Category Archives: Film Fodder

“The Theory of Everything” proves the possibilities of life and love

Stephen Hawking is one of those rare pop culture figures who has become famous not for his art or celebrity, but for his intellectual contributions to science. But if he wasn’t the really smart wheelchair-bound guy who is forced to communicate via some sort of Speak & Spell-like computer device, he still probably wouldn’t be as well known as he is.

Eddie Redmayne as Stephen Hawking and Felicity Jones as Jane Wilde in "The Theory of Everything". Photo by Liam Daniel/Focus Features.

Eddie Redmayne as Stephen Hawking and Felicity Jones as Jane Wilde in “The Theory of Everything”. Photo by Liam Daniel/Focus Features.

What is easily forgotten with Hawking is that despite his physical appearance and his incredible intellect, he’s still a person who, at one time, went to school, fell in love and had a social life outside of science conferences. The Theory of Everything, based on the memoir Travelling to Infinity: My Life with Stephen written by his ex-wife Jane Wilde Hawking, reveals Hawking’s humanity as he excels at the University of Cambridge, develops a relationship with Wilde and copes with the onset of Lou Gehrig’s disease. Everything that happens after that is a purely fascinating story of tragedy and triumph as Hawking continues to prove and disprove complicated scientific theories while his wife takes care of their children, a task that becomes more and more difficult to maintain while also assisting with Hawking’s own physical deterioration.

As inspiring as the story is, it’s the performances of Eddie Redmayne as Hawking and Felicity Jones as Wilde that really make The Theory of Everything something special. Redmayne’s ability to change his demeanor to become a young, able-bodied Hawking is impressive on its own. But his gradual transformation into the disabled older Hawking is painfully perfect to watch as the frustrations of having such a powerful brain, but being unable to control his own body, are apparent. While Redmayne properly portrays the humorous and upbeat attitude Hawking somehow maintains through it all, Jones accurately depicts Wilde’s struggles to remain supportive while also maintaining her own sanity. Wilde was clearly a caring and loving wife through unimaginable hardships, but Jones’ ability to fluctuate between compassion and hopeless resentment show how emotionally crippling these circumstances must have been at times.

It’s rare that people overcome the types of odds that Hawking and Wilde have endured. It’s just as rare that these types of struggles are so accurately captured on screen. In theory, this film should be good based on the source material alone. But the superb performances of Redmayne and Jones, as well as the direction of James Marsh, make The Theory of Everything a great movie that offers a romantic new perspective on a figure otherwise celebrated for his personal and professional achievements.

www.focusfeatures.com/the_theory_of_everything

Mick Foley discusses one-man shows, Georgia history and being Santa Claus

Mick Foley Wrestling fans know him as the Hardcore Legend whose extreme antics included losing an ear in a match, being thrown through a table from the top of a cage by the Undertaker and using a dirty sweat sock named Socko to help him win matches. Others are more familiar with Mrs. Foley’s baby boy, the flannel-wearing intellectual who writes best-selling memoirs, supports good causes and dresses up as Santa Claus. When it comes to his Hardcore Legend: An Evening with Mick Foley one-man shows, you’re likely to hear about all these things and more as Foley recounts various moments from his life and career in candid detail. Currently on the Southeast leg of his comedy tour (including performances on Nov. 14 at the Superstars of Wrestling fan fest and on Nov. 16 at Atlanta Improv, 56 E. Andrews Drive NW, Atlanta, 678-244-3612, www.theatlantaimprov.com), the WWE Hall of Famer talks to Wrestling with Pop Culture about wrestling, comedy and his new film I Am Santa Claus.

When I saw you perform at The Punchline last year, you had just become an official Santa Claus. And I’m not certain how to properly phrase that.

I had just graduated with a degree in Santa Clausology from the International University of Santa Claus.

Well that time of year is approaching and you’re the producer and one of the stars of a new documentary called I Am Santa Claus. What can you tell me about that?

It’s a project I began as a subject in that intended to follow Santa’s ambassadors around to find out what they did during the rest of the year. My role in the documentary was going to be the rookie, the guy who’s dabbled in that world but never really plunged into it. I got a chance to plunge into it and I loved it. When I did emerge, as long as we’re going with the plunging motif, I really loved the idea of being in that chair and being in that suit and doing it every year for the foreseeable future.

Is there anywhere in particular you’ll be doing the Santa thing this year?

It’s a hobby for me. I can kind of do it wherever I want to. So I’ll be on stage with my friends in Puss N Boots, Norah Jones, Sasha Dobson and Catherine Popper, actually singing as Santa on Dec. 11 in Brooklyn. Then I’ll be doing a lot of things behind the scenes, like making visits for a group called Christmas Magic, which helps make the magic of Christmas morning possible for families with very limited means on Long Island. And I’ll be doing a book signing with my son Hughie for a Christmas story he wrote. So I’m all over the place. I’m doing a few photo sessions and a bunch of appearances for good causes.

