FROM STEPHEN FREARS, DIRECTOR OF THE QUEEN

contents
GEMMA ARTERTON ROGER ALLAM Bill CAMp DOMiNiC COOpER lUKE EVANS TAMSiN GREIG

“ONE Of thE BESt fIlMS Of thE yEAr”

BAz BAMIGBOyE, dAIly MAIl
Issue Ten. September/October 2010
thE GUArdIAN NEWS Of thE WOrld thE dAIly tElEGrAph
Features

06
0 6 | Spotlight
Going It Alone:
Rebellious Loners and
the Cinema of Discontent
15 CONTAINS STRONG LANGUAGE,
SEX AND SEX REFERENCES

1 4 | Art & Film

Master Strokes:
The Graphic Art of
Neil Kellerhouse

24 | First Person
Under Construction:
Ensemble Casts and the
Art of Improvisation

3 0 | 1000 Words
Kiss Kiss Bang Bang:
Winchester ’73 and the

IN CINEMAS NOW
start of the star system

© 2010 RUBY FILMS (TAMARA DREWE) LIMITED, BRITISH BROADCASTING CORPORATION,

See it with Orange Wednesdays Regulars
UK FILM COUNCIL AND NOTTING HILL FILMS LIMITED. ALL RIGHTS RESERVED. TAMARADREWE-MOVIE.COM facebook.com/tamaradreweUK

0 4 | Reel World
Miller's Crossing

1 8 | One Sheet
Lone Wolves
‘Well, what am I? I'm
a private no-class 3 4 | On Location
dogface. The way Hawaii, USA
most civilians look at 3 8 | Screengem
that, that's two steps The Cheroot
up from nothin.'

cover image from here to eternity (Courtesy Park Circus / Sony Pictures)
Robert E. Lee Prewitt: 4 2 | Parting Shot
Knowing Me Knowing You

4 4 | Competition
Picture This

4 6 | Listings

38 A roundup of this issue's

featured films

The Big Picture ISSN 1759-0922 © 2010 intellect Ltd. Published by Intellect Ltd. The Mill, Parnall Road. Bristol BS16 3JG / www.intellectbooks.com
Editorial office Tel. 0117 9589910 / E: info@thebigpicturemagazine.com Publisher Masoud Yazdani Editor-in-chief & Layout Gabriel Solomons Editor Scott Jordan Harris
Contributors Jez Conolly, Nicholas Page, Emma Simmonds, Daniel Steadman, Scott Jordan Harris, Neil Mitchell, Neil Kellerhouse, Gabriel Solomons
Special thanks to John Letham, Sara Carlsson and all at Park Circus, Michael Eckhardt, Michael Pierce at Curzon Cinemas and Gabriel Swartland at City Screen
Please send all email enquiries to: info@thebigpicturemagazine.com / www.thebigpicturemagazine.com l The Big Picture magazine is published six times a year

Published by intellect | Produced in partnership with www.parkcircus.com

September/October 2010 3
 reel world
f i l m b e yo n d t h e b o r d e r s o f t h e s c r e e n

Miller's
Just as Dorie Miller’s heroism stood out among
the chaos of the attack on Pearl Harbour, so
Cuba Gooding Jr.’s portrayal of him stands
out among the disorder of Michael Bay’s
filming of it. neil mitchell takes a look.

P r o d u cer Jerry
B r u c k heimer and director
Michael Bay’s Pearl Harbor
(2001) is a disaster movie on
an epic scale – but not for
the reasons its makers hoped.
The bloated screenplay and
bland love triangle that forms
the central narrative thread,
combined with a typical
Hollywood disregard for
historical accuracy, ensure the
film is a failure. Pearl Harbor
does, though, throw up some
interesting characters drawn
from real life, and from all
ranks of the armed forces.
The most intriguing of
these is Cuba Gooding Jr.’s
portrayal of Petty Officer 2nd
Class Doris ‘Dorie’ Miller,
the first African American to
receive the Navy Cross, which
is awarded for conspicuous
displays of courage under
fire. During the attack on the
Hawaiian port, Miller carried
the badly wounded Captain of
the West Virginia battleship
to the safety of a first aid
station and then manned a
.50 calibre machine gun, a
weapon of which he had no
previous experience.
Whilst in real life Miller
couldn’t confirm that he
actually hit any Japanese
planes, in the movie he is
seen blowing a fighter out of
the air. Bruckheimer and Bay
needn't have sensationalised
Miller’s tale though: this
was a man who willingly
served his country in the Whilst in real life Miller
pre-civil rights era, who
risked his own life to save couldn’t confirm that
that of his superior and
who would eventually die he actually hit any
aboard the USS Liscome
Bay in November 1943. In Japanese planes, in the
1973, the US Navy named a
frigate ‘The USS Miller’ in movie he is seen blowing
his honour, a fitting tribute
to the bravery he showed a fighter out of the air.
during the surprise attack
that led to America's entrance
into World War II. [tbp]

left dorris 'dorie' miller receives the navy cross / above cuba gooding jr. as miller in pearl harbour

gofurther [web ] www.pearlharbor.org [book ] Liberators: Fighting on Two Fronts in World War II

4 www.thebigpicturemagazine.com September/October 2010 5

 cover
feature
Y spotlight
c i n e m a ' s t h e m at i c s t r a n d s
Going it
Alone
From truculent teens to bandit queens, rebellious
loners have made some of cinema’s most enduring
and attractive characters. je z c o n o l ly examines six
of the meanest and the moodiest.

