Not a lot slips through the net of Hollywood. But if you're lucky you can sneak in about Seven Pounds or so.

Having the flu has its benefits. It allows you to rent movies guilt free. Nobody is going to be suggesting you should be doing anything else, because you're ill. And when you're ill - you're allowed to watch movies.

My being ill has given me the excuse to basically do nothing for a few days -- but I did summon the energy to go down to the rental store and pick up some films. One of those films was 'Seven Pounds' - a film that I had written off; or had perhaps been forced off by the unrelenting bashing in the media, online, everywhere. But let me say this now; 'Seven Pounds' is one of the more wonderous films I have seen in quite some time.

How did this film slip through the net of Hollywood? It has subtlety, it has restraint, it's heartbreaking - and it's very moving. HOW? How did they manage to get someone in Hollywood to say 'Yes'??? Well for one, 'The Pursuit Of Happiness.' The team of Gabriele Mucino and Will Smith was clearly a golden ticket; having returned in gross quadruple the amount of Sony/Columbia's $55million budget. So if Will and Gabriele had told Columbia that for their next project they wanted to make a web series about an impotent donkey who runs the 100m at the Olympics, they probably would have got a go picture.

Luckily, rather than 'Donkey Gold' (which I claim ownershp of here and now) they came forth with 'Seven Pounds' - a film filled with something that is extremely rare in Hollywood. Namely, a beating heart.

This film had me confused, it had me guessing, it had me thinking, and it had me sinking in. And even though I figured out what was to come, it still had me gripped by the beautiful performances and the crushing complexities of the relationships. It was at some points inspirational, at some points upsetting. It was everything I want a film to be. I felt myself wishing I had written it. I'm a bit worried by the fact I continuously wish I had written the box office flops, butt that's a discussion for another time.
Rotten Tomatoes gives the film 28%, with typical opinions saying things like, "Soppy romance and excruciating piety cling to the film like bindweed, summoning the ghost of sobfest Pay It Forward, with the divine parallels of self-sacrifice taken to extremes of righteous absurdity." and "The worst movie ever to star Will Smith, this is a morbid drama which is meant to reduce its audience to tears of empathy, but reduced me to groans and helpless laughter."

I'll be honest, I didn't even know this word, mawkish, until just now. 'Characterized by sickly sentimentality' is what dictionary.com tells me. It seems like a lot of reviewers have jumped on the 'mawkish' bandwagon. But for me; it seems more likely that the people who found it overly sentimental or, worse, funny - are people who are not as in touch with their emotions as they might think. Some people just can't let a film bleed into them. For those people, we make 'Hancock'.

What's strange to me is that I feel this might just be a subtle masterpiece. But it's not the type of thing audiences want, or what they've become accustomed too. They say 'sentimental' like it's a bad thing. So what now? Should we settle for Will Smith saying 'Mothafucker!' and get Rosario Dawson getting her tits out for a glorious sex scene whilst Smith shoots a few bad guys; meanwhile Muccino can replace his beating heart with plain beatings; as Will Smith hits a few people and shoots a few others. The sad thing is, if Smith and Mucino work together again; they'll probably have too. Because after the long haul in cinemas, 'Seven Pounds' just about scraped in enough money to cover its budget. Which means that now when the team go to Columbia for money, they'll say "Maybe, we'll see. Does Dawson do nudity? Maybe We can get Anna Faris for the role. Maybe Will Ferrell is free too. We can put in some roller-blades."
Go rent 'Seven Pounds'. Rosario Dawson gives a stunningly beautiful performance; and Will Smith is as good as he's ever been.

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Pass me a bottle, Mr Jones.

I was just deleting some notes from my iPhone. There's lots of film ideas that make no sense to me now, they say things like "man. fruit stall. Bosnia. woman in jeans. ending fire, confusion" - I have no idea what they mean. But I found this one note; and I wrote it when I first found the note function on my iPhone. And I kinda like it, so I thought I'd share it.

It's a bit naive, and cheesy. But then, I'm just a kid sitting in the front row, so I'm allowed to be naive and cheesy. Here, unedited - is the note from my iPhone.

"I want to write a screenplay about coming of age. I want to write about the difficult choices you make and how your choices define who you are. I want to write about how heartbreaking it is when people never find out how you feel. I want to write about the bittersweet pain of life. I want to write about how magic life can be.

I want to write about people who dream. I want to write about people who hang out all night. I want to write about people who are special. People who are magic. I want to write about beautiful girls. I want to write about friendship. About loyalty. About wisdom. About never giving up.

I want to write about how tough life can be and how it's almost not worth bothering. But more than all I want to write about why, without doubt, it is actually very, very worth living."

And that's all I have to say about that.

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Why British Television Is A Bad Model For Upcoming Actors in the U.K.

It's not often you hear the word 'subtle' next to 'American' - but when it comes to acting the Americans know how to do it. Whether it's a little indie film or a big Hollywood blockbuster; by and large, the actors know how to stay within the context and the reality of the film they're in. Films are the American art form, they're experts at it.


