Interview: Julie Delpy on the ideal way to watch the "Before" trilogy

Julie Delpy speaking in West Hollywood in NovemberStargazing sometimes leads us to believe that we really know the faces who act out our human dramas onscreen. Or that we know the characters they portray as if they were neighbors. It’s a false intimacy and a fantasy, fiction being fiction and strangers being strangers, but sometimes the illusion is too perfect to deny. Such is the case with Julie Delpy and Ethan Hawke as Celine and Jessie in the “Before…”  trilogy. The actors cowrote and costarred in the decades spanning trilogy under the guidance of Director Richard Linklater and the films, perfectly spaced out every nine years, have allowed audiences to age along with them, which has only added to their ephemeral mystique. The films are grounded in reality through their short single day stories and long takes - real life happens one day at a time and without a lot of fussy crosscutting – and the only fantastical element is that every day conversations are rarely this thrilling and this wide ranging and this funny simultaneously for 90 minutes straight without some dud moment or mundane distraction breaking the spell. For that kind of perfection you need miraculous writing and great acting.

Julie Delpy is not, of course, Celine. And though I know this as I settle into our conversation over the telephone I’m temporarily stunned when she, unasked, repeats her trilogy’s most famous line when I bring up the ending to Before Sunset (2004, for which she won a Best Adapted Screenplay nomination though not, tragically, the Best Actress nod she deserved as its companion). She sounds just like Celine… only somehow not...

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Team FYC: Keith Stanfield, Best Supporting Actor

In this series Film Experience contributors sound off (individually) on their favorite fringe awards contenders. Here's Matthew Eng on Keith Stanfield from "Short Term 12" (who was recently Spirit nominated)

Chief among the achievements of Destin Cretton’s Short Term 12 is an early, two-minute scene in which Keith Stanfield’s Marcus, a sullen, soft-voiced, 18-year-old intake on the verge of being released from the film’s titular foster care facility, shares a self-penned rap with Mason (John Gallagher Jr.), one of the center’s supervisors. What unfolds remains, still, the single most heartbreaking moment I’ve seen onscreen this year, as Marcus launches into an unforgiving tirade against the abusive mother who raised him, that soon transitions into a harrowing lament about the unwavering, angering pain of being born into a broken life.

Look into my eyes so you know what it’s like
To live a life not knowing what a normal life’s like”

It's unshakable, shattering stuff, further enhanced by the beautifully-felt efforts of Stanfield, who wrote the rap himself and whose striking, breakout turn remains one of the year's most egregiously undersung performances. It’s easy to imagine all the ways in which the “Young Actor Playing a Troubled Youth in a Social Drama”-model could potentially go wrong: sometimes, steadfast commitment to the “troubled” aspect threatens to render the character one-note; other times, it’s as if the performer has chosen to play the shameless summoner of unmitigated audience sympathy, rather than an actual character. Instead of falling into either of these traps, Stanfield commits whole-heartedly to unveiling each and every complicated layer of Marcus without ever seeming bent on becoming something akin to the underdog worth rooting for. Stanfield is brilliant at navigating and detailing the character’s rocky emotional landscape and prickly persona, whether he’s snapping at Rami Malek’s “new guy” Nate over a dim comment about “underprivileged kids,” rushing to hostile extremes with Kevin Rodriguez’s antagonistic Luis, or allowing his lanky frame to buckle under the weight of suppressed emotional anguish during an impromptu haircut. Marcus’ surly toughness, deep-concealed heartache, and quiet introversion may be his foremost traits, but it’s to Stanfield’s credit that we also get to glimpse a softer, breezier, and funnier side of Marcus, as when he playfully converses with his housemates or cheekily exposes two counselors’ semi-secret relationship via rap.

That Cretton ultimately leads Marcus to something of a narrative dead-end is an unfortunate outcome, albeit one that in no way diminishes the impact of Stanfield’s concentrated and compelling work throughout Short Term 12. He fully and frequently grounds the movie, rooting it in remarkable truthfulness and bold emotionality, helping us locate the beautiful, gently-beating heart that sits firmly at its center.

Previously on Team FYC

Linkville

Television Blend Baz Luhrmann may direct Napoleon as a miniseries for television
House Next Door on the Oscar prospects of August: Osage County. Yet another critic who thinks Julia is the MVP. I'm mystified but congrats, Julia!
In Contention wonders if The Wolf of Wall Street is just what Oscar season ordered? We know that the SAG screening went sensationally well in Los Angeles. Our friend Paul, who we just featured in Reader Spotlight, thinks Leonardo DiCaprio is now the Best Actor frontrunner and tweeted this photo from the festivities:

And then they plied us with food, alcohol and music. Unnecessary, but yum. #howlingwolf @kristapley @nathanielr pic.twitter.com/QFXsU8nK0a

— Paul Outlaw (@poutlaw) December 1, 2013

Cinema Blend Jurassic World not a reboot (thank god) but a sequel set 22 years in future. Chris Pratt, suddenly in demand since slimming down and bulking up for ZDT, rumored for lead.
Variety Fernando Eimbcke's Club Sandwich wins the Turin Fest. We interviewed its actress icymi. 

