Andy Murray’s Wimbledon runner-up speech left the tennis star in tears Sunday afternoon, and likely had more than a few onlookers welling up, too. With girlfriend Kim Sears, along with Kate and Pippa Middleton , looking on, Murray wept in a post-match interview following his loss to Roger Federer. When a BBC interviewer asked him about the emotions he felt over the fortnight, he (and Sears) broke down while the Centre Court crowd applauded …
Serena Williams got another one! Serena Williams fended off a stirring fightback from Agnieszka Radwanska to win her fifth Wimbledon singles title with a 6-1 5-7 6-2 victory Saturday. It was the 30-year-old American’s 14th grand slam crown and her first since winning at the All England Club in 2010, but Poland’s Radwanska made her fight every inch of the way. Suffering from a respiratory problem and trailing after a one-sided first set, Radwanska recovered from a break down in the second to give Williams a real Centre Court scare. After leveling at one set all, Radwanska took a 2-1 lead in the decider before Williams romped to victory with a run of five straight games. She celebrated by climbing into the stands to embrace her sister Venus and other close connections. Williams spent almost a year on the sidelines, being struck by first injury then serious illness after being laid low by dangerous blood clots. A visibly emotional Williams showed how much victory meant to her in her post-match interview. “I can’t describe it. I almost didn’t make it a few years ago. I was in hospital and I thought I’d never be here again, so this makes it so worth it,” she said. “It’s all the sweeter. I was so down but you never give up. You have to continue,” she added. Williams has capped her steady return to the top with an emphatic performance on the grass courts, particularly since the quarterfinals where she dispatched reigning champion Petra Kvitova. A semifinal win over Victoria Azarenka of the Belarus took Williams into the final, but Azarenka will have the consolation of going to the top of the new world rankings Monday. Radwanska will rise to number two off the back of her fine run and has enhanced her growing reputation. “I am very proud to have got to the final. I am still shaking but I tried, it just wasn’t my day,” the 23-year-old told BBC Sport. “I have been unlucky here, playing in the wind and the rain, but I still played some great matches.” Williams, who wins $1.78 million, is the first woman over 30 to win Wimbledon since Martina Navratilova in 1990 and has now matched the Wimbledon singles tally of her elder sister Venus. Congrats to Serena! Source Getty Images
Nicki Minaj recently commented on the feud between Chris Brown and Drake, her Young Money label-mate, by claiming that she “doesn’t approve” of the beef. The now-infamous Chris Brown-Drake fight that broke out last month at an NYC club left many injured and got the establishment shut down in the aftermath. All over Rihanna too, allegedly. Speaking to the BBC, Nicki weighed in: “I don’t approve of talented people doing things that aren’t conducive to an amazing career. I spoke to Drake, and I told him from the bottom of my heart how I felt.” “I’m like, ‘Baby, you are a superstar, and I need you to realize that.” Speaking to Tim Westwood on BBC Radio 1 Xtra, Minaj revealed that, although she thought Drake was innocent, he still needed to be careful of his reputation.” “He did nothing wrong, of course. Rumors are rumous, and that there’s what it is. Sometimes, you just need to go to bed. Go to the hotel and have an early nap.” “At the end of the day, there’s nothing wrong with that.” Words to live by, Drizzy. Words to live by. Whose side are you on in the feud? [Photos: WENN.com]
It’s easy to dismiss the films of Tyler Perry , undisputed king of a niche multi-media empire of his own making, as broad, caricature-laden comedy populated by what Spike Lee famously labeled “coonery buffoonery.” But beneath the be-wigged, slapstick-y heft of Perry’s most famous character, Madea, and her often violent crusades in the name of family values — as seen in Friday’s Madea’s Witness Protection , the sassy grandmother’s seventh big-screen outing — lies a fount of subversive discussions of race, class, and self-examination. The only question is: Is Tyler Perry aware of it? Perry, who dons the Madea dress once more in Witness Protection (grudgingly so, he tells Movieline — more on his mixed feelings about Madea below), wrote and directed the comedy after hitting upon an idea over dinner: What if Bernie Madoff had to move in with Madea as punishment for his fiscal crimes? Eugene Levy stars as a Wall Street accountant who agrees to testify against mobsters involved in a Ponzi scheme, only to be ushered, along with his family, into protective custody – Madea’s house, to be more precise. It’s there, in this fish out of water set-up, that Perry plumbs more thoughtful ground. Economic responsibility is a theme, as Perry draws a direct line between the privileged suits that run