Director Todd Field has recalled how Tom Cruise helped save his first film from interference from Harvey Weinstein.
Field, whose latest film Tár has been drawing rave reviews and Oscar buzz, starred alongside Cruise in the 1999 Stanley Kubrick film Eyes Wide Shut.
The incident with Weinstein came back in the early 2000s, when Field had just directed his first film, In the Bedroom.
After the film was well received at the 2001 Sundance film festival, it was acquired by Miramax, the company owned by the powerful producer – now a convicted sex offender.
Speaking to The New Yorker, Field revealed that he was concerned about Weinstein’s reputation for imposing substantial re-edits on films distributed by his company.
“I was weeping in the bathroom,” Field recalled. “I called up Tom Cruise and said, ‘Something terrible has happened.’ He basically said, ‘This is how you’re going to play it. It’s going to take you six months,...
Field, whose latest film Tár has been drawing rave reviews and Oscar buzz, starred alongside Cruise in the 1999 Stanley Kubrick film Eyes Wide Shut.
The incident with Weinstein came back in the early 2000s, when Field had just directed his first film, In the Bedroom.
After the film was well received at the 2001 Sundance film festival, it was acquired by Miramax, the company owned by the powerful producer – now a convicted sex offender.
Speaking to The New Yorker, Field revealed that he was concerned about Weinstein’s reputation for imposing substantial re-edits on films distributed by his company.
“I was weeping in the bathroom,” Field recalled. “I called up Tom Cruise and said, ‘Something terrible has happened.’ He basically said, ‘This is how you’re going to play it. It’s going to take you six months,...
- 1/16/2023
- by Louis Chilton
- The Independent - Film
Tom Cruise gave Tár director ‘step-by-step’ instructions to save previous film from Harvey Weinstein
Todd Field has recalled how Tom Cruise helped save his first film from interference from Harvey Weinstein.
Field, whose latest film Tár has been drawing rave reviews and Oscar buzz, starred alongside Cruise in the 1999 Stanley Kubrick film Eyes Wide Shut.
The incident with Weinstein came back in the early 2000s, when Field had just directed his first film, In the Bedroom.
After the film was well received at the 2001 Sundance film festival, it was acquired by Miramax, the company owned by the powerful producer – now a convicted sex offender.
Speaking to The New Yorker, Field revealed that he was concerned about Weinstein’s reputation for imposing substantial re-edits on films distributed by his company.
“I was weeping in the bathroom,” Field recalled. “I called up Tom Cruise and said, ‘Something terrible has happened.’ He basically said, ‘This is how you’re going to play it. It’s going to take you six months,...
Field, whose latest film Tár has been drawing rave reviews and Oscar buzz, starred alongside Cruise in the 1999 Stanley Kubrick film Eyes Wide Shut.
The incident with Weinstein came back in the early 2000s, when Field had just directed his first film, In the Bedroom.
After the film was well received at the 2001 Sundance film festival, it was acquired by Miramax, the company owned by the powerful producer – now a convicted sex offender.
Speaking to The New Yorker, Field revealed that he was concerned about Weinstein’s reputation for imposing substantial re-edits on films distributed by his company.
“I was weeping in the bathroom,” Field recalled. “I called up Tom Cruise and said, ‘Something terrible has happened.’ He basically said, ‘This is how you’re going to play it. It’s going to take you six months,...
- 1/15/2023
- by Louis Chilton
- The Independent - Film
In 2001, director Todd Field made his directorial debut with "In the Bedroom," an intense drama based on the 1979 short story "Killings" by Andre Dubus. "In the Bedroom" is about the tenuous nature of family, class, the impossibility of emotional healing, and the horrors of justice. It boasted excellent performances from Tom Wilkinson, Sissy Spacek, and Marisa Tomei, and was nominated for five Academy Awards. It's handily one of the best films of the year. It would be five years before Field would return to directing with "Little Children," based on the novel by Tom Perrotta. That film also gazed into the suburbs and found helicopter parents, unhappy marriages, not-very-cathartic infidelity, and, most notably, a released sex criminal trying to reintegrate into a world that loathes him. That film was nominated for three Academy Awards, although it was quite a bit more mawkish and melodramatic than Field's previous effort.
That was...
That was...
