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Ryan Gosling

First Man: Man on a Mission

January 22, 2019 by Steve Norton Leave a Comment

Directed by Oscar-winner Damien Chazelle (La La Land), First Man tells the story of one of the most iconic moments in history as it tracks NASA’s quest to be the first to put a man on the moon. Following the journey of Neil Armstrong (Ryan Gosling), the film explores the human side of the mission, without shying away from the sacrifices and losses that came as a cost for their victory.

In the development of First Man, Chazelle has stated that he wanted to show the intense risk undertaken by the crew and staff in order to make this historic event possible and he certainly accomplishes his mission. Told over the span of 1961-1969, the film does not shy away from the highs and extreme lows that NASA endured during their journey. Through his use of editing and sound design, each launch sequence is equally thrilling and terrifying. Ranging from the noise of the launch to the limited view from the cockpit of the shuttle, Chazelle has sought to help his audience to experience the sheer peril in every moment of the experience.

However, rather than focus entirely on the moon landing itself, Chazelle instead allows the Armstrong’s personal battles to inform the narrative. Interestingly, unlike other ‘space race’ films (is that a genre?), First Man spotlights the journey to the moon through the eyes of Armstrong himself, as opposed to the entire team. Although their impact is never ignored, Chazelle is most concerned with Armstrong himself, both for his contribution and the emotional struggles he suffered after a family tragedy.

Gosling handles himself admirably, portraying the legendary astronaut as heroic for his efforts yet struggling with grief and loss. By juxtaposing his family struggles with his passion for the mission, First Man allows one to inform the other. Faced with insurmountable odds, Armstrong is still a man whose soul has been damaged by tragedy and is looking for answers. Is he driven to reach the moon to avoid his pain through achievement? Or does he seek to achieve the impossible in order to stare down the darkness inside him? While his motivations remain somewhat ambiguous in the film insofar as Armstrong rarely speaks from his soul. Still, First Man clearly believes that the two issues are linked in a such a way that the answers impact one another.

With this in mind, First Man also begs the question of whether or not the sacrifices are worth the glory in the end. Although their quest ends (um… spoiler alert?) on the surface of the moon, there still remains issues at home that need to be confronted. Despite the glory associated with their historic victory, there are personal losses at home along the way that must be weighed in the balance. In midst of global celebrations for their achievement, the challenges of parenting and maintaining a happy marriage with his wife, Janet (Claire Foy, whose performance steals the film) remain very much in the forefront. Armstrong may be a hero to the masses but he is simply a man with responsibilities when he’s at home. As such, First Man serves as a reminder that there can be failures in the midst of successes when we deny the pain of our soul in the process.

In the end First Man walks a thin line between thrill ride and grounded dramatic piece. Wildly different than his previous two films, Chazelle continues to prove his skill and creativity behind a camera by shedding new light on a familiar story. As intense as it is compelling, First Man challenges the nature of heroism in a way that also humanizes the men and women who helped make such a significant moment possible.

First Man is available on 4K, Blu-ray, and Digital HD now. The special features include deleted scenes, and feature commentary by Chazelle, Josh Singer, and editor Tom Cross. Featurettes behind “Shooting the Moon,” “Preparing to Launch,” “Giant Leap in One Small Step,” “Shooting at NASA,” and “Recreating the Moon Landing” take you into the cinematic undertaking, while “Putting You in the Seat” and “Astronaut Training” are featurettes which show the audience what went into the preparation.

Filed Under: Film, Film Festivals, Reviews, TIFF Tagged With: Claire Foy, Corey Stoll, Damien Chazelle, First Man, grief, Kyle Chandler, Neil Armstrong, Ryan Gosling, TIFF, TIFF18

5.03 Goals and Grief in FIRST MAN

October 21, 2018 by Steve Norton 1 Comment

http://screenfish.net/wp-content/uploads/2018/10/5.03-First-Man.mp3

In FIRST MAN, Oscar-winner Damien Chazelle (LA LA LAND) gives new life to the story of the Apollo 11 moon landing by looking at the iconic moment through the eyes and experiences of astronaut Neil Armstrong. In doing so, he creates a unique style of ‘space film’ that spends just as much time with the people on the ground as it does in the shuttle itself. This week, Steve welcomes back Wade Bearden (Seeing and Believing) and Matthew Cimone (Chasing Atlantis) to delve into what drives us to do great things and whether or not its worth it in the end.

