Director Roman Polanski is sometimes better known for his personal dramas (fleeing the country in the 70s after facing statutory rape charges), but his acute skills resulted in many challenges for Winslet.
In an interview with Wall Street Journal, Winslet recalls, “I think at various different points we all had said to Roman, ‘Look, would you like us to learn [the script]?’ Because it is based on a play and when it’s Roman Polanski, one wants to be as prepared as possible. And he categorically said, ‘Oh no, no no’—very blasé—‘no need to learn it….’ And by Friday afternoon of week one, Roman said, ‘Ok, I think it would be really handy not to have our scripts in our hands on Monday, don’t you?’ And there was deathly silence, and I could see everyone sort of looking at each other like, ‘Well, what did you have planned for the weekend?’” Read more
And it looks awful.
It looks like I photoshopped it with a gun to my head. This may be the worst poster for a film I’ve seen in ages. Wow. It actually looks almost as bad as the trailer and clips I’ve seen.
I still have no idea why they didn’t go with the cast of the Broadway production.
Carnage: After two boys duke it out on a playground, the parents of the “victim” invite the parents of the “bully” over to work out their issues. A polite discussion of child rearing soon escalates into verbal warfare, with all four parents revealing their true colors. None of them will escape the carnage.
This film is based on the play God of Carnage that ran on Broadway (and LA) in 2009 and starred Jeff Daniels, Hope Davis, James Gandolfini and Marcia Gay Harden. I love John C. Reilly, Jodie Foster and the rest of the cast but I just wish that they used the original Broadway cast. Everyone was nominated for a Tony and Harden brought home a trophy.
In Theaters: December 16, 2011
GOC Broadway LP is casting God of Carnage by Yasmina Reza with translation by Christopher Hampton. Robert Fox, David Pugh, Dafydd Rogers, Stuart Thompson, Scott Rudin & Jon B. Platt, prods.; Matthew Warchus, dir. Contract starts Mar. 21. Rehearsals start Mar. 29. Performances run Apr. 5-May 29 at the Ahmanson in L.A.
Equity principal auditions will be held Mar. 14, 10 a.m.-2 p.m. (sign-in 9 a.m.) at the Music Center Annex, 601 West Temple St., L.A. (street parking or Cathedral parking lot, $10/day discounted rate). EPA rules are in effect. A monitor will be provided. Sides will be provided at the audition. Bring pix & résumés. Equity Production League Contract ($1653).
Seeking—Michael U/S: 40s, outwardly warm and initially conciliatory, but becomes quite volatile married to Veronica, role played by James Gandolfini; Alan U/S: 40s, lawyer in the midst of an important case, initially seems emotionally removed and focused solely on his work, married to Annette, role to be played by Jeff Daniels. Note: One understudy for both roles. Open to all types, all ethnicities and actors with disabilities.
I’m still pissed that I didn’t get to see this when I went to NYC a couple weeks ago.
God of Carnage is the Tony nominated show starring James Gandolfini, Hope Davis, Jeff Daniels and Marcia Gay Harden.
In the past few years it seems like a Hollywood star opens a play on Broadway on almost a monthly basis. While this is a huge boost for Broadway and New York City – think of how many people traveled to Manhattan just to see Tom Hanks on stage in the last few weeks – the trend of “star casting” is controversial among Broadway regulars, many of whom see it as outsider stars jacking up ticket prices and “taking away” roles from legitimate Broadway actors for huge paychecks.
In fact, because of stars’ salaries – actors like Tom Hanks and Al Pacino are paid upwards of $100,000 per week on Broadway – a detractor might question if spending all that money on a star is even worth it for producers when profit margins in the Broadway business are often razor thin.