- 1/10/2023
- by Witney Seibold
- Slash Film
Sixteen years since his last film “Little Children” peeled back the malaise and psychosexual dysfunction of suburbia, director Todd Field is back on the film festival stage with “TÁR.” Field has paddled around a suite of projects over the years, from a 20-hour Showtime limited series take on Jonathan Franzen’s tome “Purity” with Daniel Craig and David Hare, to a likely-never-to-happen adaptation of Cormac McCarthy’s unfilmable western “Blood Meridian.” After adapting fiction for his last two films — Tom Perrotta’s novel “Little Children” and the Andre Dubus short story “Killings” for his debut feature “In the Bedroom” — Field returns to writing his own material.
“TÁR” is set to make waves at the fall festivals with stops at Venice and NYFF before Focus Features releases the whopping two-hour-and-40-minute film on October 7 stateside. Cate Blanchett stars as renowned (and highly fictional) composer Lydia Tár, in the film regarded as...
“TÁR” is set to make waves at the fall festivals with stops at Venice and NYFF before Focus Features releases the whopping two-hour-and-40-minute film on October 7 stateside. Cate Blanchett stars as renowned (and highly fictional) composer Lydia Tár, in the film regarded as...
- 8/25/2022
- by Ryan Lattanzio
- Indiewire
Last night, during a new episode of AMC.s "Walking Dead," Captain Morgan premiered .Perfect Getaway,. the brand.s first installment of its new trilogy ad campaign, created to further the tale of the 17th century real-life story of Captain Henry Morgan and his adventures aboard his flagship The Satisfaction. To create the three-part series, the spiced rum brand worked with Academy Award-nominated director Todd Field and Academy Award nominated- Production Designer Nathan Crowley. Field successfully transitioned from acting to directing a feature film based on a short story by Andre Dubus. He co-wrote and directed the haunting, visually appealing and critically acclaimed film, "In the Bedroom" in 2001. Field is also known for his directing work on the emotionally...
- 3/18/2013
- by April Neale
- Monsters and Critics
One of the hot properties at Cannes was the film version of Lionel Shriver's bestselling We Need to Talk About Kevin, but it's the rare book that makes a successful film. Here are 5 others that worked.
The next novel to watch as a film is We Need to Talk About Kevin, based on Lionel Shriver's chilling Orange Prize-winning novel, and directed by Lynne Ramsey. A spooky Tilda Swinton plays a mother who wonders what, if any, responsibility she has for her teenage son's murderous rampage, in the film, which had its premiere at this year's Cannes Film Festival (early reviews called it "superb" ). Ramsey cowrote the script with Rob Festinger, who also adapted Andre Dubus' short story "The Killings" into the knockout 2001 film In the Bedroom, which was a hit at Sundance and nominated for five Academy Awards, including Best Picture and Best Adapted Screenplay.
Related story...
The next novel to watch as a film is We Need to Talk About Kevin, based on Lionel Shriver's chilling Orange Prize-winning novel, and directed by Lynne Ramsey. A spooky Tilda Swinton plays a mother who wonders what, if any, responsibility she has for her teenage son's murderous rampage, in the film, which had its premiere at this year's Cannes Film Festival (early reviews called it "superb" ). Ramsey cowrote the script with Rob Festinger, who also adapted Andre Dubus' short story "The Killings" into the knockout 2001 film In the Bedroom, which was a hit at Sundance and nominated for five Academy Awards, including Best Picture and Best Adapted Screenplay.
Related story...
- 5/25/2011
- by Jane Ciabattari
- The Daily Beast
If Naomi Watts had only done Mulholland Drive she would be secure in movie history. She deserves a lot of camera time
Who ever heard a bad word about Naomi Watts? And don't expect to read one here. Still, her latest film, Fair Game, where she plays the outed CIA agent Valerie Plame, with Sean Penn as her husband, made too little impression on all of us who like her. It seemed promising: attractive married people plus international intrigue, along with the suspicion of there being more to the case than we ever heard. Directed by Doug Liman, the movie turns out rather dull. Is playing opposite Sean Penn anti-chemical (this was the third time Watts had tried)? Or did the drama need to be shifted towards comedy? Being married to a "spy" may play best as a version of "Can you trust your wife?"
But if the Anglo-Australian Watts...