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.

5.03 First Man

Thanks Wade and Matthew for joining us!

Filed Under: Film, Film Festivals, Podcast, TIFF Tagged With: Claire Foy, Corey Stoll, Damien Chazelle, First Man, Jason Clarke, Kyle Chandler, Oscars, Ryan Gosling, TIFF, TIFF18

Blade Runner 2049: Still Running

January 16, 2018 by Steve Norton Leave a Comment

Let’s get this out of the way quickly.  If you’re not a fan on the original Blade Runner, you will likely not be particularly interested or impressed by its sequel, Blade Runner 2049.

If you, like myself, are a fan of the original, however… maybe everything has led to this.

Directed by Denis Villeneuve (Arrival), Blade Runner 2049 picks up thirty years after the original film.  Officer K (Ryan Gosling) is a Blade Runner, a bounty hunter tasked with ‘retiring’ the final remnants of the old edition Replicants, androids in human form created to serve society.  However, when a routine raid uncovers a box containing the remnants of a deceased replicant, K begins to unravel a mystery that threatens the divide between humanity and machine.

Admittedly, when this film was announced, the idea was met with disbelief.  After all, Blade Runner is now largely heralded as a cinematic achievement as one of the most influential science fiction films ever made. Known for its in-depth exploration of humanity and its stunning visuals, Blade Runner was a film that was not in need of a sequel. Unbelievably, Denis Villeneuve seems to have done the impossible. Amazingly, 2049 actually manages to expand and enhance the world first created by Ridley Scott over 30 years ago. Rather than simply offer a retread of the original film as so many reboots have done in recent years, 2049 builds upon its predecessor’s themes and takes the story in a new direction. In fact, it somehow even feels… necessary.  Fans of Harrison Ford’s Rick Deckard should be aware that his role is much smaller than the trailers would have you believe.  Still, Villeneuve makes good use of Ford and his appearance is worth the wait. (Approaching three hours in length, the film does feel a little long so be warned.) Visually, while the color scheme is much brighter than the original’s focus on shadows and darkness, Villeneuve and master cinematographer Roger Deakins succeed in making even the lightest tones feel claustrophobic and menacing.

Whereas the original Blade Runner is preoccupied with what it means to have life, 2049 takes the conversation further with its discussion of what it means to have a soul.  Even though he is a replicant, Officer K is in search of what is real. Despite his love for his digital assistant, he also understands the limitations of and falsehood within that relationship. When approached by a prostitute, he resists her, causing her to accuse him of “being afraid of real girls”. While he seems at peace with his android life, he wonders what life would be like if there (or he himself) were more. He continues to be drawn to things that are ‘real’, albeit nervously. In a subtle homage to Pinocchio, K too seems caught within the ambiguity of his own existence. Is he a replicant?  Could he be more? These are the questions that he needs to answer.  In many ways, this bookend to the original [or potential middle piece of a trilogy?] has within it a sense of hope that is missing from the first entry. Whereas Deckard in the original film feels like a man who is lost, 2049 presents K (and, potentially, Deckard) as a man who is found (or, at least, wishes to be).  2049 recognizes that humanity has something that no android can imitate.

They are missing something.

Interestingly though, 2049 also suggest that the replicant Creator himself is dissatisfied with his achievement. While other recent films have portrayed the Creator as relentless (Noah), distant (Alien: Covenant) or reckless (Guardians of the Galaxy: Volume 2), 2049 reveals him as restless.