the world’s financial institutions and the working class plebes whose life savings are often at stake. Race and class divides become blurred as Levy’s Jewish-American family finds common ground, and perhaps even stronger ties, with their equally uncomfortable hosts (Perry as both Madea and her cranky brother, Uncle Joe). There’s just one thing about all the considered socio-cultural conversations seeded in the subtext of Witness Protection : Perry admits that he didn’t set out with any conscious agenda other than making himself laugh. “I just thought, ‘This is funny,’” he told Movieline, adding “What’s so great is that these thoughts that you’re raising for me, I will be thinking about.” Read on as Tyler Perry talks with Movieline about his Madea character, why he is eager to retire her – if his audience will allow it — what he has to say to his critics, and why he jumped at the chance to play the lead in his forthcoming mainstream crossover pic, Alex Cross . Especially compared to the more melodramatic tone of Big Happy Family , Madea’s Witness Protection is different in terms of its themes and characters — what sort of ground did you want to explore this time around? I was actually having dinner with a friend and they said, “You know what would be great punishment for Bernie Madoff? If he had to move in with Madea.” So I took that thought and ran with it, just the thought of it made me laugh so hard. I said, “Let me write this — and who can I get to play it?” I thought of Eugene Levy. So the whole tone of this movie is about, if everything was taken away from you and you had to be forced to live a very simple life and focus on what is real, which is his family, how much would you change? Another interesting new element, especially given your oeuvre of primarily African-American characters, is that this is a story about what might be considered “white people problems” — these are rich, country-clubbing suburbanites who are probably at the farthest remove from Madea’s world. [Laughs] Yes, right. And the story seems to be saying that one group’s problems are really everyone’s problems, certainly economically speaking — Eugene Levy’s character is involved in a financial scam that inadvertently has stolen money from Romeo’s church, for example. Sure. There’s also a plot thread that suggests Eugene’s character might be half-black, which interestingly brought that point home even more — aligning the black and Jewish cultural experiences together, in a sense. How much were these unifying themes present for you in the process of making the film? [Laughs] You’re trying to make it seem like I’m so smart! And that I did not even think about. I just thought, “This is funny — this is funny if they think Uncle Joe and [Eugene Levy’s mother] had a one-night stand and he thinks he’s his son.” I wasn’t even thinking at all about any of that. Well, go ahead and run with it! Be my guest. I will! You delve into economic awareness and the avoidance of victimhood, with many of your characters dealing with the repercussions of these Wall Street scandals trickling down into their lives. One of the elements I admire in the Madea character is that she seems to be a proponent of personal responsibility, throughout the films. Wow, again — I wasn’t thinking that either! What’s so great is that these thoughts that you’re raising for me, I will be thinking about. All I was doing was writing a simple story, I didn’t get into the subconscious of it. For me, after Colored Girls and Alex Cross and Good Deeds I wanted to do something where I just laughed. Even with Madea’s Big Happy Family , where one of the characters had cancer, I just wanted to do something where nobody’s sick, we’re all going to just laugh and have a good time, and remember why family is important. I heard that Madea might be ringing the NASDAQ bell … [Laughs] That I’d like to see! I don’t know who’s going to be playing Madea, but I’m going to be busy that day. There are moments in Witness Protection that almost have a guerrilla-style Borat feel — the scenes with Madea in New York City, discovering different parts of her posh hotel in particular. There’s a real improvised feel to them. And there’s an outtake at the end involving Madea phoning down to the concierge to inquire about the bidet that’s pretty hilarious. Yeah, but you know what the thing about that is? I’ve never seen Borat , but thinking about my mother and the first time she went to a really nice hotel, or the first time she had to go through an airport. So a lot of those things didn’t take me going very far to imagine or to create, because it is very much what is close to, or what has happened to, my own family. Have you ever considered doing the Madea character as a sort of faux documentary along the lines of what Sacha Baron Cohen has done with Borat — just putting her out into the world to capture the way people react to her? The only problem with that is, I would have to be in costume out in the world, and that won’t work for me. [Laughs] If