Deep into production on Clint Bentley’s feature directorial debut “Jockey,” star Clifton Collins Jr. reached an impasse: His agent kept calling him up with what the actor referred to as “money scripts,” and the long-time actor just didn’t have the time or the headspace to worry about other projects. Hell, he didn’t have time to worry about anything else but the tiny indie about a jockey nearing the end of his run in the lauded drama. The film premiered at Sundance 2020 after being picked up by Sony Pictures Classics, and has earned Collins the best reviews of his career, plus a recent Indie Spirit nomination for his performance.
“I’m like, ‘If I spend two hours reading another script, that’s two hours you’ve stolen from our budget. Because time is the only currency that cannot be replaced. And I’ll be damned if you take another dollar from this budget,...
“I’m like, ‘If I spend two hours reading another script, that’s two hours you’ve stolen from our budget. Because time is the only currency that cannot be replaced. And I’ll be damned if you take another dollar from this budget,...
- 1/6/2022
- by Kate Erbland
- Indiewire
Clifton Collins Jr. has run the gamut in Hollywood. He’s worked with actors such as Philip Seymour Hoffman (“Capote”), Robert Redford (“The Last Castle”) and Benicio del Toro (“Traffic”). He’s performed for directors like Alejandro Gonzalez Iñárritu (“Babel”), Quentin Tarantino (“Once Upon a Time in…Hollywood”) and JJ Abrams (“Star Trek”). Next up, he brings life and beauty to his performance as a horse racer feeling the effects of decades on the equestrian circuit in Sony Pictures Classics’ “Jockey.” If nominated for best actor at the Oscars, Collins Jr. would become just the fifth Latino to ever be recognized in the category — following José Ferrer, Anthony Quinn, Edward James Olmos and Demián Bichir.
On this episode of Variety’s Awards Circuit Podcast, we sit down with the Latino actor to talk about his career and taking on this new role of Jackson Silva in Clint Bentley’s directorial feature debut.
On this episode of Variety’s Awards Circuit Podcast, we sit down with the Latino actor to talk about his career and taking on this new role of Jackson Silva in Clint Bentley’s directorial feature debut.
- 10/29/2021
- by Clayton Davis
- Variety Film + TV
Clifton Collins Jr. doesn’t believe in half measures.
For “Jockey,” an intimate drama about an aging rider, the actor shut himself off from friends and family to get in the mindset of his loner character. He needed to access the pain and emotional baggage of a man who is grappling with failing health, as well as the arrival of a younger racer (Moises Arias) who claims to be his son.
“I cut myself off from the world,” Collins tells Variety shortly before “Jockey” premiered to stellar reviews at this year’s Sundance. “I talked to three people the entire time I was gone. I like to go deep.”
He also pushed his body to the breaking point, shedding 20 pounds from his already-thin frame in order to replicate the slender build of a professional jockey. Doing that meant adhering to a spartan diet.
“I had a stack of five or...
For “Jockey,” an intimate drama about an aging rider, the actor shut himself off from friends and family to get in the mindset of his loner character. He needed to access the pain and emotional baggage of a man who is grappling with failing health, as well as the arrival of a younger racer (Moises Arias) who claims to be his son.
“I cut myself off from the world,” Collins tells Variety shortly before “Jockey” premiered to stellar reviews at this year’s Sundance. “I talked to three people the entire time I was gone. I like to go deep.”
He also pushed his body to the breaking point, shedding 20 pounds from his already-thin frame in order to replicate the slender build of a professional jockey. Doing that meant adhering to a spartan diet.
“I had a stack of five or...
- 2/1/2021
- by Brent Lang
- Variety Film + TV
All the world is a game and we are merely players! The Bard will probably disagree with that assessment, but game shows and panel series have been a staple on both radio and television. And they are going strong today.
In fact, there is the Gsn cable network, as well as Buzzr which features such series as “Password,” “Family Feud,” “Tattletales” and “Classic Concentration.” “Jeopardy!” and “Wheel of Fortune” are still among the top syndicated series and CBS’ daytime “The Price is Right” is heading toward its fifth decade of people coming on down. And ABC is back for its summer of deja “view” with new versions of such series as “Match Game,” “To Tell the Truth,” “Press Your Luck” and “Family Feud.” The network also scored with a limited return of its 20-plus-year old “Who Wants to Be Millionaire” with host Jimmy Kimmel.
Back in the 1950s, contestants became stars like Dr.
In fact, there is the Gsn cable network, as well as Buzzr which features such series as “Password,” “Family Feud,” “Tattletales” and “Classic Concentration.” “Jeopardy!” and “Wheel of Fortune” are still among the top syndicated series and CBS’ daytime “The Price is Right” is heading toward its fifth decade of people coming on down. And ABC is back for its summer of deja “view” with new versions of such series as “Match Game,” “To Tell the Truth,” “Press Your Luck” and “Family Feud.” The network also scored with a limited return of its 20-plus-year old “Who Wants to Be Millionaire” with host Jimmy Kimmel.
Back in the 1950s, contestants became stars like Dr.
- 6/12/2020
- by Susan King
- Gold Derby
Now a successful producer, John Wayne tries a big budget action picture with an anti-Communist theme. It’s The Alamo on a ferryboat, set in the far East where the locals are a hungerin’ for Freedom. Wayne is an apolitical adventurer who just feels like savin’ Chinese and kissin’ Lauren Bacall. Ace director William Wellman holds it together — barely.
Blood Alley
Blu-ray
Warner Archive Collection
1955 / Color / 2:55 widescreen / 115 min. / Street Date July 18, 2017 / available through the WBshop / 21.99
Starring: John Wayne, Lauren Bacall, Paul Fix, Joy Kim, Berry Kroeger, Mike Mazurki, Wei Ling, Henry Nakamura.
Cinematography: William H. Clothier
Film Editor: Fred McDowell
Original Music: Roy Webb
Written by A.S. Fleischman, from his novel.
Produced by John Wayne
Directed by William Wellman
John Wayne was extremely busy in 1955, starring in movies for big studios as well as for his own company Batjac. He was rated the most popular Hollywood star and was making constant public appearances,...
Blood Alley
Blu-ray
Warner Archive Collection
1955 / Color / 2:55 widescreen / 115 min. / Street Date July 18, 2017 / available through the WBshop / 21.99
Starring: John Wayne, Lauren Bacall, Paul Fix, Joy Kim, Berry Kroeger, Mike Mazurki, Wei Ling, Henry Nakamura.
Cinematography: William H. Clothier
Film Editor: Fred McDowell
Original Music: Roy Webb
Written by A.S. Fleischman, from his novel.
Produced by John Wayne
Directed by William Wellman
John Wayne was extremely busy in 1955, starring in movies for big studios as well as for his own company Batjac. He was rated the most popular Hollywood star and was making constant public appearances,...