You tend to draw an audience of wrestling fans for your comedy shows for obvious reasons. But tomorrow’s Superstars of Wrestling show will consist of an especially concentrated group of wrestling fans. Do you expect that show to be much different from a show at a comedy club?

I Am Santa ClausThe fan fest signing and meet-and-greet is right after my show and there’s no extra charge for that. I’ve done a couple of other shows at fan fests and you get the really passionate fans, which is great because they’ll get all the subtleties. Of course I’ll work in some special material just for those guys. And it’s fun to come to an area like Rome or Atlanta where I have history. I think I last wrestled at the Alpharetta Auction Barn in 1994, about an hour away from Rome. Of course I lived in the Atlanta area for five years. So I’m excited about it. I love doing it and I think people get that within the first ten minutes that I’m on stage.

How different is your show from one night to the next? If someone goes the show in Rome as well as the show in Atlanta, will they see similar sets?

I try to make them largely different. I might have a couple of core stories that I include both nights. I’ll go out of my way, especially since they’re only about 70 miles away, to make sure they are different shows. I’ve done weekends at a club where I’ll do four different shows over two days and the owner will be like, “No one does that!” It goes back to my days as a wrestler and thinking I’d be disappointing one or two people who may have driven 300 hours if I didn’t do something special. I’ll even ask when I’m doing the late show, “Anyone here from the early show?” One person will raise their hand and I’ll go, “I’m doing an entirely new show.” It’s just a point of pride with me.

Speaking of your history in Georgia, do you have any favorite memories from your time wrestling in Georgia?

Yeah. One of the stories that I do tell on the current tour is about getting the call from WCW for the big tryout. When I arrived, I was under the impression I’d be getting a promotional push from the company only to find out that my opponents for that evening were the Steiner Brothers. I momentarily contemplated quitting the wrestling business until finding out they actually had a unique idea for me. It’s a fun story and it’s always great to tell the story in the city of its origin, in this case Atlanta. But I’ll have plenty of material for the fans in Rome and Atlanta. Every night we do a Q&A, which means every night we get different questions and the potential to take off in different ways.

I was a big fan of your work in WCW, particularly the matches you had against Sting. Do you have any favorite moments from your feuds with Sting?

Oh, yeah. Sting was one of two primary opponents that put me on the map. It was Sting in WCW in 1991 and the Undertaker in WWE in 1996. Without those two rivalries, you and I are probably not having this phone call. When it comes to Sting, the big moment would be busting out of the box on Clash of the Champions and dropping the finest elbow of my career – an elbow that was so good that I specifically asked for it to be included in the Santa Claus documentary.

Any speculation on what his role might be in WWE?

I have no idea. I don’t know if he’s going to wrestle or if he’s just an ambassador. But he’s clearly a big iconic figure and a great gain for WWE.

You’re also involved in Blanc/Biehn Productions‘ Hellevator Man coming out in 2015. What can you tell me about this film?

Mick FoleyI did one of my shows in the Los Angeles area, drove out at midnight, shot until 6 a.m. and was back on the road. That was really just my chance to work with Jennifer Blanc-Biehn, who had helped me find my way to The Artie Lange Show when I had no idea where I was. She saw this very confused-looking guy and guided me to the show. I looked her up and sent her a nice message and she had no idea who I was. She had no idea that this guy she had helped out was this noted wrestling figure. I really enjoyed it. I hadn’t acted in a while, but I look forward to doing more acting projects, especially Santa-related projects, in 2015.

Hellevator Man doesn’t appear to be a Santa-related project.

No, it’s a horror film. I do have another project coming out called Dixieland. It’s a really cool independent film that stars Riley Keough, who is Elvis Presley‘s granddaughter, and Chris Zylka, who was in the last Spider-Man movie and I believe [will portray] Venom in the upcoming Spider-Man movie. He’s such a big fan of mine and got such a kick out of me playing myself in a dream sequence at a strip club with Elvis’ granddaughter.

You always seem to be working on something new. Do you have any other books or movies coming out anytime soon?

I just started getting some thoughts of doing a memoir about my experiences as Santa, one of those heartwarming 20 to 30,000-word mini memoirs as opposed to the vastness of Have a Nice Day!.

You recently appeared on Raw, just before the Hell in a Cell event. Do you have any plans of being on WWE TV again anytime soon?

