's pure cinema.

1.  "The Man Who Wasn't There"  2001

I'll always hold a special place for this one, as I worked on the movie's marketing campaign, designed the official website, attended the premiere, and even personally interviewed the Coens.  Yet it's the movie that endures, and it is timeless.  And unappreciated.  Probably because of the black and white period setting and the ambiguous title, "The Man Who Wasn't There" is still searching for an audience.  A classic California film noir, it tells the story of a post-WWII barber caught in the malaise of middle-age.  As Tony Shalhoub nearly steals the show, Billy Bob Thornton gives one of his best performances opposite many talented actors including a virtually unknown Scarlett Johansson.  Check it out, along with one of the most beautiful trailers of all time:

 

"Escape from Tomorrow" - A Midlife Nightmare at Epcot

Say what you want about the lack of original movies today, but I'm happy to live in a world where "Escape from Tomorrow" exists.  I'm thrilled someone had the guts to make it, and thankful I had a chance to see it on the big screen with an audience.  

This is a feature-length movie about a vacation from hell.  It was actually filmed on location at Disney World without anyone's permission.  Completely undercover and guerrilla style with digital cameras.  It's more than just a filmmaking gimmick, however.  It's a bold, imaginative movie that is both entertaining and thought-provoking.

It's a horror movie about a mental breakdown.  Reminiscent of "The Shining" where a family man loses his mind, from circumstances possibly brought on by his environment.  And in this case the environment is a Disney World horror show ripped from Uncle Walt's most depraved nightmare.

Roy Abramsohn stars as Jim, the husband and father of two, who spends his vacation wandering the theme park as his mind unravels.  He's an unreliable anti-hero, whose thoughts and actions may or may not be real.  He drinks, hallucinates, ogles teenage French girls, and meets faded princesses.

 

It's a gripping take on the pressures of modern life.  Specifically the trials of being a husband and father.  Mr. Abramsohn plays Jim as a Jack Tripper/Michael Bluth character overwhelmed by a world gone mad.  When he can no longer laugh, his mind turns on him.  He collapses under all the pressure to have fun at the happiest place on earth.  That happens in the first 10 minutes, and then things get really strange.

Some of the twists are just plain weird, and not all of it works.  The narrative is a bit uneven and sometimes repetitive.  I would have liked to learn more about Jim, and for his interactions with his wife
to be less cliché.  Regardless, it's up to the audience to fill in the blanks, which makes "Escape from Tomorrow" worth seeing and discussing.  My hat's off to writer-director Randy Moore.  His first and only film reminds us of the power and rebel spirit of true independent cinema.  

Mia Farrow and Vanity Fair Changed My Mind

I've always believed in judging the art, not the artist.  An article in the November issue of Vanity Fair forced me to reconsider this viewpoint with regard to Woody Allen.  Instead of publishing a positive article on his movies, I'm deleting it and linking to the Vanity Fair story, which is also available on newsstands now. 

On Sunday, I had just completed a new article about my favorite overlooked Woody Allen movies.  I was set to post it when I noticed the new issue of Vanity Fair featured a story on his former partner Mia Farrow.  I was also preparing a story on her father, the writer-director John Farrow, so I thought I should read this.

The Vanity Fair story focuses on the challenges and scandals of raising her 14 children, speaking directly with 8 of them.  In addition to opening my eyes to her humanitarian efforts throughout the Third World, it jolted my opinion of Woody Allen.  I had vaguely known about their child custody scandals, and his marriage to her adopted daughter, but I never thought too deeply about it.  I enjoyed his movies, and spoke about them at great length.  I admired the art, not the artist.  Perhaps I'd simply turned a blind eye, and like the general public, had forgotten the past.  

But this is different.  As a husband and father, I could not continue to write about Woody Allen with a clear conscience.  I won't go into all the details here.  I recommend reading this story, along with others, and making up your own mind.

Mia Farrow: November, 2013 Vanity Fair

1992 Vanity Fair Story    

"Breaking Bad" Writers' Assistant Gordon Smith Interview

The keeper of the secrets on "Breaking Bad" is now free to speak.  Gordon Smith started as a production assistant three years ago and was soon promoted to the executive assistant of show creator Vince Gilligan and writers’ assistant.  If you've watched the DVD extras, you've seen him in the writers' room; he's the bearded dude with the laptop.

After the series finale, we discussed the show's creative process, its themes and Walter White's legacy.  We met over a cup of tea without Stevia.  

Michael Carvaines:  Prior to joining the show did you watch it, and what was your initial impression? 

Gordon Smith:  I don't have cable, but I watched the first season on DVD.  I loved it.  I was hooked after the third episode when Walt kills Krazy-8.  That may be my favorite episode.  That just seems to me the point where Walt makes his first cold-blooded decision.  Walt constantly has to make the decision to stay in or get out, and everything is pointing to him to get out.  But he still stays in.  From that point on I was hooked.

MC:  So you joined the team and started researching crystal meth?

GS:  Pretty much.  I’ve done a lot of random research on how to make meth.  During Season 3 when we had to build the super meth lab, I researched designs and schematics for what they look like.  I pulled a bunch of photographs from online and gave them to the writers.  Thankfully, we had support from the DEA and our production design team.  We rely on our consultants for their expertise, like Dr. Donna Nelson who helped with a lot of technical chemistry.  We reached out to poison experts, law enforcement, lots of people.  I once had to research if it's legal to burn money.  We also had a pitch that came up about the IRS, and my mom happens to be a tax attorney with experience with the IRS, so she helped out.  She was happy to help.

