Interviews About My #1 Film of 2018, If Beale Street Could Talk
Posted on January 7, 2019 at 8:00 am
I had the great pleasure of speaking to two of the people behind my favorite film of the year, “If Beale Street Could Talk,” breakout star Kiki Layne and writer/director Barry Jenkins, who adapted the film from the James Baldwin novel.
The love in that family is just so, so powerful. We see the beauty of having those people to lean into and having those people around that are nurturing you and nurturing your growth. Tish has some growing up to do. Her family encourages that but it’s not all, “You’ve got to get over this.” It wasn’t that type of energy. It’s just like, “Hey, this is a situation that you’re in but really we’re all in it together,” and I think that was the beauty of the family dynamic in this film.
Another one of my favorite scenes is the one where they’re in the loft with the young landlord after so many rejections. It is so delicate and charming.
The character was in the book but it’s one of the few places in the translation that I’ll say I felt it didn’t go just far enough for me and so as I was walking around the space I just had this thought in my head like, “How in the hell could you possibly see a way to turn this into a home?” Then I realized, “Oh, but what says love and faith more than a lover saying, ‘I promise I can do this’ and you say ‘Okay, yes I believe you,’” So that’s when we added this whole thing of how we’re going to make this into a home and then him showing where he’s going to put all these things and then I was like, “Oh, it feels kind of cute let’s just go all the way with this pantomiming with the fridge,” and when we did it, there was something so lovely about watching Dave Franco and Stephan James perform this kind of joke in a certain way which was rooted in love and faith that when we got to the roof it also seemed like, “Okay, and now these characters feel connected. How can we take it one step further?”
This idea of mothers in the film is so important. Tish has a mother and she is pregnant, Fonny has a mother, Victoria Rogers, the woman who’s been sexually assaulted, she’s pregnant. She’s not showing but she’s pregnant. It’s all this idea of mothers. I thought, “Oh, here is something that I can see uniting these characters,” and that’s when we gave Dave Franco the line, “I’m just my mother’s son.” Sometimes it’s that idea that makes the difference between us and them; not black and white but people who have been loved and the people who haven’t.
This was adapted with I think much respect and deference to Mr. Baldwin, but that was one of the places where I’m really proud of how I was able to fuse my voice and his.
The best surprise I had at the movie theater last year was “Spider-Man: Into the Spider-Verse” and I am delighted that the filmmakers have made the screenplay available online. Take a look at the fresh, clever, jubilant writing that made this movie such a delight.
Interview: James R. Hansen, Author of the Neil Armstrong Book “First Man”
Posted on October 28, 2018 at 4:27 pm
James R. Hansen wrote the book that inspired “First Man,” the new Ryan Gosling movie about Neil Amstrong, the first man to walk on the moon, and I had the great pleasure of talking to him about the time he spent with Armstrong and his family, what he learned from the biodata NASA kept on the astronauts during their journey, and what he thinks about the film’s depiction of Armstrong leaving something very meaningful on the moon before he returned safely to earth.
Where were you when you watched the moon landing?
I was on the floor in front of our television set, back in the day when television sets were these console units where the exterior was built into the TV. I was right in front of the TV set on the floor, in Fort Wayne, Indiana between my junior and senior year of high school. I was taking the college aptitude test that summer, working at a golf course mowing grass. I think I watched every minute. I think I was there probably from noon until midnight, so probably 12 straight hours of watching the coverage of Apollo.
So you grew up with the space program.
I was a second grader when Alan Shepherd flew the first space flight. We went down into the gym and took off our shoes and they had a big boxy TV right at the mid-court circle of the basketball court. That flight was just a sub-orbital flight that lasted maybe 15 minutes but I remember very clearly where I was on the floor. There was just something about the age and the era and the promotion of space exploration that grabbed a lot of people. I didn’t do a whole lot between the launches or between the missions but when it did happen I usually found my way to a TV set one way or the other.
One thing that will surprise people when they see the movie is that the space capsule is so small and vulnerable. Is that the way that Neil described it to you?
