The American

George Clooney is one of the most recognisable faces in American cinema, with good reason; as director Anton Corbijn has said ‘he can say a lot without a script’ so it comes as no surprise that he was the first choice to play the only American character in this European style film ‘The American’.  It is a shame that Clooney’s magic touch, which has gained many award nominations in the past (Michael Clayton, Up In The Air), cannot give more ‘je ne sais quoi’ to this beautiful, but empty film.

The story is very basic with Clooney playing an unnamed gun mechanic who customises weapons for assassins until he is forced to hide after he becomes a target. He stays in Castel De Monte, working away on another assignment, whilst avoiding the locals, all except the prostitute Clara (Violante Placido); he first visits her out of loneliness, but then falls in love with her.  With such a basic plotline you hope that there are some extra story arcs, but this is not the case; the pace of the film drags out everything mentioned to happen over 103 minutes. When something unexpected does happen, Corbijin handles it with quick, precise expertise, which is a nice change from other Hollywood films where the guns battles and chase scenes last over 20 minutes. Saying that it would also have been nice for the action sequences to have had a bit more to them as they would have broken up the film’s laboured pace.

Consequently, without the distraction of too many action sequences, there is plenty of time for detailed characterisation, but Corbijn neglects to do this choosing instead to keep the character a mystery. We are not told anything about his past, so he is completely unrelatable and uninvolving. What is worse is that the protagonist is asking for forgiveness for his past, from both the audience and those around him, but he does nothing that can be considered redeeming. We are never really supporting him and because of this we lose interest in him and also the film.

With all this in mind there are some good things in this film that go some way to make up for the long rant above. Corbijn has used his photographic eye to create some absolutely beautiful shots; the countryside of Italy has never looked this idyllic. Using plenty of wide landscape footage and fantastic shots of the architecture creates a sense of openness and emptiness that reflects the loneliness of Clooney’s character. Both Clooney and his co-star Placido have a real chemistry that can be felt on screen. The sex scene is especially intense, with Clooney revealing more usual (this might be reason itself to see the film for some viewers) and there is tangible passion between the stars. When asked about that scene in a chat we had with him, director said that he tried to film ‘… it in a way that you feel sexuality rather than seeing it, which was important because a lot of sex scenes usually don’t feel sexual, you see everything, but it is not sexual.’

Corbijn also uses atmospheric techniques to great effect making many scenes, even ones with Clooney alone in a room, incredibly tense as he ‘can carry that [tension] and keep you interested, his body language was really good.’ We never know when someone will jump out to attack him and this keeps the audience wary of the silences. Although the music helps add to the tension, it is the silences that really make you sit up in your seat. Corbijn plays around with the sound very effectively, knowing exactly when to have a huge crescendo and when it is more appropriate to have nothing at all.

Saying all this the looks and the tension are not enough to hold ones interest throughout the entire film.  It is sad, but it seems that Corbijn hasn’t quite been able to get away from his photographic origins and create something that stood up to his last film ‘Control’. This will likely come as no surprise to him since he admitted to us ‘I know that I can’t top Control in the critical sense, the recognition was so immense it is just something you can’t aim for.’ What made  ‘Control’ was that Corbijn effectively balanced both aesthetics and story; sadly this time around he only seems to have concentrated on the former. Though it is highly doubtful this criticism will phase him since his philosophy is ‘If people hate the film I am sure for anyone that is hard to take because you work so long on the project… [but] you make a movie that you want to make and you have to let it go and see how people react.’

Degree- 3rd

A film that looks beautiful, but lacks any real substance,

characterisation or story telling.

 

(If you are confused about the rating system please click on the ‘About This Blog Page’ which will explain it all)

Anton Corbjin

 

You would be forgiven for thinking that Anton Corbjin is comfortable in the world of Hollywood, since before he came into room 114 of the Soho hotel a sweet intern has poured him a cup of tea, but you would be wrong. Starting as a photographer and then going into music videos before he directed his first film ‘Contol’, which received immense critical acclaim; Anton Corbjin is not fully accustomed to the way the film industry works. So interviewing him did not feel like being in the presence of a legend, but more a man who is still trying to make a name for himself and is not sure what the name should be. I go to ask the director what it is like to be new in Hollywood and where he sees his career going after his new film ‘The American’

What are feature films and music videos like compared to photography, which is where you started?