Who ever heard a bad word about Naomi Watts? And don't expect to read one here. Still, her latest film, Fair Game, where she plays the outed CIA agent Valerie Plame, with Sean Penn as her husband, made too little impression on all of us who like her. It seemed promising: attractive married people plus international intrigue, along with the suspicion of there being more to the case than we ever heard. Directed by Doug Liman, the movie turns out rather dull. Is playing opposite Sean Penn anti-chemical (this was the third time Watts had tried)? Or did the drama need to be shifted towards comedy? Being married to a "spy" may play best as a version of "Can you trust your wife?"
But if the Anglo-Australian Watts...
- 2/25/2011
- by David Thomson
- The Guardian - Film News
- Judging from the number of years it takes him to produce a film, Todd Field might never reach the output level of that of his mentor John Ford (40 titles), but he might be joining the ranks of the master filmmaker by embarking in the genre that Ford was all to familiar with. Field was reported to be adapting a Western-like project and lensing Cormac McCarthy's 1840's set Blood Meridian, but instead is poised to transfer Boston Teran's 1910 set The Creed of Violence into screenplay format and then, according to his track record and Variety's Michael Fleming, possibly direct. Universal Pictures wrote a big check to grab the pre-emptive rights to the project, and have set Field to write the screenplay. The novel to be released in the Fall is "set against a backdrop of intrigue and corruption, The Creed of Violence is a saga about the scars of abandonment,
- 6/2/2009
- IONCINEMA.com
Sundance Film Festival
PARK CITY -- "We Don't Live Here Anymore" is a mixed foursome of infidelity, complicity and denial between two couples -- each mate the best friend of his/her counterpart. It's a probing glimpse into two strong but foundering marriages where, paradoxically, the best medicine for saving each rests in escape.
In this tale of marital discord, each partner is a sympathetic and vulnerable mate. In many respects, the two marriages are similar in many ways, the most obvious being that both husbands are small-college lit/writing instructors and both wives are stay-at-home mothers. The two families are best friends, spending ample good times together: wining, jogging, commiserating and analyzing the state of their own unions.
With so much in common and with each marriage past the passion point, one-too-many leads to nastiness and, er, horniness. Not surprisingly, the most confident partner, the smoothly athletic Hank (Peter Krause), makes a pass at the ever vulnerable Terry (Laura Dern). That's the obvious result of a night of drinking and smoking, but right under their noses, the stolid Jack Mark Ruffalo) is having an affair with the ethereal Edith (Naomi Watts).
In this smart insight into modern-day relationships, screenwriter Larry Gross has distilled from two works by author Andre Dubus, a vexing portrait of the power struggles within generally good marriages. Through his deft dissection of the fissures in each marriage, Gross illuminates both the hidden needs of these four "good" people as well as their selfish desires. In short, there is no one to blame
rather, we see how each character struggles to maintain their relationship but how each character subverts the marriage.
The film's perceptive powers and strong drama are in large part because of the talented cast. In couple No. 1, Ruffalo exudes a passive/aggressive nature to get what he wants, while Dern asserts her character's needs through erratic behavior and anger. Krause's performance as Hank is akin to Robert Culp's rendition of the with-it husband in "Bob, Ted, Carol & Alice," embracing infidelity to save his marriage. As the gentle Edith, Watts shows the steel within the shrinking violet-guise of her partnership.
Director John Curran has masterfully managed to convey flesh and blood within the permutations of the sometimes clinical story. Enhancing the people-next-door nature of this saga were the film's smart technical contributions. Katia Stano's scruffy costumes convey succinctly the style of small-town professors, while Lesley Barber's somber sounds clue us to the bruises that eventually lead to breakups.
WE DON'T LIVE HERE ANYMORE
Renaissance Films
Credits:
Director: John Curran
Screenwriter: Larry Gross
Producers: Harvey Kahn, Naomi Watts, Jonas Goodman
Executive producers: Ruth Epstien, Mark Ruffalo, Larry Gross
Director of photography: Maryse Alberti
Editor: Alexandre de Franceschi
Costume designer: Katia Stano
Music: Lesley Barber
Co-producers: Ken Lawson, Robert Lee, Sanford Rosenberg
Associate producers: Michael Carlin, Michael Shepard
Cast:
Jack Linden: Mark Ruffalo
Terry Linden: Laura Dern
Hank Evans: Peter Krause
Edith Evans: Naomi Watts
Sean Linden: Sam Charles
Natasha Linden: Haili Page
Sharon Evans: Jennifer Bishop
Audrey: Jennifer Mawhinney
Lauren: Amber Rothwell
Running time -- 104 minutes
No MPAA rating...