The vision of the director, Damien Chazelle, was to make the experience immersive for all of the movie viewers and to make it very visceral as well and so I think as a result there’s an emphasis on the sound. If you recall just the shutting of the hatches and everything, it’s almost like they’re being entombed in these things. At one point I went to the museum with Neil where the Gemini VIII spacecraft was still located. The Gemini in particular is just for two men. It’s just such a small space. The Apollo was rather roomy in comparison. I don’t think I did in my book as much as what Damien does in the film to communicate the almost claustrophobic aspects of being in these capsules and so I think the audience will experience this in a way that is in a lot of ways different than it’s been portrayed in earlier movies where you don’t experience the sounds and the vibrations. Damien went out of his way to try to put the viewer in to see it through Neil’s eyes, to feel it in a very direct kind of way, and I think that’s one of the really incredible things about the film.
What made Neil the right guy for that job?
In terms of his general training and experience for astronaut selection, here is a guy that had flown as a test pilot virtually every advanced experimental flying machine that the country was testing between 1956 and the time he became an astronaut in 1962. He was in fact in the second group of astronauts, which was an incredible group with James Lovell and John Young and Frank Borman and Ed White. Neil was the only one who had any experience for flying a rocket-powered airplane, the X-15, which is shown in the very first scene of the film. In terms of him becoming the commander of Apollo 11, one thing I try to do in a lot of my lectures is make clear that there was nothing preordained about him being the one selected. The approach to putting teams together the key was choosing good commanders and he had a feeling deep down that any of the commanders could have done any of the missions.
So Neil always made sure people understood that his opportunity to command Apollo 11 was really a matter of contingent circumstances. He was in the right place in terms of the order of the rotation. Still, he was really an outstanding person to end up doing it — I don’t think there’s any question about that. He had had the major problem with the Gemini VIII flight. There was some second-guessing about it, but in the end everybody felt like he and Dave Scott had handled that emergency extremely well under unbelievable pressure. So I think all of that’s relevant. On one hand it is important to make clear that he was really well trained and a good person to do this particular mission, on the other hand there were other good men as well that probably could have done it as well as he and I think the other commanders could have done the missions.
What is it that makes someone able to stay calm under that kind of pressure?
One thing that the movie can’t show that the book can and does is that in the movie we only see Neil in three flights, in three flying machines; he’s in the X-15, he’s in the Gemini VIII and he’s in Apollo. The guy made hundreds of flights in hundreds of different machines and he’d been flying since he was 16 years old, so he had experienced so many different flying machines and experiences in airplanes and there have been tough challenging moments in a lot of those flights. He flew 78 combat missions over North Korea and had half of his wing clipped off in one of them and he had to eject from the plane.
If you fly that many times, you are going to run into problems and things that are not working quite right. So the one thing that you can’t communicate in the film is that this guy has been in these things hundreds and hundreds of times. They’re engineers and test pilots in the plane so they really know the systems as well so that is an element that sort of explains their confidence in what they’re doing.
He was calm, but we know from the telemetry data that Neil’s heart rate was one of the highest if not the highest heart rates in almost all those flights and I talked to Neil about it. Neil’s own take on it was that if you really see when his heart rate peaked, it was always when he was in anticipation of some high-performance moment that he was going to have to execute. So really his take was that it wasn’t a representation of stress or anxiety about the flaw but just the body and the mind together getting ready for something that was going to have to be done out of the ordinary. He does have other instances of high heart rates too when he was over at Little West Crater during his lunar EVA. He had to get over to Little West Crater and get back to the lunar module pretty quickly because that wasn’t really a scheduled thing for him to do and there wasn’t much time and mission control was kind of nagging him to get back to the lunar module. When he was over at the crater his heart rate was over 180. Again it’s a question of how you interpret that, but I’ve always been a little bit reluctant to describe him as this cold, calm, collected person what nothing unnerves when a man is running such a high heart rate at the same time.
The movie focuses quite a bit on the way that Neil dealt with the death of his daughter. What did he tell you about it?
