WHAT THE OSCARS CAN LEARN FROM ANDY SERKIS

Ah, Oscar season: the only time of the year when “smaller, dramatic” films are able to claim the spotlight while the next round of summer blockbusters are on deck in post-production.  The Academy of Motion Picture Arts and Sciences aims to highlight the most high of the highbrow, applauding only the year’s best films, and these nominations usually produce feelings of glee and disappointment as our favorite movies are either celebrated or snubbed. 

Award season is about honoring the craft of filmmaking; we are meant to see the absolute passion (the key word here) and love for the art projected on the silver screen.  When it’s clear that the filmmakers genuinely adore and believe in their product, it resonates with us.  We feel it, too.

How do this year’s Oscar nominees hold up?  Do they radiate of pure artistic joy, or are they “Oscar Bait,” corporate engineered investments designed to yield awards?

And how does Andy Serkis’ performance in Rise of the Planet of the Apes fit into all this?

Best Picture

Easily the most prestigious of the group, the Best Picture award is also the one most open to criticism.  Previous years have seen major frontrunners lose in astounding upsets, often because the less popular film highlights acting rather than story (the majority of Academy voters are actors).  What’s the more memorable film, Saving Private Ryan or Shakespeare in Love?  Only one is played constantly on TNT.  Famous snubs include The Shawshank Redemption, Star Wars, Pulp Fiction and, most ironically since it’s considered one of the greatest films ever made, Citizen Kane. 

This year’s nominees are fairly standard, with Oscar bait like The Descendants and Extremely Loud & Incredibly Close laying claim in the nine Best Picture spots.  The films mostly range from “pretty good” to “good,” with nothing being The Godfather-like outstanding for my tastes.  Hugo is an okay script beautifully directed; The Artist is a risky film that actually works; Midnight in Paris is an interesting story with great acting (again, most Academy voters are actors); I didn’t see The Help, but apparently it’s a tearjerker with great acting (like I said: actors).  Then there’s The Tree of Life which is just a work of visual art rather than a real cohesive story, and War Horse, which is definitely my favorite of the previously mentioned films but in no way ranks with Spielberg’s greatest.

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And then there’s Moneyball…but I’ll get back to that later.  First, let’s take a look at the big snubs this year (though nothing on the monumental scale of the 2009 Academy Awards—I’m still reeling over no nomination for The Dark Knight). 

The most obvious is The Girl with the Dragon Tattoo, which is nominated only in technical categories, was fairly well received by critics and has Best Actress nominee Rooney Mara cheerleading for it.  I enjoyed it overall, but as an option for the best movie of the year?  I don’t think so.  Tattoo is an incredibly well made film with a great musical score, but I find that the source material sort of alienates itself from the older generation Academy voters.  They’re very old fashioned, and a dark film about computer hackers and rape probably didn’t sit too well.

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Tinker Tailor Soldier Spy is a genuinely good movie with a fantastic ending that really adds some incredible momentum to the film as it sprints into that last fifty-yard dash for the finish line.  An ending can make or break a movie, and Tinker Tailor’s made me walk out of the theater absolutely loving it.  I’m a little surprised this film didn’t make the cut, especially with all the fantastic acting performances.

J. Edgar was an early Oscar frontrunner that ended up bombing with critics but managed to capture audiences with really compelling performances.  DiCaprio and Armie Hammer were pretty tremendous in their respective roles.  This looked like an early Oscar pick, filling the obligatory “biopic” spot.  I guess I was wrong.

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“But what about Moneyball?”  Okay, here’s the truth: I adored Moneyball.  The performances were spot on, the drama was there, and the comedy worked.  It’s a film that was everything it needed to be.  Moneyball tapped into me as a baseball fan, filmmaker and filmgoer by exhibiting true – and here’s that word again – passion.  I could sense the care the filmmakers and actors had for the text.  Every moment had nuance and purpose.  This is a film where the artists are so deep into the story that they lose themselves and become purely dedicated to producing a final product that can capture and engage the audience, allowing them to feel the passion behind the filmmaking.

And that’s why it’s great.  Moneyball reminds us why we even bother watching movies in the first place.

(For the record, my favorite film of the year was X-Men: First Class, and not one of these films can lay a finger on how awesome it is.)

Best Director

This is a category without any real surprises.  All the expected players are here and, based purely on the Best Picture nominations, I’d say they’re all equally worthy of the award…but that doesn’t mean I don’t have my own ten cents to throw on the table.