Basically the big problem for both is as a photographer it is a single vision, just you and your camera, which is much easier to stay in control of. With anything that involves other people it is much harder not to lose your direction and the more people that get involved the harder it is. It is difficult because I can’t explain my ideas very well. I have them in my head, but the trick of course is to make them understood by others, I’ve learnt that bit now.

As your background is not strictly feature films, did it seem easier this time, now that you had one film (Control) under your belt?

My first film [Control] was an independent film that I basically financed myself outside of the film industry. This one [The American] was very much in the film industry, in Hollywood, so the way we made it was very different in terms of the way we had to discuss things, which was quite new to me. I made this film differently to Control because I wanted to have new experiences that you learn from.

You had quite a large break between Control and The American, what attracted you to this one over any others that you might have come across?

I had to think what my future would be after Control. I started to do photography again; I did something for U2, a little film, and then I started reading scripts. It took a year longer than I had wanted to, but saying that when I made Control I always thought it would be the one film I make in my life, because of what it did to me in terms of experience and also in recognition. I felt I should see if I could become a proper director and do another film, in fact another 2 films; this is what I have set myself now, as I want to find out if I can make films or if I want this kind of life. These are all questions you need to ask yourself before starting a project.

What sort of project were you looking for?

I read many scripts that had to do with dark comedies, Westerns, thrillers, because these were the kind of films I wanted to see for myself and I think you should make a film you want to see yourself. I came across this story and I realized I could combine a Western with a suspense thriller, so I could put two genres together into one.

Is it nerve wracking going into the second film after the massive critical success of Control, and are you worried about what people think of it or do you just make the film you want to make?

Well if people hate the film I am sure for anyone that is hard to take because you work so long on the project, but I personally don’t think about it so much because Control was such a one off, it came so out of the blue. But I have always tried things I don’t know a lot about and try to find my own voice in it. I know that I can’t top Control in the critical sense, the recognition was so immense it is just something you can’t aim for. So you make a movie that you want to make and you have to let it go and see how people react.

Which do you prefer to make, music videos or films?

Oh films definitely

Why is that?

I started music videos in ’83 so I have done a lot of them and I think that I have done what I like to do with music videos. Plus I don’t watch these channels anymore and I think it is very hard to make something for a medium that you are not involved or interested in anymore.

In a way George Clooney is the face of modern American cinema, what made you decide to cast him as the American?

Well for starters ‘The American’ comes from an English book called ‘A Very Private Gentleman’ and I wanted the experience I had with this film to be very different from ‘Control’. ‘Control’ had all English actors apart from one who was German, so I decided to change the characters from English to European and American. I thought George would be the best for this role because he can say a lot with very little script. That was very important since there was no dialogue to speak of. Not many people can carry that and keep you interested, but his body language was really good.

I was quite interested by the love scenes. They were very intense and down to earth which you don’t get much in modern cinema anymore, so what made you decide to show it in an unpretentious way?

Well, for start it is a very European film and goes right back to very traditional filmmaking. I felt it was important for the characters to have a sex scene because I wanted to show the aggression and then the change to love during the scene. So I filmed it in a way that you feel sexuality rather than seeing it, which I thought, was important because I know a lot of sex scenes usually don’t feel sexual, you see everything, but it is not sexual. By not showing that much it will be more sexual; you will feel more what he did to her, which was the idea behind the scene. I am glad it worked well and that Violante is such an amazing actress that she can play that so naturally because it is not an easy role to play. I don’t think it was easy for George either because he never does that in films; you don’t see any love scenes of George Clooney and definitely not a scene like this.

How does it feel to have one of your films being shown at the London Film Festival?

I don’t think I grew up with many expectations and I had no idea what Cannes really meant until I showed my films. I mean the biggest thing I took from Cannes was the realization that film is an industry. The money that goes in there and the people that push your film make it so different to photography. Photography feels like a hobby now, it is very individual, you make a picture and hope that someone will at some point see it. There is no industry there. This is my first experience with the London Film Festival, I have been to Toronto, but I have not London. Toronto I really liked because it had a lot of normal audiences and I think London is really similar to that. It has industry people and the normal audience, which I think is much nicer. Apparently there is a lot of attention to all the films being played which is great.