From Here To
Eternity (1953)
Dir. Fred Zinnemann

‘Be All You Can Be’

(popular US army slogan)
‘A man should be what he
can do’.
(Private Robert E. Lee Prewitt)

Set on a US Army base in

Hawaii in the months leading
up to the attack on Pearl
Harbor, From Here To Eternity
features Montgomery Clift as
Private Prewitt, the hollow-
eyed loner, bass bugler and
former boxer who is defined by
what he doesn't do. He won't
box on the regiment's team (a
talented welterweight, he laid
down his gloves after blinding
a sparring partner) and he's
rarely allowed to bugle, despite
being good enough to have
played at Arlington National
Cemetery. Clift threw himself
into the role, working out with
pros in the gym and taking
bugle lessons to get his mouth
and throat movements right.
Later, his co-star Deborah
co-star Deborah Kerr recalled Clift’s obsessive
single-mindedness: ‘He spent
Kerr recalled two days figuring out how to
Clift’s obsessive say “Who’s that?”’
single-mindedness:
Images Courtesy Park Circus / Sony Pictures

‘He spent two From Here To Eternity is back

days figuring out in UK cinemas from 24
➜
how to say “Who’s September. For more details
see page 46.
that?”’
left
montgomery clift
above
deborah kerr and montgomery clift

6 www.thebigpicturemagazine.com September/October 2010 7

Kobal (2)
spotlight going it alone

Fight Club (1999) The Wild One (1953)

Dir. David Fincher Dir. Laslo Benedek

‘All the ways you wish you ‘What’re you rebelling

could be, that's me. I look against, Johnny?’
like you wanna look, I fuck ‘Whaddya got?’
like you wanna fuck, I am
smart, capable, and most
Durden is a modern male Marlon Brando’s leather-clad
importantly, I am free in all
the ways that you are not’.
fantasy projection: an Johnny Strabler, leader of
the Black Rebels Motorcycle
(Tyler Durden)
The split character of Edward
aggressive, psychopathic Club, is to many the arche-
typal screen loner. Along with
Norton’s unnamed Narrator individualist able to James Deans’ Jim Stark in
Rebel Without A Cause, Strabler
and Brad Pitt’s Tyler Durden
is a direct descendant of the organise disaffected symbolized the sexually-
charged, teenage antihero
1950s rebels epitomised by
Dean and Brando, brought young men into an rebelling against adult society
and its restrictive mores. The
forward into the pre-millennial,
consumerist world of the underground movement film’s poster image, of a sneer-
ing Brando astride a Triumph
1990s. Durden is a modern
male fantasy projection: an resistant to capitalism. Thunderbird 6T (Brando’s
own motorcycle), became a
aggressive, psychopathic above classic image of the 1950s. By
individualist able to organise
disaffected young men into
marlon brando in the wild one
top left
By today’s standards The Wild today’s standards The Wild
One might seem quite tame,
an underground movement
resistant to capitalism. He is the
ed norton and brad pitt
One might seem quite tame, but on its release the British
Board of Film Censors banned
‘outsider male’ by-product of a
system that Norton’s Narrator
but on its release the British it, only giving a release, with
an X certificate, in 1968.
exists within as just another
‘company man’ drone. Not
Board of Film Censors banned it, Before the ban the film was
only shown in the UK at Cam-
satisfied with taking lessons
in boxing, taekwondo and
only giving a release, with an X bridge’s Rex Cinema, which
grappling as preparation for
the role, Pitt consented to the
certificate, in 1968. was turned into a film club for
the purpose by its manager
Leslie Halliwell – author of the
removal of pieces of his front famous Film Guide.
teeth in order to look the part.

8 www.thebigpicturemagazine.com September/October 2010 9

Images courtesy Park Circus
The injustices Heathcliff
endures and absorbs, and
the passion and rage he
represses, are manifested
through an emotionally
tethered, almost poetic
immobility...
10 www.thebigpicturemagazine.com
Wuthering
Heights (1939)
Dir. William Wyler
‘It’s lonely sitting like an out-
sider in so happy a household
as your brother’s’. (Heathcliff)
Heathcliff was a born loner;
dark-skinned and often referred
to as a ‘gypsy’, he is shown to
possess traits popularly associ-
ated with the lower classes in the
nineteenth century: criminality,
uncleanliness and irrational and
superstitious thoughts. Lau-
rence Olivier’s performance in
William Wyler’s film of Wuther-
ing Heights continues to dwarf
all subsequent screen portrayals
of the character. The injustices
Heathcliff endures and absorbs,
and the passion and rage he re-
presses, are manifested through
an emotionally tethered, almost
poetic immobility punctuated
by occasional violent outbursts
of movement, such as the slap-
ping of Cathy’s face and the
punching of a window. It was
the performance that sparked
Olivier’s film career. Of his
director Olivier said, ‘If any film
actor is having trouble with his
career, can't master the medium
and, anyway, wonders whether
it's worth it, let him pray to meet
a man like William Wyler’.
spotlight going it alone
The film was
itself rendered
untouchable when
it was banned by the
Bandit Queen (1994) Indian authorities
Dir. Shekhar Kapur due to its graphic
scenes of sex and
‘I am Phoolan Devi, you violence.
➜
sisterfuckers!’
Kapur’s film documents the
‘true story’ of Devi (Seema
Biswas), who belonged to the
oppressed Indian lower caste
of ‘Untouchables’, depicting
her treatment at the hands of
upper-caste aggressors; her
transformation into a bandit;
and the terror she unleashed
prior to laying down her arms
and embarking on a career
in politics. The film was itself
rendered untouchable when
it was banned by the Indian
authorities due to its graphic
scenes of sex and violence. It
also incurred the wrath of the
renowned author Arundhati
Roy (The God of Small
Things) who questioned its
purported truths in a series
of essays, claiming that Devi
herself had not been consulted
over its content. However,
the late Devi, ever the rebel,
settled a law suit with Channel
4, the film’s producers, in
1996 and joined Kapur at
the Indian International
Film Festival in Delhi that
year to condemn the film’s
censorship.
above left
Merle Oberon and Laurence Olivier
opposite
Seema Biswas
September/October 2010 11
 spotlight
c i n e m a ' s t h e m at i c s t r a n d s

Kobal
Mia’s mother
fish tank (2010) drinks constantly;
Dir. Andrea Arnold Mia herself drinks
cider alone in an
‘Your mother’s passed out empty flat she
upstairs’. breaks into; even
‘Yeah, she does that’. the family dog is
Arnold’s film is shot resolutely called Tennents.
from the point of view of its
protagonist, 15-year-old Mia
(Katie Jarvis), an angry loner
living on an Essex council
estate with her mother and little
sister. Alcohol abuse defines
the family relationship: Mia’s
mother drinks constantly; Mia
herself drinks cider alone in
an empty flat she breaks into;
even the family dog is called
Tennents. Mia’s one interest is
urban dance, but her practice
moves are moody, introverted
and subdued. The casting
of Jarvis displays Arnold’s
Loachian commitment to
social realism: a chance
meeting between the two at a
train station, when Jarvis was
screaming at her boyfriend,
reportedly drove the director
to cast her in the film. Arnold
is set to direct a new version
of Wuthering Heights and, on
the strength of Fish Tank, is
well placed to nail Heathcliff’s
internalized rage. [tbp]

right
katie jarvis and michael fassbender

also see... [web ] Read 'Spotlight: Emotionless Assassins' on www.TheBigPictureMagazine.com [book ] Teen Movies: American Youth on Screen by Timothy Shary

