He says he signed on for Pineapple because it was a chance to work with Judd Apatow and company, whom he knew from his days on the TV series Freaks and Geeks. “We did a lot of goofing around in a kind of constructed way,” he says of the film. “It’s a lot of improvisation, just letting the camera roll and doing the scene over and over again and seeing what happens. And I loved that!”
When asked to contrast the experiences on the two sets, he stops and thinks. “Milk had its own kind of looseness,” he says. “Gus Van Sant has his own approach, and there was the freedom to try different kinds of things. And Sean really encouraged that too. So it was somewhat improvisational, but what it did was to make the performances more natural. And it may be funny to say, but it was the same with Pineapple. I think that’s one of the things that Judd Apatow brings to comedies: there are wacky situations but it feels more emotionally grounded.”
Clearly this on-screen naturalism is important to him. He’s been studying film at New York University, and chooses five favourites that are all firmly rooted in authenticity…
It’s just amazing. I’ve been watching all of the Maysles Brothers‘ films and I’m really into their approach, which they called “direct cinema”, and the whole school that came out of DA Pennebaker, Robert Drew and so on. I love the whole idea that life can be as dramatic as fiction. It’s very different than reality television, because that’s very manipulated.
The Maysles’ approach is minimal interaction and being as observational as possible. Gimme Shelter has such drama, and it’s so well-done. As are all of their films.
I also love Salesman, which also proves that their philosophy can really work, because it just has these real Bible salesmen. But to me it has as much drama and tension as Arthur Miller or Eugene O’Neill – it’s like the Death of a Salesman and The Iceman Cometh all rolled together – but it’s real! I just can’t get enough of it.
Even before I started acting, this was a very important film to me. Obviously I was really drawn to the performances and characters, but the whole film just kept bringing it back.
Idaho actually started as three different projects – three scripts – through Orson Welles‘ Chimes at Midnight, which was a distillation of Shakespeare, and this other story about street kids in Portland, and then something else about a kid finding his parents in Italy. And then this whole narcoleptic thing that was influenced by George Eliot. He’s got all that just in the script, and then there’s the way it’s shot – he had two DPs, plus time-lapse for the cloud sequences and 8mm for the dream sequences.
I love all of Gus’ movies. I think Drugstore Cowboy is a hilarious movie. I love how he can take a situation like that and make it funny. I think Matt Dillon gives one of the best comedic performances in that movie. Gus is taking a very personal approach in the film – from the look of Bob Yeoman‘s cinematography to the way Gus captures Portland on screen.
All of my favourite films are approaching realism in a different way. This is Italian neorealism – obviously there’s a script and a story and everything, but it’s shot in the street and it has the feel of Italy, of being in the streets and, like Idaho, a deceivingly, simply constructed narrative. But there’s so much emotion that’s evoked from these very simple stories.
Again, a very simple approach, but there’s so much power in that film. You’re not quite sure what’s happening from the beginning, but you’re just kind of thrown into it. All you know is that these women have this mysterious meeting, and it takes you from there. The film gives you a great sense of what it was really like to live in Romania in the 1980s.
I loved this film! I really like the films of the Dardenne Brothers, like The Child and The Son, and I’m sure The Wrestler was influenced by the Dardennes, especially in the beginning when the camera is following the back of Mickey Rourke‘s head through the hallways.
I know Darren Aronofsky a little bit, and I remember meeting with him just when The Fountain was coming out, and he told me to look at the Dardenne Brothers because they were doing some really good stuff, so I know he’s a fan.
Milk opens in UK on Friday and in Australia on 29th January. It’s out now in the US.
In this week’s Ketchup, the villainous Two-Face will most likely be saved for a future "Batman" sequel, George Lucas gave some insight into the upcoming "Indiana Jones 4" project, and the lackluster opening of "Grindhouse" has the studio scrambling to repackage it.
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