PARK CITY -- "We Don't Live Here Anymore" is a mixed foursome of infidelity, complicity and denial between two couples -- each mate the best friend of his/her counterpart. It's a probing glimpse into two strong but foundering marriages where, paradoxically, the best medicine for saving each rests in escape.
In this tale of marital discord, each partner is a sympathetic and vulnerable mate. In many respects, the two marriages are similar in many ways, the most obvious being that both husbands are small-college lit/writing instructors and both wives are stay-at-home mothers. The two families are best friends, spending ample good times together: wining, jogging, commiserating and analyzing the state of their own unions.
With so much in common and with each marriage past the passion point, one-too-many leads to nastiness and, er, horniness. Not surprisingly, the most confident partner, the smoothly athletic Hank (Peter Krause), makes a pass at the ever vulnerable Terry (Laura Dern). That's the obvious result of a night of drinking and smoking, but right under their noses, the stolid Jack Mark Ruffalo) is having an affair with the ethereal Edith (Naomi Watts).
In this smart insight into modern-day relationships, screenwriter Larry Gross has distilled from two works by author Andre Dubus, a vexing portrait of the power struggles within generally good marriages. Through his deft dissection of the fissures in each marriage, Gross illuminates both the hidden needs of these four "good" people as well as their selfish desires. In short, there is no one to blame
rather, we see how each character struggles to maintain their relationship but how each character subverts the marriage.
The film's perceptive powers and strong drama are in large part because of the talented cast. In couple No. 1, Ruffalo exudes a passive/aggressive nature to get what he wants, while Dern asserts her character's needs through erratic behavior and anger. Krause's performance as Hank is akin to Robert Culp's rendition of the with-it husband in "Bob, Ted, Carol & Alice," embracing infidelity to save his marriage. As the gentle Edith, Watts shows the steel within the shrinking violet-guise of her partnership.
Director John Curran has masterfully managed to convey flesh and blood within the permutations of the sometimes clinical story. Enhancing the people-next-door nature of this saga were the film's smart technical contributions. Katia Stano's scruffy costumes convey succinctly the style of small-town professors, while Lesley Barber's somber sounds clue us to the bruises that eventually lead to breakups.
WE DON'T LIVE HERE ANYMORE
Renaissance Films
Credits:
Director: John Curran
Screenwriter: Larry Gross
Producers: Harvey Kahn, Naomi Watts, Jonas Goodman
Executive producers: Ruth Epstien, Mark Ruffalo, Larry Gross
Director of photography: Maryse Alberti
Editor: Alexandre de Franceschi
Costume designer: Katia Stano
Music: Lesley Barber
Co-producers: Ken Lawson, Robert Lee, Sanford Rosenberg
Associate producers: Michael Carlin, Michael Shepard
Cast:
Jack Linden: Mark Ruffalo
Terry Linden: Laura Dern
Hank Evans: Peter Krause
Edith Evans: Naomi Watts
Sean Linden: Sam Charles
Natasha Linden: Haili Page
Sharon Evans: Jennifer Bishop
Audrey: Jennifer Mawhinney
Lauren: Amber Rothwell
Running time -- 104 minutes
No MPAA rating...
Screened
Sunday, Nov. 9, AFI Fest, Los Angeles
Real estate is in the eye of the beholder, as the contrast between two books-into-film this year illustrates.
In "Under the Tuscan Sun", a house bathed in golden light is the catalyst for renewal in "House of Sand and Fog", the mist-enshrouded property is no less a repository for dreams, but becomes its characters' undoing.
Helmer Vadim Perelman and co-scripter Shawn Lawrence Otto do a laudable job of distilling Andre Dubus III's powerful and desperately sad novel, emphasizing its noirish sensibility in charting the doomed collision course of two wounded souls, captured in deeply felt performances by Jennifer Connelly and Ben Kingsley.
As the plot unfolds, however, Perelman, a commercials director making his feature debut, loses his grasp of story elements. The carefully laid foundation of suspense and dread, with its symmetries and crisp dialogue, is squandered in a clumsy pileup of credulity-stretching cataclysmic events. The shift in tone to messy emotionalism distances the audience rather than drawing it deeper into the events.