12 www.thebigpicturemagazine.com September/October 2010 13

 art&film
visual art inspired by film
maste�
In some ways, designing for
film is a fairly thankless task
strokes
for an artist. Unlike directors,
producers or even caterers who
get their names up in lights
during the film credits, those who
produce posters or packaging
materials rarely receive much
The Graphic Art of Neil Kellerhouse. of a mention – unless one is
interview b y g ab r i e l s o lo m o n s specifically looking for them.
A shame really, as the the
artwork is first and foremost
in whetting our appetite for
a particular film – setting our
imaginations in motion by
triggering all sorts of visual
cues that link to story, genre
and mood.
One such artist – Neil
Kellerhouse – has been
producing highly distinctive
work for the film industry
for nearly ten years now,
counting Disney Pixar, HBO
and Warner Bros. amongst
his growing roster of high
profile clients. But it is his
ongoing collaboration and
work for the award winning
Criterion Collection which
has seen Kellerhouse produce
his most challenging,
striking and personal work
– beautifully packaged and
elegantly produced designs
that reinvigorate the public’s
relationship with often well
known, classic titles. The Big
Picture recently caught up
with the artist to discuss this
‘special’ relationship and get
some further insights into
some of his working methods.
above
poster art for david fincher's social network
14 www.thebigpicturemagazine.com
Where did you study design
and who were some of your
early influences?
I studied at the California
Institute of the Arts (CalArts).
Within the four years I was
there, we saw the leadership
of three different personalities
in the Visual Communications
department – April Greiman,
Eric Martin and Lorraine
Wild. Modernist Lou Danziger
was my mentor. So, lots of
conflict there, but I feel we all
benefitted from their disparate
ideologies. I originally got into
the school as a fine artist and
didn’t transfer to design until
the second semester in my
first year.
My earliest influence was
Dr. Seuss (Theodore Geisel).
I grew up down the street
from him. My brother and I
would walk up to his house
and get our books signed. The
butler would answer the door
and lead us back to his studio.
I only remember the view
of the ocean and his small
drawing desk. I also had a
friend whose mother worked
at the La Jolla Museum of
Contemporary Art, so after
school we’d hang out there.
On the walls of this museum
were graphic pieces by John
Baldessari, Andy Warhol, Sol
Lewitt, Robert Mangold. I
took classes there too. Later
on, my father sent me to
study drawing and painting
in Italy, and this experience
became a major influence.
'The Criterion stuff is always
challenging ... You have perspective,
you're packaging a film sometimes
decades after it was created, so
there's all kinds of information out
there to inform what you may make.'
above
poster art for lars von trier's antichrist
below
proposed poster art for the american
Was it always your intention
to create design work for
the film sector or did it just
happen by 'accident'?
No, no one I went to school
with wanted to do movie
posters. I think everyone
aspired to work with someone
like Saul Bass, who at
that time was doing more
corporate logo design work
rather than his earlier film
poster and title.
I gravitated toward the
music business because I
thought they would let me do
more creative work. When the
music industry sued Napster,
I lost all confidence and went
searching for something else.
The logical segue, I thought,
were DVDs because they
most resembled the size and
shape of the packaging I was
doing for the music.
The Criterion collection
must be a dream client to
work for. It must afford you
a great opportunity to create
challenging and original
artwork to complement some
of the best films ever made.
Are they as exciting to work
for as one would imagine?
I feel like The Criterion
Collection and the people
➜
there are my family. They have
been so good to me.
The Criterion stuff is
always challenging. For
one thing, most of the time
you are in fact designing
something new for what most
September/October 2010 15
 left
dvd packaging for criterion's
the man who fell to earth
below
poster art for the informant
above
poster art for don argott's documentary
the art of the steal
16 www.thebigpicturemagazine.com
'I have absolutely no fear
of failure when it comes
to making something. You
do get a lot of shit, but
sometimes you get gold.'
people agree is a great film. As
opposed to creating something
for a contemporary film or
album no one's ever seen or
heard before, you're designing
for a piece of history. So much
of the audience will have
already had their own intimate
experiences with a certain
film – from childhood or
college – and they have certain
expectations. The same way
you would if you had read
a book and identified with a
character and they make a film
of it and you may suddenly
feel alienated by their choice
of how it was produced.
You have perspective; you're
packaging a film sometimes
decades after it was created, so
there’s all kinds of information
out there to inform what you
may make.
Your style seems reminiscent
of east European film post-
ers of the 1950s, 60s and
70s - with your clever use of
hand rendered typography,
distressed imagery and focus
on concept over and above
simple representation. Does
this so called 'golden age'
of poster art influence your
own work in any way?
Yes, in fact, I own a Jan
Mlodozeniec, an incredible
Polish designer. I have his film
poster for Barbarella.
When I was at CalArts,
my mentor Lou Danziger
was good friends with the
American Modernist and
designer Paul Rand. He
always pointed to Paul for
anything good. In my third
year, I was invited to Lou's
house along with a few other
students to meet him. I had
never been to Lou's house/
studio, which was one of the
first original pieces Frank
Gehry ever designed. It was
awesome. In the middle of his
studio, which had 30'' ceilings,
was a pool table and that's
where we all gathered around
to hear Paul talk for about an
hour or so.
Is there a particular phi-
losophy behind the way you
work or is it simply a case
of adjusting your style to fit
the demands of the client?
Yes. I would say that all the
solutions will come from
the problem or job. In other
words, I just let the problem
work itself out and it becomes
whatever it becomes. Usually
it's different than anything
I've done before, mostly
because the content or job
is something I've never
experienced. I try not to
wrap something in a piece
of decoration or style. I
really just try to get the most
appropriate solution for the
client and I feel very fortunate
in that my clients generally
above poster art for the upcoming i'm still here
help make the job a lot better
in the end. One thing I always
try to do is make something
I've never seen before. We
read The Courage to Create by
art&film
visual art inspired by film
Rollo May at CalArts.
I have absolutely no fear
of failure when it comes to
making something. You do get
a lot of shit, but sometimes
you get gold.
What is your opinion about
the state of film poster art
generally these days? Are
there any designers/studios
out there that you feel are
contributing something
special?
I think there's some great
stuff being done outside the
studios. It's tough because the
movie industry has built a very
strong vernacular language to
communicate their product for
sale. For better or worse, when
you see a poster these days
you know exactly what you're
in for. Made a certain way at
a common level, a poster will
say ‘quality production value’
at the very least. Everyone
knows the language, even if
you can't verbalize it. Anything
other than a studio poster
might often convey ‘small’,
‘independent’, ‘difficult’,
‘subtitles’, ‘spotty production
value’, etc. But I think there’s
beautiful work being done by a
lot of talented people.
Why does film matter?
Film matters for the same
reason all Art matters. People
need to express themselves,
society needs this. It keeps
our social structure healthy.
Look at any society that
doesn't have this and watch it
slowly fall apart. [tbp]
See more of Neil Kellerhouse's
work at www.kellerhouse.com
seemore... [web ] The Criterion Collection: www.criterion.com [book ] Paul Rand by Steven Heller
September/October 2010 17
 one sheet lone wolves

