ScreenFish

where faith and film are intertwined

Jamie Foxx

Spider-Man: No Way Home – A Hero for Everyone [Spoiler-Free]

by Leave a Comment

[This review contains no spoilers for Spider-Man: No Way Home–but it does deal with themes and ideas within the film that may hint at certain elements of the story.]

There’s no question that Spider-Man: No Way Home is Marvel’s big present for fans under the tree. And, frankly, it’s everything you hope that it will be.

Taking place immediately after the final moments of Spider-Man: Far From Home, No Way Home leans into the fallout of having the Webcrawler’s identity revealed to the world. Under constant scrutiny by those who believe he murdered Mysterio, Peter Parker seeks out the help of fellow Avenger, Dr. Strange. After Peter asks him to cast a spell that will make people forget his identity, the good Doctor reluctantly helps. However, when the spell goes wrong, the effects on space/time are devastating. As other characters from the multiverse sneak into their own world, Parker must attempt to capture his mysterious foes before its too late.

There’s really no other way to say it. Despite building hype over the past few years, Spider-Man: No Way Home somehow manages to deliver the goods. Once again directed by Jon Watts, the conclusion to the ‘Home Trilogy’ balances epic scale Marvel action sequences and intimate character-driven moments that work on a number of levels. While Marvel sometimes has a tendency to sacrifice storytelling for the sake of action sequences (and vice versa), No Way Home finds a way to incorporate them into one another in such a way that they actually impact each other. (This is especially true in the film’s third act ‘mega-battle’, which actually furthers the emotional arc of the films characters.) After three films, Watts cares enough about this franchise to tell a story that means something to his team and the results are spectacular. Seamlessly blending genres and generations together, Watts creates an epic finale but never sacrifices the soul of his characters in the process.

Of course, No Way Home is an absolute nostalgia-fest for every fan of the Spidey-franchise over the last 20 years. For years, people of debated which iteration of the cinematic Spidey-verse is superior to the others. Here though, Marvel gets to celebrate them all in one big party. This is a festival of all things Spidey that should delight three eras of superhero filmgoers at the same time. 

Even if Peter Parker has No Way Home, this film is a welcome homecoming for many old friends.

However, while nostalgia may be fun for everyone, what makes the film work is that their appearances are relevant to the story through some sharp writing. By bringing back familiar faces in new situations, No Way Home could have simply devolved into a fanservice mess yet their appearances somehow further developing their original story arcs. (Returning villains like Willem Dafoe, Jamie Foxx and Alfred Molina are allowed the chance to develop their characters further without detracting from their original stories. In fact, Marvel arguably elevates their previous material in the process.)

At the same time, the film becomes a perfect finale for this chapter of the Spider-Man story. Throughout his three Spider-films, Watts has done a (mostly) impressive job spinning interesting stories for the Wallcrawler. Whereas Homecoming told a small and intimate tale of a young boy who simply dreams of becoming an Avenger and Far From Home showed that young man trying to balance his life, No Way Home takes that journey even further. Having almost literally grown up onscreen before our eyes, Holland has exemplified the youthful enthusiasm that we expect from the character. In No Way Home, further completes his coming-of-age into a true Spider-Man as opposed to Spider-Teen. Having moved through high school, Holland’s Spider-Man is now faced with understanding what it truly takes to be a hero. In No Way Home, Parker has to make decisions about his life and the safety of his friends that he would have been unable to make earlier on in the franchise. Without giving away any spoilers, this iteration of Spider-Man needed to learn what it means to sacrifice himself out of love for others. 

Why? Because that’s what heroes do.

However, No Way Home is also about second chances. Although most superhero films of the last two decades have featured heroes battling unsalvageable villains, No Way Home actually makes a point of arguing that everyone deserves a chance at redemption. Rather than writing off these villains as ‘bad guys’, Holland’s Spidey is challenged to view them as more. Here, iconic villains like Doc Ock, Green Goblin and Electro show their vulnerability and humanity more effectively than they have in other films. 

What if the ‘bad guys’ are actually the ‘lost guys’?