- 7/6/2017
- by Glenn Erickson
- Trailers from Hell
By Lee Pfeiffer
"Gun the Man Down" is yet another Poverty Row low-budget Western shot during an era in which seemingly every other feature film released was a horse opera. Supposedly shot in nine days, the film is primarily notable for being the big screen directing debut of Andrew V. McLaglen, who would go on to be a very respected director who specialized in Westerns and action films. The movie also marked the final feature film for James Arness before he took on the role of Marshall Matt Dillon in TV's long-running and iconic "Gunsmoke" series. After failing to achieve stardom on the big screen, Arness found fame and fortune in "Gunsmoke" when John Wayne recommended him for the part. Wayne had been championing Arness for years and provided him with roles in some of his films. Following "Gunsmoke"'s phenomenal run, Arness seemed content to stay with TV and had another successful series,...
"Gun the Man Down" is yet another Poverty Row low-budget Western shot during an era in which seemingly every other feature film released was a horse opera. Supposedly shot in nine days, the film is primarily notable for being the big screen directing debut of Andrew V. McLaglen, who would go on to be a very respected director who specialized in Westerns and action films. The movie also marked the final feature film for James Arness before he took on the role of Marshall Matt Dillon in TV's long-running and iconic "Gunsmoke" series. After failing to achieve stardom on the big screen, Arness found fame and fortune in "Gunsmoke" when John Wayne recommended him for the part. Wayne had been championing Arness for years and provided him with roles in some of his films. Following "Gunsmoke"'s phenomenal run, Arness seemed content to stay with TV and had another successful series,...
- 9/3/2016
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
This almost completely forgotten '50s western couldn't compete with the big productions, but it has a good cast -- James Arness, Robert J. Wilke, Emile Meyer, Harry Carey Jr. Plus early work by writer Burt Kennedy, and the debuts of actress Angie Dickinson and director Andrew V. McLaglen. Gun the Man Down Blu-ray Olive Films 1956 / B&W / 1:37 flat Academy / 76 min. / Street Date July 19, 2016 / available through the Olive Films website / 29.98 Starring James Arness, Angie Dickinson, Emile Meyer, Robert J. Wilke, Harry Carey Jr., Don Megowan, Michael Emmet, Pedro Gonzalez Gonzalez. Cinematography William H. Clothier Film Editor A. Edward Sutherland Original Music Henry Vars Written by Burt Kennedy, Sam Freedle Produced by Robert E. Morrison Directed by Andrew V. McLaglen
Reviewed by Glenn Erickson
When the 1950s rolled in John Wayne stopped being merely an actor and graduated to institution status, starting his own production company, Batjac, and promoting his own group of talent.
Reviewed by Glenn Erickson
When the 1950s rolled in John Wayne stopped being merely an actor and graduated to institution status, starting his own production company, Batjac, and promoting his own group of talent.
- 7/23/2016
- by Glenn Erickson
- Trailers from Hell
The Mark Of Zorro Screens Sunday, December 13th at Webster University’s Winifred Moore Auditorium (470 E. Lockwood Ave., St. Louis, Mo 63119) with Live piano by Ben Model, one of the nation’s leading silent film accompanists.
I used to check out The Mark Of Zorro on 8mm film from the library and watch it over and over in my basement when I was a kid in the early ‘70s and I can’t wait to see it in glorious 35mm (the print is from the Museum of Modern Art) this Sunday night (December 13th) at Webster University’s Winifred Moore Auditorium. Admission is $6 ($4 for seniors and free for Wu students)
In The Mark Of Zorro (1920), Don Diego Vega (Douglas Fairbanks), a foppish son of a wealthy rancher, disguises himself with a mask and cape and becomes the legendary Zorro, defender of the people when corrupt Governor Alvarado (George Periolat) crushes...
I used to check out The Mark Of Zorro on 8mm film from the library and watch it over and over in my basement when I was a kid in the early ‘70s and I can’t wait to see it in glorious 35mm (the print is from the Museum of Modern Art) this Sunday night (December 13th) at Webster University’s Winifred Moore Auditorium. Admission is $6 ($4 for seniors and free for Wu students)
In The Mark Of Zorro (1920), Don Diego Vega (Douglas Fairbanks), a foppish son of a wealthy rancher, disguises himself with a mask and cape and becomes the legendary Zorro, defender of the people when corrupt Governor Alvarado (George Periolat) crushes...
- 12/7/2015
- by Tom Stockman
- WeAreMovieGeeks.com
Each year, the Library of Congress selects 25 films to be named to the National Film Registry, a proclamation of commitment to preserving the chosen pictures for all time. They can be big studio pictures or experimental short films, goofball comedies or poetic meditations on life. The National Film Registery "showcases the extraordinary diversity of America’s film heritage and the disparate strands making it so vibrant" and by preserving the films, the Library of Congress hopes to "a crucial element of American creativity, culture and history.” This year’s selections span the period 1913 to 2004 and include a number of films you’re familiar with. Unless you’ve never heard of "Saving Private Ryan," "The Big Lebowski," “Rosemary’s Baby” or "Ferris Bueller's Day Off." Highlights from the list include the aforementioned film, Arthur Penn’s Western "Little Big Man," John Lasseter’s 1986 animated film, “Luxo Jr.," 1953’s “House of Wax,...
- 12/17/2014
- by Matt Patches
- Hitfix
Spanning the years 1913-2004, the 25 films to be added to the Library of Congress’ National Film Registry for 2014 include Steven Spielberg’s Saving Private Ryan, Roman Polanski’s Rosemary’s Baby, Arthur Penn’s Little Big Man, John Hughes’ Ferris Bueller’s Day Off and the Coen brothers’ The Big Lebowski. The annual selection helps to ensure that the movies will be preserved for all time. This year’s list brings the number of films in the registry to 650.
Also on the list are John Lasseter’s 1986 animated film, Luxo Jr; the original Willy Wonka And The Chocolate Factory with Gene Wilder; and Howard Hawks’ classic 1959 Western Rio Bravo. Documentaries and silent films also make up part of the selection which represents titles that are “culturally, historically or aesthetically” significant; they must also each be at least 10 years old. Check out the rundown of all 25 movies below:
2014 National Film Registry...
Also on the list are John Lasseter’s 1986 animated film, Luxo Jr; the original Willy Wonka And The Chocolate Factory with Gene Wilder; and Howard Hawks’ classic 1959 Western Rio Bravo. Documentaries and silent films also make up part of the selection which represents titles that are “culturally, historically or aesthetically” significant; they must also each be at least 10 years old. Check out the rundown of all 25 movies below:
2014 National Film Registry...
- 12/17/2014
- by Nancy Tartaglione
- Deadline
As a film fan, self-professed cinenerd, and an ex-film programmer at the New York International Latino Film Festival, the closure of the long-running fest last year was soul crushing. There are very few spaces dedicated to exhibiting Latino cinema and a lot of the remaining ones are on shaky ground.