one sheet
deconstructing film posters

The lone hero concept lends

itself rather well to the art
of movie poster creation,
allowing artists a single
romantic figure upon which
they can focus in order to
sell a given movie. As usual,
however, this approach can be
seen to vary depending upon
how a studio wishes said film
to be marketed.

Get Carter (1971)

Original British
Art by Arnaldo Putzu
Arnaldo Putzu’s quad artwork
for the UK release of Get
Carter is a sombre affair, and
one that – it is important to
note – puts more emphasis
on the film’s character and
lead actor than the title itself.
Unlike some of the other
posters that were used for the
release of Get Carter in the US
and Europe, here we are sold
what is essentially a crime
film rather than a gangster
film. There is, however, still a
handful of inconsistencies to
be seen – aspects that differ
from the final film – including
Carter’s apparently fetching
floral jacket.

Lone f r o m j o h n way n e ' s b r oa d -

backed and intolerant Ethan
Edwards in John Ford’s The
Get Carter (1971)
Original US (Advance)
Art by John Van

Wolves
Searchers to Clive Owen’s Hamersveld
cynical, antiheroic Theo
John Van Hamersveld’s
Faron in Alfonso Cuarón’s
poster for the 1971 film Get
Children of Men, the lone hero
Carter, for example, evokes
has always been an important
the iconic pop art style of
part of world cinema’s very
Roy Lichtenstein, giving the
fabric. Whether this hero be a
impression of a genre film,
The Lone Hero: weight on his shoulders, trouble on his muscle-clad soldier of the Van
though something perhaps
Damme or Schwarzenegger
mind. He is flawed; he is downtrodden; he is left for mould, or even a charming
campier than the later US
posters tended to depict –
dead. He is a cinematic tradition. nichol as page takes man-of-the-people type
voiced by Stewart or Mason,
a dirty cop film in the
a look at posters inspired by such characters, courtesy he will always have a place on
Dirty Harry vein.

of The Reel Poster Gallery, London. our screens and, perhaps, in

our hearts.

18 www.thebigpicturemagazine.com September/October 2010 19

 Die Hard (1988)
Original US (Advance)
John McTiernan’s Die Hard,
now considered one of the
most successful additions to
the action genre in recent
decades, proved in 1988
that a flawed hero could
still translate to box office
gold. John McClane, Bruce
Willis’ New York cop, with
his wise-cracking demeanour
and strong moral compass, is
indeed the perfect example of
an antihero.

High Noon / Mezzogiorno

di Fuoco (1952)
Original Italian
(Re-release 60s)
Just like the aforementioned
Wayne, Gary Cooper was
the kind of strong-jawed
Hollywood personality
who made his living
playing the Lone Hero, and
predominantly in films of
the western genre. Perhaps
Cooper’s finest moment, his
role as Marshal Will Kane
in Fred Zinnemann’s High
Noon, is gloriously depicted,
for the film’s Italian re-
release during the 1960s.

John McClane, Bruce Willis’

New York cop, with his wise-
cracking demeanour and strong
moral compass, is indeed the
perfect example of an antihero.

20 www.thebigpicturemagazine.com
 AfricAn / nigeriAn
one sheet lone wolves
AmericAn – Hollywood
Yojimbo / La Sfida Del
AmericAn – independent
Samurai (1961)
Original Italian
Art by Manfredo
ArAb
Despite enjoying a long and
successful career that saw him
star in films all over the world,
AustrAlAsiAn Directory of
britisH
Japan’s finest example of the

WorlD
lone hero, Toshirô Mifune,
will always be remembered for

cAnAdiAn
his work with Akira Kurosawa
on films such as this one:

cinema
Yojimbo, released in 1961.
Mifune has also influenced
many of western cinema’s
most iconic lone heroes,
including Clint Eastwood’s
cHinese
eAst europeAn
Man With No Name in Sergio
Leone’s Dollars Triolgy.

frencH
Toshirô Mifune has
germAnDirectory of WorlD cinema:
influenced many of irAniAnaustralia & neW ZealanD
western cinema’s
most iconic lone indiAn This ambitious new volume from Intellect offers an in-depth and exciting
heroes, including Clint
Eastwood’s Man With itAliAn look at the cinema produced in Australia and New Zealand since the turn of
the twentieth century. Though the two nations share cultural and economic

JApAnese
connections, their film industries remain marked by differences of scale, as
No Name in Sergio well as levels of government involvement and funding. Through discussion
Leone’s Dollars Triolgy.
russiAn
of prominent genres and themes, profiles of directors, and comprehensive
reviews of significant titles, this user-friendly guide explores the diversity and
distinctiveness of films from Australia and New Zealand including Whale Rider,
swedisH The Piano and Wolf Creek.

turkisHVisit the website to find out more about Intellect’s

spAnisHDirectory
/ portuguese
project and explore the volume for free

soutH AmericAn / brAziliAn

WWW . WorlDcinemaDirectory. org
rest of tHe world (including
The Directory of World Cinema: Japan and Directory of World Cinema:
go further [visit ] Whaam! the Art and Life of Roy Lichtenstein by Susan Goldman Rubin isrAel, koreA, denmArk,
American Independent are now available. Forthcoming volumes include
Directory of World Cinema: Russia.