There’s a sensibility to this film that, maybe, anyone can change. Despite the ‘fate’ that they are dealt, No Way Home allows the opportunity for a crack in the villainous armor. Despite the negative tone of its title, No Way Home wants to believe that there is a new way for anyone who chooses it. Maybe, regardless of their past actions, there’s an opportunity for these villains to find hope. For Parker, maybe these villains are more than the sum of their darkness.

While the nostalgia is fun and action is well-executed, it’s this aspect of Spider-Man: No Way Home that truly leaves its mark. Wrapping up this chapter of the MCU’s Spidey-Verse, Watts completes the emotional arc that he began about a crew of high school kids learning how to grow up. But he also manages to tread new ground for characters that we already felt we knew. Leaning into hope for the ‘bad guys’, the film gives Spidey the chance to try to help everyone, not just his friends in his neighbourhood. 

Because that’s what heroes do.

Spider-Man: No Way Home is available in theatres on Friday, December 17th, 2021.

Everything is Spiritual: 1on1 with Pete Docter and Dana Murray (SOUL)

by Leave a Comment

When you write about the afterlife, you’re definitely wading into dangerous waters.

Produced by Dana Murray and directed by Pete Docter, Soul tells the story of Joe Gardner (Jamie Foxx), a middle-school band teacher who yearns for something more. Passionate about jazz music, Gardner wants to be on stage yet he feels stuck. After his sudden death, Joe meets 22 (Tina Fey), a soul who has yet to begin her life on Earth and seems unable to find her ‘spark’. Together, the two fight to help Joe reclaim his live while also helping 22 to discover why life is worth living in the first place. 

Known for writing some of Pixar’s ‘headiest’ work (pun intended) such as Inside Out, Up and Monsters Inc., Pete Docter is certainly no stranger to the obscure. However, even for Docter, Soul’s interest in the afterlife provides one of the more complex conceptions ever dealt with by the company.

As they began to develop their visual representation of the Great Beyond, Docter understandably found the task to be an incredible challenge for himself and his team.

 “The afterlife was especially like danger, danger, danger,” he remembers. “There’s a lot of pitfalls and things that we could have stuck our foot in by accident… I think one of the first things we did was talk to a lot of different religious consultants like pastors, theologians, rabbis [and] shaman. We tried to understand from every angle how people across time have understood the soul. What does it look like? Are there any clues to us in terms of the design that we can use? We actually ended up staying away from the afterlife. There’s of course, the sort of cliché of going towards the bright light that we did.” 

“There was an early script where I actually wrote in the voice of God. I was thinking [that] if we’re talking about ‘Why am I here? Why am I not getting what I want?’, then it’s sort of a Job-like story. And I thought it’d be fun to have never referred to him or her. In fact, I thought it was horribly clever that every line would be spoken by someone else. So, it would be a woman, a kid, all ethnicities and races. But that was one of the first things to cut and probably good because the characters—like us—have to figure things out themselves, as opposed to be told.”

Of course, any conversation surrounding the afterlife leads to discussions about the nature of faith. Despite its exploration of the hereafter, Docter feels that Soul’s system of belief echoes more of the classic philosophers than it does theologians.

“I feel like obviously, beyond Christianity, I think a major goal of any faith is to try to bring sense for people in their lives,” contends Docter. “The idea of how do I know what I’m supposed to do. Am I making the right decisions? All those things are complicated and it’s super helpful to have help along the way. I actually feel like it’s maybe more of a philosophical film than a theological one. Essentialism, the idea that I was born to do this, [is] straight out of Aristotle or Plato. Then, we get to counter with the humor of 22 is for nihilism, the sort of ultimate meaninglessness of it all.

“I think where we come to in the end is existentialism, like a Soren Kierkegaard kind of thing of, ‘Hey, it’s not just meant to be localized over here and then the rest of my life happens.’ All of life is spiritual. Everything you do contributes to who you are as a person and so, the overall meaning of your life. I still struggle with that daily but I feel like having the chance to work on this film was a great reminder daily of how I can be bringing my full self into everything, being more present and… really trying to be. It’s tough because you have to balance that with [the fact that] the movie has to get done. I can’t stand here and talk about philosophy all day but it has made me more grateful and appreciative and desiring [to] practice that. Because… it’s not a personality attribute. It’s not something you’re given. You have to exercise every day, at least in my case.”