I don’t know when I’ll be on the main show, but I imagine I’ll be doing something in the future. I believe WWE will be airing my one-man show special on the WWE Network in 2015. That will forever answer the question of, “What does he do?” Because 90 percent of people who think enough of me to put their hard-earned money down to come to my show have no idea what to expect. So it’ll be a real relief, knowing that the shows outperform people’s limited expectations, to just have something out there for people to go, “Oh, I see.” My feeling is that people will be much more inclined to come watch it live.

www.realmickfoley.com

Wyatt Cenac brings “Brooklyn” Netflix special to live audiences

Photo by Eric Michael Pearson.

Photo by Eric Michael Pearson.

 

 

In his new Netflix special Wyatt Cenac: Brooklyn, Wyatt Cenac‘s observations of somewhat strange things that take place in his neighborhood are familiarly funny to the Union Hall audience. But when he takes these stories to other towns on the Wyatt Cenac Live in Brooklyn in ___(insert city name here)___ tour, audiences will likely agree that odd things happen pretty much anywhere. It just takes a certain type of perspective to find the humor in it all, which is what Cenac has provided as a writer for King of the Hill and The Daily Show with Jon Stewart. The tour runs Nov. 13-23, but first Cenac talks to Wrestling with Pop Culture about his special and how it might relate to people outside of Brooklyn.

Your recent Netflix special features stories and observations that are very specific to your home town. On this tour, will you be telling similar stories that are specific to each town in which you’re performing?

Yeah, it’s about Brooklyn. But I would argue that a lot of the things are relatable in any city that you live in. Just a weird experience [such as] seeing somebody bring a kid into a bar, I don’t think that’s a particularly Brooklyn thing. For me, part of doing the special is just talking about, yes, this is the place that I live. But I also think some of the shit in it is sort of relatable to any major city that has an artsy part of town where you see weird shit. As far as this tour, I’m just telling jokes about things from my life and things that I’ve seen.

I enjoyed the puppetry aspect of the special. Is that something you incorporate into your live shows?

No. That took a team of very talented people and it would be very expensive to try to take on the road. That was really more just for the visuals while watching the special. Watching a special on TV, you’re kind of seeing the most watered down version of it. The best version of seeing standup is actually being there. The second best is just listening to it. Seeing it on your TV, at any time you can check your email or do anything else and you’re just listening to it. So I felt like adding those elements with the puppets was a way to add some visual jokes that would keep you visually engaged with the special.

The Barclays Center comes up in your special. WWE held its TLC: Tables, Ladders & Chairs event there shortly after the arena opened in 2012, and has since returned there. Any chance you’ve attended any WWE events there?

No. I haven’t been to a pro wrestling event in a long time. I think the last time I went to one was when I was living in California because I had an agent at the time who was a big wrestling fan.

Do you happen to have any wrestling jokes or stories you can share with me?

When I was younger I watched a lot more wrestling, but I don’t watch it as much now. Every now and again I’ll get a few tweets directed my way whenever John Cena and Bray Wyatt are in wrestling matches against each other. The hashtag #WyattCena will come up and it’s a very strange thing because I’ll see tweets directed at me that will say things like, “Why is #WyattCenac trending? Oh, it’s not him. It’s a wrestling match.” That’s the one connection I have to it at this point in my life. One of the highlights of my time at The Daily Show was getting to meet Mick Foley. He’s a very nice guy.

A very nice guy who also now does standup. What was that experience like? Have you ever considered doing a comedy tour with him?

Wyatt Cenac Live in Brooklyn in ___(insert city name here)___We met twice and didn’t really get to spend a ton of time together. Once he came in right before we were shooting and we talked him trough what we were doing. He was happy to help out and was really nice. The next time I saw him, The Daily Show went to D.C. for the Rally to Restore Sanity and he was there. We never really chatted too much beyond that and I’ve never had a chance to see him do standup. He was entertaining the idea when I met him, but it was after my experiences with him that he started doing the tours.

In addition to The Daily Show, you also worked on King of the Hill. What were those experiences like for you and how does working for a TV show compare to doing standup?

They were both great. They’re both very different in that it takes about nine months to make one episode of King of the Hill versus The Daily Show, which takes about nine hours. So I learned two very different ways of making something: a fast one and a much more drawn out process with animation, which I’ve always been a fan of. They differ from standup because standup is my own thing, it’s my ideas that I can take out and see how they work. Working on someone else’s show, it’s their show, so you have to be able to write for somebody else. To do things for yourself is a little more satisfying creatively.

Tell me about the film you worked on with David Cross.

I shot a film that David Cross directed called Hits. I’m not sure when it’s getting released, but it went to Sundance this year and got a lot of good attention. So hopefully it will be out soon. And I’m doing these tour dates for the new special, and we’ll see what the New Year brings.

