Tag Archives: Anne Hathaway

Interstellar: the Queen connection to Christopher Nolan’s blockbuster

8 Nov

Interstellar

Interstellar. Great film. But what the credits won’t tell you is that although it is ostensibly scripted by the Nolan brothers, Christopher and Jonathan, it was really dreamt up by Brian May of Queen.

Let me explain.

Brian May, as well as being an ace guitarist and implausibly coiffed rock god, is also a PhD in Astrophysics. He put his interest in Space to good use by writing and singing one of Queen’s finest songs. ’39, as you will see from the lyrics below, uncannily parallels the plot of Interstellar. [Spoiler note: this is just the broad thrust of the plot – I don’t think it will spoil your enjoyment of the film. If you are worried, come back to this after you’ve seen the film, and tell me I’m right!]

In the year of ’39 assembled here the volunteers
In the days when the lands were few
Here the ship [ie spaceship] sailed out into the blue and sunny morn
Sweetest sign ever seen

And the night followed day
And the story tellers say
That the score brave souls inside
For many a lonely day sailed across the milky seas [ie Milky Way]
Ne’er looked back, never feared, never cried

[chorus] Don’t you hear my call though you’re many years away
Don’t you hear me calling you
Write your letters in the sand [once you’ve seen Interstellar, you will know how spookily this line parallels the film!]
For the day I take your hand
In the land that our grandchildren knew

In the year of ’39 [a hundred years later, that is] came a ship in from the blue
The volunteers came home that day
And they bring good news of a world so newly born [yep, they’d gone off looking for a new planet]
Though their hearts so heavily weigh
For the earth is old and grey [because the Earth is screwed], little darling we’ll away
But my love this cannot be
Oh so many years have gone though I’m older but a year [basic Theory of Relativity: time passes relatively more slowly the closer you get to the speed of light]
Your mother’s eyes from your eyes cry to me [and so the love of his life is now as old and grey as the Earth]

Don’t you hear my call though you’re many years away
Don’t you hear me calling you
Write your letters in the sand for the day I take your hand
In the land that our grandchildren knew

Don’t you hear my call though you’re many years away
Don’t you hear me calling you
All your letters in the sand cannot heal me like your hand

For my life
Still ahead
Pity me

Love that song. Surprisingly moving. As is the film. Interstellar is that very rare beast: a big-budget sci-fi movie that deals with big questions about the human condition, rather than just going for action (though that’s also well done). It’s best seen in 70mm or IMAX, though I must caution you that, on the BFI IMAX screen, the size of Anne Hathaway’s eyes and lips is downright alarming.

Dear Christopher Nolan and his lawyers: I am not genuinely suggesting plagiarism here. There are plenty of sci-fi stories predating ’39 that deal with the same subject, and anyway there is no copyright on ideas in the public domain, only on the execution. But you have to admit, it’s a nice parallel.

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The Oscars 2013: And the actual winners are…

25 Feb
Daniel Day-Lewis wins third Oscar for Lincoln

Daniel Day-Lewis: The Greatest Actor Who Ever Lived™

Best Picture: Argo With hindsight (and having now actually seen it, which I hadn’t when I predicted Lincoln in January), Argo seems an obvious winner. The Academy rewards films about the movies disproportionately – just look at The Artist. And it has the same message as Zero Dark Thirty – screw you, terrorists, America kicks ass! – without the unpalatable politics. It even has its own catchphrase, “Argo f*** yourself”, which is being repeated in film meetings across Hollywood. Interestingly, truth here is stranger than fiction. The real CIA agent behind the extradition of US embassy staff from Iran deliberately called his fictional film Argo after an old joke: “Knock knock.” “Who’s there?” “Argo.” “Argo who?” “Argo f*** yourself.” The title of the movie was, therefore, a barely coded “f*** you” to the Iranians they were duping.

Actor: Daniel Day-Lewis, Lincoln. I called this one right, not that that makes me Mystic Meg. With a third win, he is now officially The Greatest Actor Who Ever Lived™.

Actress: Jennifer Lawrence, Silver Linings Playbook. I mischievously called for Emmanuel Riva to win, on the grounds that her age is closer to that of most Academy voters, but there has been a growing Cult of Jennifer Lawrence in the last year, her chat show appearances turning into internet memes. She is unstoppably adorable, bizarrely untainted (so far) by Hollywood pretension. Even on the red carpet she was announcing how hungry she was, voicing what every stick-thin actress thought but would never say. Quite apart from her performance being great, people would have voted for her just to see her speech. She didn’t disappoint. After stumbling over her dress, she said: “You guys are just standing up because you feel bad that I fell over and that’s embarrassing.”