The story brings together, in a battle as if for life itself, two characters unable to accept their present circumstances. The setup abounds in classic noir elements -- the beautiful, damaged woman, the loose-cannon cop, the California motor court (complete with vintage cigarette machine) and secluded cabin.
In the early going, sympathy tilts toward Behrani (Kingsley), whose back story is clearer than that of the woman who becomes his nemesis. They're both keeping secrets from their families, pretending to be something they're not. An Iranian colonel reduced to menial labor and convenience-store shifts since fleeing his country's Islamic revolution, Behrani hides the truth from his wife (Shohreh Aghdashloo) and son (Jonathan Ahdout), pretending to set off each day for a white-collar job. When he sees an auction listing for a house, he believes he's found the way to restore his family's financial footing: He'll invest the dwindling remains of his savings in the cut-rate property and sell it at a profit.
His simple plan is quickly complicated. The bungalow, perched on a cliff overlooking the sea, is in a state of neglect much the way its owner's life is. Kathy Nicolo (Connelly), a recovering addict who's barely bothered to open her mail in the eight months since her husband left her, is torn out of inertia when the sheriff arrives to evict her for nonpayment of taxes. The county has erred, but before Kathy's steely attorney (Frances Fisher) can mount a suit, the Behranis have taken residence and are adding a widow's walk from which they can enjoy the view.
Kathy is desperate to get back the house her father left her, particularly because her mother, who believes she's still happily married, will soon be visiting. She gets eager assistance from deputy sheriff Lester (Ron Eldard), a man she realizes too late is determined to do the right thing in all the wrong ways. In Kathy he finds a reason to leave his passionless marriage. "Things are finally in motion", he tells her, expressing his renewed hope but really sounding a dire warning. The newly homeless lovers move into a friend's cabin, and the foreboding accelerates as Kathy ends three years of sobriety and Lester takes matters into his own hands.
Connelly delivers a full-blooded turn as a woman for whom the inherited house is her sole anchor to the world. Kingsley's nuanced work conveys the wounded pride and decency of an Old World patriarch. He's able to speak volumes in an anxious glance, making all the more unnecessary and overdone the late scenes in which Behrani repeatedly verbalizes his anguish.
The film, which world-premiered Sunday night as a Centerpiece Gala as part of the AFI Fest, is due out Dec. 26.
HOUSE OF SAND AND FOG
DreamWorks Pictures
in association with Cobalt Media Group/Michael London
Credits: Director: Vadim Perelman
Writers: Vadim Perelman, Shawn Lawrence Otto
Producers: Michael London, Vadim Perelman
Director of photography: Roger Deakins
Production designer: Maia Javan
Music: James Horner
Co-producers: Jeremiah Samuels, Shawn Lawrence Otto
Costume designer: Hala Bahmet
Editor: Lisa Zeno Churgin
Cast:
Kathy: Jennifer Connelly
Behrani: Ben Kingsley
Lester: Ron Eldard
Connie Walsh: Frances Fisher
Carol: Kim Dickens
Nadi: Shohreh Aghdashloo
Esmail: Jonathan Ahdout
Soraya: Navi Rawat
Lt. Alvarez: Carlos Gomez
Running time -- 126 minutes
MPAA rating: R...
Sunday, Nov. 9, AFI Fest, Los Angeles
Real estate is in the eye of the beholder, as the contrast between two books-into-film this year illustrates.
In "Under the Tuscan Sun", a house bathed in golden light is the catalyst for renewal in "House of Sand and Fog", the mist-enshrouded property is no less a repository for dreams, but becomes its characters' undoing.
Helmer Vadim Perelman and co-scripter Shawn Lawrence Otto do a laudable job of distilling Andre Dubus III's powerful and desperately sad novel, emphasizing its noirish sensibility in charting the doomed collision course of two wounded souls, captured in deeply felt performances by Jennifer Connelly and Ben Kingsley.
As the plot unfolds, however, Perelman, a commercials director making his feature debut, loses his grasp of story elements. The carefully laid foundation of suspense and dread, with its symmetries and crisp dialogue, is squandered in a clumsy pileup of credulity-stretching cataclysmic events. The shift in tone to messy emotionalism distances the audience rather than drawing it deeper into the events.