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Right off the bat, it’s a bit surprising that David Fincher isn’t nominated for The Girl with the Dragon Tattoo.  Comments on the plot aside, Fincher’s directing is flawless as always.  The man knows where to point the camera.

What’s with the no Spielberg love?  War Horse is a fairly complicated story to film since, you know, the main character is a horse and all, but he pulls it off.  No matter how big or small the scale, one thing is evident throughout Spielberg’s work: passion.  This is the Master at work, giving it his all and taking us to school.  If you buy into the filmmaker buying into the story, it clicks.  Spielberg is a director of integrity—he believes what he films, and that unadulterated love for cinema translates to the audience.   

I think that’s more deserving of recognition than Woody Allen shooting Paris after dark. 

Best Actor

This is a tough category simply because all the nominees do their job very well…which is sort of the problem.  There’s no major standout performance, no Tom Hanks in Philadelphia.  Every actor is quite good in his role that it’s hard to pick a legitimate frontrunner, but if I had to choose a favorite it would be Gary Oldman in Tinker Tailor Soldier Spy.  He offers a perfectly nuanced, subtle and tortured performance, and brings a constant electricity every moment he is on screen.

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I believe a great performance is one that is integral to the film.  Would Moneyball and The Descendants work without Pitt and Clooney?  Probably.  Gary Oldman is the heart of Tinker Tailor, pumping the film with life.  Even when he’s off screen his presence is felt.  The movie would not work as well with a different actor.  It’s a passionate, memorable performance, and it’s that sustainable quality that should be found in a Best Actor.

Best Actress

I only have one thing to say here: Meryl Streep.  Every time she does a movie it’s an automatic nomination, even when it’s something mediocre like Mama Mia!  Is she great in The Iron Lady?  Maybe, I don’t know.  I haven’t seen it, but probably.  I mean, she’s a fantastic actress.  But I dare the Academy to have some guts and not nominate her next year.  Make the lady really work for it, and force her to bang out something special like Kramer vs. Kramer.

Best Animated Feature Film

Where the heck is The Adventures of Tintin?!  Every frame of that film is filled kinetic energy and joy…it has passion.  In my opinion it’s better directed, plotted, and scripted than most of the other nominees…and it loses a spot to Kung Fu Panda 2?!  Not only is this snub is beyond ridiculous…but I think Tintin is worthy of a Best Picture nomination.

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Having said that, the rumor on the street is that Tintin may not have qualified for the Best Animated Feature category because it was a motion capture film (despite it winning the award at the Golden Globes).  I think that’s a load of malarkey—it’s all computer artists creating EVERYTHING on screen!  Granted, Avatar was a similar situation, but at least a portion of that film was all live action.  This is probably another case of the older Academy voters not totally knowing what to do with this new format.

Best Foreign Language Film

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Normally this is one of those categories that I just ignore, but this year brings it to my attention for two reasons.  Firstly, there’s a mini Mid-East Conflict going on as Israel’s Footnote goes head-to-head with Iran’s A Separation.  It’s like watching CNN at the movies!

What I’m a little insulted by is the Academy’s omission of the British film Attack the Block.  Not only one of the year’s most critically acclaimed films, Attack the Block is the rare action comedy that actually has something to say, offering up staunch political commentary and criticisms about lower class lifestyle that are expertly masked (there’s nothing worse than a film being overbearing with its politics).  Funny and touching in every way and produced by young, hungry filmmakers, Attack the Block effortlessly achieves the levels of emotionality that so many Oscar contenders strive for.

Best Original Song

I think it’s safe to say that most people don’t particularly care about this category.  Some critics have even been lobbying for it to be removed from the Oscars altogether.  Normally I’d agree, but this year there’s an exception!  Alan Menken’s fantastic “Star Spangled Man” from Captain America: The First Avenger didn’t make the cut!  What a load of bologna.  Granted, “Man or a Muppet” from The Muppets is pretty spectacular.

Best Supporting Actor

This essay has spoken a lot on passion, and I’ve made sure to save this category for last because this is where it all comes together.  A number of films and acting performances this year have showcased genuine love for the art and craft, but nothing and no one does it like Andy Serkis in Rise of the Planet of the Apes.