Simultaneously though — as many U.S. Latino film institutions are on their last legs — movies directed by Latin American-born filmmakers are circling the globe at prestigious film festivals, winning awards, and garnering praise from critics. Production numbers, south of our border, have risen astronomically. It’s a renewal, renaissance, new wave — whatever you want to call it — that began in the mid-nineties. The Film Society of Lincoln Center, with its eye on this rebirth, founded a film series in 1997. A yearly showcase of the newest voices in Latin American cinema, it would eventually be called Latinbeat.
This year’s Latinbeat, running July 11 – 20, carries on with its mission of presenting emerging directors and film trends from across Latin America with movies from powerhouses like Argentina, Mexico, Chile, and Brazil plus countries with smaller film industries like Uruguay, Colombia, Ecuador, Costa Rica, Venezuela, and the Dominican Republic. From films about a Mexican garage band ("We Are Mari Pepa") to heavy metal in the Andes ("Holiday") and from first-time directors as well as established ones, this year’s lineup is centered on young protagonists.
In advance of the series’ opening night, I got the chance to chat with Marcela Goglio — Latinbeat’s film programmer since 1999 — about the origins of the longstanding showcase, how she ended up at the Film Society of Lincoln Center, and the constant rebirth of Latin American cinema. Plus, there are some good stories about the struggles of getting filmmakers to their screenings on time. Spoiler alert: if something can go wrong, it will.
When did the Latinbeat series start? Was there something specific that motivated the creation of the series?
Latinbeat started in 1997, conceived by Richard Peña, the Programming Director of the Film Society of Lincoln Center at the time (and until the end of 2012.) He actually programmed that first edition. I came in as an intern that year and helped with the marketing, outreach, and with Q&As. He came up with the idea mainly because at the time there was a very evident explosion or renaissance of film in Latin America, mainly Argentina, Brazil, and Mexico (the so called “New Argentine Cinema” started in the mid 90s). By explosion I mean not only a spike in quantity but mainly there was some really interesting formal exploration going on and new kinds of films emerging as a reaction to drastically changing socio-political realities — end of dictatorships in some countries, devastating economic crises that changed the social landscape in others — in a film landscape that, up until then, had become rather stale. It was the perfect time and there was a real need, as no other venues existed that were showcasing that cinema in New York. Latinbeat was the very first to showcase these new emerging filmmakers that later became such symbols of their time.
Where did the name Latinbeat come from?
Richard Peña chose the name. I think it was a reference to precisely an urgent, watershed moment, urgent films, something palpitating in the air that the festival wanted to capture. Also, it was a reference to a new rhythm or language that was being created.
How did you end up programming the series?
Newly arrived in New York City in 1997, after having lived in Costa Rica for four years where I worked as a journalist and programmed a series of Latin American cinema at the Spanish Cultural Center, I heard that Richard Peña, whom I had studied under at Columbia University before moving to Costa Rica, was organizing a Latin American film festival. (At the time it was called “Latin American Cinema Now.”) I called him up and volunteered to help on that festival that he programmed. So I became an intern at the Film Society helping with Latin American outreach and other stuff. In 1998, he asked me and a fellow colleague, Cord Dueppe, to program the following edition in 1999 (it was biannual back then) and we programmed the subsequent editions together. Ines Aslan, from the Public Relations department, joined our team around 2003 under Richard’s guidance. In 2007, I became the sole programmer (Ines and Cord left the Film Society) and have programmed it since.
Richard Peña, former Programming Director at the Film Society of Lincoln Center
Can you describe the process of discovering and selecting the films each year? How is the process different now than when you first started?
I take submissions — and I watch everything that is sent to me — but I don’t do an open call for entries. Up until recently, I had traveled to the Havana Film Festival almost every year since 1996 and to every Bafici (Buenos Aires Independent Film Festival) since its first edition 12 years ago and I go to a few other festivals. Distribution companies send me titles and screeners but mostly the process involves keeping up to date with productions in the region through connections with film schools, institutes, filmmakers, and producers with whom I have developed a relationship with over the years. Also, of course, I follow the programming at all the other festivals.
The process now is different in that there are many more films to watch because, amongst other things, of an explosion in production in other countries in the region (and more production too in the aforementioned strongest countries: Argentina, Mexico, Brazil). The programming, necessarily, must become more complex because there is more to choose from and more variety but also more festivals that compete for the same films. There are more films to watch but because of technology it is also easier, in a sense, since viewing links get sent quickly instead of having to wait for screeners or videos via mail.
What was the biggest challenge in the first year of the series?
Getting a crossover audience, in terms of nationality.
Marcela Goglio with Yamandu Ross, co-director of '3 Million'
What years do you feel were the heyday of the series? What are some of your favorite memories of that time?
Definitely 2003 – 2004, when the festival was hugely successful — we had sold out screenings back to back — and longer, it ran for three weeks. We had a lot of Cuban cinema and my very favorite sidebar (in 2003) was these fabulous archival Cuban music documentaries (from the 50s, 60s, 70s) that we brought back from Havana and were never again shown in the city, or the U.S. The theater was packed and now, looking back, I realize we should have repeated that program. It was also the first year that I started to notice some crossover amongst audiences — Mexicans coming to see Chilean films, Argentines to see Cuban, etc — and that was thrilling.
One of my favorite memories is recognizing a Mexican bus boy from a neighborhood restaurant who came to see Carlos Sorin’s "Intimate Stories" (a small independent film from Argentina). He was standing in the back — there were no empty seats in the theater — laughing like crazy. One of the great things of those years too was that this “renaissance of Latin American cinema” that had started in the early/mid 90s was starting to come into its own and become more well known and popular abroad. Seeing such a new independent cinema gain popularity and fill the theaters — at least in NY, it definitely was not happening in Latin America, which made it even more exciting and special — was very gratifying. It felt like we were really a part of that big change that Latin America was experiencing cinematically.
Have you ever had trouble getting filmmakers to New York for their screenings?
In 2011, we opened the festival with Gustavo Taretto’s "Sidewalls" from Argentina. Taretto, who is of Italian descent and had a beard at the time, was coming for opening night and he almost didn’t make it because he was held up at the airport and being questioned. He claimed it was because of his “Middle Eastern” appearance. The irony is that Coca Cola was one of his clients; when the officers stopped him at the airport (because of his beard) and asked him his profession he made a joke about how he actually helped the American Empire — I’m paraphrasing — impose its products on the rest of the world.