“I think, to me, faith and fate are really interconnected,” adds producer Dana Murray. “This year, especially, you just have to [realize that] I’m not in charge. I have to go and trust that my faith and fate that it’ll all work out. That’s threaded into the film, but also just timely of when it’s coming out, trusting in that.” 

One of the most unique aspects of the film is its presentment of Black culture. As the first depiction of an African-American lead character within Pixar’s canon, Joe Gardner was an exciting prospect for the company. Understanding that any portrayal of race deserved to be handled with the utmost care and sensitivity, Murray ensured that as many voices as possible were consulted so that Soul could visually provide the most authentic representation possible.

“We took it on as a huge responsibility to portray Joe and the rest of the cast [as] truthful and authentic,” she explains. “I think that 22 walking in Joe’s shoes is really special because we got to go into these Black spaces, like the barbershop and the tailor shop with Joe’s mom. I think that Joe is going through something that’s very universal and something that I think all of us, if we haven’t felt in our life, probably will at some point. I think he’s a character that so many people can connect to. Culturally, we wanted to make the black community proud. So, we brought on a lot of help. We had a ton of consultants and a culture trust and [then, there’s] our co-director and writer Kemp Power. All these voices were such a huge part in making these characters who they were. It was very important to us to portray them in a truthful way.”

“In fact, we, I think our initial concern was about religion,” Docter responds. “The longer term and the bigger concern became more about race and representing culture because there are a lot of pitfalls and things that we didn’t even know [that] we didn’t know. So, [there was] long learning there [for us[.”

Having said this, Docter recognizes that it was never the original intent for Soul to specifically depict Black culture in its story-telling. Even so, once that came into view, he also believes that it created incredible opportunities for learning that made the film’s development a richer experience for everyone involved.

“We didn’t set out to make the first African-American character,” Docter recalls. “It was really out of the decision that this guy who kind of reflects the artist’s journey should be a jazz musician and one of our consultants said, ‘Oh, jazz, you could more accurately call black improvisational music. It grew out of the African-American culture.‘ And we thought, it’s only right then to have our main character reflect that. As soon as we made that decision, I don’t think I knew how little I didn’t know. There was a lot that we needed help with. And [co-director] Kemp Powers, as Dana mentioned, was formative in bringing a lot of those details. But we also had extensive cultural consultants as well. People talking just about the black experience. People talking about music. We got to meet and work with Herbie Hancock and Quincy Jones, [who are] these living legends, which was just fascinating and mind blowing. It was a huge responsibility that we knew that we wanted to portray this life of this man as accurately as we could, not just because it’s the right thing to do, but because the movie gets better when you talk about those things in an accurate, specific way. Strangely, I think it becomes more universal the more specific it is. So, we had a lot of the benefit of a lot of really great people that helped us. It was a great learning experience.” 

Speaking of 2020, because the film features characters in ‘holding patterns’ with their lives, there’s also an aspect of Soul that connects with the current pandemic. Although the film went into production years ago, Docter also feels like the story resonates in new ways in light of today’s circumstances.

“I think it sort of turned out that way,” reflects Docter. “We started at five years ago and the world was a different place, but a lot of the things that we were investigating, like basically why are we waking up in the morning? What are we doing with our time? Those, I think, are things that we’re maybe asking ourselves more now than we do in normal times. Maybe that’s not always good. I think there’s some value to asking those questions. That was our hope really from the get-go… It’s not like we ever hoped to answer the question of what is life all about. That’s ridiculous to think that you could but, at the very least, we hoped that we would incite some good conversations and make people say, ‘Okay, we got to go get some coffee and talk about this’. (Or, now sit on zoom, I guess, and talk about it.)”

In addition, another fascinating theme embedded within the film is it’s conversation surrounding what it means to know one’s calling. Unlike other Disney projects that encourage you to ‘follow your dreams’, Soul takes a more grounded approach to the idea. In fact, Docter’s script even suggests that over-emphasizing the importance of our ‘dreams’ may be limiting to our ‘spark’.