In England of course; the history is one of theatre. And it's something that bleeds onto the television screens in everything we do. Rather than be a role the British tend to act the role. This concerns me because in my experience most of the young actors I meet don't watch a lot of films, but they are quite up on their television.

And as I discuss 'good acting' with actors - we both have an idea of what good acting is; but they're based on different models. My idea of a good screen actor is someone who becomes the role. Someone who doesn't act with a capital A. They just submerge into the part. On British television however, you see the actors acting the role. When the script calls for them to be sad, they pull a sad face. Whereas when you watch a great Hollywood actor; they just access the sad within themselves, they internalize it. They instinctively know that if they can find the emotion within themselves it'll be released into the ether - the camera will pick up all the subtleties. It reminds me of when I was watching the 'Making Of' documentary on the 'The Green Mile' DVD. Frank Darabont was talking about how he had to keep the camera on Tom Hanks because so much was happening; even though nothing was happening, he was just looking at and reacting to Michael Clark Duncan's character. But that is what good acting is - listening and reacting in the moment.

When I look at British television; be it the soaps or the one hour dramas - the acting is all very laboured, very false. The actors are not attempting to find the reality; they are merely acting the emotions on a outward level. Their facial reactions and tone of voices change just like when you were made to do drama exercises in school. But when you watch this on screen; it is not in any way believable.

Now, this is generally fine. I don't really care about television in the UK. It's not important to me how people act on these shows. However, the problem for me is when it influences the films in this country and in the actors we produce in the UK. And it bothers me because they are influenced by the people they watch the most - on the television. When upcoming actors look at who is successful and doing a lot of work; their frame of reference is the people they see on TV. Therefore it is understandable that they see these in-work successes as models of how to be an actor.

So now we get to the split between what I want and what a British actor wants to do. When I am casting I see Morgan Freeman in my head. But the actor sees the guy who plays Phil Mitchell in 'Eastenders.' The PROBLEM with this - is simply that we are both aiming at different points. I can be the best director in the world; but the level of truth and performance I lead them too can't be like Morgan Freeman, because that is not their reference for good acting. They don't see him as the role model; they see television actors. Therefore when the actor is at their VERY BEST; they could potentially be as good as the guy from 'Eastenders'; but that is no good for me as it is not what I view as good acting.

This is a difficult thing to fix. Our country is steeped in the history of theatre. Of ACTING. Performers have a tendency to get anxious about their screen performances if they are asked to do less. When you give do less as a direction it tends to make the actor quieter or their actions change slightly; but they are still doing a role rather than being the role. And it's a fundamental difference.

What I love about American actors is that when I audition them I can never hear what they're saying. Why? Because they're not 'acting' in auditions, they're just mumbling away like their character realistically would. And that's when you know you have a great actor, when they are comfortable enough to be unnoticable. When they can just be real. It's priceless.

Of course there are exceptions to these rules - I know many fabulous British actors. However, as a generalisation - I think it would be great for actors who are training or recently finished training to really define WHAT good acting is to them. Find a frame of reference. Therefore - you know what you're aiming for. And I don't mean to act like another actor; I just mean that you need to know what good acting looks like to you. Not so you can imitate it, because that would be disastrous.

As for my frame of reference - I leave you with a clip of Morgan Freeman in 'Shawshank Redemption.' In a scene packed full of pain and emotion, Morgan plays the moment perfectly. There isn't even a blink of an eye out of place; he literally IS Red (his character) -- and every beat, every frame, every mannerism is completely in the moment. I think this is possibility the finest and most subtle acting I've ever scene.

This is perfect acting. Perfect being.

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bit of an apology.

Hello All,

So basically, not many people liked my last blog. And I can kind of see why. Discussing the notion that men are more interesting as leading actors than women is tricky enough, but I did it with a bit of an argumentative and perhaps even condescending tone at some points. Which is not really me and not how I meant to come across.

However, I'm not one to delete or change the things I write - best to keep things out there and honest. So now, I'm just apologising if the blog pissed you off. It was more like a blog by a middle aged bitter idiot in the middle row than the ramblings of an excited kid in the first.

Peace,
Kid

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For The Record..

Moving on from my non film related and overly wordy entry yesterday - I thought I'd get back on topic and state a few things, just for the record.

My all time top five films are:

1. Cinema Paradiso
2. The Apartment
3. A Guide To Recognizing Your Saints
4. Jaws
5. Beautiful Girls

My most watched films of all time are:

1. You've Got Mail
2. Seven
3. Jaws
4. Shawshank Redemption (which is, I think, the greatest film of all time. So why is it not in my top 5?)
5. Manhattan Murder Mystery

For me, the greatest Writer/Director's are:

1. Billy Wilder
2. Charlie Chaplin
3. Woody Allen
4. Cameron Crowe
5. Guiseppe Tornatore

My Top 5 actors are:

1. Tom Hanks
2. Jack Lemmon
3. Jimmy Stewart
4. Robert Downey Jr
5. Jack Nicholson

My top five places to set a movie are:

1-5: New York


I'd love you to answer these too on your blogs and post them back to me :)

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