I take Madea off the stage or have to put her in a room, I’m telling you… I am so uncomfortable in that costume. I can barely look at myself, I certainly don’t want other people looking at me. Really? Oh, yeah. You’ve voiced a similar sentiment before about the character and the costume — it seems like she may not be your favorite character to play, but you keep coming back to playing Madea because your audience loves her. Absolutely. One hundred percent. It is definitely about the audience and it’s also about the amount of joy she brings to people, and the amount of people that she keeps employed. So absolutely, that’s what it’s about. But I would be pretty good with passing it on. What’s behind your mixed feelings about Madea? Is it as simple as being uncomfortable in the costume? The costume is so difficult to wear. It’s so tight. I’m sweating, it’s hot, with the wig — it’s all just a pain. Everybody on staff on the crew knows that once I get into costume, they’ve got to be hustling, moving lights, because I don’t want to have it on — I’m ready to take it off. And Joe is worse! Joe is like being wrapped like a mummy all around your face. That’s right. At least Joe doesn’t usually move around much, he seems to mostly just sit in his easy chair. That’s why! I’m like, listen — I’m not about to sweat this stuff off and have them put it back on for another 6-8 hours a day. I’m not doing that! Do you have a shelf life in mind for Madea, or do you think you’ll draw a line at playing her after a certain point? Well, you know what, it really is about the audience. As long as they want to see it I think it would be unfair for me to do anything but deliver. But whenever they stop coming, then Madea will retire to an island. You’ve received criticism over the years for the Madea films in particular. What is your response to those who accuse these works of perpetuating certain stereotypes? You know what, I’ve stopped trying to defend that stuff. I don’t even deal with it anymore. I like to let the audience speak for themselves. We all know what we like, we all know what we like and how we like it and what we want to see, and I think that it’s awful that we as black people – and this is where most of the criticism comes from, it comes from within our own culture — that we are so ashamed about certain parts of our society, about our own culture, that we want to act like it doesn’t exist. But this woman exists. I still know her. She is still in my neighborhood. She was my mother and my aunt. She didn’t go to an Ivy League school, and she took care of the whole family. So it’s not a stereotype, it is a part of our culture that we all need to embrace. I do have a critic friend who watched the film and took issue with Madea’s violent streak — her tendency to threaten corporal punishment to those who don’t act reasonable in her eyes. That says more about your friend than it does about the character. That’s what I think. I’d like to discuss what we might call Madea’s history lessons in this film — there is a scene in which Doris Roberts struggles with the difference between using the term “Negro” instead of “Negro spirituals.” The other characters, who are white, are horrified by this, but then Madea comes in and tells them they’re all being too uptight about it, before firmly but gently correcting her. Are you by proxy telling your audience that maybe we’re too uptight when it comes to discussing these sensitive racial and historical issues? [Laughs] Let me tell you something, you are so deep into this movie, you are reading things that I never even thought about or imagined. Because in that scene, what I’m thinking is, this woman has dementia. She’s trying to say “Negro spirituals” but she keeps saying “Negroes.” I’m thinking it’s a hysterical joke because I laughed my ass off when I wrote it, and I laughed my ass off when she did it, and when Madea corrects her — because everybody’s panicked that she’s saying “Negroes” and they don’t understand that she’s trying to say “Negro spirituals” — it’s like, calm down, get an understanding of what she’s saying before everybody jumps off the handle. I feel like that taps into a larger discussion of your films, even, and the idea that you’re working within a very specific niche. But looking to what you have coming up next, you’re starring in Alex Cross , an action thriller adapted from James Patterson’s novel. Did you see this as an opportunity to cross over from your established niche into a wider mainstream audience? No, I never do things to think about crossing over. The thing that appealed to me was that I always liked James Patterson’s books and I liked the franchise and the character itself. When it came to me out of all of the things that I’m offered — I’m offered quite a bit — that was the most intriguing. I thought, “Wow – this is a character that I like,” and I wanted to do it. That’s what that’s about. Madea’s Witness Protection is in theaters Friday. Follow Jen Yamato on Twitter . Follow Movieline on Twitter .