The story brings together, in a battle as if for life itself, two characters unable to accept their present circumstances. The setup abounds in classic noir elements -- the beautiful, damaged woman, the loose-cannon cop, the California motor court (complete with vintage cigarette machine) and secluded cabin.
In the early going, sympathy tilts toward Behrani (Kingsley), whose back story is clearer than that of the woman who becomes his nemesis. They're both keeping secrets from their families, pretending to be something they're not. An Iranian colonel reduced to menial labor and convenience-store shifts since fleeing his country's Islamic revolution, Behrani hides the truth from his wife (Shohreh Aghdashloo) and son (Jonathan Ahdout), pretending to set off each day for a white-collar job. When he sees an auction listing for a house, he believes he's found the way to restore his family's financial footing: He'll invest the dwindling remains of his savings in the cut-rate property and sell it at a profit.
His simple plan is quickly complicated. The bungalow, perched on a cliff overlooking the sea, is in a state of neglect much the way its owner's life is. Kathy Nicolo (Connelly), a recovering addict who's barely bothered to open her mail in the eight months since her husband left her, is torn out of inertia when the sheriff arrives to evict her for nonpayment of taxes. The county has erred, but before Kathy's steely attorney (Frances Fisher) can mount a suit, the Behranis have taken residence and are adding a widow's walk from which they can enjoy the view.
Kathy is desperate to get back the house her father left her, particularly because her mother, who believes she's still happily married, will soon be visiting. She gets eager assistance from deputy sheriff Lester (Ron Eldard), a man she realizes too late is determined to do the right thing in all the wrong ways. In Kathy he finds a reason to leave his passionless marriage. "Things are finally in motion", he tells her, expressing his renewed hope but really sounding a dire warning. The newly homeless lovers move into a friend's cabin, and the foreboding accelerates as Kathy ends three years of sobriety and Lester takes matters into his own hands.
Connelly delivers a full-blooded turn as a woman for whom the inherited house is her sole anchor to the world. Kingsley's nuanced work conveys the wounded pride and decency of an Old World patriarch. He's able to speak volumes in an anxious glance, making all the more unnecessary and overdone the late scenes in which Behrani repeatedly verbalizes his anguish.
The film, which world-premiered Sunday night as a Centerpiece Gala as part of the AFI Fest, is due out Dec. 26.
HOUSE OF SAND AND FOG
DreamWorks Pictures
in association with Cobalt Media Group/Michael London
Credits: Director: Vadim Perelman
Writers: Vadim Perelman, Shawn Lawrence Otto
Producers: Michael London, Vadim Perelman
Director of photography: Roger Deakins
Production designer: Maia Javan
Music: James Horner
Co-producers: Jeremiah Samuels, Shawn Lawrence Otto
Costume designer: Hala Bahmet
Editor: Lisa Zeno Churgin
Cast:
Kathy: Jennifer Connelly
Behrani: Ben Kingsley
Lester: Ron Eldard
Connie Walsh: Frances Fisher
Carol: Kim Dickens
Nadi: Shohreh Aghdashloo
Esmail: Jonathan Ahdout
Soraya: Navi Rawat
Lt. Alvarez: Carlos Gomez
Running time -- 126 minutes
MPAA rating: R...
- 1/30/2004
- The Hollywood Reporter - Movie News
Sundance Film Festival
PARK CITY -- "We Don't Live Here Anymore" is a mixed foursome of infidelity, complicity and denial between two couples -- each mate the best friend of his/her counterpart. It's a probing glimpse into two strong but foundering marriages where, paradoxically, the best medicine for saving each rests in escape.
In this tale of marital discord, each partner is a sympathetic and vulnerable mate. In many respects, the two marriages are similar in many ways, the most obvious being that both husbands are small-college lit/writing instructors and both wives are stay-at-home mothers. The two families are best friends, spending ample good times together: wining, jogging, commiserating and analyzing the state of their own unions.
With so much in common and with each marriage past the passion point, one-too-many leads to nastiness and, er, horniness. Not surprisingly, the most confident partner, the smoothly athletic Hank (Peter Krause), makes a pass at the ever vulnerable Terry (Laura Dern). That's the obvious result of a night of drinking and smoking, but right under their noses, the stolid Jack Mark Ruffalo) is having an affair with the ethereal Edith (Naomi Watts).
