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Back to One, Episode 190: Chukwudi Iwuji
Chukwudi Iwuji has been celebrated for his stage work (particularly Shakespeare) on both sides of the pond. He got raves for his Henvy VI at RSC, Othello and Hamlet at The Public, to names just a few. The raves continued for his performances in The Low Road (Obie win) and Ivo van Hove’s Hedda Gabler. He has only recently been transitioning, in a concerted way, to film work. James Gunn rewrote Clemson Murn in Peacemaker after seeing Iwuji’s audition, then put him in Guardians of the Galaxy 3, and called him one of the greatest actors who has graced his […]
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“We Joke About it, But I Get Very Anxious When Guys Get Hurt”: Set Medic Eloy Lara on Jackass Forever
By the time of the new Jackass Forever, some of the series’s performers have neared or surpassed age 50. Their bodies remain sturdy, if marked by 20 years of unnatural trials. To extend their infamous game of indecent brinkmanship, the crew has endured a brand-new omnibus of freak obstacles and some reimaginings of past favorites. Beekeepers use a queen bee to attract a hive to Steve-O’s (47) phallus; Danger Ehren (45) sustains countless blows to the groin in an exhaustive series of “Cup tests”; Johnny Knoxville (50) re-contends with a particularly mean bull in a ring; series newcomers (“Poopies,” “Jasper,” […]
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“Often We are Communicating Without Words”: DP Daniele Massaccesi on The Matrix Resurrections
After more than 25 years of making movies alongside her sister, Lana Wachowski’s first solo feature revisits the siblings’ most famed creation with a new installment of The Matrix, The Matrix Resurrections. Daniele Massaccesi knows something about making movies with family. The Matrix Resurrections co-cinematographer grew up on the sets of his father, Aristide Massaccesi, a cult figure in the 1970s and 1980s Italian exploitation era who often worked under the pseudonym Joe D’Amato. Daniele Massaccesi eventually graduated from lugging batteries and lens cases on his dad’s Italian Mad Max and Conan the Barbarian variations to become a sought-after Steadicam […]
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Back to One, Episode 189: Joey King
She has been acting professionally for the better part of two decades, so Joey King has a bit more experience than the average 22-year-old Hollywood actor. And after the gigantic surprise success of The Kissing Booth, and its subsequent sequels, she knows what it’s like to have a global hit on her hands. Add an Emmy nomination for her phenomenal work in The Act to her resume, and you have a well-respected actor/producer with a constant pile of scripts on her desk and first-look deals at Hulu and Netflix. In this episode, she explains how it only seems like it’s […]
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Back to One, Episode 188: Alan Ritchson
He played Aquaman on Smallville and Hawk on Titans, and now Alan Ritchson is taking on the role of Reacher in the new Amazon series based on the Lee Child books. Child highlighted the “blend of menace and goodwill” that Ritchson brings to the role as something that attracted him to the actor. Ritchson talks about how the super long audition process functioned almost like a workshop for him to experiment with different approaches to the character, which paid off when he landed the part and finally got in front of the camera. He tells another story of a very […]
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“I’d Never Really Written Personally About My Own Loss”: Mark Pellington on The Severing
Director Mark Pellington has long been one of the American cinema’s great chroniclers of grief, from early genre films like The Mothman Prophecies (in which the horror story is a vehicle for an unsettling, affecting tale of personal anguish) to more overtly philosophical takes on the subject like I Melt With You, The Last Word, and Nostalgia. While Pellington’s work is undeniably informed by the devastating loss of his wife Jennifer in 2004, it has tended, up until this point, to come at the subject from oblique angles, as in the 2008 dramedy Henry Poole Is Here. With his latest […]
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Back to One, Episode 187: Renate Reinsve
Norwegian actor Renate Reinsve’s performance in her first leading role, in Joachim Trier’s The Worst Person In The World, earned her the best actress award at Cannes and is slowly taking the world by storm. She embodies Julie with a levity and depth that is both grounded in a relatable reality and poetically expresses the beauty and heartbreak of life at the same time. To say it’s the kind of work that changes people’s lives is not an exaggeration. In this half hour, we take the microscope to her performance and lay out the factors at play in its creation. […]
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Hits and Misses, Pandemic Edition 2.0: Anthony Kaufman Breaks Down Six Sundance 2020 Films’ Theatrical Releases
According to Box Office Mojo, our contemporary plague ended on June 14, 2021—the last day the label “COVID-19 Pandemic” was included on its daily box office reporting. But don’t tell that to anyone trying to release a film in the second half of 2021, as viral variants spread widely across America, plunging the hopes of many filmmakers and distributors. Welcome to Pandemic: Year 2. The merciless persistence of the coronavirus and its wide-ranging impact on theatrical moviegoing and home viewing habits became more entrenched over the past several months—with indies on the losing end of the stick. Struggling to gain […]
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Freedom as a Preset: Joanne McNeil on Metaverses Past and Present
“What we’re selling is freedom,” says a digital media executive played by Demi Moore, of the promise of virtual worlds in Disclosure (1994). “We offer through technology what religion and revolution have promised but never delivered: freedom from the physical body; freedom from race and gender, from nationality and personality, from place and time.” Based on a Michael Crichton novel, the movie explores in classic Crichton fashion a theoretically possible but highly unlikely scenario—in this case, a 32-year-old single woman who sexually harasses her married 50-something male subordinate; it is also one of a number of features from the 1990s […]
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Back to One, Episode 186: Eric Roberts
Barring any unforeseen circumstances, Eric Roberts will soon have more credits as an actor than anyone else who has ever lived anywhere in the world. An intensity matched only by raw talent on display in films like Star 80, The Pope of Greenwich Village, and Runaway Train established him as a respectable actor’s actor in Hollywood. And, as he talks about in this episode, once video replaced film, and more people began shooting, they wanted Eric Roberts in their movies. And once he became privy to how many offers were coming in, he started saying yes. Work begot work fairly […]