Supporting Actor: Christoph Waltz, Django Unchained. I don’t quite get this. Waltz was playing pretty much the same character with the same laborious elocution and loquacity as in Inglorious Basterds. Still, I guess they liked it enough the first time to give him an Oscar, so it makes sense to chuck another one on the fire.

Supporting Actress: Anne Hathaway, Les Miserables. Again, you didn’t have to be Mystic Meg to see this coming. Hathaway is evolving into a very complex and credible actress, able to switch effortlessly from frothy comedy to searing drama. [Her alcoholic in Rachel Getting Married was extraordinary.] Her brief role in Les Mis was such a stand-out, she was as firm a favourite to win as The Greatest Actor Who Ever Lived™.

Directing: Ang Lee, Life of Pi. Steven Spielberg had an epic subject, a terrific script, and The Greatest Actor Who Ever Lived™. As a director, all he really had to do was not screw it up. Whereas Life of Pi is pretty much unfilmable, and Lee did a bang-up job.

Foreign Language Film: Amour. If it’s nominated for Best Picture, you can be pretty sure it’s going to win this category.

Adapted Screenplay: Chris Terrio, Argo. It won Best Picture, so it’s going to win this. Sorry, Tony Kushner.

Original Screenplay: Quentin Tarantino, Django Unchained. A deserving winner. The problems I had with this film (see bit.ly/YgJfSV ) are down more to direction than writing. This was a big, ballsy piece of work with some unforgettable scenes and dialogue.

Animated Feature Film: Brave. This was Pixar’s blandest and most disappointing movie by far. Maybe Academicians don’t actually watch the cartoons. Mind you, Pirates! was not up to the usual Aardman standard, either, and Frankenweenie was perhaps always going to be too weird.

And the other awards went to….

Production Design: Lincoln.

Cinematography: Life of Pi.

Sound Mixing: Les Miserables.

Sound Editing (tie): Skyfall, Zero Dark Thirty.

Original Score: Life of Pi, Mychael Danna.

Original Song: Skyfall from Skyfall, Adele Adkins and Paul Epworth.

Costume: Anna Karenina.

Documentary Feature: Searching for Sugar Man.

Documentary (short subject): Inocente.

Film Editing: Argo.

Makeup and Hairstyling: Les Miserables.

Animated Short Film: Paperman.

Live Action Short Film: Curfew.

Visual Effects: Life of Pi.

Backstage at the Oscars: bit.ly/WjCnhI

BAFTA awards ceremony: winners, sinners and zingers

10 Feb
Argo

Argo takes Best Film, Best Director, and inspires Stephen Fry’s new beard

The BAFTA awards ceremony was terrific. Conducted with a minimum of fuss, ceremony and ridiculous frocks, and a maximum of Fryesque facial hair, it even featured Daniel Day-Lewis taking the piss out of his Method-acting ways. “Just in case of this moment,” he said, “I’ve stayed in character as myself for 55 years; had a selection of BAFTA sets downscaled and placed in my living room…”

And so, without further ado, my awards for the best BAFTA ceremony moments go to:

Most unctuous introduction: “Sumptuous and superlatively scrumptious… one of the true immortals of Hollywood” – Stephen Fry on Sally Field.

Least unctuous: “A death mask on a stick” – Billy Connolly on the BAFTA trophy.

Most bizarre introduction: Stephen Fry is famous for these. I liked “Please ululate wildly for…” and “Please spank palms audibly for…”. But the winner is for Life of Pi, which Fry supposedly mistook for an American Pie sequel: “Sadly it featured no young men pleasuring themselves with fruit-filled fancies.”

Biggest upset: Christoph Waltz beat not just Philip Seymour Hoffman (The Master) but more strangely Javier Bardem in Skyfall. But the biggest upset must still be Argo taking Best Film. Even Samuel L Jackson, presenting the award, read it out with a chuckle of obvious amazement.

Smallest upset: A three-way tie between Amour winning Best Foreign Language Film; Daniel Day-Lewis getting Best Actor; and Anne Hathaway winning Best Supporting Actress.

Most sincere acceptance speech: “This is a second act for me… I’m so grateful and proud” – Ben Affleck getting Best Director.

Least sincere: Quentin Tarantino (Best Original Screenplay, again) sounded about as chuffed as if he’d been offered a cigarette. And he doesn’t smoke.

For the full list of winners, go to http://awards.bafta.org/