It’s a big day for reputable news outlets to make a fool of themselves. First CNN announces that SCOTUS spiked Obamacare, now CBS Los Angeles is announcing a greenlight on a film — The Big Lebowski 2 — that anyone with an ounce of common sense knows is not real. Picking up on a story from SuperOfficialNews.com (which sources “The Ass Press”) CBS Los Angeles invites fans of The Big Lebowski to “lift up your white russian!” According to the post, Jeff Bridges, John Goodman, John Turturro, Philip Seymour Hoffman and Julianne Moore are allegedly on board for a Lebowski sequel called The Big Lebowski 2: The Dude Goes To Washington . The premise has it that the local bowling alley is being turned into a parking garage and only The Dude’s son (Jesse Eisenberg), as the world’s youngest Congressman, can help. No diss to SuperOfficialNews.com, whose other joke pieces include Pat Robertson announcing he is gay and Facebook announcing a for-pay “gold account” , but this one is so… not-really-all-that-funny that I guess one could be forgiven for thinking it is real. Nevermind that the Coen Brothers have basically disowned The Big Lebowski , repeatedly shrugging off its cultural importance at press events and refusing to involve themselves in the ever popular Lebowski Fests. If you recall, when the only news source more trusted than SuperOfficialNews — Tara Reid — mentioned she was doing a Lebowski sequel, the Coen Brothers publicly scoffed at her . The CBS Los Angeles piece has no byline, but I imagine the author might deflect with “new shit has come to light” or “lotta ins lotta outs, lotta what have yous.” If they raised their voice in defiance, a quieting “calmer than you are” might be the only retort. [ CBS Los Angeles , SuperOfficialNews ]
Also in Thursday afternoon’s round up of news briefs, the folks at the Academy announced some new rules in various categories governing the Oscars. A comedy and a thriller head to U.S. theaters and a Halle Berry thriller gets some legs. Academy Makes Some Rule Changes for 2013 Oscars The significant changes are in the Music, Foreign Language and Visual Effects categories. Here’s a rundown: A fourth songwriter for an individual song be considered in rare and extraordinary circumstances (previously it was two); Foreign-language films must be submitted to the Academy in 35mm or DCP, but are no longer required to be exhibited in those formats in their countries of origin; The Oscar in the Makeup category will now be known as “Makeup and Hairstyling Award”; In the Visual Effects category, nominees will be selected from a pool of ten films chosen by the Branch Executive Committee by secret ballot (previously, the committee could put forward as many as ten productions or as few as seven). My Worst Nightmare Heads to U.S. Strand Releasing picked up U.S. rights to Anne Fontaine’s comedy My Worst Nightmare starring Isabelle Huppert, Benoit Poelvoorde and Andre Dussollier. The droll comedy centers on an uptight contemporary gallery owner who falls in an unlikely relationship with a crass contractor who is in the process of remodeling her apartment. The Selling Goes GoDigital The company will release the comedic horror The Selling directed by Emily Lou, which picked up five awards at last year’s LA Comedy Film Festival including Best Feature. Around the ‘net… Nora Ephron Service Planned for July 9th Ephron’s son Jacob Bernstein said details about the service are still in the works. Ephron died Tuesday in New York, age 71, AP reports . Fifty Shades of Grey Beats One Million Sales Record EL James’s Fifty Shades of Grey has become the fastest adult paperback novel to sell one million print copies. The first in the erotic trilogy passed the million mark in 11 weeks, surpassing the previous record of 36 weeks by Dan Brown’s The Da Vinci Code . Ryan Gosling has been rumored to be up for the lead in the film version. Universal already has the film rights. BBC reports . Studios Join Halle Berry Thriller The Hive production starring Halle Berry and Abigail Breslin is getting partners. WWE Studios and Toika Pictures are teaming to co-produce and co-finance the thriller about a kidnapping of a teen girl, directed by Brad Anderson, Deadline reports .
Also in Tuesday morning’s round up of news briefs, BFI London Film Festival sets October dates and a revamp, former stripper colleagues accuse Channing Tatum of taking their experiences for Magic Mike and Welsh actor Victor Spinetti has died. George Clooney and Grant Heslov to Produce August: Osage County The two have signed on as producers of the screen adaptation of the Pulitzer Prize and Tony Award-winning play by Tracy Letts. Oscar-winners Meryl Streep and Julia Roberts star as mother and daughter in the film, directed by John Wells from Letts’ screen adaptation. Clooney and Heslov join producers Steve Traxler and Jean Doumanian, The Weinstein Company said. The story tells the dark, hilarious and deeply touching story of the strong-willed women of the Weston family, whose lives have diverged until a family crisis brings them back to the Midwest house they grew up in, and to the dysfunctional woman who raised them. BFI London Film Festival Sets October Dates The 56th annual event will take place October 10 – 21 and will include a number of new venues throughout the British capital. Recently the festival announced a partnership with American Express. Around the ‘net… Strippers Claim Channing Tatum Took Their Stories Two former male strippers who worked with Tatum have accused him of stealing a number of their ideas for the upcoming Magic Mike , directed by Steven Soderbergh. The director’s film has been promoted as being based on Tatum’s own experiences working as an young stripper in Florida during the mid-1990s, The Guardian reports . Jennifer Connelly in Running for Re-team with Russell Crowe in Noah Connelly and Crowe starred in A Beautiful Mind and now it appears that they will pair up again, this time playing Crowe’s Noah’s wife in the Biblical epic directed by Darren Aronofsky, Deadline reports . Welsh Actor Victor Spinetti Dead at 82 Spinetti appeared in over 30 films including the Beatles’ movies and Dylan Thomas’s Under Milk Wood starring Elizabeth Taylor and Richard Burton. Spinetti had cancer, BBC reports .