As designer of the new breed of replicants, Niander Wallace (Jared Leto) remains constantly frustrated by his inability to create self-sustaining life. Although he has produced a being of perfect obedience, Wallace is unable to crack the code of procreation. As a result, 2049 presents humanity is viewed as something to withhold. Wallace wants to see life flourish (as long as it follows orders) but he struggles to find the formula to make life actually grow. There is a miracle to life that remains just out of reach. In this sense, while one could look at Wallace as god-like within the film, he remains largely ineffective. This is a Creator who doesn’t understand how to create… and he knows it. As a result, Wallace holds no love for his creation, despite his talk of it. He speaks of his creations as Angels but they still seem to pale in comparison to the reality of humanity.

In 2049, life itself is a miracle.

Herein lies the real heart of Villeneuve’s argument. Although Wallace believes himself to be the ultimate creator, the miracle of life is outside of his understanding. Despite his knowledge, there remains something greater than he. While the film never engages the question of what that something may be, it is a seed of humility that points to a much larger Creator in the end.

Blade Runner 2049 is a film that will require multiple viewings. While it is a little long at almost 3 hours, it’s a dense and beautiful piece that could spark conversations for years to come.

Special features on the Blu-ray combo pack include three prologues: the anime “2022: Black Out”, “2036:Nexus Dawn,” and “2048: Nowhere to Run”. There are also featurettes on the way Denis Villeneuve put the follow-up story together through “Designing the World of Blade Runner 2049” and “To Be Human: Casting Blade Runner 2049.” Views of this strange, new world are also available in “The Replicant Evolution,” “Blade Runners,” “The Rise of Wallace Corp,” “Welcome to 2049,” “Jois,” “Within the Skies: Spinners, Pilotfish and Barracudas.”

Filed Under: DVD, Film, Reviews Tagged With: Blade Runner, Blade Runner 2049, Denis Villeneuve, Harrison Ford, Ryan Gosling, sci-fi, science fiction

4.04 On the Run with BLADE RUNNER 2049

October 30, 2017 by Steve Norton Leave a Comment

http://screenfish.net/wp-content/uploads/2017/10/4.04-Blade-Runner-2049.mp3

In the year 2017, director Denis Villeneuve attempted the impossible: to direct a sequel to the incomparable sci-fi classic, BLADE RUNNER. With the release of BLADE RUNNER 2049, Villeneuve’s risk became our reward by creating one of the year’s most compelling films yet it still struggles to find an audience. This week, Steve welcomes Face2Face‘s David Peck and Michael LeFleur to discuss the film’s slow open at the box office, the nature of reality and the relationship between the Creator and his creation.

4.03 Blade Runner 2049

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.

A very special thanks to David and Michael for coming on the show!

Filed Under: Film, Podcast Tagged With: Blade Runner, Blade Runner 2049, Denis Villeneuve, Edward James Olmos, Harrison Ford, Ryan Gosling, SciFi

In Defense Of My Best Picture Pick “LA LA LAND”

January 27, 2017 by Chris Utley Leave a Comment

In defense of my Best Picture choice LA LA LAND…

First of all, as a Black man, some folks may be SHOCKED 😱 that my choice is neither Moonlight nor Hidden Figures nor Fences (my STRONG #2 choice for the big prize).   You shouldn’t be shocked.  I’m a film lover first.   Through and through.  I study the history and I soak up the artform.  The language of Cinema pours out of my pores.  I don’t make choices on what movie to see or what film should win out of the lens of my Blackness.  I judge on heart – as in which film, which nominee captures my heart as a cinephile.

This year, THAT film is LA LA LAND.

Here’s the deal.  The film doesn’t really GET you the first time you see it.  It’s a musical… but not the modern day jukebox type that intersperses the songs we know in a brand new story.  This is a ‘built from the ground up’ original musical.  You sit in the theatre, popcorn in hand, learning new music that you have never heard until the lights dimmed.  You sit there watching them dance on the freeway and watch Ryan and Emma bickering and singing and loving and singing and fighting and singing and ease into the ending. To the naked eye, you’re like “O…..K. That was cute.  Don’t know if it’s all that great, but it’s cute.”