In this smart insight into modern-day relationships, screenwriter Larry Gross has distilled from two works by author Andre Dubus, a vexing portrait of the power struggles within generally good marriages. Through his deft dissection of the fissures in each marriage, Gross illuminates both the hidden needs of these four "good" people as well as their selfish desires. In short, there is no one to blame
rather, we see how each character struggles to maintain their relationship but how each character subverts the marriage.
The film's perceptive powers and strong drama are in large part because of the talented cast. In couple No. 1, Ruffalo exudes a passive/aggressive nature to get what he wants, while Dern asserts her character's needs through erratic behavior and anger. Krause's performance as Hank is akin to Robert Culp's rendition of the with-it husband in "Bob, Ted, Carol & Alice," embracing infidelity to save his marriage. As the gentle Edith, Watts shows the steel within the shrinking violet-guise of her partnership.
Director John Curran has masterfully managed to convey flesh and blood within the permutations of the sometimes clinical story. Enhancing the people-next-door nature of this saga were the film's smart technical contributions. Katia Stano's scruffy costumes convey succinctly the style of small-town professors, while Lesley Barber's somber sounds clue us to the bruises that eventually lead to breakups.
WE DON'T LIVE HERE ANYMORE
Renaissance Films
Credits:
Director: John Curran
Screenwriter: Larry Gross
Producers: Harvey Kahn, Naomi Watts, Jonas Goodman
Executive producers: Ruth Epstien, Mark Ruffalo, Larry Gross
Director of photography: Maryse Alberti
Editor: Alexandre de Franceschi
Costume designer: Katia Stano
Music: Lesley Barber
Co-producers: Ken Lawson, Robert Lee, Sanford Rosenberg
Associate producers: Michael Carlin, Michael Shepard
Cast:
Jack Linden: Mark Ruffalo
Terry Linden: Laura Dern
Hank Evans: Peter Krause
Edith Evans: Naomi Watts
Sean Linden: Sam Charles
Natasha Linden: Haili Page
Sharon Evans: Jennifer Bishop
Audrey: Jennifer Mawhinney
Lauren: Amber Rothwell
Running time -- 104 minutes
No MPAA rating...
PARK CITY -- "We Don't Live Here Anymore" is a mixed foursome of infidelity, complicity and denial between two couples -- each mate the best friend of his/her counterpart. It's a probing glimpse into two strong but foundering marriages where, paradoxically, the best medicine for saving each rests in escape.
In this tale of marital discord, each partner is a sympathetic and vulnerable mate. In many respects, the two marriages are similar in many ways, the most obvious being that both husbands are small-college lit/writing instructors and both wives are stay-at-home mothers. The two families are best friends, spending ample good times together: wining, jogging, commiserating and analyzing the state of their own unions.
With so much in common and with each marriage past the passion point, one-too-many leads to nastiness and, er, horniness. Not surprisingly, the most confident partner, the smoothly athletic Hank (Peter Krause), makes a pass at the ever vulnerable Terry (Laura Dern). That's the obvious result of a night of drinking and smoking, but right under their noses, the stolid Jack Mark Ruffalo) is having an affair with the ethereal Edith (Naomi Watts).
In this smart insight into modern-day relationships, screenwriter Larry Gross has distilled from two works by author Andre Dubus, a vexing portrait of the power struggles within generally good marriages. Through his deft dissection of the fissures in each marriage, Gross illuminates both the hidden needs of these four "good" people as well as their selfish desires. In short, there is no one to blame
rather, we see how each character struggles to maintain their relationship but how each character subverts the marriage.
The film's perceptive powers and strong drama are in large part because of the talented cast. In couple No. 1, Ruffalo exudes a passive/aggressive nature to get what he wants, while Dern asserts her character's needs through erratic behavior and anger. Krause's performance as Hank is akin to Robert Culp's rendition of the with-it husband in "Bob, Ted, Carol & Alice," embracing infidelity to save his marriage. As the gentle Edith, Watts shows the steel within the shrinking violet-guise of her partnership.
Director John Curran has masterfully managed to convey flesh and blood within the permutations of the sometimes clinical story. Enhancing the people-next-door nature of this saga were the film's smart technical contributions. Katia Stano's scruffy costumes convey succinctly the style of small-town professors, while Lesley Barber's somber sounds clue us to the bruises that eventually lead to breakups.