Serkis’ portrayal of Caesar, the genius ape who starts the primate revolution against humankind, is brilliant.  It is everything an incredible piece of acting should be: in tone with the text, multilayered and resonant.  Serkis defines the film in much the same way Heath Ledger did as The Joker in 2008’s The Dark Knight.  He totally embodies the character, losing himself in the role.  What is on the screen is not an actor playing a script—it is a fully fleshed out, living, breathing unique character.  Serkis is the life force of Rise of the Planet of the Apes more so than Gary Oldman is in Tinker Tailor Soldier Spy.  Apes co-star James Franco even wrote an open letter to the Academy, asking them to consider Serkis. 

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So what was it?  Why wasn’t Andy Serkis nominated?  The answer can be boiled down to one word: acting.  Some feel that what Serkis did is not “true, honest acting” because it’s a motion-capture performance (meaning that his acting is tracked into a computer and then a digital model is placed in the scene).  I beg to differ: Serkis was on set every day.  He interacted with the other actors, and they all fed off each other’s performances.  The only difference between Serkis’ performance and Charlize Theron in Monster or John Hurt in The Elephant Man is that the prosthetics in Apes were applied digitally; instead of spending hours in makeup, it’s a team of artisans working behind computers who transform Serkis.  What he does on screen is honest and true, speaking more to the art of film than most other performances this year.  Just watch this video:

Serkis as Caesar is pure artistic love.  The character has barely any lines, relying on physicality to convey the emotion and context of the scene, and that is achieved extraordinarily well.  He gives this role his all and it’s mesmerizing, resulting in the single best performance of the year.  Every actor should be as enthusiastic, and his devotion deserves to be emulated.  Despite not being nominated, I hope that someday the entertainment industry takes note of Serkis’ dedication to the craft and realizes that is takes genuine actors, filmmakers and films to remind us why we fell in love with movies in the first place.

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Filmmaking is a passion.  Greatness is achieved out of necessity and drive, not corporate greed.  A movie making $300 million at the box office does not make it great, but rather it’s the vision and energy of those involved translating their love of cinema into something the general audience wants to digest.

We as a viewership more often than not flock to “mindless” films that have little substance.  We sit there with our tub of popcorn and 32 oz. cup of Coke chewing and sipping away, let our brain go on a two-hour vacation.  It’s only when something unique comes along that we wake up.  We become emotionally engaged, laughing and crying along the way. 

Film has an incredible power to resonate with us, to stir up every ounce of hidden passion that may be locked away.  Let’s celebrate this.  Let’s award those movies, filmmakers, actors, musicians, and all else who lead us to imaginary worlds where dreams become reality.

Lights, camera, action.


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By Alex Tafet

SHAKEN, NOT STIRRED: Modeling, Acting and Jumping Out of a Helicopter with Donna Feldman

It’s kind of weird to think that an international supermodel doesn’t particularly like vegetables.  The cliché dictates that the model’s meal menu consists of a handful of almonds, three or four beans, celery and maybe, maybe, a raspberry for a dessert treat.  But to hear a model, especially one as eye-numbingly beautiful as Donna Feldman, utter the words “I don’t like vegetable juice,” well…I guess it’s okay not to finish my broccoli after all.

Somewhere deep in the heart of Woodland Hills, California lays a trendy, organic restaurant named The Juicy Ladies.  It’s the sort of place that sells tofu burgers and bean sprouts, special “full body detox” sets, and fresh juices.  I ordered the Love Juice, a smooth blend of ginger, beets, carrots, apples and lemon, because Donna said it came “highly recommended” from her trainer (she could’ve told me it proved fatal 80% of the time and I’d still get it).  I don’t remember exactly what Donna ordered, but she said it was fabulous, and it was the exact same shade of green as the Incredible Hulk.

“Like Winnie from The Wonder Years”

One often expects celebrities to be these larger-than-life figures, towering over us meek pedestrians.  They’re the Godzilla to our fleeing Japanese.  Donna, with her 5’10 frame, has a personality that is anything but looming.  “Growing up I was really shy,” she laughs, flashing her office paper white teeth.  “I would hide behind my hair like Winnie from The Wonder Years.  I would be really shy in front of everyone else, but the second guests would leave my parents' house, the show would begin!  I’d put on a whole production for everybody and just be this other person.  Other people were surprised by it, because I was just so, so shy.”  Not exactly the type of personality destined to be in front of the camera in a bikini. 

During Donna’s college years at the Fashion Institute of Design & Merchandising, where she studied fashion marketing and business management, the thought of professional modeling crossed her mind.  But first there was breaking into the fashion industry, and she soon found an interesting opportunity to network with designers.  “I thought a good way to network with designers was to become a fit model for clothing lines, which is like being the mannequin for a clothing line.  Before something goes into production it has to fit that fit model.” 