Ethanol expert David Blume gets “Pump”-ed up about alternative fuel

David Blume

David Blume

It’s no secret that foreign oil companies have quite a bit of economic and political power here in the United States. As a result, however, there are a few secrets those oil companies don’t want becoming common knowledge. With much of this information hiding in plain site, Pump is a documentary (narrated by Jason Bateman) that sets out to enlighten American fuel consumers on alternatives to gasoline and diesel fuel. Pump reveals the high octane history of how we have become so dependent on gasoline and oil, including an oil industry conspiracy that uprooted electric mass transit systems throughout the country in favor or gas-guzzling buses. The thing that gushes at me most about Pump, however, is the accessibility of alternative fuels, particularly alcohol-based fuels. Though there are several alternatives to gasoline, ethanol is available at many regular gas stations in the form of E85 (85 percent alcohol, 15 percent gasoline). According to ethanol expert David Blume, author of Alcohol Can Be a Gas! and one of the featured experts in Pump, ethanol burns much cleaner than gasoline, is better for our cars and is readily available. All you have to do is find gas stations in your area that offer E85 (there are numerous websites and smartphone apps that make this a very easy task) and fill up your tank. I found out from Pump that if your car has a yellow gas cap, it is a flex fuel car and can run on ethanol or gasoline. Of course there are ethanol detractors out there, so you should still do your research to figure out if E85 (or other alternative fuel sources) are right for you and your vehicle. But if it’s as simple as Blume makes it sound in this Wrestling with Pop Culture interview, joining this revolution couldn’t be easier.

How did you come to be involved with Pump?

Over the years, the filmmaker, Josh Tickell, and I were both advocates for alternative fuel. He was a vocal advocate for biodiesel, which is a vegetable oil-based fuel, and what I promote is alcohol fuel. His solution was useful for diesel engines and alcohol is useful for both gasoline and diesel engines. When Josh decided to make the film Pump, he knew that I was a leading expert in the field and had us help with the storyline, interviews and all kinds of things.

How did you become an expert in this field? What was it that drew you to finding out more about alcohol-based fuels?

Electric street cars were burned in the streets during the 1930s and 1940s as gas-guzzling buses replaced them.

Electric street cars were burned in the streets during the 1930s and 1940s as gas-guzzling buses replaced them.

Back in the ’70s I was studying ecology and biosystematics. One of my professors pointed to a bottle of fermenting beer in the lab and said, “That stuff could even run your car.” I didn’t believe him at all, so I went to the library to disprove his statement. What I found instead were all kinds of books about the technology of alcohol fuel starting in the 1800s and going forward. I found out the first automobiles all ran on alcohol. Gasoline wasn’t even invented yet. So, like you were saying, here was an instance where there was a whole hidden history we weren’t being told. That’s what hooked me back in the ’70s.

So you discovered it in the ’70s, but this history goes all the way back to the invention of automobiles?

That’s right. It’s not like someone said, “Oh, here’s a big pool of this gasoline stuff. I wonder if we can make an engine that would run on that.” No, that’s not how it came to be. Engines were already running on alcohol. They were used as stationary engines in mines to pull ore cars. They were used as heating and lighting all over the United States in rural areas. Everybody on a farm had a distillery, it was a basic piece of farm equipment and people primarily used apples to make alcohol prior to the 1920s or so. Every little farm had an apple orchard, but these were not apples like today where you could eat them and they were sweet and juicy. These were what we called “spitters” because you’d take a bite of an apple and spit it out because it was so bitter. But they made great alcohol and all apples were used for making either beverages or higher-strength alcohol for many, many uses: lighting, heating, disinfection, making medicines and extracts, and, of course, running farm equipment and vehicles in the late 1800s/early 1900s. The Model T, Henry Ford’s first production car, ran on both alcohol and gasoline, gasoline only as an afterthought because he knew the big market was in the agricultural areas and that’s where alcohol was. Gasoline came along later in the big cities produced by [John D.] Rockefeller. You could go out into the country, driving out on gasoline. But to get home you’d stop by any farm and buy alcohol. You just turned a couple of knobs and levers inside the cab of the car and you’d be running on alcohol. When you got back to the city, you’d put them back and be running on gasoline. So we have a long history of running on alcohol all over the world.

The movie explains why we rely on gasoline so much these days with fuel industry conspiracies based on making money. What do you think is the easiest way for people to learn more about alternative fuels and start enacting some sort of change in their routines to make a difference?

"Pump" predicts gas pumps  will look like this one in the near future.

“Pump” predicts gas pumps will look like this one in the near future.