22 www.thebigpicturemagazine.com finlAnd, norwAy And icelAnd,

 first person to arrive at not simply work
that is realistic, but that has
m e c h a n i c s at w o r k b e h i n d t h e s c e n e s developed into a natural
reality. Leigh is famously
There is room for Leigh's
rather loathed to explain his actors to have fun with the

Under
approach, but he has gone so
far as to state that: process but the purpose is
usually ultimately serious
Constructio�
The actual substance of the
film, the actual quality and the
discipline and the order and the
form of the film, must go beyond
and the work quite punishing.
merely people improvising […]
[Y]ou could say it aspires to
Ensemble Casts and the Art of Improvisation. Words by j ez conolly the condition of improvisation
but even that is to miss the
point, which is that it aspires
to the condition of reality. And
obviously people in life are
improvising.'
Another Year will have
begun, like Leigh's previous
films, with his recruited
group of actors unaware
of the characters they will
be playing or what the film
will even be about. Leigh,
drawing on a range of ideas
and themes, will have worked

Images Courtesy Momentum Pictures

above Director Mike Leigh’s latest venture
ben gazzara, Gena Rowlands and director
Another Year, due for a November release,
john cassavetes on the set of opening night
will once again showcase his trademark
technique of improvisatory collaboration
with his cast of regular actors. While
the process of nurturing and capturing
spontaneous dialogue and action for film
is not unique to Leigh’s work, he has
fashioned his own idiosyncratic take on
the process.
As with the pioneers of improvisational
filmmaking, such as John Cassavetes and
Vittorio de Sica, peers like Ken Loach,
and contemporaries such as Christopher
Guest, Leigh regards the technique as
central to his actors achieving a sense of
realism. However he strives to go deeper,
individually with each of the
main members of the cast
to create a character that is
three-dimensional enough for
the actor to 'inhabit'. Woven
around his ideas, Leigh
encourages his actors to draw
upon their own experiences
of real people as a way to
develop character traits. This
part of the preparation can
typically take three to six
months. It's not unknown
during this period for the
actors to perform mundane
everyday tasks, such as going
shopping or asking people
in the street for directions,
entirely in character.
Through this phase of
discussion and development
the world of the film will have
emerged, and it is at this stage
that the improvisational part
of the work will have ended.
The final scripts that Leigh
produces, inspired by the
collaborative process, once
committed are rigidly adhered
to during the filming, meaning
that very little of the action
and dialogue seen in the final
cut was improvised to camera
on the day of shooting. This
is quite contrary to many
peoples' preconceptions of the
role that improvisation plays in
films. For Leigh improvisation (top) NOOMI RAPACE as Lisbeth Salander
is merely a means to an end. (above) MICHAEL NYQVIST as Mikael Blomkvist
Critic John Lahr defined
Leigh's process succinctly
as 'a kind of treasure hunt in
which his collaborators bring
stuff back from their lives and
pick over it with the director
to make a story whose general top
Jim broadbent and
parameters are growing in ruth sheen
Leigh's mind but which is above
unknown to the group'. the cast in action
Leigh is certainly not the
only director to have run with
an improvisational ethos.
John Cassavetes, famed for
such groundbreaking films as ➜

24 www.thebigpicturemagazine.com September/October 2010 25

Shadows (1959), Husbands
(1970) and The Killing Of A
Chinese Bookie (1976) worked
in a similar way to Leigh in
that in general his films were
acted out exactly as scripted.
Vittorio De Sica employed
It was in the workshop phase
that discussions and rehearsal
non-professional actors and celebrates 45 years of cinema coverage
with his actors would have
produced revisions to the
took great pains to build up a
script which he would add so
as to lend characters life and
rapport with them.
substance.
Vittorio De Sica, in
Published bi-monthly by the internationally
such greats at The Bicycle
Thieves (1948) and Umberto renowned film society of lincoln center,
D (1952), employed non-
professional actors and took
great pains to build up a
film comment provides global coverage
rapport with them, believing
that encouraging intense in cinema including exclusive interviews,
character exploration and
improvisation would lead to
a more honest account of the
in-depth reviews, discussions on new releases
urgent social and political
topics facing post-war Italy. and classic films, authoritative profiles on
Ken Loach, responsible
for such fine polemical
dramas as Riff-Raff (1991)
and Raining Stones (1993) is
similarly renowned for using
’’ !
luminaries in the industry, and developments
in the art of filmmaking.
non-professional actors, and
taking his time over the casting

’’
’’
process to ensure that an
actor's personal experience and
outlook impacts the look and I love every aspect of motion pictures, and I’m committed to it for life.
feel of the film. The realism
of his films is maintained film comment has that same commitment when it comes to

’’
by using local dialects and writing about motion pictures.
colloquialisms, and casting
people who look and sound like
they come from where they are
supposed to. This has often
resulted in subtitling being
While he gives his cast a loose
outline of the plot of each film
he allows more scope for on-
screen ad lib and spontaneous
’’
— Clint Eastwood film comment connects me to a time when films and filmmakers
actually mattered and were treated as being worthy of serious discussion.
There’s no other cinema magazine remotely like it.

required for the American
release of his films.
Christopher Guest,
mastermind along with
writing partner Eugene Levy
behind Best In Show (2000)
and A Mighty Wind (2002)
among others, has bent
improvisation to the will of
film comedy. Guest’s films
have come to be regarded
as definitive examples of
the ‘mockumentary’ genre.
’’
invention to achieve results.
Leigh’s films often provoke — stEvEn sodE rbErgh
laughter in their audiences
but the effect is usually
tempered by the sobriety of film comment regularly publishes some of the best film writers in the
self-recognition. There is room
for his actors to have fun with world, and they probe and parse cinema in a way that deepen our experience of it.
the process but the purpose is — utn E indEpE ndEnt pr Ess award b Est arts CovEragE
usually ultimately serious and
the work quite punishing. The
cast of Another Year know their
director well. Imelda Staunton
playing Janet has in the past top
mused that working with Mike vittorio de sica and
sophia oren
F ilmCommEnt.Com subsCrib E:
Leigh is ‘shocking, terrifying,
exhilarating’. Phil Davies as
above
christopher guest
1.888.313.6085 US 1 yr (6 issues) save 10% of our standard rate
Jack previously summed up (centre) and co. 1.973.627.5162 International us $27 /canada&mexico $36 /international
the process as ‘extremely hard
and worthwhile, [but] there is
Film Comment PO Box 3000, $63 use code 2 bKFr9 when ordering.
nothing else like it’. [tbp] Denville NJ 07834 USA

go further... [film] Mike Leigh's Another Year is in UK cinemas from November 5th