It wasn’t long before Donna’s agent began having her audition for print advertisements.  “At the time I was also working at a men’s clothing store, and I sort of realized that I could make more money in one day of modeling than in, like, a month of working retail.  And everything just grew from there.”  Donna was soon booking ad after ad, which paved the way for her work as an Academy Awards “trophy girl,” and then national commercials.  “Every year there was more and more, and I guess this just became a career!  Everyone who knew me growing up was shocked.”

“I mean, look, I’m still shy,” she smiles.  “But when you’re in front of the camera modeling, you can be this other person.  You get to transform yourself and let go of whatever inhibitions you might have.  You’re acting, really, which is probably why my transition into acting was so organic.”

“The One Where Donna Jumps Out of a Helicopter…”

The sky is blue, the force of gravity is 9.8 m/s², and every man wants to be James Bond.  These are facts.  In the world of female modeling and acting, the dream is somewhat similar: every model wants to be a Bond Girl.  They’re sexy, they kick ass, and, most importantly, they have hilariously suggestive names (Pussy Galore, anybody?).  Donna has the same dream, and she had the opportunity to live it…in a sense.  From Byron Bay, Australia to Monaco, she has had photoshoots in some of the most exotic locales across the globe.  Her appearances in Two and a Half Men and Castle have garnered national attention, and she was recently ranked at number twenty-eight on Complex.com’s “The 50 Hottest Jewish Women.”  None of that makes a Bond Girl…but her Visa Black Card commercial does.

“I was in Thailand shooting a high-end calendar, and my agent at the time told me there was a casting for this Bond Girl-like role in a short for Visa Black Card, and he described it to me and I was like, ‘This is my dream role for a commercial!  I can book this!’  But I was in Thailand, what could I do?  I couldn’t go to the audition.  Oh well.”

Donna’s luck hadn’t run out.  “The director saw my photos.  He held a casting with a whole cattle call of different girls, and even afterwards said, ‘I think this Donna Feldman is the girl.  I think that’s our girl.’  So he waited for me to come back, and he met with me and did an audition and screen test.  They even had me try on this leather suit, which was already made before they picked the girl, which is kind of silly because you’re supposed to have your actors before you start making their clothes.  It was almost like a Cinderella story!  I swear it was like that suit was made for me.  It was like this $10,000 gorgeous leather catsuit was sewed right to me!”

That was before the helicopter.  Donna, playing a character that can be best described as a female Tony Stark, takes a flying leap out of a helicopter into the ocean.  Even a stuntwoman would balk.  “In casting, when a director asks you if you can do something, you learn to not say no.  You figure, ‘Oh, I’ll work out the details later.’  So when the director asked if I could jump out of a helicopter,” Donna bursts into uncontrollable laughter, interrupting herself.  “I’m like, ‘Sure, sure!  We’ll work it out.’”

She’s not totally lying, though.  There’s nothing stopping her from being able to physically jump out of a levitating vehicle being kept in the air by massive, spinning razor blades.  She can do it.  Survival, on the other hand…“I didn’t think I’d really have to, but I did!  And you know what, it all worked out.  Everyone on staff was incredibly helpful, and it was a great experience.  How many people get to say they jumped out of a helicopter?”  Just you and the Marines, Donna.

Donna Feldman, Inc.™

“The goal is for Donna Feldman to be a brand.”  That says it all right there.  Donna wants to be a registered trademark, with a lingerie line at Macy’s, and she’s determined to make that happen.  “I want to be a part of products I genuinely believe in, not just ‘Oh look, my own stuff!’  I want to use the name to have my own business, in either fashion or cosmetics.  But I’m still young!  I have all these opportunities coming my way, and I’m taking advantage of that.”

There’s more to it than just that, I think.  Donna seems like she sincerely cares about her industry and its effect on people.  Self-image appears to be a big part of her methodology: she started off as a shy, unassuming teen and somehow blossomed into an international supermodel.  It’s an inspirational story.  But how many have starved themselves in order to achieve those “perfect” bodies?  How many horror stories are there?

I have to believe there’s more to Donna than she’s letting on.  She can be a symbol to so many.  Here’s a talented, beautiful woman with her head on straight, totally uninvolved in the crass Hollywood lifestyle the tabloids love to exploit.  I ask her, cautiously, what sort of advice she would give to a young girl looking to break into the industry.  How can they learn from her?