Though star casting has a long history in New York (for example, Jackie Gleason did lengthy Broadway runs while he was a television superstar), I looked at the box office data from The Broadway League of select productions from the last five seasons (May 2008-May 2013) to see how effective star casting has been in recent years. I looked at three primary figures: the total number of performances (including previews), the percentage of seats filled (capacity), and the average purchased ticket price. The last figure is important because a star could be playing to 80% full houses and the production could still fail because the 20% unsold are the $200+ premium seats that need to sell to cover the star’s big salary. Read more
Though John C. Reilly is probably best known for his comedy movies alongside Will Ferrell, he has received much of his acclaim (and an Oscar nomination) for his hard-hitting dramas like We Need to Talk about Kevin and Carnage. He takes a break from his recent dramatic films to return to comedy with Disney’s latest animated movie Wreck-It Ralph, for which he voices the title character.
He spoke to NPR about his different approach to comedy and drama and while he wanted to record his voice parts alongside his co-stars.
Reilly explains that his approach to each genre depends on being as honest with the material as he can. He says, “If you take a piece of material like We Need to Talk About Kevin and you play it really honestly, then it’s heartbreaking and disturbing. … I just try to be as truthful as I can, and if the circumstances are ridiculous, then you’re in a comedy, and if they’re more serious, then you’re in a drama.” Read more
Marcia Gay Harden on Her New Film, ‘Someday This Pain Will Be Useful To You’ and Wanting to Return to Theater
Oscar-winner Marcia Gay Harden still seeks out acting experiences she can learn from, taking on a role in Someday This Pain Will Be Useful To You in order to work with director Roberto Faenza.
“I signed on to do it for—one it was perfect timing blah, blah, blah—but I wanted to work with an Italian director,” she said in an interview with The Wall Street Journal. “I thought, this is different, this is something unique, there’s going to be a different sensibility to the film.”
The actress, known for her roles in Pollock and Mystic River, was able to try out different acting techniques in order to play a needy mother. “It changes the way you have to communicate, you have to show them,” Harden said. “You can explain it until the cows come home, then you have to show them.” Read more
Matilda the Musical will be holding an open call for the role of ‘Matilda’ in New York City on Sunday, September 30th at Pearl Studios (519 Eighth Avenue, 12th Floor, between 35th and 36th streets).
Check-in begins at 10:00 AM in Studio C on a first come / first serve basis. Auditions will begin at 11:00 AM.
Producers are seeking 8-10 year old girls who are 4’4 or under. Matilda should be a strong singer and confident speaker with a good understanding of text and intelligent approach to acting. She should look like the runt of the litter. However, she is extremely bright, fearless and focused, and able to speak assertively. Read more
Ralph Fiennes recently completed his portrayal of the evil Lord Voldemort in Harry Potter and the Deathly Hallows – Part 2, the finale of the blockbuster film franchise. Fiennes had also played Voldemort in Harry Potter and the Goblet of Fire, Harry Potter and the Order of the Phoenix and Harry Potter and the Deathly Hallows – Part 1.
Upcoming, Fiennes stars in Mike Newell‘s screen adaptation of Charles Dickens‘ Great Expectations, with Helena Bonham Carter and Jeremy Irvine, and in the highly anticipated Skyfall, the next film in the Bond series, from director Sam Mendes. He recently made his feature film directorial debut with a contemporary version of Shakespeare’s political thriller Coriolanus, in which he also starred with Gerard Butler and Vanessa Redgrave. In 2010, Fiennes first played Hades in the hit Clash of the Titans, with Liam Neeson and Sam Worthington.
Fiennes has been honored with two Academy Award® nominations, the first in 1994 for his performance in Steven Spielberg‘s Oscar®-winning Best Picture, Schindler’s List. Fiennes’ chilling portrayal of Nazi Commandant Amon Goeth also brought him a Golden Globe nomination and a BAFTA Award, as well as Best Supporting Actor honors from numerous critics groups, including the National Society of Film Critics, and the New York, Chicago, Boston and London Film Critics associations. Four years later, Fiennes earned his second Oscar® nomination, for Best Actor, in another Best Picture winner, Anthony Minghella‘s The English Patient. He also garnered Golden Globe and BAFTA Award nominations, as well as two Screen Actors Guild (SAG) Award® nominations, one for Best Actor and another shared with the film’s ensemble cast. Read more