26 www.thebigpicturemagazine.com
 four frames
t h e a r t o f a b b r e v i at e d s t o r y t e l l i n g

The Prison Guard’s Hands In Hunger Dir. Steve McQueen, 2008

1 2 Words by Jez Conolly

Wordless establishing
shots are a frequently used method of
character and narrative set-up in films.
Think how often we have seen a central
figure’s morning routine, showing them
dressing complete with carefully chosen
character indicators (Oscar Schindler’s
preparation involving tie, cuff links,
handkerchief and swastika lapel badge for
example). Rarely has the method been put
to such stark use as in Hunger.
One of the earliest shots shows a family
man at his domestic bathroom mirror
followed by a tight close-up of his hands
in the basin. The knuckles bear scars and
recently healed wounds, origin unknown.
A wedding ring sits next to a nail brush.
After washing we see his hands buttoning
up his shirt, the ring now back on the
finger, the scars dried.
We learn that the man is a prison guard
in Northern Ireland in the 1980s. The ring
3 3 4 is left in a staff locker and the next time
we see the hands they are being bathed in
another basin, this time with the blood of
a fresh beating pinking the water. During
a exterior cigarette break the knuckles
are shown, grazed and swollen from the
punishment, not shown, that they have just
meted out. Horribly perfect filmmaking.

Read More f o u r f r a m e s online at

www.thebigpicturemagazine.com

Screengrabs © 2008 Pathé

28 www.thebigpicturemagazine.com September/October 2010 29

 1000 words
m o m e n t s t h at c h a n g e d c i n e m a f o r e v e r
kiss
kiss
bang
When James Stewart rode out alone
as an independent contractor taking
a percentage of the box office receipts
for Winchester ’73 he changed the way
movies were made. s c o t t jo r da n h a r r i s
discusses a revolutionary film deal.
A
A
sk an expert
on matters
cinematic
to list James
Stewart’s
best films
and it may be a while before
he or she names Winchester
’73 – but ask that expert to
list Stewart’s most significant
films and you should hear the
title immediately. What occurs
in Winchester 73’s scenes is
unlikely to see the film called a
true turning point for cinema,
but what occurred behind
them means it should forever
be acknowledged as one.
James Stewart, Winchester ’73 and I don’t intend to imply by
this that Winchester ’73 is a
the start of the star system poor film. It is a very good
one. Lean and yet intricately
plotted, it is involving,
thrilling and frightening. It’s
impressively photographed
(by William H. Daniels) and
features several memorable
performances, the best of
them by Stewart, who cleverly
positions the amiable charm of
left
james stewart takes aim his classic character below an
above assumed surface of anger and
a contemplative pose intensity. The result is a far
30 www.thebigpicturemagazine.com
more effective, and far more
nuanced, performance than
would have come from his
simply playing against type. As
Lin McAdam, Stewart does
not play a man utterly unlike
the pleasant all-Americans we
associate with him. He plays a
man just as honest, upstanding
and agreeable as we might
expect – but one compelled
by circumstance to become
vengeful and violent.
I am also not suggesting
that, judged solely by the
impact of its content,
Winchester ’73 is historically
insignificant. The film
established several minor
milestones. It was the first of
director Anthony Mann’s eight
influential collaborations with
Stewart. It rejuvenated the
previously waning Western
genre and led to a number
of grittier ‘adult Westerns’ (a
phrase that most certainly did
➜
not imply in the 1950s what
it would imply today). And its
success in cinemas did much
to push Stewart towards the
status he would soon enjoy
as America’s top box office
September/October 2010 31
1000 words winchester 73'
Wasserman and Stewart draw. These, though, are just
footnotes in film history; the
agreed that Stewart would contract Stewart secured for
appearing as Lin McAdam
accept no money for is a chapter from its main
narrative.
appearing in Winchester ’73 In Hollywood’s Golden
Age the ‘studio system’ was
or Harvey, provided he was dominant. Each of the big
stars belonged to one of the
given a percentage of each big studios and, barring loan
deals and the like, worked
film’s takings. The move exclusively for it. For example,
MGM, which was the biggest
was brave and, of course, studio of all in the 1930s, sold
itself as having ‘more stars than
experimental... there are in heaven’, and kept
Clark Gable, Greta Garbo,
Judy Garland, Joan Crawford
and Jimmy Stewart under
contract. Film stars did not –
as, under the ‘star system’, they
do now – make one movie for
MGM, one for 20th Century
Fox, one for Warner Brothers
and then another for MGM
go further... [web] Look out for 'Screengem: The Winchester ‘73' on www.TheBigPictureMagazine.com
32 www.thebigpicturemagazine.com
left
james stewart in harvey
below
lew 'pope of hollywood' wasserman
opposite
jack nicholson in batman
depending upon the individual
scripts and individual pay
packets on offer. They were
held to exclusive deals.
By the 1950s the studio
system was in serious
decline, and so it would be
an enormous exaggeration
to suggest that the contract
Stewart signed to make
Winchester ’73 – and another
film, Henry Koster’s
comforting classic Harvey
– for Universal in 1950
caused its collapse. But the
deal did severely damage
what remained of the studio
system – and it was decisive in
determining the system that
would replace it.
When Stewart returned to
Hollywood in 1945, following
his distinguished service in
the Second World War, he
did not re-sign with MGM.
Instead, he signed with the
MCA talent agency run by
Lew Wasserman, the visionary
agent known as ‘The Pope
of Hollywood’. As such, he
became one of film’s first
independent contractors.
A few years later, Universal
asked Stewart to star in
its upcoming productions
Winchester ’73 and Harvey but
couldn’t, or wouldn’t, pay the
$200,000 he asked in return.
Next came Wasserman and
Stewart’s masterstroke.
They agreed that Stewart
would accept no money for
appearing in Winchester ’73
or Harvey, provided he was
given a percentage of each
film’s takings. (Wasserman
also had Stewart established
as a corporation, allowing
him to avoid enormous sums
in income tax.) The move
was brave and, of course,
experimental: had Winchester
’73 bombed at the box
office, the end of the studio
system, the beginning of the
star system and, as such, the
history of Hollywood may
have been drastically different.
But Winchester ’73 did
not bomb at the box office.
Famously, the film took so
much in ticket sales that
Stewart’s percentage earned
him $600,000 – three times
the amount he had originally
been willing to accept for his
work in both it and Harvey.
Stewart wasn’t the first
Hollywood freelancer, and he
wasn’t even the first to agree
a deal in which a performer
took a percentage of a film’s
takings. But, as ever with the
history of Hollywood, the
moment that most matters is
not the first time someone did
something, but the first time
someone did something that
was massively successful.
Winchester ’73’s success put
Stewart in an unprecedented
position, of which every other
major American movie star
was naturally envious. Other
major names negotiated
similar deals for subsequent
films and soon such contracts
were common. (Wasserman,
incidentally, did rather well in
his career, too, and had further
dealings with Universal –
when he bought it.) Nowadays
percentage deals are standard
– they are simply the way
major movies with major
stars are made – and there
have been many legendary
agreements of the kind (Alec
Guinness’s percentage of the
earnings from Star Wars, for
example, earned him colossal
amounts, and Jack Nicholson’s
percentage deal for Tim
Burton’s Batman brought him
100 times the amount Stewart
earned from Winchester ’73.)
None, though, is as legendary
as Stewart’s.
Winchester ’73 fired the shot
that finished off the studio
system, and was the starting
gun for the star-centric model
of moviemaking that followed
it – and that still exists well-
over half a century later. As
such, the moment when James
Stewart signed a contract to
appear in a Western for which
he might not get paid was
truly a moment that changed
film forever. [tbp]
 on location left
spencer tracy and felipe pazes
t h e p l a c e s t h at m a k e t h e m o v i e s below
esther williams and howard keel