“I have girls emailing me lately.  I’m working with these sixteen year old girls, and they share stories with me that are really disturbing.  They’re insecure.  Their agents are trying to control their careers…you’re in control of your career.  You need to treat this as a business and can’t take it personally.  And as much as I’m a sensitive person, I learned that.  Just because you didn’t land this job doesn’t mean you’re ugly, fat, and not good enough.  You just didn’t fit that specific role, and let’s move onto the next one.

“Girls need to stay true to themselves.  This can be a very lonely business, and it can be very hard to be judged and criticized on a daily basis.  You walk in, and you’re judged, not by what a great person you are but on looks.  But in the end, it’s what’s inside that defines you.  This is a very unhealthy business.  I just want to do anything that helps make women feel better about themselves.” 

Donna doesn’t know just yet where she’ll be ten years from now.  After all, who does?  She knows what she wants, and will do whatever she can to turn her dreams into a reality.  I’d like to throw in one suggestion: motivational speaking.  Donna has somehow managed to maneuver through the modeling and acting world morally unscathed.  She sleeps well at night knowing that her integrity is intact, and that, in my opinion, is far more rewarding than anything a line of clothing can offer.  Hopefully one day she can help others feel the same. 

We all have ideas and dreams and the hard part is doing something with them.  Donna has.  What places her above the rest is the experience of having the opportunity to fulfill those dreams.  But what will define her?  The modeling and acting she does now?  Something tangible, like her future brand name?  Or perhaps it will be her affect on the future generations of models.  Her dream role is to play Wonder Woman, who is a humanitarian warrior and an inspiration icon of hope.  She can be that on both the screen and in real life.  Donna can be a symbol, something everlasting…something truly inspirational.

Donna Feldman is represented by ATB Talent and just booked a major supporting role in a currently untitled film starring Ray Liotta, Harvey Keitel and Christian Slater.  With an onslaught of upcoming acting and modeling gigs, 2012 looks to be an incredible year for Donna. http://www.imdb.com/name/nm2114153/

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By Alex Tafet

THESE BOOTS ARE MADE FOR WALKING: Manly Advice from Ben Maccabee

   The first thing you notice is his walk.

   Sitting on the outdoor patio at the Starbucks in Woodland Hills, I absent-mindedly search the Internet on my iPhone.  I’m not looking for anything in particular—just something to pass the time. 

           

   Then I see him, walking toward me, with that John Wayne walk.  It’s imposing.  He shakes my hand, squeezing maybe a bit too hard.  His hands are meaty and rough…the kind of hands that have been in a fight. 

   This was my first time sitting down with Ben Maccabee without “adult supervision.”  We had previously met a couple times in the office, with me playing Assistant to Guy Kochlani’s Boss.  Ben was always incredibly kind and friendly, but given the roles he chooses and his overall demeanor, I was a bit nervous.  What if it was all a charade?  What if, deep down, he’s some kind of monster waiting for the perfect moment to strike? 

   I was wrong, of course.

   And if I wasn’t, I probably wouldn’t be able to write this, since my hands would be broken in several places.

A Walk to Remember

   I never really think about walking.  It’s just…natural.  I’m fortunate enough to be able to do it every day.  Ben Maccabee doesn’t think like that.  For Ben, his walk is as much a part of his acting as reading lines. 

   “I walk a certain way.”  Ben crosses his legs, and for the first time I notice his bulky cowboy boots.  They’re the same kind of boots Eastwood or McQueen would wear.  “When a person walks, you can read them.  The way a guy walks, you know exactly who he is.  You can tell everything about a person by the way they walk, and the way they stare at you.”

   My curiosity gets the better of me, and I decide to put this idea to the test.  What can he tell about me from the way I walk?  Am I a Harrison Ford or a Peter Lorre?

“So what do you say about my walk?”

“I call you a Cruise, man.” 

“Cruise?  Like a cruise ship?  Or someone that just strolls around?”

“I call you a Tom Cruise.”

“Tom Cruise, huh?  An international superstar?  I’ll take it.”

            “Listen man, Tom Cruise in my book—the number one actor in Hollywood.  Nobody even comes close.  That guy is a fucking genius.  When Tom Cruise looks at you…when Tom Cruise tells you he’s fucking upset…he’s fucking upset.”

Soldier of Fortune

   Ben, like every Israeli, was drafted into the military at the age of 18.  The typical clichéd story goes something like this: boy goes into the army, comes out a man, and decides to pursue a career in film as a badass.  But Ben’s different in that way.    