RIP Paul Walker (1973-2013)
And finally, as you've undoubtedly heard by now, Paul Walker died yesterday in a car accident in California en route to or from a charity event of all things. Terrible. He was 40 years old. The actor starred in all but one of the six episodes of the big screen series The Fast and Furious. It's worth noting that The Fast and the Furious 7 is currently filming. There's no word yet on exactly how and what they'll do to finish it without him but the movie will undoubtedly move forward.

The original F&F franchise director Rob Cohen told Variety:

His American beauty, his athleticism, the directness of his approach to the character, his effusive, down-to-earth personality brought joy to me and everyone around him."

Aside from the F&F franchise we'll remember him most for that All American b&w jock beauty in  Pleasantville (1998) and one of the best B movies of the early Aughts Joy Ride (2001).

Team FYC: Neighboring Sounds for Best Foreign Language Film

In this series Team Experience sounds off (individually) on their favorite fringe awards contenders. Here's Amir Soltani on Neighboring Sounds.

Since the Academy wisely overhauled its nominating process for the foreign language film award and Dogtooth nabbed that delightfully shocking nomination, pundits tend not to take any film's chances too lightly in this category. Still, a nod for Brazil's intense and quietly powerful submission would come as a major surprise. That's partly because the film ran the festival circuit last year and its buzz has been more of a hum for a few months now so it's hard to imagine the executive committee coming to its rescue. It's a real shame because Neighboring Sounds isn't just the best of the submitted films; it is quite possibly the year's best film, period.

Sounds opens with a series of black and white still photos attuned to a rousing score that provide more social context for the story in 57 seconds than most films do in 90 minutes. Kleber Mendoca Filho - on his first try at helm - paints an increasingly unsettling portrait of an affluent neighborhood in the Brazilian city of Recife that wants to remain oblivious to the poverty and corruption that engulfs it. The greatest accomplishment of the film, and its rich but anti-climactic finale, is that it creates a sense of inescapable unease in the audience, not entirely unlike what the neighborhood residents deal with routinely.

Neighboring Sounds subverts our expectations at every turn, playing games with the laguange of cinema - both in the construction of its images and, as the title suggests, sounds - to shape our understanding of characters and the film's geopolitical space. It is the rare film that builds energy through completely inconspicuous means. It is not the guns and criminals that escalate violence; it's a meditative dip in the waterfall or a casual conversation between neighbors on a rooftop. The underlying sense of discomfort is a result of the film's "guilty until proven innocent" approach toward all its characters. By the film's end, the mistrust between the neighborhood's residents has slowly creeped in on us and become impossible to shake off. This is a masterclass in crafting a suspenseful piece, given by a man whose assured control of his film betrays no sign of his inexperience. Here's hoping Academy voters take notice.

Previously on Team FYC

Team FYC: Edgar Wright for Best Director

Wright's Feature Filmography: Shaun of the Dead, Hot Fuzz, Scott Pilgrim vs. the World, and The World's EndIn this series Team Experience sounds off (individually) on their favorite fringe awards contenders. Here's Michael Cusumano on Edgar Wright

Four features into his career it is clear that Edgar Wright is building a body of work that will end up ranking with the greats of film comedy. It is time the Academy recognizes this fact (and their aversion to comedy) and honors The World’s End, his best film to date, with a nomination for Best Director. 

Stop and consider everything Wright's latest film accomplishes, all while staying as light and zippy as classic screwball by the likes of Hawks or Sturges. The World’s End is simultaneously a genre spoof, a farce, a biting social satire, a character study, and a moving comedy about middle-aged friendship. And above all else it’s funny. Wright keeps the pace jumping throughout and unlike other directors he never sacrifices the integrity of the material for a gag.

If the fact that Wright deserves it on the merits isn’t enough to sway voters how about nominating him because of the message it sends about the state of comedy in 2013. Look at the top box office comedy hits for the year. It’s an embarrassment. Identity Thief, Hangover, Grown Ups. Even the few bright spots like The Heat or This is the End still exhibit a “Who cares?” attitude about visuals and screenplay structure and are content to lean on the charisma of the stars and coast on the fundamentals. 

Edgar Wright, on the other hand, holds his film to a standard as high as any prestige Oscar bait and he is in control of every element of every frame of this baby. Everyone is rowing in the same direction on The World’s End, from the quicksilver editing to the witty production design to the cast, including stars Simon Pegg and Nick Frost whom Wright guides to career-best performances. That is the stuff of which Best Director nominations should be made.

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