Pagan Love Song (1950)

Dir. Robert Alton
USA, 76 minutes
Starring Esther Williams,
Howard Keel, Rita Moreno
Originally titled ‘Tahiti’, the
Esther Williams vehicle Pagan
Love Song is in fact named
after a number that Arthur
Freed and Nacio Herb Brown
had initially written in 1929
for Ramon Novarro to sing
in The Pagan. Based on the
novel Tahiti Landfall by William
S. Stone, Pagan Love Song
embraces the same mould as
many of MGM’s previous
Williams musicals, starring
the California-born actress as
Mimi Bennett, an American
on vacation who is confused
by a native girl by visiting
school teacher Hazard Endicott
(Howard Keel).

The Old Man and

the Sea (1958)
Dir. John Sturges
With their swaying palm trees and endless white USA, 86 minutes
beaches, the islands of Hawaii have come to represent Starring Spencer Tracy, Felipe
Pazes, Harry Bellaver
many people’s idea of paradise – including those who
make films. nichol as page takes a stroll through Inspired by Ernest
Hemingway’s 1952 story of the
this exotic location, picking out a handful of Hawaii’s same name, John Sturges’s The
contributions to world cinema. Old Man and the Sea features
Spencer Tracy as the film’s
titular character: an elderly
Cuban fisherman who dreams
of the big catch. Battling not
only the elements but also the
ocean’s meanest creatures, the ➜
man succeeds in ending his
lengthy dry streak only to hook
a monstrous marlin. A struggle
ensues, as the old man attempts
not only to find the strength to
land this gigantic fish, but also
to find himself in the process.

34 www.thebigpicturemagazine.com September/October 2010 35

 on location left
elvis 'the pineapple' presley
below
t h e p l a c e s t h at m a k e t h e m o v i e s
monica belluci leads the way

Blue Hawaii (1961)

Dir. Norman Taurog
USA, 102 minutes
Starring Elvis Presley, Joan
Blackman, Angela Lansbury

Upon returning from a

spell in the army, Chad
Gates (Elvis Presley) is
content to settle down and
enjoy Hawaiian life with his
beach buddies. His parents,
however, have other ideas,
and want Chad to learn
some life lessons by going to
work at the family pineapple
business he is soon set to
inherit. Torn between wanting
to please his mother (Angela
Lansbury) and his own
dreams of independence,
Chad instead decides to go
and work as a tour guide at
his girlfriend’s agency. Toe-
tapping tunes follow.

Tears of the Sun

Torn between wanting to
please his mother (Angela
Lansbury) and his own
dreams of independence,
Chad instead decides to go
and work as a tour guide at
his girlfriend’s agency. Toe-
tapping tunes follow.
(2003)
Dir. Antoine Fuqua
USA, 121 minutes
Starring Bruce Willis,
Monica Bellucci, Cole Hauser
Filmed on Hawaii’s third-
largest island, Oahu, but
actually set in Nigeria, Antoine
Fuqua’s Tears of the Sun is the
story of a career soldier and
veteran lieutenant named A.K.
Waters (Bruce Willis) who
is sent to central Africa on a
perilous mission. He and his
elite squad of tactical specialists
are told to rescue a particularly
important doctor – Lena
Kendricks (Monica Bellucci)
– and return her to the United
States. Soon, however, they
find they must escort not only
the doctor but also the refugees
under her protection.

go further... [web ] Read 'On Location: New Jersey' at TheBigPictureMagazine.com

36 www.thebigpicturemagazine.com September/October 2010 37

 screengem
e vo c at i v e o b j e c t s o n s c r e e n

The
Cheroo� The Dollars Trilogy (1964 – 66)

Clint Eastwood’s hat, poncho and frown all

play their part, but it’s the lung-busting length
of flavoured tobacco that turns the memorable
into the iconic in Sergio Leone’s artful trilogy.
da n i el steadman lights up.