   “Acting is what shaped me as a soldier,” he told me, slowly sipping his coffee, the steam slightly fogging the lenses of his Persol sunglasses.  “All I remembered was John Wayne in The Green Berets.  I remembered McQueen.  I remembered Charles Bronson, Lee Marvin…these guys are men’s men.”

   The theme of “being a man” is important to Ben, and prevalent in almost all of his work.  Real men are of action and consequence.  They know when to pull the trigger and always, always, get the girl.  But the age of the Hard-Boiled Man seems to have past.  “Today you have a lot of males, and very few men.  When I talk to a guy, I want to know if he’s a man or a male.  Manhood is a very important thing in my book.  You’ve gotta be a man.  You carry this stick between your legs and…look, you talk the talk of a rooster, you better be able to walk the walk of a rooster.”

   A slight laugh escapes my mouth.  There’s something funny about “real men” being compared to poultry.  Ben isn’t as amused, but I notice the corner of his lip curl up.  Is it a polite smirk or is he thinking I’m a male, not a man?  He’s tough to read behind the sunglasses.

   Just to be sure, I ask him to offer a bit more clarity.  Ben leans in, elbows on the table, and smiles.  “Don’t talk what you’re not.  Don’t play a hero when you’re not.  The less talking the better, in my opinion.  Observe and do.  Give, don’t take.  These are very important things that I live by.  I’m a giver, not a taker.  I don’t like taking.  I don’t like bragging.”

   For the first time since he sat down, Ben takes his sunglasses off and put them on the table.  He stares at me.  “Even talking to you now…I do it because, you know what?  Say something about it.  Let people hear it.  Maybe someone will be influenced by it.  Maybe someone will say, ‘You know what?  It’s true.  There aren’t a lot of men walking these days, but a lot males.’  When I went to the army, I already walked in as fuckin’ Rambo.”

   That’s when I realize that Ben hasn’t blinked once.

Heart of the Blood Ring

           

   It’s clear Ben doesn’t do bullshit.  He makes you play your cards face-up.  And he’s definitely not an ass-kisser, so it kind of makes me wonder: how did this guy make it in Hollywood?

   “I stepped out of Estelle Harman Actors Workshop and landed my first leading role.”

   Not too shabby.

   “It was an action flick called Enter the Blood Ring, which I actually wrote the treatment for.  I was knocking on [producer Bob Kronovet’s] door forever.  I ended up basically ambushing him in the stairwell…it scared the shit out of him.  So finally he let me into his office, and said ‘What’s up, kiddo?  Talk to me, boychik.’”

   Ben pitched the film, about a single father fighting in underground martial arts tournaments to raise money for his sickly son, to Kronovet.  He ate it up.  “‘What do you call it?’ Bobby asked me.  I said, ‘Lethal Heart.’ ‘What kinda bullshit name is that?  No, we’re gonna call it Blood Ring.’  I said, ‘You can call it Palookaville, I don’t care what you call it.’  He asked me what I want, and I said, ‘You give me the staring role in this film, and I’ll give you the rights for the story.’  That’s exactly what I did.  ‘You got some balls on you, kid.’  I said, ‘It’s all I’ve got…I’m losing my hair a little bit.’  He was cracking up. 

   “After I left his office, I was shattered: I just gave him my story!  What a fucking idiot.  Now what did I have?  Nothing.  A one-way ticket to Palookaville.  Two days later I got a phone call from the same girl from the office who kicked me out all the time.  ‘Hey Benny!  It’s Nicole.  Bobby wants to talk to you.  Hold on.’  She puts Bobby on the phone.  ‘Boychik!’  ‘Hey Bobby, how’s it going?’  ‘We’re doing your movie.’  Just like that, man.”

Lethal Weapon

   I’ve been told that the toughest part of creating art is finding the inner strength to overcome whatever resistance might stand in the way.  The problem with that theory is that it only brings the pencil to the paper.  Inspiration is required to create anything worth a damn. 

   Finding that muse is always my biggest hurdle.  I need something incredible, something truly inspiring.  Ben isn’t too different; he needs something big, powerful, and with real energy and consequence to light his fire.  Right now, it’s Mel Gibson’s recently announced Judah Maccabee feature film. 