I wrote the book Alcohol Can Be a Gas! to bring all this history and technology to light. So, go to your library and look up Alcohol Can Be a Gas! and you can learn all about this history, and learn how to make alcohol and/or use it in your car. The Fuel Freedom Foundation is a pretty good resource to opening our eyes to the alternatives to gasoline. But you yourself have a flex fuel car. That means your car was made at the factory to run on both alcohol and gasoline. You can put whatever you want in the tank and it will run just fine. There are 2,500 alcohol stations across the United States. So there are places almost everywhere – maybe only one or two in your city or town – that you’ll be able to get fuel. Compared to 120,000 stations that gasoline is sold at, it’s a small number. But they are spread out all over the country, throughout the Midwest for sure, but even on the West and East Coast.

After watching the movie I found several gas stations within a few miles of where I live that have E85 fuel.

What we didn’t talk about in the movie, because there were some concerns about whether there’d be liabilities, but it turns out current cars that aren’t made as flex fuel cars will run on up to 50 percent alcohol without a single change to the engine. That’s because modern fuel injection computers are very smart and they’re very flexible. In just about every case, they can go as high as 50 percent alcohol without any changes. So you have to find out what the maximum amount of alcohol you can use in your car is by experimenting to see. You put in a gallon the first tank, two gallons of alcohol the second tank and keep going until you start getting up to about 50 percent alcohol and 50 percent gas. Then you pay attention to how the car’s running. If it runs rough at idle or if it doesn’t quite have enough power at high speeds, you know you’ve reached the limit of how much alcohol you can put in the tank. So that’s the amount you put in in the future. What you’ll probably have to do in most places is fill up halfway with gasoline, then top the second half off with alcohol. So it’s a little more inconvenient. But more and more many of these alcohol stations have what are called blender pumps. So you can push a button and decide which proportion of alcohol and gasoline you want to put in your car. The thing about alcohol is it’s 106 octane. So it’s super premium. It’s really, really good for your car. You could put half alcohol and half regular in your car and you’ll still have 98 octane, which is still super premium. It’s much easier on the engine, it burns cooler, it burns pollution free and carbon free, so the inside of your engine stays bright and shiny and your oil never turns black. There’s no reason not to put alcohol in your car. Everything since ’83 has been designed to be tolerant of alcohol, so there are no problems with anything being incompatible with alcohol in your engine.

But if I have a flex fuel car with a yellow gas cap, I can fill up on E85 fuel without having to mix it with gasoline?

Ethanol is currently available at numerous gas stations throughout the country. Ethanol pumps are often marked in yellow or other colors to differentiate between them and gasoline pumps.

Ethanol is currently available at numerous gas stations throughout the country. Ethanol pumps are often marked in yellow or other colors to differentiate between them and gasoline pumps.

Yes, you can. You can run on straight alcohol fuel right from the pump. It’s called E85 at the pump, which means its 85 percent alcohol. That’s how we sell it in this country. In Brazil they sell E98, which is 98 percent alcohol. They don’t even bother adding gasoline to it because it’s a warm country. They only add gasoline to alcohol to make it easier to start on a cold morning. Alcohol is too safe. It doesn’t evaporate like gasoline does. The only problem with alcohol is that it makes it harder to start on a cold morning unless you have something volatile in the tank with it.

I really enjoyed this movie and I hope it enlightens more people, regardless of which type of alternative fuel they choose to seek out.

Well, the only one from the movie you can get now, practically, is ethanol or alcohol. The other fuels, you have to convert your car for $7,000 0r $8,000. Methanol is not sold anywhere at the pump right now. Electric cars, as you will surmise from the movie, are really not practical. Alcohol is something you can do today. The thing I’d like all of your readers to take home with them today is to go to fuelfreedom.org, which has a station finder that will tell you where the stations are near your home. Go today and put one gallon of alcohol in your tank so you can see that it runs just like it always did. That’s a gallon of fuel that you didn’t send your money to oil companies for. You sent it to American farmers, and that’s a good thing.

www.pumpthemovie.com

“The Book of Life” brings the Day of the Dead to animated life

Mexico’s Dia de los Muertos (Day of the Dead) is a holiday that, for most Americans, is just sort of an extension of Halloween. Because it coincides with Halloween (and continues for another day or so) and includes celebrations that involve skeleton decorations and sugar skull face paint, it’s easy to see why it might look like an extended Halloween. But Dia de los Muertos has a cultural mythology all its own, which is the backdrop for the animated romantic adventure The Book of Life.