without the corporate picking up the stubby

fat cat associations of the
traditional cigar or the
anachronism of a pack of
Benson and Hedges, the
cheroot is the vice of choice
for the Old West antihero.
Trudging through a soulless
panorama of bandits,
outlaws and civil war, Clint
Eastwood’s Man with No
Name chomps and gnaws
his way through a trilogy’s
worth of stogies, never giving
the impression of enjoying a
single one.
Essentially a cheap, foul-
smelling and longer-lasting
relative of the cigar, the
cheroot played a practical as
well as aesthetic part in the
making of The Man With
No Name. Early budget
restrictions meant Eastwood
had to kit his character out
with a costume, including
smokes from a Beverley
Hills store. Their infamous
harshness meant the actor
– a non-smoker – was put,
in his own words, in ‘a
scratchy mood’ throughout
the shoot, something that
allegedly contributed to his
characteristic grimace.
One of the few aspects of
the character that weren’t
lifted from Akira Kurosawa’s
Yojimbo (there was a successful
lawsuit by the makers of
Yojimbo against A Fistful
of Dollars, the first film in
Leone’s trilogy), the cheroot
soon became an inescapable
accessory of the amoral,
vigilante antihero. From
Pacino’s Tony Montana to
Hugh Jackman’s Wolverine,
the cigar signifies single-
mindedness, brutality and a
perverse sense of justice. [tbp]

image courtesy park circus

seemore [web] Look out for 'Screengem: Dirty Harry’s Magnum .44' at www.TheBigPictureMagazine.com

38 www.thebigpicturemagazine.com September/October 2010 39

 Intellect
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 parting shot
i m i tat i o n i s t h e s i n c e r e s t f o r m o f f l at t e r y

Knowing
Me
Knowing
Yo� The mirror pep talk, when uttered by the formerly
potent male, sees the protagonist talking himself up
whilst the contradictory truth stares starkly back at him.
e m m a s i m m o n d s stops to reflect.

there's nothing wrong
with a bit of bravado in the
face of grim reality, or so
these tough guys keep telling
themselves. Raging Bull’s
famous mirror pep talk sees
Robert De Niro, as disgraced
boxer Jake LaMotta, now a
bloated shadow rehearsing
a speech lifted from On the
Waterfront. Through Brando’s
words, La Motta voices his
own feelings of abandonment
and self pity: ‘I coulda
had class, I coulda been a
contender, I coulda been
somebody. Instead of a bum –
which is what I am’.
'You talkin' to me?!'
In Boogie Nights, Mark
Wahlberg’s pinhead porn
star Dirk Diggler perpetually
speaks to his own reflection.
As a fresh-faced naïf he
practices karate moves. Later,
he somewhat desperately
‘prepares’ himself for a
shoot. By the end of the
picture Dirk is back in
front of a mirror, practicing
lines for his comeback. The
farcical dialogue and recent
ignominious events undermine
his insistence that he is a ‘star’.
The sequence is an explicit
homage to Raging Bull, yet, as
Diggler stands to leave, rather
than buttoning his jacket, he
unzips his fly, revealing the
secret to his success.
The Foot Fist Way targets
the nonsense of po-faced
machismo. In a scene directly
inspired by both Raging Bull
and Boogie Nights hapless
taekwondo instructor Fred
Simmons (Danny McBride),
who is reeling from marital
disaster and faced with an
unruly class of children,
hysterically tells himself that
he’s both ‘a winner’ and
‘an asshole’: an accurate
summation of both Jake La
Motta and Dirk Diggler. [tbp]

clockwise from top

robert deniro in raging bull
Danny McBride in the foot fist way
mark wahlberg in boogie nights

go further... [web ] Read 'Parting Shot: The Dance of the Bread Rolls' online

42 www.thebigpicturemagazine.com September/October 2010 43

 competition Backpages

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 Backpages

Film Index Back in Cinemas

So you’ve read about the films, now go watch ‘em! Putting the movies back where they belong...

Pearl Harbour (2001)

Dir. Michael Bay
Harvey (1950)
Dir. Henry Koster
This edition of The Big Picture has been
g see page 4/5 g see page 32 produced in partnership with Park Circus,
From Here To Eternity (1953) Batman (1989) who are committed to bringing classic
Dir. Fred Zinneman Dir. Tim Burton
g see page 6/7 g see page 33
films back to the big screen.
Fight Club (1999) The Old Man and the Sea (1958)
Dir. David Fincherx0 Dir. John Sturges
g see page 8 g see page 34 coming coming coming
The Wild One (1953) Pagan Love Song (1950) soon soon soon
Dir. Laszlo Benedek Dir. Robert Alton
g see page 9 g see page 35

Wuthering Heights (1939)

Dir. William Wyler
Blue Hawaii (1961)
Dir. Norman Taurog
Based on James Jones' best-seller, From Here
g see page 10 g see page 36
To Eternity is a powerful drama of the passions
Bandit Queen (1994) Tears of the Sun (2003)
and violence of a group of soldiers stationed at
Dir. Shekhar Kapur Dir. Antoine Fuqua Pearl Harbor. Starring Burt Lancaster, Deborah
g see page 11 g see page 37
Kerr, Frank Sinatra and Montgomery Clift,
Fish Tank (2010)
Dir. Andrea Arnold
The Good, The Bad and The Ugly
(1966)
this iconic, Academy Award-winning title has
g see page 12/13 Dir. Sergio Leone been beautifully restored by Sony Pictures and
Opening Night (1977)
g see page 38/39 will be re-released from 24 September at BFI
Dir. John Cassavetes Raging Bull (1980) Southbank, Glasgow Film Theatre, Irish Film
Dir. Martin Scorsese
g see page 24
g see page 42/43
Institute and key cities.
Another Year (2010)
Dir. Mike Leigh Boogie Nights (1997) Frank Capra is regarded as one of the great
Dir. Paul Thomas Anderson
g see page 25
g see page 42
directors of American cinema. This Autumn, Park
Hunger (2008) Circus is pleased to present a touring season of
Dir. Steve McQueen The Foot Fist Way (2006)
g see page 28/29 Dir. Jody Hill his most-loved classics. Headlining the season
Winchester '73 (1950)
g see page 43 are romantic screwball comedy It Happened
Dir. Anthony Mann One Night and racy drama Forbidden, which will
g see page 30/31 both be re-released on 29 October, opening at
BFI Southbank and selected cinemas.

More details of cinema screenings of these

the and other classic movies from the Park Circus
big picture catalogue can be accessed via:
issue 11 www.backincinemas.com
available
15 NOVEMBER
2010 thebigpicture disclaimer
The views and opinions of all texts, including
editorial and regular columns, are those of the
authors and do not necessarily represent or
above it happened one night
reflect those of the editors or publishers.

46 www.thebigpicturemagazine.com