But then you go home and in the randomness of your day, you start hearing “City Of Stars” in the recesses of your mind.  You recapture the moment when Emma sang about “The fools who dream.”  And then you a mad dash to download those songs on your musical device or watch them on YouTube. And you catch the specific lyrics and piece them together with the story you saw a few days/weeks earlier. And then the tapestry of the story re-knits itself together in your earbuds. And your “eyes” begin to open and understand why they danced on freeways, flew in planetarium displays in Griffith Park, and auditioned about fools who dream.

Because, if you’re a film lover, we are those fools.

We could be watching football, coding iPhone apps, coaching little league, making sweaters for our families. But no. We spend our weekends and weeknights searching online for movie tickets on Fandango, chasing free screenings, writing articles for ScreenFish, or READING the articles other people wrote.  😜

Why?  Because we are those fools.

LA LA LAND is a film for those fools. For every girl who hitchhiked or took a bus or drove from Michigan to LA chasing a dream. For every dude who plays in some band in his garage hoping to get to the Sunset Strip venues so they can blow up. It’s for every writer, poet, painter, starving actor/actress/wannabe filmmaker who dreams in spite of it all. It’s for everyone in this town who’s heart aches and breaks. For everyone who’s life is a mess because they won’t give up on the dream. For the dream makers. The dream workers. The dreamers.

LA LA LAND is about us.

Filed Under: Editorial, Reviews Tagged With: Damien Chazelle, Emma Stone, La La Land, musical, Oscars, Ryan Gosling

See La La Land & Take Everybody Else With You

January 26, 2017 by Matt Hill Leave a Comment

a while back
(on another site),
i wrote about how
art begets art –
in that case how
love for the game Bloodborne
led to a renewed
dip into
Lovecraft

several whiles back
(on a currently dead blog),
i wrote about how
faves lead to proselytizing –
how when we love something
(in that case, Bloodborne’s 
forebear, Dark Souls),
we naturally want
to tell everyone,
so they may love it too

(i also,
in each case,
related what i was saying
re: art, proselytizing, etc.
to God
(surprise))

now, here, i want to
say (and do) something similar –
interrelated/interconnected –
re: current Oscar top dog
and Hollywood darling
La La Land

by way of micro-review
(micro since so many
words have been spilt
already along these lines),
lemme just say:
La La Land was great;
like, really great;
like, to me, it deserves
how ever many Oscar nods
it’s been nodded

i mean, somehow,
like a filmic magic trick,
La La Land managed to be
classic without seeming formulaic,
nostalgic without seeming disingenuous,
an homage without seeming cute,
timeless without seeming stale

was it the great casting?
music?
acting?
writing?
cinematography?
music?
choreography?
music?
its situatedness in place/time?
just something about it
that makes you want to
give in and go along with it,
right from the start?

yes.

anyway, it’s legit great;
greatly legit;
but that’s not really
the main thing i want to say
now, here

really, i mainly want to
say (now, here) five things

1.

you should go see
La La Land

2.

and you should
take everybody else with you

3.

cuz art that’s exemplary,
and amazing, and wonderful,
memorable and high quality,
carefully crafted and
expertly done –
art that’s truly artful;
art that speaks;
art that’s just plain good –
it deserves to be seen,
to be understood and appreciated
(not alone because
doing so also cultivates us)

4.

and cuz people collectively
need to know that kind of art
when they see it;
and cuz the best way
to help that happen
is to show them bunches of it

(i know my initial instinct,
upon realizing i was in the
presence of something special
with La La Land,
was to see it again
and take my kids;
to help them see:
this is how it’s done,
this is something
beautiful that means something;
understand,
appreciate,
be cultivated by it)

5.

and all this previous stuff –
about art,
about appreciating it,
about sharing it with others –
cuz God

cuz God made
and digs
and wants us to dig
great art,
not alone because
doing so also cultivates us
(Paul says in Philippians: “Whatever is true, whatever is noble, whatever is right, whatever is pure, whatever is lovely, whatever is admirable–if anything is excellent or praiseworthy–think about such things.”)

