Baby Yoda fanatic Werner Herzog had an eventful 2006. He directed Rescue Dawn, his highest-grossing movie in America; was shot at during an interview with BBC; and saved Joaquin Phoenix from a car accident. The legendary filmmaker and two-time Simpsons guest star recounted the last two incidents in an interview with the New York Times.
When asked by interviewer-extraordinaire David Marchese whether he ever found out who fired at him with an air rifle, Herzog replied, “I was shot at various times. You mean here in Los Angeles?” Yes, in Los Angeles. “No, I wasn’t interested.” Fair enough. As for Phoenix, Herzog said that he recognized him it’s fun to imagine Herzog catching a matinee screening of Clay Pigeons, “although he was upside down in this car, squished between airbags that had deployed and wildly trying to light a cigarette.”
Only Herzog could make a car accident sound poetic:
“I knew he must not light his cigarette, because there was gasoline dripping and he would have perished in a fireball. So I tried to be clearly commandeering to him and tell him not to. But I was worried that if you gave him a command, he would strike his lighter even harder. So I managed to snatch the cigarette lighter from his hand. Then it became completely clear that it was Joaquin. But I didn’t want to speak to him after. I saw he wanted to come over and thank me. I just drove off.
Recalling the incident the week after it happened, Phoenix said that he heard a German voice tell him “just relax” and that “there’s something so calming and beautiful about Werner Herzog’s voice. I felt completely fine and safe.” I’m not sure what’s more on-brand: Phoenix smoking a cigarette after crashing his car, or Herzog refusing to stick around after potentially saving a man’s life. He would’ve stayed, had it been Baby Yoda.
Via New York Times
Deborah Feldman's 2012 memoir “Unorthodox: The Scandalous Rejection of My Hasidic Roots” charts a familiar path of resistance. Raised in the Hasidic Satmar sect of Williamsburg, Feldman escaped an arranged marriage at the age of 19, while pregnant with her first child, and resettled in Germany. While the particular circumstances surrounding Feldman's flight hold unique power, Feldman's story belongs to an emerging tradition of tales surrounding the oppressive nature of ultra-Orthodox Jewish communities, and the people who struggle with the impulse to move on. However, the four-part miniseries adapted from Feldman's book, also called “Unorthodox,” gives this dilemma a fresh spin.
On one level, “Unorthodox” works within the same expanded universe of religious rebellion explored in recent cinema, from the lesbian drama “Disobedience” to the bittersweet Williamsburg-set father-son drama “Menashe” — which, like “Unorthodox,” largely unfolds in Yiddish. However, director Maria Schrader and creator Anna Winger “Deutchland 83” has transformed this familiar template into a riveting thriller, rich with the struggles of a young woman seeking her individuality, and the unnerving efforts of men convinced they can stop her.
Anchored by a remarkable turn from Israeli actress Shira Haas, “Unorthodox” oscillates between dour coming-of-age drama and taut survival story. As fictionalized Feldman stand-in Esty, Haas encapsulates an intimate saga defined by the limbo of feeling trapped between two worlds: As the story begins, she slips away from her community in the midst of Sabbath ceremonies, unbeknownst her new husband Yanky Amit Rahav, a feeble young Hasid unaware that his wife is bears their child. As Esty arrives in Berlin, she begins to explore the uncertain prospects of a new secular life, pursuing an audition at the Berlin Music Conservatory while contemplating whether to apprise her mother — another escapee — of her arrival.
Over the course of four well-paced hourlong installments, “Unorthodox” flits between Esty's unsteady experiences in this brave new world and the attempts by Yanky and his boorish cousin Moishe Jeff Willbusch to track her down, with ample flashbacks to the unhappy marriage that catalyzed her decision. There are few grand revelations about the nature of that process, but the story develops a simmering tension around the stakes at hand: Aside from the kindly advances of a piano teacher she meets while helping her alcoholic father collect rent, Esty has virtually no experiences with the world beyond her community, and Haas inhabits that process like a snail slowly emerging from its delicate shell.
At the same time, the series...
With most major releases indefinitely delayed, film festivals postponed, and studios dropping their theatrical releases on digital left and right due to the coronavirus COVID-19 crisis, awards season is going to look very different by the time it rolls around in the fall. And no, it won’t be Bloodshot and Sonic the Hedgehog gunning for best picture, as many online have joked.
The Hollywood Foreign Press Association is making significant changes to its long-standing rules for the Golden Globes awards eligibility that expands the formats where an eligible film can be first released, including subscription streaming services, subscription cable channels, and broadcast TV. With these changes to the Golden Globes eligibility rules, other awards bodies like the Academy Awards, will likely soon follow.
Deadline reports that the HFPA announced that it would be altering its rules for Golden Globe motion picture eligibility and screenings for this year, which would — for the first time in history — open up the films eligible for the top best picture prizes drama and musical/comedy to those that were first released on streaming services, cable, and broadcast TV. However, producers and studios must still prove they had a “bona fide theatrical release planned to begin in Los Angeles during the period from March 15 to April 30 2020.”
This is a change that would likely have come at some point anyway, with the rise of streaming platforms who have become awards heavy-hitters like Netflix, Amazon Video, and Hulu, but has been expedited by the coronavirus epidemic, which has forced the shuttering of theaters across the country and delayed film releases and productions.
“The HFPA’s reminders list committee will consider application of this suspension of the rules on a case-by-case basis when compiling the annual Golden Globe reminders list in the fall,” the HFPA says. “The HFPA will continue to assess the impact of the COVID-19 epidemic on motion picture and television distribution and exhibition and may extend these suspensions of the Golden Globe award rules and/or may make other temporary variations to those rules as it considers appropriate in the future.”
Exhibition requirements have been temporarily suspended, except for the rule that films must be released seven days prior to midnight on December 31 of the qualifying year. The HFPA has broadened eligible feature film release platforms — previously only pay-per-view services and theaters — to the alternate formats like streaming services, subscription cable channels, and broadcast TV. But this expansion opens up a whole host of questions: what does this mean for the Golden Globe categories dedicated to TV movies that are dominated by HBO? Could a film that premiered at a film festival but picked up by a cable channel now be...