Gustavo Taretto and Marcela Goglio
Something similar happened to another opening night guest, Roxana Blanco, coming to introduce the Uruguayan film "Kill Them All", a political thriller set in Uruguay. This time it was not because of her appearance, but because of the title of the film.
It also happened to the director and producer (Kenya Marquez and Karla Uribe) of Expiration Date, the opening night film in 2012. There was a storm so they were delayed arriving from the airport and couldn’t introduce the film. They finally showed up as the film was ending, direct from the airport and soaking wet, and practically changed in the lobby before marching into the theater to do the Q&A.
To Gustavo Taretto, it actually happened twice in that trip. After opening night (a Friday, I think) he had to travel to Mexico for a publicity gig. On his way back to New York, where he had to introduce his second screening, he was singled out in the immigration line (supposedly again because of his beard) and questioned right there.
Are there filmmakers who screened their first film at Latinbeat and are now big names? Do you feel like you took part in discovering them?
None of these are “big names” but are well known now in the Latin American film world, with a respected body of work; I feel like we took part in discovering many of them, but not all: Celina Murga, Argentina ("Ana y los otros," ‘04), Damian Szifron, Argentina ("En el fondo del mar," ‘03 ), Matias Bize, Chile ("Sabado" ‘04), Marite Ugas and Mariana Rondon from Venezuela ("A la medianoche y media," ‘01), Juan Pablo Rebella and Pablo Stoll from Uruguay ("25 Watts," ‘01), Everardo Gonzalez, Mexico ("Cancion del pulque," ‘04), Nicolas Pereda, Mexico ( "Perpetuum Mobile"— his second feature film, ‘09), Matias Meyer, Mexico ("Wadley," ‘08 ), Martin Rejtman, Argentina ("Silvia Prieto" — his second film, ‘99), Mercedes Moncada, Mexico/Nicaragua ("La pasion de Maria Elena," ‘03), Pedro Gonzales Rubio and Carlos Armella, Mexico ( "Toro Negro," ‘05), and finally Juan Jose Campanella from Argentina, we showed his "El mismo amor, la misma lluvia" in 1999. He went on to win an Oscar for Best Foreign Language Film in 2009 for "El secreto de sus ojos."
Matias Meyer, director of 'The Cramp' with Marcela Goglio
How does film production compare now to when Latinbeat started?
Numbers of films have increased twenty fold or more, in most countries — a lot. Mexico, Argentina and Brazil continue to produce the most but the main difference is that countries like Chile, Uruguay, Colombia and Venezuela — though Venezuela always had a high production — underwent their own explosion in the last years, as you might have heard. So, they are also important players. Another big difference is precisely the variety of themes, formal approaches and, storylines — political and personal, different genres — though the “independent”, low budget, formal exploration strain continues to be strong in all the countries, which is what is so fascinating. It’s as if the cinema in the region is constantly renewing itself. Also, the fact that there is this variety of genres, levels of production, styles — and the fact that there are some solid commercial films produced and consumed regularly in some of these countries — to me is an indication that there is an industry that’s getting strong. That is really great, even if we may not love everything that is being produced.
Have you ever considered including U.S. Latino films in Latinbeat?
We did include a few over the years — the Dominican-American "Red Passport" and the films of U.S.-based Puerto Rican director Mario Diaz. But, we focused on Latin America mostly and we understood that as separate from “Latino”. Also, the New York International Latino Film Festival seemed to have that area covered those years. [The Nyilff launched in 1999.] Now that that festival is gone [Nyilff], I would want to consider more Latino films. I also don’t see the “Latino” and “Latin American” as that separate anymore.
What is your favorite part of being a film programmer?
I love almost all aspects of it: watching the films (even when they’re not always great); choosing them and finding the best ways to make them work together; and finally, meeting the filmmakers and having conversations with them and the audience, onstage, brings everything full circle.
Pablo Cerda, director of 'P.E.' with Marcela Goglio
When you want to just sit on the couch and unwind what sort of films do you watch in your spare time?
I generally don’t watch films to unwind — I prefer to read. But these days I enjoy watching Argentine public television — many filmmakers are directing great series.
Did you ever want to be a filmmaker?
I did, a screenwriter. But wasn’t 100% sure. I went to film school briefly at the Universidad del Cine, in Buenos Aires, while I studied Journalism at Universidad de Buenos Aires.
This year, there are lots of films about young people, from "Somos Mari Pepa" (Mexico) to "Holiday" (Ecuador) and "Mateo" (Colombia). The opening night film "Casa Grande" also centers on a teenager but in Brazil. Was this on purpose? Is it a reflection of a larger trend in Latin American filmmaking?
"The Militant," "Root," "The Summer of Flying Fish" and "Natural Sciences" are also about young people and are a variation of “coming of age” stories. So it is definitely a recurring theme in the program. Yes, it’s on purpose. Most of our past editions have had many young first-time directors; it has been like this from the start. We look to reflect the region’s new trends with the program, to highlight emerging talents always, even if they might have imperfect films. And some of these titles mentioned are definitely by filmmakers to watch.
Latinbeat runs July 11 – 20 at The Film Society of Lincoln Center’s Walter Reade Theater.
Simultaneously though — as many U.S. Latino film institutions are on their last legs — movies directed by Latin American-born filmmakers are circling the globe at prestigious film festivals, winning awards, and garnering praise from critics. Production numbers, south of our border, have risen astronomically. It’s a renewal, renaissance, new wave — whatever you want to call it — that began in the mid-nineties. The Film Society of Lincoln Center, with its eye on this rebirth, founded a film series in 1997. A yearly showcase of the newest voices in Latin American cinema, it would eventually be called Latinbeat.
This year’s Latinbeat, running July 11 – 20, carries on with its mission of presenting emerging directors and film trends from across Latin America with movies from powerhouses like Argentina, Mexico, Chile, and Brazil plus countries with smaller film industries like Uruguay, Colombia, Ecuador, Costa Rica, Venezuela, and the Dominican Republic. From films about a Mexican garage band ("We Are Mari Pepa") to heavy metal in the Andes ("Holiday") and from first-time directors as well as established ones, this year’s lineup is centered on young protagonists.
In advance of the series’ opening night, I got the chance to chat with Marcela Goglio — Latinbeat’s film programmer since 1999 — about the origins of the longstanding showcase, how she ended up at the Film Society of Lincoln Center, and the constant rebirth of Latin American cinema. Plus, there are some good stories about the struggles of getting filmmakers to their screenings on time. Spoiler alert: if something can go wrong, it will.
When did the Latinbeat series start? Was there something specific that motivated the creation of the series?