“That was one of the great joys that came with [it],” he beams. “I think there is, oftentimes, a narrative [of] ‘find what you love, do it, and you’ll never work a day in your life.’ That’ll lead to happiness and fulfillment. Well, no, it doesn’t work like that. There are times of intense joy and fulfillment, but it’s not the answer to everything. So, it was really exciting as a storyteller because I think everybody believes so strongly in that narrative that, when we don’t give Joe the happiness and fulfillment that he was expecting, it’s kind of shocking to people. I don’t know that we really ever pulled this off but the hope was that the word ‘spark’ would be reversed in a way. At the beginning, Joe assumes, like hopefully the audience, that [his] spark is the thing you love and your passion, like music or a science, or whatever those specific things [are]. But, in the end, spark really means life. You know that your job is not to just do this one thing, but your job is to live in all the complexity and nuance that that entails. So, I hope that came across, but that was the intention.”

Since 1995’s release of Toy Story, Pixar has continuously offered though-provoking projects that excite the minds of people the world over. Asked what it is that he finds so stirring about these films, Docter highlights the unexpected impact that these stories have on the audience.

“I guess it’s just wanting to reflect reality or my experience of it,” Docter explains. “When I started in animation, it was all about the joy that I got out of it. Now, I realize that one of the great joys of it is the ability for Dana and I and the rest of our crew to connect with people we will never meet in parts of the world that we will never go. Through the work that we do, we have this amazing ability to connect people. I think animation has a wonderful ability (and I guess, filmmaking and storytelling in general) to allow the viewers to step into somebody else’s shoes and experience life from a perspective that they have not been in themselves. So, those are the most important things for me is just representing the world as it sort of seems to me and that I’m struggling with in hopes that you will see yourself in there as well.”

“Sometimes we don’t even know [the impact it will have],” echoes Murray. “I remember, after Inside Out, getting letters and stories from people like psychologists who are working with traumatized children. The only way these children could express themselves is by using the dolls or stuffies, like the characters of all the emotions. That was kind of like crazy to hear because you just you don’t know how these are going to impact people until afterwards. While you’re making them, you’re so focused and busy doing it that it’s not until later sometimes that you can take it in.” 

Despite the film’s difficult topics such as the afterlife, Murray explains that she has been thrilled with the types of questions that Soul inspires within her own young children.

“We both have kids. Mine are younger, Pete’s are kind of young adults now,” Murray points out. “So, my kids just saw the film and I think the conversations that I hope are happening are happening. I think the things that they really connect [with] are discovering this great before, because it’s really interesting. We all like to kind of think about where we came from and where we got our personalities. So, that’s been a huge topic. Then, also the things like their spark. They’re trying to figure out what are the things that I really love doing? What am I interested in? They’ve [also] really leaned into the music, which is really cool, [especially] the jazz music and the Trent and Atticus score. But they’re not asking about the midlife crisis. So, we’re definitely having the conversations that I hoped we would be having. I think kids are really smart and they ask big questions so there’s a lot in there for them.” 

“It’s something that we talked about. Dana and I worried about it but I think that, in a way, doing Inside Out was a kind of boot camp for this movie,” Docter continues. “That was pretty abstract. What we found was, if you make it visual, then everybody gets it. If it’s about words, you’re going to miss some people. But visually and through action, ‘this character wants this but this is in the way’. Now, I can understand everything. That’s takes a long time to do but we have an amazing group of very talented people who assisted us and actually just did all the work. They didn’t assist us or anything. They did the work.” 

With his ability to make even the murkiest of concepts accessible to children and adults, Docter argues that he never begins with any particular audience in mind when he starts to write.

“Kurt Vonnegut said, ‘Pick somebody and write for them.’ That’s not been my experience,” he states. “I guess, at the beginning, I was writing more just for myself. ‘Ooh, what’s fun? What do I want to play with?’ Then, along the way, Dana will say something about her kids [and I decide that] we need to write for her kids. So, it’s almost like building up layers as we go. I want something just selfishly that is going to excite me and connect with other folks that I talk with. But then I’m also knowledgeable that my kids and Dana’s kids and all these different people are going to see it. So, it’s not really a simple answer I guess, but it is almost like switching the channel a couple of times as we go, sometimes even daily, to make sure we’ve got something there for everybody.”

Soul is currently streaming on Disney+.

To hear our conversation with writer/director Pete Docter and producer Dana Murray, click here.