cuz God made
it so that
learning comes by example –
speaking a writer’s
words after her,
following a
choreographer’s footsteps,
tracing a pianist’s keystrokes,
so that we may also
artfully write, dance, make music
(Paul says in 1 Corinthians: “Follow my example, as I follow the example of Christ.”

and,
therefore,
the world –
this world –
will always, always,
need more writers,
dancers,
music makers;
will always need more
artists;
will always need more
great art;
will always need more
things like La La Land,
and people to see them,
and people to tell others
to see them too

Filed Under: Editorial, Film, Reviews Tagged With: art, children, Christian, Emma Stone, example, God, Jesus, La La Land, modeling, movie, Oscar, Paul, quality, review, Ryan Gosling, spiritual

3.8 Dreaming in LA LA LAND

January 8, 2017 by Steve Norton Leave a Comment

http://screenfish.net/wp-content/uploads/2017/01/3.8-La-La-Land.mp3

For our 1st ep of 2017, Steve welcomes Kevin McLenithan (co-host, Seeing and Believing) to sing the praises of Damien Chazelle’s LA LA LAND! In a great conversation, they talk about the tension between nostalgia and reality as well as finding a balance between love and purpose. In addition, the guys also reveal their Top 3 Movie Moments of 2016!

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.

3.8 La La Land

A special thanks to Kevin McLenithan for coming on the show!  You can hear more from Kevin on the Seeing and Believing podcast with Wade Bearden and read his work at Christ and Pop Culture!

Filed Under: Film, Podcast, Reviews, TIFF Tagged With: Academy Awards, awards, Damien Chazelle, Emma Stone, Golden Globes, JK Simmons, La La Land, Love, movies, musicals, nostalgia, Oscars, Ryan Gosling

La La Land – Hollywood Plays Itself

January 1, 2017 by Darrel Manson 1 Comment

Hollywood has played itself in films frequently. It is the land of glamor and dreams. But it can be very hard on those who dream of making it. It is filled with nostalgia and with visions of new art. How do you tell that story yet again in a way that is both conventional and fresh? Do those two ideas seem to clash? Not in La La Land, a musical that both pays homage to the history of movies and tells age old stories (like boy-meets-girl) in such a way that it seems like we’ve never seen it like this before, even when we know we have.

The story itself is simple. Sebastian (Ryan Gosling) and Mia (Emma Stone) meet somewhat un-cutely in a traffic jam. He lays on his horn when she doesn’t move; she flips him off. But soon their paths cross again—with less than romantic results. Eventually they come to discover the fit they are together and love blooms. But of course, love can also fade.

Sebastian is a jazz pianist whose life mission is to make people love jazz. Mia is an aspiring actress currently working at a coffee shop on one of the studio lots. Both have a strong sense of the past. Sebastian’s most cherished possession is a piano stool once sat on by Hoagy Carmichael. When Mia leaves work she loves to look across the backlot street at the window that Bogart and Bergman looked out of in Casablanca. These two struggling artists who look back to the greatness of the past also seek to make something that will be great and new for today.

All of this is set in the form of a classic musical. There are extensive production numbers that bring to mind such films as West Side Story. There are songs that define the relationship and other songs that speak of the dreams Sebastian and Mia have.

Writer/Director Damien Chazelle also made use of jazz in his previous film, Whiplash. In this film jazz is not just the music that Sebastian plays and often plays through various scenes; it also serves as a metaphor for the tension not only of the story, but also of the movie industry. When Sebastian explains jazz to Mia he notes that it is made up of conflict and compromise. That is true of the relationship in the story as well—and with all relationships. Later when Sebastian discusses jazz with a friend (John Legend), the friend points out that Sebastian is trying to hold on to something of the past—something that was revolutionary when it happened. Where is the revolution in Sebastian’s music? That very much reflects the tension that pervades Hollywood—the desire to make what has been successful before or to do something entirely new.