   “I think the world of him.”  Kind of surprising coming from a Jew, especially considering Mr. Gibson’s recent drunken statements.  “I think he’s an amazing filmmaker and a misunderstood personality who maybe drank too much.  Gibson is a fucking genius.  Gibson is the kind of guy I want to work with.  His filmmaking, man, let me tell you…Braveheart, Apocalypto.  These are stories about greed, power, treating the peasants like shit.” 

   These themes are prevalent in most of Gibson’s directorial works, and mesh perfectly with the historical story of Hanukah, in which the Maccabee family revolted against the ruling upper Hellenistic class, triggering a civil war.  “God willing, I’ll get the lead.  We’re practically the same person: real men, same physicality, same cultural mindset…plus, let me remind you, I’m already a Maccabee,” he laughs.  “I know I’ll face some obstacles.  It’s not going to be all, ‘Wow, what a hero Judah was.’  He’s going to show how vicious the Jews were to each other.  He’s going to show that the Maccabees were straight shooters, they were powerful…they were a threat.”

   Ben’s respect for Gibson stems from one place: manhood.  “I don’t like phony.  Gibson is a real man.”

Back to the Future           

           

   Ben came to the US to become a movie star.  Bright lights, his name on the marquee, a star on the Walk of Fame…he wanted it all.  But time changes us.  The aspirations of the young are not the same as the old.  2001 Ben Maccabee was probably a much different person than 2011 Ben Maccabee…because now it’s not about his stardom.  Now it’s not only about him.

   “I don’t look at stardom now as I did when I was younger.  Looking at it now…stardom can give me the tools for unselfishness.  Stardom can give me the tools to give back to this beautiful place.  Because I still believe in America.  I still believe it’s a great place.  It just got diverted a little bit.  But it’s an unbelievable country.  We just need to remind our government of that.  We need to remind them that America is still us.”

   There’s genuine honesty in Ben’s voice, and there’s more than just political meaning behind his words.  His career has been one of ups and downs, and…when he mentions that things got “diverted”…it’s almost like he’s talking about himself.  That despite everything, there’s still greatness and beauty in him.  Deep down, he’s still who he is.  He talks the talk and walks the walk.  He’s reminding himself of how great he can still be.

   There’s one more question I have for him, and it’s the one I’ve been most nervous about asking.  I absorb what Ben told me: if I’m going to talk the talk, then I’ve got to walk the walk.  None of this beating-around-the-bush nonsense. 

   So I dive in: “How do you want to be remembered?”

   Ben pauses and takes a sip from his coffee that lasts a bit too long.  That smirk cuts across his face again, and he puts his sunglasses back on.  “I want to be remembered as a fine actor that did a fine job.”  Nothing flowery, nothing pretentious.  Ben Maccabee as he is, take it or leave it. 

   And that’s the sign of a real man.

Ben Maccabee recently completed work on the feature film Trophy, starring Michael Madsen, Eric Roberts, Robert Miano, and Michael Masini.  He just booked a currently untitled feature starring Ray Liotta, Harvey Keitel and Christian Slater.       

http://www.imdb.com/name/nm0462094/

By Alex Tafet

HOLIDAY CHEER AT THE MOVIES!

My wallet hates the holiday season.  I can practically hear it exhale, “Damnit Alex…not again” every time I step into a Wal-Mart.  And as a Jew, celebrating Hanukah means going through eight days of financial hell.  Nothing screams “Potential Debt!” like a credit card still warm from being swiped at the cashier.

Going to the movies isn’t any easier.  Every year a slew of awesome films are released, and every year theater owners smile viciously as they fan out all the cash I’ve given them.  $15 for a 3D ticket…you’re welcome, Avatar.

This year is no exception.  From kid-friendly (Alvin and the Chipmunks: Chipwrecked) to adults-only (The Girl with the Dragon Tattoo), there’s something for everyone at the box office this winter.  For your reading pleasure, I’ve assembled a list and analysis of this holiday season’s heavy hitters.

(NOTE: I’m ignoring New Year’s Eve because, as a filmmaker and film fan, I firmly believe it’ll be so terrible that it will tear the fabric of the space-time continuum, erasing all of existence.  Or something like that.)

December 9^th

• Tinker, Tailor, Soldier, Spy: Gary Oldman, Colin Firth and Tom Hardy star in this spy thriller. I think it looks cool as ice, and the chemistry between Oldman and Hardy will be a preview for 2012’s guaranteed smash-hit The Dark Knight Rises.