WE DON'T LIVE HERE ANYMORE
Renaissance Films
Credits:
Director: John Curran
Screenwriter: Larry Gross
Producers: Harvey Kahn, Naomi Watts, Jonas Goodman
Executive producers: Ruth Epstien, Mark Ruffalo, Larry Gross
Director of photography: Maryse Alberti
Editor: Alexandre de Franceschi
Costume designer: Katia Stano
Music: Lesley Barber
Co-producers: Ken Lawson, Robert Lee, Sanford Rosenberg
Associate producers: Michael Carlin, Michael Shepard
Cast:
Jack Linden: Mark Ruffalo
Terry Linden: Laura Dern
Hank Evans: Peter Krause
Edith Evans: Naomi Watts
Sean Linden: Sam Charles
Natasha Linden: Haili Page
Sharon Evans: Jennifer Bishop
Audrey: Jennifer Mawhinney
Lauren: Amber Rothwell
Running time -- 104 minutes
No MPAA rating...
- 1/26/2004
- The Hollywood Reporter - Movie News
Naomi Watts, Mark Ruffalo, Laura Dern and Peter Krause are in negotiations to topline the tentatively titled indie feature Anymore for Front Street Pictures. Production begins April 6 in Vancouver with John Curran directing. The project is based on two short stories written by In the Bedroom author Andre Dubus -- Adultery and We Don't Live Here Anymore. Larry Gross adapted the screenplay, which looks at two couples who are friends and whose relationships are intertwined. Watts and Krause play one couple, while Dern and Ruffalo are another. Harvey Kahn and Jonas Goodman are producing Anymore. The project, budgeted in the $2 million-$3.5 million range, is being financed through Front Street Films Llc., a private equity group of investors. Watts and Ruffalo are negotiating for producing credits on Anymore. Watts, Dern and Krause are repped by CAA. Watts and Dern are additionally repped by Untitled Entertainment. Ruffalo is repped by WMA and manager Robert Stein. Curran is repped by UTA and the Firm. Gross, Kahn and Goodman are repped by the Gotham Group.
- 3/19/2003
- The Hollywood Reporter - Movie News
Naomi Watts, Mark Ruffalo, Laura Dern and Peter Krause are in negotiations to topline the tentatively titled indie feature Anymore for Front Street Pictures. Production begins April 6 in Vancouver with John Curran directing. The project is based on two short stories written by In the Bedroom author Andre Dubus -- Adultery and We Don't Live Here Anymore. Larry Gross adapted the screenplay, which looks at two couples who are friends and whose relationships are intertwined. Watts and Krause play one couple, while Dern and Ruffalo are another. Harvey Kahn and Jonas Goodman are producing Anymore. The project, budgeted in the $2 million-$3.5 million range, is being financed through Front Street Films Llc., a private equity group of investors. Watts and Ruffalo are negotiating for producing credits on Anymore. Watts, Dern and Krause are repped by CAA. Watts and Dern are additionally repped by Untitled Entertainment. Ruffalo is repped by WMA and manager Robert Stein. Curran is repped by UTA and the Firm. Gross, Kahn and Goodman are repped by the Gotham Group.
- 3/19/2003
- The Hollywood Reporter - Movie News
The director of hotly-tipped film In The Bedroom has spoken of his regret that the writer who inspired it never saw the movie. Andre Dubus died in 1999 of heart failure at the age of 62. In The Bedroom was based on his short story Killings. Dubus was so excited by the film project he discussed it right up until his death, said movie director Todd Field. He adds, "He had a lot of enthusiasm about the fact that it would be made into a film, and he was very pleased with the script." Field said Dubus, who used a wheelchair because of an accident in which he lost his legs, was "crazy" about Sissy Spacek, who stars in In The Bedroom. He says, "If he had lived, then I'm sure that while we were shooting I would have had to build a ramp up to Sissy Spacek's trailer because he probably would have been in there the whole time gobbling her up." In The Bedroom is the story of parents whose marriage nearly collapses under the strain of their son's murder. The film is tipped as a possible Oscar winner and has been nominated for several Golden Globe awards.
- 1/2/2002
- WENN
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.