Typically of Neil, it was hard to get him to talk about it. I probably got him to talk about it more than anybody else ever had. As the movie makes it clear, he didn’t even talk to Janet about it and Janet told me the same thing. He just would not talk about it and Janet needed him to talk about it. She needed a husband that was comforting and supporting and she needed to be able to express her own grief. That’s one of the really sad things in their relationship and I think the movie captures that in some beautiful ways, especially that last scene. I got most of my information about the effect of the death on Neil from Neil’s sister June and from Janet because they observed it first-hand. June, who really loves her brother, was very understanding and she told me stories about in the aftermath of the death, stories that reinforced for her what a special love Neil had for that little girl and how it affected him not only in the immediate aftermath of the death but in her eyes how he never got over it.
The line when he responds to a question in his interview for the astronaut program in the movie comes from my book. I asked, “Did this affect your flying in any way?” and he said, “I think it would be unreasonable to assume that it would have no effect.” That’s just classic Armstrong speak. It’s an answer but it’s not terribly direct.
He didn’t really bring her baby bracelet to the moon and leave it there, did he?
There’s certainly no evidence that he did. The thing is there’s also no complete evidence that he didn’t. We don’t know what he took to the lunar surface because the manifest of the contents of his PPK (the personal property kit) where they took personal items has never been seen. Neil apparently had it. I asked him if I could look at it and he was going to try to find it and never found it and the boys don’t have it and Purdue University archives doesn’t have it so we don’t know where it is and even if we do find the manifest was what he took/the personal items that he took if something was really, really private he wouldn’t have necessarily even listed it.
Another part of this is that the visit over to the Little West Crater was not scheduled. It was not part of the mission plan. He just decided to go over and do that himself and what he did over there we really don’t know for sure because the TV Camera wasn’t on him at that point in time so it was a completely private moment. Sometimes the power of poetry prevails over the uncertainty of fact. I’m okay with it because there’s just enough degree of uncertainty about this that it’s not necessarily counterfactual, we just don’t know for sure.
Lady Gaga plays Ally, who becomes a star in what is the 4th or 5th version of this classic story, depending on whether you count “What Price Hollywood.” Lady Gaga herself becomes an instant movie star as already-star Bradley Cooper becomes an instant writing and directing and maybe even singing star in one of the year’s biggest releases.
Cooper said the moment that inspired the film was at a Metallica concert. “About seven years ago I was lucky enough to be backstage at a Metallica concert at Yankee Stadium. I had met Lars Ulrich, and I listened to Metallica when I was 14 years old. That’s why the character says, ‘Ride the lightning’ in Silver Linings Playbook. At the concert, I was behind the drum kit, and I could see the sweat on the back of Lars’ neck, and at the same time, I could see the scope of the audience in front of him. It was a beautiful proscenium, and that was the first moment where I thought, ‘Oh, I’ve never seen that on film, the subjective eye that could actually be epic and personal at the same time. And that was the beginning of the idea of how we were going to shoot all of the concert sequences that you just saw. It is all subjective. We never left the stage. But hopefully, you felt the scope of where they were.”
The concert scenes feel authentic because they are. Cooper filmed at real performance spaces, including the largest privately owned music festival in the world, Glastonbury, where they had just eight minutes to shoot before a performance by the star of the last version of A Star is Born, Kris Kristofferson.
Cooper said, “I had the luxury of having worked so often on camera and on stage, so I knew what I needed from a director as an actor in order to feel comfortable enough. As Al Pacino said, ‘We’re just trying to grab a few moments of authenticity.’ It’s important to create a space so that all the actors feel completely safe but also to know that it’s going to be hard. They’re going to have to go to places that scare them. They’re going to know that I’m right there with them. I’m not on the sidelines. It’s going to be okay to fail, but they have to risk. I have no desire for them to sit here and watch something that does not mean anything, that isn’t really personal to them and to me. Everybody wants to express the deepest part of themselves to another human being and feel safe about that. It’s very cathartic and healing.”
Screenwriting Magazine is making available links to 100 Academy contender screenplays. Whether you’re thinking of writing one yourself or just want to know your favorites a little better, this treasure trove is worth checking out.