Films in Full Colour #5 – SOUL

by Leave a Comment

We, at ScreenFish, believe that we are all created in God’s image and want to show our support where we can to those in the Black Community who continue to battle against systemic racism. While our team strives for diversity, we can always do better ourselves in giving voice to those who need the chance to speak out and be heard. 

In our series, ‘Films in Full Colour’, we examine films that explore issues specifically within the black community. For each episode, my co-host is Jordan Thoms, pastor of Warden Underground Church in Toronto and our hope is that, through the lens of film, we might be able to shine light on the issues faced every day by African Americans. This week, Jordan and I welcome Enrico back to the show to talk about lost souls and the spiritual power of music in Pixar’s Soul.

You can also stream the episode above on podomatic, Alexa (via Stitcher), Spotify or Soundcloud! Or, you can download the ep on Apple Podcasts or Google Play!

Want to continue the conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

Films in Full Colour #5: SoulDownload

Soul: Jazzing through Life Together

by Leave a Comment

Every now and then, Pixar releases a film that is not just enjoyable or even powerful but truly special. 

Soul is one of those films. 

Directed by Pete Docter, Soul is a film that admittedly feels like it’s been made for adults but kids should still love as well. While Docter’s previous hits Monsters Inc. and Inside Out targeted the fears and dreams of children and youth, Soul takes a more mature approach that places the emphasis on the middle-aged Joe Gardner. While the film makes every effort to incorporate Pixar’s trademark sense of humour and joy, the film’s focus on Joe’s journey makes it noticeably different in its tone. As a result, this is arguably Pixar’s most ambitious piece since Inside Out by attempting to grapple with the spiritual realities of the afterlife in a way that feels authentic but still remains relevant to kids. 

Now airing on Disney+, Soul tells the story of Joe Gardner (Jamie Foxx), a middle-school band teacher who yearns for something more. Passionate about jazz music, Gardner wants to be on stage yet he feels stuck. After his sudden death, Joe meets 22 (Tina Fey), a soul who has yet to begin her life on Earth and seems unable to find her ‘spark’. Together, the two fight to help Joe reclaim his life while also helping 22 discover why life is worth living in the first place.

Featuring endearing performances from Foxx and Fey, Soul’s characters feel true to life. As Gardner, Foxx brings a relentless ambition to the character yet never loses his earnestness in the process. Meanwhile, Fey bring an innocence and enthusiasm to 22 that counterbalances Gardner’s cynicism. However, despite solid work from its leads, the stand out performances stem from secondary characters played by icons Angela Bassett and Phylicia Rashad. At every opportunity, Bassett and Rashad steal their respective scenes as they embed their characters with their own unique blend of gravitas and confidence. 

As one would hope, the music of Soul is one of the film’s most inspiring aspects. Featuring a stellar soundtrack by John Batiste, Trent Reznor and Atticus Ross (?!), the film is a testament to the power of music and its spiritual qualities. In each musical number, Soul showcases music as a transcendent experience that speaks to the very… well… soul of the performer. To Gardner, music isn’t just something he plays. It releases a deep joy within him that transports him into a higher plane. In this way, Gardner interacts with spiritual realm, unleashing an inner creativeness. that (literally here) points to the Divine.

Co-written by Kemp Powers (One Night in Miami), the film is willing to engage African American culture in New York. Beyond the music itself, Soul makes sure to celebrate everyday moments like a quick stop at the barbershop or buying a new suit. Coming in the midst of a year when racial conversations have been brought to the forefront, these subtle inclusions provide the film with an additional layer of importance that inspires the viewer.

In fact, that spirit of the everyday speaks directly into the heart of the film. Though portions of the film take place in the afterlife, Soul is most interested in the way that we interact with the world around us. (In fact, much of the afterlife depicted within the film is shown as either a place of transitioning between realms or preparing for their new life, rather than eternity itself.) By partnering the two souls together, Gardner has the opportunity to reclaim his sense of wonder for the world around him while 22 continues to grow in strength about her new journey. Emphasizing the value of ‘jazzing through life’, Soul understands that there’s beauty in experiencing the moments around us, whether it’s helping a friend or grabbing a slice of pizza. In essence, this is a film which wants to encourage kids to step out and engage their lives while, at the same time, encouraging adults to support them along the way.