MC:  What were some of the show's inspirations and references?

GS:  The writers were very inspired by "The Godfather," "The French Connection," "White Heat," and of course westerns.  "The Searchers," "Once Upon A Time in the West," all of Sergio Leone.  We saw the show as a modern western, and the location in Albuquerque was crucial.  In terms of structure, we were influenced by "Casino" and "Goodfellas" and the "Godfather" movies—those great crime dramas were fantastic inspiration.  Visually, early on, the kind of loose handheld look of "The French Connection” was a touchstone.  As the show went on, that look evolved.  As Walt changes, you can see that the filmmaking style changes: the shaky, hand-held style of the early seasons gives way to a more classic style:  more dollies, locked-off shots, more steadicam, more push-ins.  Directors would pitch shots to Vince, such as a dolly-in, and usually these shots suggested themselves from the script.  And they were appropriate to the part of the journey the story was in.  If the shot fit the mood, we did it.  In the end, Vince is a very visual filmmaker, and had specific ideas, so he knew whether each director's suggestion would fit or not.  For example, Scott Winant pitched the shot of Walt at the end of episode 4.11 where he’s under the house and the camera rises up off his laughing face.  Vince liked the idea, and the crew went over and above to make it happen—the grips had to juryrig a setup that approximated a technocrane, which we couldn’t afford.

MC:  "Breaking Bad" had a very timeless feel.  The show could have taken place anytime in the past 20 years, or even a pre-apocalyptic future.  How do you write that?

GS:  We were careful to keep the story focused on Walt and his chronology.  We focused on the pure drama and the structure, which makes it more of a classic tragedy.  We kept politics out of things, which I think helped keep it timeless.  Current events can make things very dated, which I think helped keep it a more universal story.   Much of it came from the production side: our production design team would keep calendars and documents with dates on them to a minimum.  We used music that came from all eras.  Sometimes, things snuck in: a couple new cars, things like that.  And sometimes our post team caught things that had to be painted out.  It was a very conscious, very purposeful decision.  It always seems to be springtime in Albuquerque: not too hot, not too cold.  But we shot a lot during winter and had to keep the snow, ice, actors’ breath, all that cold-weather stuff out.

 

SPOILER ALERT:  We discuss the series finale below.

MC:  The show touches on several great American themes:  greed, second chances, secret lives, legacies.  For me, this was most represented by Walt's barrel of money.  Which theme resonated most for you?

GS:  To me the theme was "Do you want what you think you want?"  Walt thinks he wants money.  In the beginning he sets a goal.  By the end of the series he's blown past that.  Some people take the show to have some kind of political message, but I feel like there’s more of a moral lesson.  If you're setting out money to be the end-all be-all, that may not be the way to success or happiness.  The journey Walt has ends with that mixing drum in the meth lab, his greatest bond is with that horrible thing - a chemical vat, this thing that’s how he sent poison into the world.  That's the one thing with which he had the truest bond.  And that’s the horror, here. I think the show has a moral center and a judgement about that which comes from Vince’s deep sense of morality.

MC:  How long did you know about the ending?

GS:  Not long.  It wasn't planned from the beginning.  There were some vague notions.  We started the discussion by asking 'Is Walt going to die?'  But we didn't take that for granted.  We had to talk through it.  We asked:  is there a world where he ends up in witness protection?  Is there a world where he ends up in prison?  We ran through those options.  We kept coming back to the idea that Walt probably had to die.  But again, that was not something that was set.

MC:  When were you having these conversations?

GS:  At the beginning of the last season.  And all along as it approached.  We kept checking in.  Is this where we want to go?  We had that discussion every three episodes, at least.  We built this show brick by brick.  Every step along the line, we asked if we're on solid ground.  Can we keep going?  Do we need to change something?  Once we knew we were ending, once we knew this was it, we starting asking about the specifics.  We had to figure out: when is Hank going to die?  What's that confrontation going to be?  What happens to Walt's family?  Is Walt going to leave?  Is Jesse going to prison?  One pitch idea that kept coming back involved Walt breaking into prison to get Skyler, or Walt breaking into prison to get Jesse out.  Maybe there was a universe in which those would've worked, but it didn't feel like they would be satisfying, or right for the character or journey that we wanted to see. 

MC:  Now that it's all over, what do we as writers and filmmakers take away from "Breaking Bad?"

GS:  I don't know, what do you take away?

MC:  I've always been a big proponent of classic structure and classic themes.  This reinforces it and proves the importance of sticking to something when you do it right. 

GS:  What I take away is different from what the public would take away, probably.  These people have been my family, you know?  As far as people working in film and TV, there are a lot of lessons for the business, in terms of audience building and sticking to your vision.  The show hit at the right time, sure, but for a while all we had was critic support and the belief in us from AMC and Sony.  They supported the show even when the audience wasn’t there.  In another era it might have died.  But the studio and the network stuck it out, and then Netflix streaming came along and allowed people to catch up quickly and easily and it all worked at the right time.  I mean, it didn’t just have to do with changing business models.  Other shows that came out at exactly the same time didn't have the same success: I think you have to have strong material, and really believe in it.  Ultimately, the show worked because we trusted what we were doing.  We trusted in the material.