The elevator pitch for Brittany Snow and Sam Richardson's new film, Hooking Up which is available on VOD, reads like an '80s sex comedy. “A romance columnist meets a sad sack near virgin and they bone across the country on an epic road trip!” But while that's a true representation of the film's basic plot, it doesn't touch on the level of damage both Snow and Richardson's characters are working through, bringing depth to the story in a way that allows Hooking Up to feel like a unique and, it should be said, good entry in the rom-com genre. And as Richardson told Uproxx during a recent interview, that was part of the appeal to taking on a role that might, not break his on-screen nice guy streak, but add dimension to it.
Connecting more than a week ago when things were still on the precipice of whatever the hell this week has been, Richardson reflected on his character, Bailey's, rough ride through life, offering an increasingly useful view of how people cope by searching for levity in dark times. But the interview isn't all so serious. We also discussed why it's creepy when people laugh during sex, Detroiters his and Tim Robinson's sadly departed Comedy Central show, his possibly cursed directorial aspirations, and how Veep changed his view of politics okay, that last part is a little depressing.
You inadvertently altered the course of my life last time we spoke. I asked you about the great Coney dog debate. I was on a trip from Cleveland to Chicago two weeks later and basically made my wife turn off so I could visit Detroit to see for myself.
I tried both. Side by side in front of Lafayette and American. Loved them both. But yeah, the Lafayette definitely has the edge. Then I zipped past the massive abandoned train station from Justice League, Motown, and where Tigers Stadium used to be before heading down the road to eat my bodyweight in deep dish pizza.
[Laughs] I'm so glad. It's my job as an ambassador for Detroit to make sure you do all the right things when you go there.
Honestly, I hated that I had to zip through. Honestly, I would have liked some more time there.
You should go back.
I will! So, this is a really interesting film. It's got some depth to it. Tell me a little bit about why it appealed to you?
Well, I was excited to play against type in this because usually, I play like bland, kind, sweet people. I think Bailey is still very sweet. But he's also very cynical and I was curious and I wanted to kind of do that and play a bit of a cynical character who's going through a hard time but is still trying. Just trying to make it in life and that was one of the things I wanted to bring to the character. This is a character who's going through testicular cancer for the second time. I think it's easy to get into the game of,...
Michael Giacchino is set to join the likes of Danny Elfman, Hans Zimmer, Elliot Goldenthal, and more as one of the people who have created music for the Caped Crusader. Giacchino is set to create the soundtrack for Matt Reeves‘s The Batman, and according to the composer, he has free reign to do whatever the heck he wants. We’ve actually already heard some of Giacchino’s score in the camera test Reeves released, and there’s still plenty more to come.The Batman Score
In that camera test video above you can catch a hint of what’s in store for Michael Giacchino’s The Batman score. Speaking with Collider, Giacchino talked a bit about his approach to creating brand-new Bat-music, including the snippet heard above. “Matt and I talked about this for a long time, obviously and last year, after reading the script I remember sitting down and going ‘Oh, I have an idea, I have an idea,’ and I wrote that piece that is in the teaser trailer,” said the composer. “And Matt has had that. It was just a demo version of it, it wasn’t even done with the orchestra or anything, so then he had been using that in every single one of his presentations at Warner Bros. He would put it behind and be like, ‘Alright, here are the costumes,’ and you hear the thing, ‘Here’s the music,’ and you hear the thing. So when it came time to release the [teaser], he was just like, ‘Well, we have to put it with the music.'”
Giacchino also talked about the freedom he has in creating the score:
“I felt total freedom to do whatever I want. Matt always agreed, this is our Batman, this is our vision. In the same way that I always loved, what I still do about Batman comics and graphic novels is that each of these artist, each of these authors they take their own crack at what they want this to be. It’s their version of Batman…I love it when I see a graphic novel of Batman in the 1800s. To me that is cool. I love that. I’m not the kind of person that says Batman must always be this. It’s like no, why? It can be whatever the artist wants to be and it has over the years done that, many times over. I love the idea of taking something and just kind of doing our version of it.”
While that’s not much to go on, it’s clear that Giacchino and Reeves are striving for something different, and not the same old same old. To be fair, all of the respective Batman scores have been like this. Danny Elfman’s moody, gothic music is vastly different than Elliot Goldenthal’s bombastic, heroic score, and Hans Zimmer’s pulsing, droning themes.
As for what to expect next, Giacchino says that there’s still more music to be heard as the film gets back to production and marketing picks up. “We recorded a bunch of...