What’s most interesting about Soul, however, is the film’s more grounded take on realizing your dreams. For a company that calls us to ‘Wish Upon a Star’, Soul takes an almost anti-Disney approach by pointing out that one can’t always bank on their hopes and dreams to come true. For example, though he yearns to play on stage, Gardner cannot seem to get his ‘big break’. Struggling as a Jr. High music teacher, he lives his life in a constant state of waiting, making endless backup plans in an effort to be ready when his chance at success finally comes. However, in doing so, Gardner is never satisfied with the impact he makes on the lives of others. As a result, he fails to recognize the true beauty of the moment and his place within the world. While never stating that one shouldn’t have ambition, this is a staggeringly sober realization for any animated film, especially from the House of Mouse. (In fact, the film even goes so far as to suggest that those who remain trapped by their dreams can become ‘lost souls’ who never realize their potential on Earth.)

Ambitious and poignant, the spiritual journey of Joe Gardner feels relevant to anyone who has ever felt like their dreams remain out of reach. Though Soul feels more appropriate for adults than youth at times, it’s passion for embracing life is appropriate for all ages. As Joe and 22 work together to find their ‘spark’, the spiritual bedrock bubbles to the surface, challenging and encouraging families at the same time.

In other words, this is a film which knows the power of a Soul.

To hear our conversation with director Pete Docter and producer Dana Murray, click here.

Soul is available on Disney+ on December 25th, 2020.

Films in Full Colour #2: JUST MERCY

by Leave a Comment

We, at ScreenFish, believe that we are all created in God’s image and want to show our support where we can to those in the Black Community who continue to battle against systemic racism. While our team strives for diversity, we can always do better ourselves in giving voice to those who need the chance to speak out and be heard. 

In our new series, ‘Films in Full Colour’, we will be examining films that explore issues specifically within the black community. For each episode, my co-host will be Jordan Thoms, pastor of Warden Underground Church in Toronto and our hope is that, through the lens of film, we might be able to shine light on the issues faced every day by African Americans. This week, Jordan and I welcome film analyst Chris Utley to the show to talk about justice and its relationship to hopelessness, and what it means to tell a new story through Destin Daniel Cretton’s Just Mercy.

You can also stream the episode above on podomatic, Alexa (via Stitcher), Spotify or Soundcloud! Or, you can download the ep on Apple Podcasts or Google Play!

Want to continue the conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

Films in Full Colour 2: Just MercyDownload

TIFF ’19: Just Mercy

by Leave a Comment

Image result for just mercy movie

Based on true events, Just Mercy tells the story of Walter “Johnny D” McMillian (Jamie Foxx), a man who was wrongfully convicted of the murder of Ronda Morrison and sentenced to death in Alabama. Adapted from the book by Johnny D’s attorney, Bryan Stevenson (Michael B. Jordan), Just Mercy is a hard-hitting look at racism in Alabama in recent decades, and the reality of a corrupt justice system.

Bryan Stevenson moved to Alabama to begin the Equal Justice Initiative, a non-profit organization providing legal services to prisoners who could not afford a proper representative, who were not granted a fair trial, or who were likely wrongly convicted. When Bryan first met with Johnny D to reopen his case, it was clear that Johnny D was broken and had lost hope. He didn’t want to feel the pain or put his family through it again. With every turn, it seemed as though there were more road blocks that they had to face. People were intentionally trying to sabotage the appeal despite knowing that there was no real case against Johnny D.

I have never heard so many sniffles or deep breathes in a theatre as I did during Just Mercy.  This film is real and powerful.  What’s more, knockout performances by stars Jamie Foxx, Michael B. Jordan, Brie Larson, Rob Morgan, and Tim Blake Nelson, do not be surprised if you hear some–if not all–of these names as award season approaches.

Just Mercy recently premiered at the Toronto International Film Festival and will begin its wide release on December 25th, 2019.

Directing the Eye of the Storm: 1on1 with Rob Cohen (THE HURRICANE HEIST)

by Leave a Comment

Having directed such films as The Fast and the Furious and XXX, Rob Cohen certainly knows how to build intensity within an action movie. With his latest film, The Hurricane Heist, Cohen continues to push his ability to create elaborate set pieces in an effort to take his audience on a wild thrill ride. When asked how he became associated with the film, Cohen explains that, initially, his journey began with an entirely different type of project.