 

You mentioned at the beginning of the interview that you wanted to do three films, and you have just finished your second one. Do you have any idea what you want your third one to be?

I am developing that at the moment, but it is too early to give anything away just yet.

 

Violante Placido

Violante Placido comes into the room looking as stylish, confident and beautiful as you would expect as any Hollywood A-lister. The style and beauty comes from her Italian heritage, but the confidence is somewhat surprising since she has few films to her name. But then you must remember her acting pedigree for she is the daughter of actor-director Michele Placido and actress Simonetta Stefanelli and the confidence makes sense; she ahs been around the film world all her life. She is here to discuss her new film ‘The American’, in which she plays the prostitute love interest of George Clooney. Speaking to her now she does not seem too bothered about acting with, and being naked in front of, one of the world’s sexiest men or that this will be her biggest film to date.

Yes it is a big film, but I wouldn’t really say this is Hollywood, as the only real major Hollywood aspect of the film is George Clooney. Really this is an independent movie and also working with this kind of set was much more of a cosy atmosphere so I didn’t get this feeling of a bit Hollywood production.  Anton is not one for big projects.

Were you a fan of Anton’s work before you did the film?

Yes, I loved the movie Control, and music is another great passion I have so I share that with him. All his background with film, music and photography added a lot of interest for me in his work and in meeting him.

How was it to work with him as a director?

He is very subtle and very visual. In this movie he worked with the same team as Control so I felt he was very confident in every visual aspect of the movie and acting wise we worked in a very profound way, getting into the deep aspect of the soul of the character rather than just simply having the stereotype of a prostitute, it was more what this girl is really feeling and how she is relating to her life and to the possibility of a change.

Clooney is a director as well; did he help out during the takes?

Well I did feel very protected honestly. They already created a wonderful, trustful atmosphere and George is a very nice person. He is very warm and puts everyone at ease. I felt safe and was able to relax and do my best.

Why did you think your character decided to trust the American?

I think that initially what drives these two characters close is the fact that they are so isolated and neither of them can trust anybody. In this way they are similar and their solitudes meet and something happens in that intimate scene and Clara feels something different going through her. Normally when she works [she is a prostitute] she will put herself completely aside, but instead this time the alchemy is so strong that she realizes she is feeling something, so she eventually decides to explore that relationship with this man who just appears all of a sudden in this small town.

Did you feel any pressure on yourself because of all the expectation that has come from taking this role?

At the beginning yes. When I am casting I always look for something that challenges me as an actress. If it actually happens I do get a lot of pressure, which eventually I try to transform and use in my acting.

How did you feel about doing the nude scenes? Many American actresses feel very uncomfortable about doing it, but was it different coming from Europe?

It was not my first experience. When I had my first experience it was a little bit tough for me. It really all depends on who you work with and what the character means to you. Although… in a way you are always naked while acting, using your emotions and parts of yourself to transmit something to the audience. The character sort of helps you go through that and detach yourself as a person from the role. Once you accept to play a prostitute you must also except that the body will be involved and you can’t judge if you accept it.

The film feels incredibly tense, what it the same atmosphere whilst filming or was it lighter hearted?

Well George made jokes here and there, he was the light part of the movie in between takes.

What were the most enjoyable moments during filming?

We listened to music from George’s iPod or we made stones jump in the river when we were shooting there. It was all very playful and childish which was fun to be a part of.

The film was both set and shot in Italy, were they places you had been to before?

It all happened in a region I am very connected to and am very familiar with it since I have friend who live out there. But I did discover new places that I didn’t know about, so now I really know Abruzzo and I could probably be a tour guide at this point. I do really love the area as it has nature all over it and this makes it very mystical, but is still sort of harsh and isolated. Up in those mountains you can get some beautiful sunrises and the light changes continually, but you can still feel very small and alone with nothing around you.

Would you think of retiring there?

I don’t know how it will feel when I am old. It might be that when I am old I will want to be a lively place or possibly I will be so elevated that I want to be close to something bigger, God possibly, that I do live in Abruzzo. I can tell you that places like that certainly make you feel closer to something special and give you a lot of good energy.

How did the locals find it having the crew around all the time?