Directed by Jorge Gutierrez, an animator who has worked on cartoons such as ¡Mucha Lucha! and El Tigre: The Adventures of Manny Rivera, and co-produced by Guillermo del ToroThe Book of Life tells a Romeo and Juliet-like story of Manolo (Diego Luna) and Joaquín (Channing Tatum) and their lifelong friendly rivalry for the attention of María (Zoe Saldana), a self-sufficient and empowered woman who doesn’t feel the need to rush into anything with either of them. But their fates are being determined by La Muerte (Kate del Castillo), the lovely ruler of the vibrant Land of the Remembered, and Xibalba (Ron Perlman), the nefarious ruler of the dreary Land of the Forgotten. And the entire story is being told via wooden puppets by a museum tour guide (Christina Applegate) to a group of kids on a field trip, for added dimension. 

The Book of LifeJoaquín is a Gaston-like hero who is unstoppable as a matador, warrior and ladies man. To most, he seems like the obvious choice as María’s groom. But Manolo is a more sensitive guy who’d rather serenade her with his guitar than display his masculinity in the bull-fighting arena. The songs that Manolo (and various other characters) sings over the course of the movie are interesting as they are Mexican stylized covers of popular American songs such as Elvis Presley‘s “Can’t Help Falling in Love,” Radiohead‘s “Creep” and Biz Markie‘s “Just a Friend”. While Joaquín seems to have no flaws or weaknesses, Manolo is stricken by tragedy that reunites him with his dead family members, but makes marrying María pretty difficult. With the help of his skeletal friends and a comical character called The Candle Maker (made all the more comical by Ice Cube, especially when he references one of his own hits by saying, “Today was a good day … of the dead!”), Manolo travels throughout the realms of the remembered, the forgotten and back to the world of the living, facing his deepest fears and earning the respect of his father (Héctor Elizondo) and the heart of María along the way. 

The Book of Life is funny, educational and brilliantly cast (also including the voice talents of Cheech Marin, Gabriel Iglesias, Danny Trejo and Plácido Domingo. I especially enjoy the animation style, which constantly reminds the viewer that these are wooden dolls with intricate carved and painted features. The fantasy elements are beautifully over the top and the music and comedy are enjoyable from beginning to end. It’s also appropriately fun for families and adults, making it a great addition to a somewhat lackluster Halloween movie season.

www.bookoflifemovie.com

Sean McNamara’s “Field of Lost Shoes” is tragically triumphant

Having directed Disney Channel shows such as That’s So RavenKickin’ It and A.N.T. Farm, as well as live action film adaptations of toys and cartoons such as Casper Meets WendyBratz and Robosapien: Rebooted, Sean McNamara is an authority on preteen comedy. Having helped launch the careers of Shia LaBeouf, Jessica Alba, Hilary Duff and others, McNamara certainly knows how to discover and develop the talents of future stars. After his foray into more dramatic filmmaking with 2011’s Soul Surfer, McNamara presents another true story about children and teenagers facing very adult-oriented obstacles with Field of Lost Shoes. Having won the Best Dramatic Feature award at this year’s GI Film Festival, the film follows a group of Virginia Military Institute cadets as they are thrust into the Civil War despite their youth (and their conflicting moral convictions). Though the film stars established actors such as Tom Skerritt, Lauren Holly, Keith David and David Arquette, it’s the performances by younger actors like Luke Benward, Max Lloyd-Jones, Zach Roerig and Sean Marquette that really capture the tragically triumphant spirit of the film. With Field of Lost Shoes now playing in select theaters, Wrestling with Pop Culture talks to McNamara about working in the preteen film market, working with former World Heavyweight Champion wrestlers and what he has scheduled for release next year.

I saw Soul Surfer a few years ago and noticed that this film and that one are based on true stories and focus on adolescents who are facing enormous challenges. Is that a theme you particularly seek out?

Max Lloyd-Jones as Sam Atwill, Zach Roerig as Jack Stanard and Sean Maquette as Benjamin ‘Duck’ Colonna.  Photo courtesy of Bosch Media.

Max Lloyd-Jones as Sam Atwill, Zach Roerig as Jack Stanard and Sean Marquette as Benjamin “Duck” Colonna. Photo courtesy of Bosch Media.

I look for inspirational movies. From an age point of view, I had done Disney and Nickelodeon stuff, so I kind of know talent in that range. So having all the boys play these characters was an advantage because of my experience with that. I love every kind of movie that’s out there. A buddy of mine was a director of photography on Annabelle, which just came out last weekend. Horror movies, action movies, I like them all. But I see a lack of inspirational films like what I grew up with like Rocky where people do extraordinary things. I think we emulate what we see in movies. I’m not a boxer, but after seeing Rocky I definitely was running the next day getting ready for something and getting healthy. There is a place for movies that inspire kids. I’ve got three little boys of my own, 5, 6 and 11, and I just can’t imagine the thought of them going off to war. But it’s a reality for a lot of families. I come from a military background; my dad was a captain in the Navy, my brother was a captain in the Navy. I just think you’ve got to give people who want to go out and make a difference films to watch on a regular basis that are inspirational. For me it was RudyRockyRaiders of the Lost Ark, all the movies that start with R. But I do look for that. I’m constantly reading scripts and trying to find something that inspires people, even if it makes them sad. As you saw [in Field of Lost Shoes], they die at the end. But they were out trying to do something that they believed in. History proved different of who the victors were. But in any given conflict or war, there are young boys, even 18-22 I still consider super young, giving up their lives for an idea back in their country or homeland. My mission is to put out inspirational movies and try to make them entertaining so people will actually watch them and not feel like they’re eating spinach.