“I had been working on a project about Joe Louis with a husband and wife producing team. I just finally said that I shouldn’t direct this,” he recalls. “We’re in the here and now and there are many, many talented black men and women directors. Even with my background of Motown, winning the NAACP image award and all the other stuff I’ve done, it’s a different time now. So, [I said they should go get] Ryan Coogler or somebody who might be more emotionally connected to the material than I am by birth. They said they were sad, still wanted to do something with me and said [that] they had this script… that was kind of like a bank robbery that was set to go down during a hurricane.”

“I [thought] that was a very interesting concept because plain old disaster movies aren’t going to work and heist movies can work but they have to be really, really good to stand on their own. They have to be Ocean’s Eleven. Short of that, they become subplots in the Fast and the Furious sequels. So, I read the script and it was not good. It was very old-fashioned. The minute the meteorologist got involved he became Bruce Willis or Rambo, you know… It was ludicrous. I liked the idea but it needed a total redo.”

With a title like The Hurricane Heist, one immediately expects that the film will feature incredible special effects and intense action sequences. However, rather than rely entirely on CGI for the film’s action scenes, Cohen demanded a more grounded approach that features practical effects and even asking the actors to participate as much as possible.

“I wanted the actors to do all their own stunts,” he explains. “We [had to] rig them up and design them so that [the stunts] are safe, believable, possible and real. So, we developed and imported from various places these 100 mile/hour fans and we dumped millions of gallons of water over the course of the shoot. As Toby Kebbell said to me, ‘You’re the greatest director because, when an actor comes on your set, we don’t need to act. We just have to survive.’ Every stunt is the actor and you can tell because we don’t cut away. When Ryan Kwanten jumps from a tow truck to an 18-wheeler at 50 miles/hour and almost misses it, trust me. He almost missed it… Toby did all the stuff where they’re running on top of the 18-wheelers as they’re barreling down the freeway at 60 miles/hour. That’s them. You can’t fake it.”

Given the difficulty of these conditions, Cohen believes that it takes a certain type of actor to take the lead in an action film. Having worked with actors ranging from Brendan Fraser (The Mummy: Tomb of the Dragon Emperor) to Jamie Foxx (Stealth) to Jennifer Lopez (The Boy Next Door), Cohen says that a lead actor needs to have the courage and commitment to throw themselves into their role.

“I look for a brave actor,” he begins. “Brendan [Fraser] went home on the Mummy black and blue many nights. I would put Jamie [Foxx] in a gimble jet cockpit that would pull 3 ½ G’s and spin him and, once he got out of the cockpit, he’d go to the corner of the stage and throw up. But, when you look at their faces, you know they’re getting G-forces put on them and you feel you’re in this kind of supersonic jet. It’s all about designing it so that you can make it so real and so immediate for the audience… I always have this conversation with [my actors] when they say yes, they want to do it where I say ‘Not so fast. First you gotta understand what’s going to happen.’ Like most actors, they [say] ‘sure, I can handle anything.’ The first time, Toby felt the 100 mile/hour wind in his face and rain that stung like needles, he was going ‘You were not joking!’… These things take a great deal of courage and you need an actor with that level of courage or you can’t make the optimal action film.”

While taxing on the actors and crew, Cohen also contests that the sacrifice is worth the effort in the end. While the action genre often does not receive the same critical praise as other Oscar film bait, Cohen also thinks that, with its penchant for visuals over dialogue, these movies remain the most authentic form of filmmaking.

“It’s a very tiring but exhausting process to make a complicated action sequence,” he says. “That is why I always say to people that The King’s Speech is not the highest form of filmmaking. It’s basically a filmed play… in a room, [where] some very talented actors speak lines and make you fascinated by the people. But, when you really step back, is it a film? Well, yeah, it’s a film… but you could’ve put the play on in 1910 and it would’ve not been that different. Whereas, as a form, only cinema and nothing else can give it to you in that kinetic way and an action film director has to know a whole lot more than Noah Baumbach and those type of films. So, it’s fine for critics to put down action films but they’re actually the most pure cinema we have. They’re full of action, not talking. But that’s my personal theory.”