This is very much a Hollywood/Los Angeles story. (Although that doesn’t mean others will not enjoy the story and film.) But it is the L.A. of nostalgia. From the opening production number on a freeway interchange (one I’ve driven on often) to the frequent trips to Griffith Park and the iconic observatory to a studio backlot, all of this is the L.A. we’ve seen in films before. That is entirely fitting since the film is about that very nostalgic understanding of Hollywood. But while it looks back to the Hollywood we remember and uses conventions that we know, it also seeks to move into something new—which means things may not work out the way we have come to expect. It also reminds us that nostalgia can be painful as well as comforting.

A word needs to be said about the artistry of the film itself. I sometimes worry when I care more for the way the film was made than I do about the story itself. This film has several intricate production numbers that really are astounding—not just in the choreography (by Mandy Moore), but in the camera work that captures it. For example, the opening production number with people dancing on the roofs of cars stuck in a traffic jam is a long shot that shifts angles without cuts. I get a headache thinking of the logistics.

In keeping with the nostalgic nature of the film, the production design evokes not just the sense we expect from a Hollywood musical, but it also sets moods in more subtle ways. When I left the theater I thought the technical aspects of the film outweighed the storytelling. But as I’ve had time for it to marinate in my mind, I’ve come to appreciate the storytelling for its subtle celebration of dreams, even as it faces the reality that those dreams may have hard edges.

Photo credit: Dale Robinette, courtesy of Lionsgate.

Filed Under: Film, Reviews Tagged With: boy meets girl, Damien Chazelle, Emma Stone, Hollywood, John Legend, Los Angeles, Mandy Moore, musical, nostalgia, Ryan Gosling

Surviving Winter’s Dream: An Interview with Timothy Lee DePriest

October 30, 2016 by Steve Norton Leave a Comment

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Timothy Lee DePriest isn’t new to the Hollywood scene.

With guest roles in shows like Sons of Anarchy, Southland, and many more over the years, he’s more than familiar with the challenges of breaking into the industry. However, with starring roles in the sci-fi film, 2307: Winter’s Dream, and HBO’s mega-hit series Westworld, DePriest has finally stepped into the limelight. With all the attention, he admits that the sudden notoriety has been somewhat overwhelming.

“I’m [thinking] ‘What just happened to me?’” he remarks. “That [first] Westworld episode aired on a Sunday. On the Wednesday, I got a call from a director that wanted to meet me and that’s never happened to me before. It’s just so weird.”

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“Just to be on set with Ed Harris, Evan Rachel Wood, Geoffrey Wright, you learn so much. You see how it’s really done. Ed Harris is the coolest guy in the world and it just looks effortless to him. He’s just being [so] natural. So, that came along around the same time [as 2307] and it takes a couple of years so I wasn’t even sure what would happen with those things.”

With the release of 2307: Winter’s Dream, DePriest continues his work within the sci-fi world. Still, what excited him most about the project wasn’t the post-apocalyptic storyline or the epic action scenes. For him, the most appealing aspect was the opportunity to work with director Joey Curtis.

“I was really excited because [of] Joey,” he responds. “When I first learned about the project, just hearing his name and that he was involved with BLUE VALENTINE was a big sell for me because I love that movie. I’m always looking to do more quality stuff.”

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 2307: Winter’s Dream takes place in the year 2307—or 141 years ‘after man killed God’—as earth has become a barren, frozen wasteland. Forced underground by the extreme cold with a depleted population, mankind creates the ‘Humanoids’, superhuman slaves bio-engineered to stand up to the harsh conditions. When rogue humanoid named ASH-393 escapes from captivity, a team of elite military operatives, including Ishmael (DePriest), is sent into the ice-covered wilderness to eliminate the leader and the ensuing Humanoid threat.

Although science fiction isn’t necessarily his favourite genre, DePriest admits that the chance to star in films like this (or series such as Westworld) is something that he really enjoys and wouldn’t want to pass up.