Filmmaker Alma Har’el ( Bombay Beach ) was originally going to film Icelandic outfit Sigur Ros for their “Fjögur píanó” music video, but then she apparently ran into Shia LaBeouf and the whole concept changed into a Big Idea-filled meditation involving nudity, interpretive dance, and an underwater acid trip. Of course! Watch the NSFW (but oddly gorgeous) short and ponder away after the jump. “Originally [Har’el] was going to film us on super 8 in Iceland all playing the piano lines from the song,” explains bassist Georg Holm, “but then she rang and said she’d met Shia LaBeouf and they’d changed the idea. That was the last we heard of the concept and she told us nothing about what was going on.” LaBeouf is joined by actress Denna Thomsen in the piece, one of a dozen videos commissioned by the band to accompany their latest album, “Valtari.” According to the Wall Street Journal , each filmmaker was given a $10,000 budget and carte blanche to deliver a video. The video, Har’el suggests, “is about addiction to drugs, or sex, or anything–and how you get stuck in a cycle.” And the dead butterflies festooning the bedroom that imprisons the couple? The director says they symbolize “very beautiful things that die very fast,” the experiences or emotions that couple share ad nauseam. “For me, it’s about not knowing how to get out of something without causing pain to somebody else,” Har’el says. “For other people it might be about candy and fish. I’m down with that. [via WSJ ]
ML turns the spotlight on three filmmakers screening new work at the Los Angeles Film Festival this week. Directors with films in the festival’s Narrative and Documentary competitions have offered up their observations on their latest and greatest. Monday’s titles include three docs: Jeff Howlett’s A Band Called Death , Mai Iskander’s Words of Witness and Dominga Sotomayor’s Thursday Till Sunday . And trailers are included (naturally). A Band Called Death , directed by Jeff Howlett [Documentary Competition] Synopsis: Before Bad Brains, the Sex Pistols or even the Ramones, there was Death. Formed in the early ’70s by three teenage brothers from Detroit, Death is credited as being the first black punk band, and the Hackney brothers, David, Bobby, and Dannis, are now considered pioneers in their field. But it wasn’t until recently — when a dusty 1974 demo tape made its way out of Bobby’s attic nearly 30 years after Death’s heyday — that anyone outside a small group of punk enthusiasts had even heard of them. Equal parts electrifying rockumentary and epic family chronicle, the story of Death is one of brotherly love and fierce, divinely inspired expression. [Courtesy of Los Angeles Film Festival] Responses by Jeff Howlett: Howlett gives his take on A Band Called Death : A Band Called Death is a documentary about the Hackney’s, three African-American brothers from Detroit that formed the proto-punk band “Death” in the early 70s. The film is a family story of brotherly love, and the human spirit that uncovers a treasure in the form of a 1974 demo tape that established their name in American Punk Rock History. And why audiences should check the film out at the LA Film Festival: The audiences should check out our film to discover an inspiring story about a band who not only played infectious, groundbreaking music but also had a rich family history to tell. The audience is taken back into a neighborhood where Motown was the religion and rock and roll was, as the Hackney’s eldest describes it best “white-boy music”. Following 35 years of their lives we take a journey with the Hackney family as they tell us their personal stories, the struggles of being black in a “protopunk” band and having the spirit to never give up on your dream. Some anecdotes from the shoot: Our film was as one of our friends put it “discovered on twitter and produced through email”. Since each of the directors and producers were spread out across the map, the challenge became only viable through these virtual channels. Short end of that story is that a year into the project Mark and I were at the end of our budgets with working on the film to which we either needed to stop production or make it a ten year project. That very day it was brought to our attention that Scott Mosier was Tweeting about a trailer we had made and posted online, and saying how he would love to know more about the film. This conversation led to Scott turning on Matt Perniciaro, Kevin Mann and Jerry Ferrara who then helped develop it into the feature film it is now. About the trailer: This clip is of Brian Spears of Groovesville Productions who takes us on a virtual tour of the studio as the band records their first album, “For the Whole World to