In light of this, Cohen has no regrets about his passion for telling action-oriented stories. While there may be those who criticize his work for lacking depth, he argues that his primary interest lies in entertaining the audience, as opposed to more introspective material.

Says Cohen, “I came into this business to entertain. I didn’t come in to study my navel and show everybody how depressing the universe is. I came here to give everyone an antidote to that and I’m unapologetic about it, which is why a lot of critics don’t like me. I’m not interested in two lesbians trying to have a baby or I’m not interested in the angst of some teenage girl in Sacramento. I’m interested in an audience coming in, grabbing them by the hand from Frame One and taking them through a rip-roaring thrill ride that never gets boring and never even lets you go to the bathroom. That’s what I [want to] accomplish… “

“I just love the idea that you go in for those hours… and you are taken to another world, into a story, into characters, and you’re seeing things [with] your eyes, and hearing things with your ears that are really transporting you to another plain of existence. The fact that your boss is an [idiot]. The fact that we have this moron president. All the things that make you depressed. All these things are gone for a little respite where you can have fun and, when you leave, you feel like ‘Well, okay. I’ve got my adrenaline. I’m ready to face life again. I’m a fighter and I’m excited.’ That’s the type of action I try to engender. That form, blockbuster or action film (however you describe it), that form is what I love creating and I love when audiences respond to it.”

With decades of experience directing action films, Cohen has also noticed a distinct change in the genre. However, rather than emphasizing technological shifts, he feels that the primary shift in action films is that they have moved their storytelling from being more grounded in reality to fantasy worlds.

“The action film blockbuster used to be somewhat based in reality in the past whether it was The Great Escape or The Magnificent Seven… or any of the big action adventures and today, so many of the blockbusters like Marvel… [are] in an unreal world,” he reflects. “Kevin Feige has been just ingenious about creating a movement which is the most successful of any that’s been seen. It’s all in a fantasy world. We owe that to George Lucas and Steven Spielberg. Even a film like Indiana Jones, you’re talking about spirits and the Ark of the Covenant and giant booby-trapped caves. Things that were not like the old days. [Steven] started to transform [action films] from here on earth to flying saucers and extra-terrestrials. It transitioned to where we are in the Joss Wheden/Kevin Feige world where it’s wide open. It’s not based on gravity or reality in any way. It’s based on the essence and metaphors of superheroes and the amazing visual effects that can be built around people with special powers. That’s very, very different than where the blockbuster started.”

Of course, perhaps Cohen’s greatest legacy lies in his role in creating the Fast and the Furious series. After 19 years and 8 films, what began as a little ‘street-racing movie’ has blown up into a multi-billion dollar franchise. When asked if he had any idea that the franchise would become what it is today, Cohen does not mince words.

“No, and anyone connected to the franchise (and anyone connected to the franchise when it was pure) who says they thought that would happen is a revisionist historian,” he states emphatically. “I thought there would be two movies. I left the first one very indeterminate… and I left it there because I fully expected to pick up the story where the next one would have been if it was one 3 ½ hour movie. Then, of course, life intervenes and it didn’t go that way. I made a stand and I didn’t win. They went off with the producer and made what they’ve made. It’s beautiful that it has this long life. What I love most is that, in online polls, etc, people feel that the first one is the best. So, I’m glad for my children’s college educations that it’s still running and I’m proud that I created something that the audience felt so attached to that they wanted more of it for two decades”

 

To hear more from Rob regarding Hurricane Heist, including how he sets up an action scene and which actors he would like to work with in the future, stream our interview with him below.

 

The Hurricane Heist blows into theatres on March 9th, 2018.

3.24 Cruising with BABY DRIVER

by 2 Comments

This week, author Jeffrey Overstreet rolls in to talk with Steve about BABY DRIVER, Edgar Wright’s hit heist film!  This film has it all — action, romance and a fantastic playlist — but is there more to the story?  In a fun conversation, they talk about defining ourselves and what it means to be ‘good’.  Plus, the guys give their surprises of the year (so far) and most anticipated titles to come!

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

3.24 Baby Driver

A special thanks to Jeffrey for coming on the show!