Latinbeat started in 1997, conceived by Richard Peña, the Programming Director of the Film Society of Lincoln Center at the time (and until the end of 2012.) He actually programmed that first edition. I came in as an intern that year and helped with the marketing, outreach, and with Q&As. He came up with the idea mainly because at the time there was a very evident explosion or renaissance of film in Latin America, mainly Argentina, Brazil, and Mexico (the so called “New Argentine Cinema” started in the mid 90s). By explosion I mean not only a spike in quantity but mainly there was some really interesting formal exploration going on and new kinds of films emerging as a reaction to drastically changing socio-political realities — end of dictatorships in some countries, devastating economic crises that changed the social landscape in others — in a film landscape that, up until then, had become rather stale. It was the perfect time and there was a real need, as no other venues existed that were showcasing that cinema in New York. Latinbeat was the very first to showcase these new emerging filmmakers that later became such symbols of their time.
Where did the name Latinbeat come from?
Richard Peña chose the name. I think it was a reference to precisely an urgent, watershed moment, urgent films, something palpitating in the air that the festival wanted to capture. Also, it was a reference to a new rhythm or language that was being created.
How did you end up programming the series?
Newly arrived in New York City in 1997, after having lived in Costa Rica for four years where I worked as a journalist and programmed a series of Latin American cinema at the Spanish Cultural Center, I heard that Richard Peña, whom I had studied under at Columbia University before moving to Costa Rica, was organizing a Latin American film festival. (At the time it was called “Latin American Cinema Now.”) I called him up and volunteered to help on that festival that he programmed. So I became an intern at the Film Society helping with Latin American outreach and other stuff. In 1998, he asked me and a fellow colleague, Cord Dueppe, to program the following edition in 1999 (it was biannual back then) and we programmed the subsequent editions together. Ines Aslan, from the Public Relations department, joined our team around 2003 under Richard’s guidance. In 2007, I became the sole programmer (Ines and Cord left the Film Society) and have programmed it since.
Richard Peña, former Programming Director at the Film Society of Lincoln Center
Can you describe the process of discovering and selecting the films each year? How is the process different now than when you first started?
I take submissions — and I watch everything that is sent to me — but I don’t do an open call for entries. Up until recently, I had traveled to the Havana Film Festival almost every year since 1996 and to every Bafici (Buenos Aires Independent Film Festival) since its first edition 12 years ago and I go to a few other festivals. Distribution companies send me titles and screeners but mostly the process involves keeping up to date with productions in the region through connections with film schools, institutes, filmmakers, and producers with whom I have developed a relationship with over the years. Also, of course, I follow the programming at all the other festivals.
The process now is different in that there are many more films to watch because, amongst other things, of an explosion in production in other countries in the region (and more production too in the aforementioned strongest countries: Argentina, Mexico, Brazil). The programming, necessarily, must become more complex because there is more to choose from and more variety but also more festivals that compete for the same films. There are more films to watch but because of technology it is also easier, in a sense, since viewing links get sent quickly instead of having to wait for screeners or videos via mail.
What was the biggest challenge in the first year of the series?
Getting a crossover audience, in terms of nationality.
Marcela Goglio with Yamandu Ross, co-director of '3 Million'
What years do you feel were the heyday of the series? What are some of your favorite memories of that time?
Definitely 2003 – 2004, when the festival was hugely successful — we had sold out screenings back to back — and longer, it ran for three weeks. We had a lot of Cuban cinema and my very favorite sidebar (in 2003) was these fabulous archival Cuban music documentaries (from the 50s, 60s, 70s) that we brought back from Havana and were never again shown in the city, or the U.S. The theater was packed and now, looking back, I realize we should have repeated that program. It was also the first year that I started to notice some crossover amongst audiences — Mexicans coming to see Chilean films, Argentines to see Cuban, etc — and that was thrilling.
One of my favorite memories is recognizing a Mexican bus boy from a neighborhood restaurant who came to see Carlos Sorin’s "Intimate Stories" (a small independent film from Argentina). He was standing in the back — there were no empty seats in the theater — laughing like crazy. One of the great things of those years too was that this “renaissance of Latin American cinema” that had started in the early/mid 90s was starting to come into its own and become more well known and popular abroad. Seeing such a new independent cinema gain popularity and fill the theaters — at least in NY, it definitely was not happening in Latin America, which made it even more exciting and special — was very gratifying. It felt like we were really a part of that big change that Latin America was experiencing cinematically.
Have you ever had trouble getting filmmakers to New York for their screenings?
In 2011, we opened the festival with Gustavo Taretto’s "Sidewalls" from Argentina. Taretto, who is of Italian descent and had a beard at the time, was coming for opening night and he almost didn’t make it because he was held up at the airport and being questioned. He claimed it was because of his “Middle Eastern” appearance. The irony is that Coca Cola was one of his clients; when the officers stopped him at the airport (because of his beard) and asked him his profession he made a joke about how he actually helped the American Empire — I’m paraphrasing — impose its products on the rest of the world.
Gustavo Taretto and Marcela Goglio
Something similar happened to another opening night guest, Roxana Blanco, coming to introduce the Uruguayan film "Kill Them All", a political thriller set in Uruguay. This time it was not because of her appearance, but because of the title of the film.
It also happened to the director and producer (Kenya Marquez and Karla Uribe) of Expiration Date, the opening night film in 2012. There was a storm so they were delayed arriving from the airport and couldn’t introduce the film. They finally showed up as the film was ending, direct from the airport and soaking wet, and practically changed in the lobby before marching into the theater to do the Q&A.
To Gustavo Taretto, it actually happened twice in that trip. After opening night (a Friday, I think) he had to travel to Mexico for a publicity gig. On his way back to New York, where he had to introduce his second screening, he was singled out in the immigration line (supposedly again because of his beard) and questioned right there.
Are there filmmakers who screened their first film at Latinbeat and are now big names? Do you feel like you took part in discovering them?
None of these are “big names” but are well known now in the Latin American film world, with a respected body of work; I feel like we took part in discovering many of them, but not all: Celina Murga, Argentina ("Ana y los otros," ‘04), Damian Szifron, Argentina ("En el fondo del mar," ‘03 ), Matias Bize, Chile ("Sabado" ‘04), Marite Ugas and Mariana Rondon from Venezuela ("A la medianoche y media," ‘01), Juan Pablo Rebella and Pablo Stoll from Uruguay ("25 Watts," ‘01), Everardo Gonzalez, Mexico ("Cancion del pulque," ‘04), Nicolas Pereda, Mexico ( "Perpetuum Mobile"— his second feature film, ‘09), Matias Meyer, Mexico ("Wadley," ‘08 ), Martin Rejtman, Argentina ("Silvia Prieto" — his second film, ‘99), Mercedes Moncada, Mexico/Nicaragua ("La pasion de Maria Elena," ‘03), Pedro Gonzales Rubio and Carlos Armella, Mexico ( "Toro Negro," ‘05), and finally Juan Jose Campanella from Argentina, we showed his "El mismo amor, la misma lluvia" in 1999. He went on to win an Oscar for Best Foreign Language Film in 2009 for "El secreto de sus ojos."