With this film you have a cast of well-known established actors alongside lesser known younger actors. Were there particular challenges working with each group? Did one group learn from the other? What was that dynamic like for you?

It’s always like that. The younger ones pick up stuff from the older ones. There was a show on the Disney Channel called Even Stevens that was Shia LaBeouf’s first TV show. The actor that I almost cast in that instead of Shia was Josh Zuckerman, who played Moses Ezekiel, the Jewish cadet that became an artist. So these kids have been around for 15 or 16 years already, full-on acting. You just don’t know their names yet. But they’re the future of entertainment. They’re really talented, they’ve been around it, they’ve had roles on Disney or ABC Family shows. Most of the actors I worked with – even Nolan Gould, he’s on Modern Family – they’re really talented. So I find the old guys learning from the new guys, the new guys learning from the old guys. On a nuts-and-bolts thing like doing a Civil War movie, the things they don’t know how to do like ride a horse or talk with a Southern accent, those are things you have to layer on and everybody is helping each other with that. So I could see the older actors working with the younger actors on their accents and those sort of things. But everybody loved working with each other and it was an adventure. It’s hard. Even with Soul Surfer, AnnaSophia Robb had never been on a surf board before and I had to make her good enough to look like she could hold a board and paddle. By the end of rehearsals she could strand up, but not like a pro surfer. With this movie I tried to make the boys hold a rifle right, to be able to march, things you wouldn’t think of but, when it’s done wrong, looks kind of silly.

Having worked with David Arquette on this film, you have now worked with two former World Championship Wrestling World Heavyweight Champions, the other being Hulk Hogan. Given what you were just saying about finding inspirational stories, are you a fan of professional wrestling and the inspirational scenarios that often play out in the ring?

David Arquette as Capt. Henry A. DuPont. Photo courtesy of Bosch Media.

Former WCW World Heavyweight Champion David Arquette as Capt. Henry A. DuPont. Photo courtesy of Bosch Media.

Absolutely. There was a movie that came out almost 15 years ago called Ready to Rumble that I was trying to direct, but Tollin/Robbins Productions did it. I actually did a pilot for a wrestling show. I love wrestling. It’s drama, it’s great performances, it’s people who really get into their bodies and build themselves up and get in a really healthy place. I would still love to do a great wrestling movie.

What was the wrestling show you wanted to do?

The pilot I did for Nickelodeon was called On the Ropes, which was half sitcom, half wrestling. It was really cool, it was very fun, but it didn’t get picked up.

You previously worked with Hulk Hogan on 1998’s 3 Ninjas: High Noon at Mega Mountain. What was it like working with him?

I loved it. He was a gentleman. He tried really hard to do his thing. Obviously he was in great shape. I remember this: he had 25 chicken breasts. Not 26, not 24, every day he ordered 25 chicken breasts for lunch. I could never understand what a weird number that was. But that was his thing. He introduced me to sushi in Denver, Colorado. But he was great. I went to see him wrestle in Vegas after we shot the movie. It was great and he brought a lot to [the movie]. Look at how many wrestlers are becoming great actors like The Rock. He’s starred in so many movies, but Baywatch is the latest one he’s going for. It’s going to be great because it’s going to be tongue in cheek.

Back to Field of Lost Shoes, it had a limited release on Sept. 26. Will it be expanding into more theaters or showing at film festivals?

It won Best Dramatic Feature at the GI Film Festival. It opened in 26 theaters last weekend. It was only supposed to be a limited release, but then you see how it’s played and if it can expand. So it is a slow release and they’re hitting the areas where they think it will do well.

You have some new films coming out next year. What can you tell me about those films and what you’re working on now?

Spare Parts comes out in January with Jamie Lee Curtis, Marisa Tomei and George Lopez. Again, it’s an inspirational true story based on the Wired magazine article “La Vida Robot” where four undocumented Hispanics built an underwater robot and ended up beating M.I.T. in a contest. Then they did it again. So it’s kind of a cool little inspirational movie with underwater robotics. Then I have another Soul Surfer-type, sort of Christian-based movie called Hoovey that comes out in February. On April 10 we have a big movie coming out called The Moon and the Sun with Pierce Brosnan, William Hurt and Kaya Scodelario, who just starred in The Maze Runner.