 December 16^th

• Alvin and the Chipmunks: Chipwrecked: I didn’t see the first.  I didn’t see the second.  I won’t see the third.  But younger kids seem to love these CGI helium-filled chipmunks, and if you have a child under the age of eight, congratulations: you just bought a ticket.
• Sherlock Holmes: A Game of Shadows: For me, Sherlock Holmes was the film that won the December Movie Battle of 2009 (Avatar vs. Sherlock Holmes).  Robert Downey Jr. and Jude Law’s chemistry was fantastically charming, blended perfectly with director Guy Ritchie’s unique blend of awesomeness and Hans Zimmer’s Oscar-winning score.  A Game of Shadows reunites the team and throws Mad Men’s Jared Harris and Noomi Rapace into the mix.  I certainly hope this sequel lives up to the hype.
• Mission: Impossible - Ghost Protocol (in select theaters and IMAX; opens nationwide on the 21^st): I know what you’re thinking: “Another one?”  Yeah, another one that just happens to be directed by Oscar-winning director Brad Bird (The Incredibles).  And you’re right, Tom Cruise can be all kinds of crazy, but the man brings his A-game every time.  Nobody sells a movie like he does, especially an action flick like Mission: Impossible.  Plus he does his own stunts, and I’ll be damned if you say anything bad about a man scaling the world's tallest building. 

December 21^st

• The Adventures of Tintin: Steven Spielberg.  Peter Jackson.  Motion-capture technology.  An eight-minute single-shot chase/action scene.  The movie has already made $200 million internationally.  You've already bought your ticket.  Any questions?
• The Girl with the Dragon Tattoo: David Fincher directs this adaption of Stieg Larsson’s internationally best-selling novel starring Daniel Craig.  It’s a dark, disturbing story that promises to be the “feel bad movie of the holiday season.”  And if you haven’t seen the trailer check it out now, because HOLY CRAP.  That, my friends, is how you cut a trailer!  (Plus ATB’s very own Jacob Diamond was seriously considered to play the young Daniel Craig!  Work on that English accent buddy, ‘cause we’re pitching you for James Bond Jr.!)

December 23^rd

• We Bought a Zoo (nationwide): Starring Matt Damon & Scarlett Johansson and directed by Cameron Crowe (Jerry Maguire), this film is about a family that…buys a zoo.  Expect lots of “aw…” moments.

December 25^th

• War Horse: Spielberg’s Oscar-push movie, coming into theaters a mere four days after Tintin.  Look, it’s Spielberg’s World War I movie about “a boy and his horse.”  Think ET meets Saving Private Ryan.  Again, you’ve already bought your ticket.          

And there you have it—a comprehensive guide to this holiday season’s heavy hitters.  Every one is worth spending your $10 on (or $15 in Tintin’s case, because that movie is intended for 3D viewing and YOU MUST DO AS SPIELBERG COMMANDS).  When you’re over-stuffed from Christmas dinner and avoiding that weird second cousin who keeps giving you “mistletoe alerts,” remember and have no fear!  The movies are your safe haven.

But wait, there’s more!  No holiday season release rundown would be complete without a 2012 Preview!  There are plenty of films to look forward to (The Hobbit: An Unexpected Journey, 007 in Skyfall, Prometheus, John Carter), but only three make the Alex Tafet ABSOLUTELY, POSITIVELY MUST-SEE list.

• The Avengers (May 4^th): Marvel Studios’ massive gamble that began in 2008 with Iron Man culminates in this unprecedented big-screen adventure that brings Iron Man, Captain America, Thor and the Incredible Hulk together to defend the Earth against a threat no single hero can handle alone!  I’m excited, you’re excited, my dog is excited…The Avengers is going to be a huge event.  Expect plenty of big explosions! 
• The Amazing Spider-Man (July 3^rd): Yeah yeah, another Spider-Man movie, and this time without dough-eyed Tobey Maguire (The Social Network’s Andrew Garfield takes over as Peter Parker).  But the trailer looks interesting, and the cast is pretty fantastic.  Plus, it’s Spider-Man, guys!  Don’t act like you don’t want to see a new Spidey movie.
• The Dark Knight Rises (July 20^th): YOU WILL SEE THIS MOVIE.  It’s the final Christopher Nolan-directed Batman film starring Christian Bale, so ‘nuff said.  Honestly, if there’s any movie that can make $200 million in its opening weekend, I think it’s this one.  Buy your ticket to the IMAX showing NOW.

Keep your eyes on the screen, folks!  Remember: it’s in the movies where dreams become reality.  

By Alex Tafet

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