Matias Meyer, director of 'The Cramp' with Marcela Goglio
How does film production compare now to when Latinbeat started?
Numbers of films have increased twenty fold or more, in most countries — a lot. Mexico, Argentina and Brazil continue to produce the most but the main difference is that countries like Chile, Uruguay, Colombia and Venezuela — though Venezuela always had a high production — underwent their own explosion in the last years, as you might have heard. So, they are also important players. Another big difference is precisely the variety of themes, formal approaches and, storylines — political and personal, different genres — though the “independent”, low budget, formal exploration strain continues to be strong in all the countries, which is what is so fascinating. It’s as if the cinema in the region is constantly renewing itself. Also, the fact that there is this variety of genres, levels of production, styles — and the fact that there are some solid commercial films produced and consumed regularly in some of these countries — to me is an indication that there is an industry that’s getting strong. That is really great, even if we may not love everything that is being produced.
Have you ever considered including U.S. Latino films in Latinbeat?
We did include a few over the years — the Dominican-American "Red Passport" and the films of U.S.-based Puerto Rican director Mario Diaz. But, we focused on Latin America mostly and we understood that as separate from “Latino”. Also, the New York International Latino Film Festival seemed to have that area covered those years. [The Nyilff launched in 1999.] Now that that festival is gone [Nyilff], I would want to consider more Latino films. I also don’t see the “Latino” and “Latin American” as that separate anymore.
What is your favorite part of being a film programmer?
I love almost all aspects of it: watching the films (even when they’re not always great); choosing them and finding the best ways to make them work together; and finally, meeting the filmmakers and having conversations with them and the audience, onstage, brings everything full circle.
Pablo Cerda, director of 'P.E.' with Marcela Goglio
When you want to just sit on the couch and unwind what sort of films do you watch in your spare time?
I generally don’t watch films to unwind — I prefer to read. But these days I enjoy watching Argentine public television — many filmmakers are directing great series.
Did you ever want to be a filmmaker?
I did, a screenwriter. But wasn’t 100% sure. I went to film school briefly at the Universidad del Cine, in Buenos Aires, while I studied Journalism at Universidad de Buenos Aires.
This year, there are lots of films about young people, from "Somos Mari Pepa" (Mexico) to "Holiday" (Ecuador) and "Mateo" (Colombia). The opening night film "Casa Grande" also centers on a teenager but in Brazil. Was this on purpose? Is it a reflection of a larger trend in Latin American filmmaking?
"The Militant," "Root," "The Summer of Flying Fish" and "Natural Sciences" are also about young people and are a variation of “coming of age” stories. So it is definitely a recurring theme in the program. Yes, it’s on purpose. Most of our past editions have had many young first-time directors; it has been like this from the start. We look to reflect the region’s new trends with the program, to highlight emerging talents always, even if they might have imperfect films. And some of these titles mentioned are definitely by filmmakers to watch.
Latinbeat runs July 11 – 20 at The Film Society of Lincoln Center’s Walter Reade Theater.
- 7/16/2014
- by Vanessa Erazo
- Sydney's Buzz
Did you know that Hulu has a Latino channel? Not only is it a place to catch up on your favorite novelas like "La Seleccion", or English-language TV shows like "The Bridge" but it also houses a decent collection of indie Latino films. We combed through the selections and here are LatinoBuzz's top picks of Latino films to watch for free on Hulu.
P.S. There are a ton of movies on there, so look out for more picks in the weeks to come!
Love, Concord
Gus Guardado is a high school video production teacher who always dreamed of making a film. He wrote a script, set in his hometown of Concord, California and loosely based on his own life. It took a couple of years to put together enough money to shoot his indie rom-com but he was determined to make it happen. Thanks to Guardado, Love, Concord is the first film ever set in the San Francisco suburb. It's a teenage love story much like the classic eighties movies that John Hughes is famous for. And just like in Sixteen Candles, The Breakfast Club, and Pretty in Pink it's an honest, authentic portrayal of teenagers. In the film, Gerry (Jorge Diaz) is in his Junior year of high school. He's a class clown willing to do anything for a laugh but totally clueless when it comes to the ladies. He plays basketball, old school video games, and asks everyone for advice on how to win over girls. Finally, he decides to just be himself and it works. He charms Melinda (Angelina Leon), a cute nerdy girl who isn't afraid to fire back her own sarcastic remarks when Gerry pokes fun at her. It's a funny, cute, witty teen romance where the characters just happen to be Latino and refreshingly, none of them are gangbangers, drug dealers, or end up pregnant. It might just be the Latino Say Anything.
Infancia clandestina (Clandestine Childhood)
Infancia clandestina (Clandestine Childhood) draws from the director's own life experience in Argentina. Benjamin Avila's story takes place in the late ‘70s when a military junta was in power and carried out a dirty war, targeting leftists. Young Juan and his family have been living in Cuba, in exile, because of his parent's involvement with Montoneros, a group of leftist guerillas. His parents decide to return to Argentina with their other comrades to fight against the dictatorship. They enter the country under assumed identities with fake passports—Juan's new name is Ernesto. His family is always under threat of being found out, they are in a constant state of fear. Then at his new school he meets Maria, develops a crush, and everything changes. The film won ten awards at the Premios Sur, Argentina's equivalent of the Oscars and was their official entry for the Academy Award for Best Foreign Language Film.
Alamar
In an effort to create an intimate environment for his, Alamar, Pedro Gonzalez-Rubio wrote, directed, shot, and edited the picture himself. Set in a small house on stilts that sits above the crystal-clear blue waters of the Yucatan Peninsula, it explores the bond between a father and son as they share a fishing trip together. In this documentary, five year-old Natan travels from Italy to spend time with his long-haired father in Mexico who lives along the edge of the coral reefs on Banco Chinchorro. His dad, a Mexi-hippie who fishes by diving into the water with a spear in hand, exposes him to the beauty that sits below the surface of the crisp blue ocean. They spend their days catching fish, gutting them, cooking them, and eating them. They chase birds and try to avoid the alligator that sometimes comes around. They enjoy each other's company in a world that is far removed from everyday conveniences and distractions. It's a quiet and tender film that takes you to a faraway place–time slows down and the days blend into each other. You are transported–gently swaying in a hammock, listening to an old radio and the seagulls flying overhead. It's like a relaxing vacation from the typical super-hero, shoot ‘em up, explosion-filled Hollywood films. Like all vacations, you need to take a deep breath, relax, and force yourself to slow-down–you might resist at first but soon enough you'll enjoy it's calm, tranquil pace.