What do you mean when you say Hoovey is a Christian-based movie?

Sean Marquette as Benjamin ‘Duck’ Colonna, Nolan Gould as Robert, Luke Benward as John Wise, Zach Roerig as Jack Stanard, Max Lloyd-Jones as Sam Atwill, Parker Croft as Garland Jefferson and Josh Zuckerman as Moses Ezekiel. Photo courtesy of Bosch Media.

With Soul Surfer, they labeled it Christian. But I set out to do a mainstream movie about a surfer who just happened to be Christian. There are more religious things in the new Footloose, and the old Footloose, than there are in Soul Surfer. Because Hoovey is similar to that – it’s somebody who is a Chrisitian who is playing basketball and gets a tumor in his head, they cut it out and he goes back and becomes a star basketball player – I just know it’s going to be labeled that way.

There’s been a trend of “faith-based” movies as of late. Why do you think that is?

I think it’s becoming a business. There’s an audience out there that definitely won’t go see good, solid films if you put in a couple of curse words or too much nudity. I think what happened was somebody said, “Wait a minute. There’s this group of Christians that still want to go see good movies. If you just cut a couple of those things and tell a good story, they’ll go see it.” It doesn’t have to be a Bible-thumping story, it just has to be good. The ones that have just a little bit of Christianity in them are just exploding because that market wants it. They want to do something with their kids and teenagers and they don’t want them seeing R-rated movies. I think that’s why you’re seeing more because they’re starting to make a lot of money. And they’re getting better. Before, it was wannabe filmmakers who would write a story but didn’t have any real professionals around. Now they’re starting to put really talented people in these movies and getting really talented writers.

www.seanmcnamara.com

www.fieldoflostshoesfilm.com

“Gone Girl” proves that appearances can be deceiving

Photo by Merrick Morton.

Photo by Merrick Morton.

When it comes to monsters, we tend to like their physical manifestation to be as hideous as the horrors that lie within. But horror comes in many forms and, in reality, one’s beauty and wholesomeness can mask the true monster within. David Fincher has made a career out of directing films about people who appear to be normal (often too-perfect-to-be-true) to the rest of the world while secretly harboring demons of some sort. That’s basically the definition of a sociopath, and that’s exactly what Gone Girl is all about.

Like most of Fincher’s films, however, it’s figuring out who the sociopath is that makes Gone Girl so intriguing. When Nick Dunne (Ben Affleck) comes home to find his wife Amy (Rosamund Pike) missing on the morning of their fifth wedding anniversary, the broken coffee table, blood spatter in the kitchen and other evidence make him the prime suspect in her murder. After a few media appearances in which Nick appears, at best, unconcerned and, at worst, completely smug, the media quickly assumes he is guilty. It turns out, however, that Amy has staged her death in order to escape what has become a miserable marriage thanks to financial strains, Nick’s infidelity and other factors. But Amy’s masterful manipulation doesn’t stop there, especially after her plan is foiled by a couple of redneck robbers (Lola Kirke and Boyd Holbrook) and a sympathetic talk show appearance by Nick that changes the public’s perception of him. And with Tanner Bolt (Tyler Perry), an attorney made famous for keeping alleged wife murderers out of prison, on his side, Amy is forced to come running back home to keep up her victimized facade.

Photo by Merrick Morton.

Photo by Merrick Morton.

When she returns, however, she is covered in the blood of former lover Desi (Neil Patrick Harris), claiming that he kidnapped and raped her. Amy is now trapped in her own lies, but she’s able to convince Nick that he is also trapped within the confines of their seemingly unbelievably strong marriage. While they appear to the rest of the world to be a happy couple reunited, Nick is forced to endure this private hell while Amy finds some sadistic pleasure in the entire spectacle. It’s scary to think that such a horrible person can be wrapped in such a lovely exterior, especially considering that Amy has been overly idealized in a series of children’s books written by her parents (Lisa Barnes and David Clennon). The combination of Fincher’s directorial stylings, Trent Reznor and Atticus Ross’ unnervingly atmospheric score and bewildering performances by Affleck and Pike (who is quickly becoming one of filmdom’s most well-rounded leading ladies as seen here and in Hector and the Search for Happiness), as well as immersive marketing tactics like this realistic Find Amazing Amy website, create a surreal nightmarish/dreamlike atmosphere that permeates the entire movie. While we’re bombarded with grotesque monsters this time of year, Gone Girl is a reminder that appearances can often be deceiving. In this case, that is scarier than any Halloween horrors.

www.gonegirlmovie.com