“It’s odd because the films I like—and the reason I got into the business— are these scrappy, weird little films like Beyond the Valley of the Dolls, I love Jim Jarmusch’s early films, Aronofsky, Jonathan Glazer, Noah Baumbach. I like these indie, character-focused films but, of course, I love to have fun. When you’re doing sci-fi, you’re [basically] playing a superhero and that is extremely fun.“

Of course, ‘fun’ isn’t always the case when shooting a film like this, especially when it takes place in the midst of a glacial, post-apocalyptic desert.

While many of the indoor scenes were shot in a Los Angeles studio—DePriest muses that it was funny to be wiping away their sweat “because we were all bundled up shooting in Southern California”—the majority of the film takes place outdoors.

In the middle of nowhere.

In the snow.

Amazingly, the director found what he needed in an almost unexpected location: Buffalo, New York. Filming shortly after the infamous ice storm of 2014, DePriest explains that they were able to get the right effect by shooting on top of frozen Lake Erie.

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“We had to wait until we could actually physically go there,” he recalls. “[Due to the weather], we would have died because it was so cold. We came in the spring but it was still cold, and we shot on frozen Lake Erie. We were just outside Buffalo and we stayed in the cabins [of a nearby Christian camp]. The lake was right behind there and they would take us a mile out in snowmobiles to the sets that they’d built out there and we shot on Lake Erie. It was about negative 20 with wind chill. I was wondering how they would do that and it made so much sense being out on a frozen lake. It looked like there was no one out there. It was such a great location.”

With this in mind, DePriest also feels that science fiction also opens up doors for conversations about our current culture as well. In other words, while the film maintains an aura of fun, he also believes that 2307 also speaks to issues about human rights and how we treat the disenfranchised in our world.

“I had a friend who just came back from Greece and she was working with Syrian refugees. We’re all trying to find a place and, man, when you’re not wanted. Her frustration was that nobody wants these people. Why don’t we want them and how do we deal with that? It’s kind of the same deal with the humanoids. We created them and we think we own them and that we can just toss them out.”

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Somewhat ironically, while 2307 claims to take place in a time after ‘man killed God’, the film also lands on a distinctly existential question by asking who has the right to a ‘soul’. Although he, himself, doesn’t hold any specific spiritual worldview, DePriest also recognizes that this search for the soul can be a source of hope and healing.

“I went through a really dark time in my life where I was going off the rails in Hollywood, throwing myself into every excess, and I kind of hit a wall. The only thing that saved me was kind of going within. I guess that… every religious practice is like that where you try to find meaning and that soul within is probably a good place to start. For me, that’s what it feels like.”

With a hard-working attitude and a strong sense of hope, Timothy Lee DePriest seems ready to leave his mark on Hollywood. From Westworld to 2307: Winter’s Dream, he is grateful that he continues to have the opportunity to tell stories that matter.

photo by Audi England

Filed Under: Film, Interviews, SmallFish Tagged With: 2307, Anthony Hopkins, Aronofsky, Aronovsky, Blue Valentine, Ed Harris, Evan Rachel Wood, Geoffrey Wright, humanoid, Michelle Williams, Noah Baumbach, Ryan Gosling, Sons of Anarchy, Southland, Timothy Lee DePriest, Westworld, Winter's Dream

Podcast: Good Men or THE NICE GUYS?

May 27, 2016 by Steve Norton Leave a Comment

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http://screenfish.net/wp-content/uploads/2016/05/2.16-The-Nice-Guys.mp3

Friend to the podcast, Patrick Erskine joins Steve for a deeper look at Shane Black’s THE NICE GUYS. This 70s comedy, starring Ryan Gosling and Russell Crowe, is R-rated for content… but is there more at work? We discuss corruption, porn and what the film thinks it means to be good.

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.

2.16 The Nice Guys

Filed Under: Film, Podcast Tagged With: Inspector Gadget, Kim Basinger, Podcast, pornography, Russell Crowe, Ryan Gosling

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