Abre los ojos (Open Your Eyes)
Even if you've never heard of Abre los Ojos, you've probably seen the mediocre American remake, Vanilla Sky, starring Tom Cruise, Penelope Cruz, and (the semi-Latina) Cameron Diaz. The Spanish original is so much better. Cesar (Eduardo Noriega), is a rich, handsome playboy (what a stretch!) who romances multiple ladies, including his best friend's girlfriend (Penelope Cruz). His double-crossing ways come back to bite him in the ass, when a jealous, scorned lover takes him for a ride (literally) and purposely crashes her car with both of them in it. The rest of the film is a magical dreamscape of puzzling scenarios. Every other scene you are left wondering what's actually real. Did he survive the crash? Was it a nightmare, a figment of his imagination, or just a tragic accident? Did his night of love with Penelope Cruz actually happen? And why is she always she dressed as a mime? This noir sci-fi thriller will confuse you, take twists and turns, and leave you completely entranced.
Written by Vanessa Erazo. LatinoBuzz is a weekly feature on SydneysBuzz that highlights Latino indie talent and upcoming trends in Latino film with the specific objective of presenting a broad range of Latino voices. Follow @LatinoBuzz on Twitter and Facebook.
P.S. There are a ton of movies on there, so look out for more picks in the weeks to come!
Love, Concord
Gus Guardado is a high school video production teacher who always dreamed of making a film. He wrote a script, set in his hometown of Concord, California and loosely based on his own life. It took a couple of years to put together enough money to shoot his indie rom-com but he was determined to make it happen. Thanks to Guardado, Love, Concord is the first film ever set in the San Francisco suburb. It's a teenage love story much like the classic eighties movies that John Hughes is famous for. And just like in Sixteen Candles, The Breakfast Club, and Pretty in Pink it's an honest, authentic portrayal of teenagers. In the film, Gerry (Jorge Diaz) is in his Junior year of high school. He's a class clown willing to do anything for a laugh but totally clueless when it comes to the ladies. He plays basketball, old school video games, and asks everyone for advice on how to win over girls. Finally, he decides to just be himself and it works. He charms Melinda (Angelina Leon), a cute nerdy girl who isn't afraid to fire back her own sarcastic remarks when Gerry pokes fun at her. It's a funny, cute, witty teen romance where the characters just happen to be Latino and refreshingly, none of them are gangbangers, drug dealers, or end up pregnant. It might just be the Latino Say Anything.
Infancia clandestina (Clandestine Childhood)
Infancia clandestina (Clandestine Childhood) draws from the director's own life experience in Argentina. Benjamin Avila's story takes place in the late ‘70s when a military junta was in power and carried out a dirty war, targeting leftists. Young Juan and his family have been living in Cuba, in exile, because of his parent's involvement with Montoneros, a group of leftist guerillas. His parents decide to return to Argentina with their other comrades to fight against the dictatorship. They enter the country under assumed identities with fake passports—Juan's new name is Ernesto. His family is always under threat of being found out, they are in a constant state of fear. Then at his new school he meets Maria, develops a crush, and everything changes. The film won ten awards at the Premios Sur, Argentina's equivalent of the Oscars and was their official entry for the Academy Award for Best Foreign Language Film.
Alamar
In an effort to create an intimate environment for his, Alamar, Pedro Gonzalez-Rubio wrote, directed, shot, and edited the picture himself. Set in a small house on stilts that sits above the crystal-clear blue waters of the Yucatan Peninsula, it explores the bond between a father and son as they share a fishing trip together. In this documentary, five year-old Natan travels from Italy to spend time with his long-haired father in Mexico who lives along the edge of the coral reefs on Banco Chinchorro. His dad, a Mexi-hippie who fishes by diving into the water with a spear in hand, exposes him to the beauty that sits below the surface of the crisp blue ocean. They spend their days catching fish, gutting them, cooking them, and eating them. They chase birds and try to avoid the alligator that sometimes comes around. They enjoy each other's company in a world that is far removed from everyday conveniences and distractions. It's a quiet and tender film that takes you to a faraway place–time slows down and the days blend into each other. You are transported–gently swaying in a hammock, listening to an old radio and the seagulls flying overhead. It's like a relaxing vacation from the typical super-hero, shoot ‘em up, explosion-filled Hollywood films. Like all vacations, you need to take a deep breath, relax, and force yourself to slow-down–you might resist at first but soon enough you'll enjoy it's calm, tranquil pace.
Abre los ojos (Open Your Eyes)
Even if you've never heard of Abre los Ojos, you've probably seen the mediocre American remake, Vanilla Sky, starring Tom Cruise, Penelope Cruz, and (the semi-Latina) Cameron Diaz. The Spanish original is so much better. Cesar (Eduardo Noriega), is a rich, handsome playboy (what a stretch!) who romances multiple ladies, including his best friend's girlfriend (Penelope Cruz). His double-crossing ways come back to bite him in the ass, when a jealous, scorned lover takes him for a ride (literally) and purposely crashes her car with both of them in it. The rest of the film is a magical dreamscape of puzzling scenarios. Every other scene you are left wondering what's actually real. Did he survive the crash? Was it a nightmare, a figment of his imagination, or just a tragic accident? Did his night of love with Penelope Cruz actually happen? And why is she always she dressed as a mime? This noir sci-fi thriller will confuse you, take twists and turns, and leave you completely entranced.
Written by Vanessa Erazo. LatinoBuzz is a weekly feature on SydneysBuzz that highlights Latino indie talent and upcoming trends in Latino film with the specific objective of presenting a broad range of Latino voices. Follow @LatinoBuzz on Twitter and Facebook.
- 9/11/2013
- by Vanessa Erazo
- Sydney's Buzz
Before we unleash the beast that is our annual Top 100 Most Anticipated Films List for 2013, we thought we’d give our readers an eyeful on the projects we’re keeping tabs on for… the 2014 campaign. We’re a little nuts with ours lists, but in the upcoming year we’ll be reporting on several of these films as producers find coin, screenplays are finalized, tech crews are hired, cast come abroad and greenlights are announced. Our countdown begins with…:
100. Prodigal Summer – Dir. Nicole Kassell
99. Stepne – Dir. Maryna Vroda
98. We Are Now Beginning Our Descent – Dir. Pawel Pawlikowski
97. Tree Shade – Dir. Pedro Gonzalez Rubio
96. In Your Name – Dir. Marco Van Geffen
95. Twinkle Twinkle – Dir. Harmony Korine
94. Dead Spy Running – Dir. Adam Wingard
93. Leningrad – Dir. Giuseppe Tornatore
92. The Man Who Sold the World – Dir. Bill Condon
91. Used Guys – Dir. Jonathan Dayton & Valerie Faris
90. Untitled Freddie Mercury Biopic – Stephen Frears
89. Deux Nuits – Dir.
100. Prodigal Summer – Dir. Nicole Kassell
99. Stepne – Dir. Maryna Vroda
98. We Are Now Beginning Our Descent – Dir. Pawel Pawlikowski
97. Tree Shade – Dir. Pedro Gonzalez Rubio
96. In Your Name – Dir. Marco Van Geffen
95. Twinkle Twinkle – Dir. Harmony Korine
94. Dead Spy Running – Dir. Adam Wingard
93. Leningrad – Dir. Giuseppe Tornatore
92. The Man Who Sold the World – Dir. Bill Condon
91. Used Guys – Dir. Jonathan Dayton & Valerie Faris
90. Untitled Freddie Mercury Biopic – Stephen Frears
89. Deux Nuits – Dir.
- 1/8/2013
- by Nicholas Bell
- IONCINEMA.com
We've got less than a month until top ten lists for 2010 are due. Which means we've got less than a month to catch up on all the films we missed. In an effort to make sure I don't overlook anything in my own personal movie cramming session, I posted this message to Twitter earlier this afternoon:
Finish this sentence: "The movie you need to see before making your 2010 best-of list is ____________."
The responses I got, from professional critics and amateur enthusiasts, created such an impressive list, that I thought it was worth sharing. Obviously there are holes, and the nature of my question to Twitter means massive hits like "Inception" didn't get mentioned. But this is a good place to start catching up, and I'm more than willing to make this a living document. If there are movies you think deserve to be added, send me a message on Twitter.
Finish this sentence: "The movie you need to see before making your 2010 best-of list is ____________."
The responses I got, from professional critics and amateur enthusiasts, created such an impressive list, that I thought it was worth sharing. Obviously there are holes, and the nature of my question to Twitter means massive hits like "Inception" didn't get mentioned. But this is a good place to start catching up, and I'm more than willing to make this a living document. If there are movies you think deserve to be added, send me a message on Twitter.
- 11/17/2010
- by Matt Singer
- ifc.com
In 1957 a group of mostly poor kids from the industrial city of Monterrey, Mexico shocked pundits when they reached the Little League World Series. They had grown up playing baseball on a dirt field, using a handmade ball and gloves fashioned from scraps. Smaller and weighing much less than their opponents, the underdog team was not expected to advance beyond their opening game. But on August 23, 1957 their pitcher Angel Macias pitched what remains the only perfect game in a Little League World Series final, and Monterrey defeated the team from La Mesa, CA, to become the first team from outside the United States to win the Little League World Series.
The Perfect Game is the heart-warming and inspirational screen adaptation of W. William Winokur’s book about Monterrey’s Little League champions and stars Clifton Collins Jr. as the team’s tenacious coach. Collins Jr. may not yet have instant name recognition outside of Hollywood,...
The Perfect Game is the heart-warming and inspirational screen adaptation of W. William Winokur’s book about Monterrey’s Little League champions and stars Clifton Collins Jr. as the team’s tenacious coach. Collins Jr. may not yet have instant name recognition outside of Hollywood,...
- 5/6/2010
- CinemaSpy
Clifton Collins Jr. is currently waiting for the release of his movie "The Perfect Game" on April 16. In an exclusive interview with AceShowbiz, he has discussed his role as baseball coach in the sport drama, his possibility of returning to an untitled Star Trek sequel as well as his current project, TV series "Southland". Additionally, he also shared his future goal to direct film features.
Asb: "The Perfect Game" is based on an inspirational true story. Did you feel any burden playing in this kind of film?
Clifton: Yes, whenever I have a true to life character to portray, I generally do as much research as possible on him or her (you'd be surprised at what can be done with make up !) ;) Also, in this case I'd call it more of an honor than a burden, I hope Ceasar [his character] is happy with what I did!
Asb: In the movie, your...
Asb: "The Perfect Game" is based on an inspirational true story. Did you feel any burden playing in this kind of film?
Clifton: Yes, whenever I have a true to life character to portray, I generally do as much research as possible on him or her (you'd be surprised at what can be done with make up !) ;) Also, in this case I'd call it more of an honor than a burden, I hope Ceasar [his character] is happy with what I did!
Asb: In the movie, your...
- 4/15/2010
- by AceShowbiz.com
- Aceshowbiz
It’s likely you’ve seen Clifton Collins Jr. but haven’t known it. He took on Captain Kirk and company as Ayel, Nero’s right hand man in Star Trek as well as making Chev Chelios’ life more of a living hell as El Huron in Crank: High Voltage. Entertainment has spanned his family for generations, notably with his grandfather Pedro Gonzalez Gonzalez who did a number of roles in the 1950s and 60s, the best known being his take as an innkeeper in Rio Bravo. Likely Pedro would be proud of his grandson, who’s coming into his own with projects like Boondock Saints II, a new Mike Judge film, and even taking a turn behind the camera.
I was fortunate enough to catch up with Mr. Collins Jr. and discuss his recent turns in blockbusters, his grandfather, and his hand in directing. The interview was conducted around...
I was fortunate enough to catch up with Mr. Collins Jr. and discuss his recent turns in blockbusters, his grandfather, and his hand in directing. The interview was conducted around...
- 7/2/2009
- by Philip Barrett
- Atomic Popcorn
Late movie star Pedro Gonzalez Gonzalez is to be posthumously honoured on the Hollywood Walk of Fame.
Samuel L. Jackson and the dead star's actor grandson Clifton Collins Jr. will unveil the 2,374th star, right next to movie legend's John Wayne, with whom Pedro co-starred in several films.
The unveiling will take place next Friday.
The Rio Bravo star died in 2006, aged 80.
Samuel L. Jackson and the dead star's actor grandson Clifton Collins Jr. will unveil the 2,374th star, right next to movie legend's John Wayne, with whom Pedro co-starred in several films.
The unveiling will take place next Friday.
The Rio Bravo star died in 2006, aged 80.
- 11/8/2008
- WENN
Late movie star Pedro Gonzalez Gonzalez is to be posthumously honoured on the Hollywood Walk of Fame.
Samuel L. Jackson and the dead star's actor grandson Clifton Collins Jr. will unveil the 2,374th star, right next to movie legend's John Wayne, with whom Pedro co-starred in several films.
The unveiling will take place next Friday.
The Rio Bravo star died in 2006, aged 80.
Samuel L. Jackson and the dead star's actor grandson Clifton Collins Jr. will unveil the 2,374th star, right next to movie legend's John Wayne, with whom Pedro co-starred in several films.
The unveiling will take place next Friday.
The Rio Bravo star died in 2006, aged 80.
- 11/8/2008
- WENN
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