They enjoyed it a lot, and it probably brought a smile to them. That region was the one that had the earthquake that happened just 6 months before we shot; that was another aspect of working there. When we went onto set we would often pass by lots of tents where people were living without homes-it certainly brought you back to reality. But at the same time at least there was something alive going on, something that was putting the story and image of that region into a movie that will stay and people will watch.

Were many locals used in the film as extras?

Yeah, in the procession there was about half of the town. It was really crazy since they were so excited and George was playing jokes on them and they were laughing about everything. They would ask you for pictures and autographs in between takes. So in a really tense scene, when we stopped to change camera, all of a sudden all they wanted was autographs and pictures and then after a while they went back into the roll.

Would you consider this to be your best role so far or is that another one you were more proud of?

I am very happy to have been in this movie and I think I have discovered more subtleness in trying to conceive something, so this has been very interesting. But I try to explore myself and give more with each new experience I have. Also this was not such a big role so I am happy with the work I did in those few scenes.

Are there any plans for films coming up soon?

I am about to start a new project, which I am not allowed to talk about too much, but it is another American movie, so it is very exciting. It is going to be completely different again so I am very happy. [Though scrawling of chat forums across the web I have found out that the film she is referring to is the Ghost Rider 2]

Do you think a lot of opportunities will have arisen out of this film?

I knew that The American could offer me the possibility and [Ghost Rider 2] came soon after the movie was released. The directors told me they wanted to see me because of the American; they saw the movie and really enjoyed it. I am quite excited right now.

Do you think you will be moving over to LA like a lot of stars seem to?

I don’t know, now it is possible and so easy to get into movies from other countries. I have an agency in America now, but you can cast from Italy to them, I did it that way for both movies. Eventually I might if I really want to push it and be there during certain periods, but then I could also have an international career by staying in Europe.

Are you attached to Italy then?

Yes I am quite attached, but I am still a very curious person and I like to travel. I am very happy to have had this opportunity to confront myself and also experience different cultures with different directors because I am, when possible, very open to new experiences. Still I would like to keep working in my country.

How are do you family feel about your success? Have they been very supportive?

Yes they have been very supportive.

Did you imagine yourself doing anything other than acting or singing? Your father is a director and your mother is an actress so I’m sure that might have persuaded a little?

Actually when I was very young I wanted to sing and act, but when I grew up a little bit more I suddenly had a real refusal; I didn’t want to be an actress and I was going horse riding all the time and wanted to go all the way to the Olympics. I just wanted to do something else. It took me sometime to actually understand and decide to try this career; it didn’t come so easily because I was coming from an acting family.

When you did decide that you wanted to act did those family connections help?

My parents never pushed me to become an actress and I always tried to go on my own. I think in a job like this it is such a personal choice since you are exposing and challenging yourself. People can help you to a point, but you really need to find your own determination. Often though the connections you have if you come from an acting family are just natural. At the beginning when I started my parents helped look for parts for me, which was a great advantage, but after that I took a year out and went to Los Angeles. I needed to know if it was me deciding to do this so I learnt to play the guitar and took some small acting jobs and stuff like that.

So is playing the guitar a hobby?

It is a hobby, but I love it. When I am shooting in hotels I always bring the guitar with me. I use it to write songs for the band and I also sometimes record with it.

What is the culture in Italy like for celebrities? Over here it is very much that paparazzi are at your door and in your face all the time, is it the same for you?

You do get a lot of that in Italy, but in the end it is hardly ever the great actors and actresses who are in the newspapers. It is always tv people and footballer players. It can be in between, sometimes actors can be in a period of their life when all of a sudden they get a lot of attention, but usually you can avoid it. If you want to, then in some way you can avoid it and if you look for it then you are going to have it.

So how do you feel about when celebrities, like Lindsey Lohan for example, complain about having the media following them all the time

[At the is point the interview was stopped by Violante’s PA who said that the question was not exactly appropriate]

 

The American

Here is a film I just went to see yesterday. Nothing can be put up till closer to the release date, but here is something to get interested in.

The film is about an American (obviously), played by George Clooney, who makes guns on request from assassins. After becoming a target himself he goes to hide in a small Italian village until it all blows here. While he meets a variety of locals including a priest (Paolo Bonacelli) and a prostitute (Violante Placido). The is directer by photographer turned director Anton Corbijn and is out 26th November.