See.” — Words of Witness , directed by Mai Iskander [Documentary Competition] Synopsis: Updating your Facebook status is a political act in this visceral, on-the-ground documentary of a 21st century revolution in progress. When the Egyptian people rose up against President Mubarak, Heba Afify was a 22-year-old journalist for an English-language paper. Her Facebook and Twitter accounts, along with those of many young Egyptians, become essential weapons in bringing down the former regime, a means to rally support and focus the movement’s strength. Director Mai Iskander follows Afify into the homes and offices of protestors, organizers and citizens caught up in revolutionary fervor, providing a thrilling perspective on a populace rising up to demand the right to live their own lives. [Courtesy of Los Angeles Film Festival] Responses by Mai Iskander: Iskander gives her take on Words of Witness : Words of Witness is a feature-length documentary that follows 22-year-old journalist Heba Afify as she navigates Egypt’s revolution and the rigid boundaries of her concerned mother to examine the struggles, hopes and fears of a people on the brink of democracy. And why audiences should check the film out at the LA Film Festival: Despite the cultural, linguistic and societal differences that separate Egypt and the United States, Words of Witness reveals at least one universal truth: where there is no struggle, there is no progress. Whether the rallying cry is, “Out with Mubarak” or “We are the 99 percent,” people everywhere know that the first step in making their country better, is to “lead themselves.” Through the lens of a country on a path to self-determination, Words of Witness inspires audiences—wherever they are—to reflect on the value of democracy and their role in the democratic process. Iskander shares some observations about the shoot: Since I do not look particularly Egyptian, I was often stopped and questioned as to why I was there. People were often very suspicious, and I certainly don’t blame them. This was a very tumultuous, volatile time. Here they were ripping at the seams of a regime that had been in place for 30 years. A revolution is a very vulnerable time for a country—it is only natural that they should question everything. And some insight on the trailer: I hoped to communicate the deep desire to shape one’s own fate—which dwells within not only a people, but also within every individual. I wanted to tell a story that shows how this desire cannot be quelled indefinitely; eventually it will overcome any obstacle in order to be realized. — Thursday Till Sunday , directed by Dominga Sotomayor [Narrative Competition] Synopsis: In the soft pre-dawn light, a young family loads into their car and begins a journey that will affect them all far deeper than the usual weekend get-away. With a mixture of nostalgia and anxiety, Thursday till Sunday deftly captures the end of a childhood as the young daughter, from her vantage point in the back seat, begins to realize that something is strained — or possibly broken — between her mother and father. With uncommon beauty and style, writer/director Dominga Sotomayor perfectly captures the emotional dynamics of a young family at a crossroads and the claustrophobia of the open road. [Courtesy of Los Angeles Film Festival] Sotomayor gives her take on Thursday Till Sunday : It’s the road trip of two children and their parents to the north of Chile during a long weekend. Everything is seen from 10-year old Lucía’s distant and fragmented point of view. As the landscape gives in to the desert, the parents’ crisis is revealed and the holiday slowly turns into a possible last family trip. And why audiences should give it a look at the LA Film Festival: I hope they will connect with real feelings, along with their own childhood memories and the sensation of being a kid. Some anecdotes from the set: The anecdotes are several (shooting almost everything within the constraints of a car; having kids in every shot; traveling with the whole crew out of the city), but most of these were self-imposed challenges and ended up working in favor of the film. I personally believe the greatest challenge of the film was creating a sense of intimate atmosphere and an overall intimate film when surrounded by a very ‘un-intimate’ environment during the production (trucks, crew, grip, etc); keeping the children’s energy upbeat and have them feel this trip as a long game. An observation about the trailer: I wanted to transmit the overall atmosphere of the film, its ability to convey genuine emotions, and introduce the point of view of the 10-year old girl that drives the whole film.
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