Daily | Interviews | Scorsese, Rudolph, Garrel

Philippe Garrel

Philippe Garrel

A few days ago, Adrian Martin declared here in Keyframe that Philippe Garrel’s Jealousy is “the year’s best film.” High time, then, to catch up with Colleen Kelsey‘s conversation with Garrel, which appeared in Interview a little over a month ago now: “And to become a naturalist is something I avoid, in fact. It is fake life—that is the problem. It is because we are familiar with situationnisme, and the critique of the spectacle, et cetera, which is a very fair criticism. People who have no life, and who watch this fake life on a screen—it’s a very alienated situation. And that’s what situationnisme is about. But I’m not able to completely escape naturalism.”

While Martin Scorsese was presiding over the jury at the Marrakech Film Festival a couple of weeks ago, Kaleem Aftab took the opportunity to talk with him for the Independent. They spoke about The Wolf of Wall Street, of course, which will be hearing much more about on Tuesday, but also about Scorsese’s characters in general, their sense of guilt and longing for redemption. “I do identify with them. Particularly in Mean Streets and Raging Bull. In Raging Bull, he seems to find some redemption, he really does. I don’t know how really. It’s the scene with his brother, I think, but the more important thing is to sit down and look at himself in the mirror and not hate himself too much, that I thought was a good place to reach. Not that I was able to do that, but the character. I think in any of the stories, there is a sense of trying for that redemption. I don’t know about the new one, the new one is somewhat different…. De Niro, he’s the only person who knows where I came from, who I knew, who knows my story. He understands the pressures and that world. That world, it has gone now, but not in here [his heart], that is who I am, but he is the only one who really knows, who values it good and bad.”

Neil McGlone‘s posted a terrific interview with Alan Rudolph at There’s No Place Like Home, beginning with “Alan’s career up to his universally acclaimed eighth film, Choose Me [1984]. Along the way I’ll trace Alan’s work with his film director father, his work as an assistant director in the late 1960’s, his first two movies which were zero-budget horror films, the fateful meeting with Robert Altman and all the films that he directed along the way.” Back in March, Ignatiy Vishnevetsky and Peter Labuza discussed Rudolph’s The Moderns (1988).

Woody Allen recently invited Variety‘s Scott Foundas, Entertainment Weekly‘s Owen Gleiberman, and Time Out New York‘s Joshua Rothkopf to his Park Avenue editing suite to talk about Blue Jasmine and Cate Blanchett, of course, but also money, jazz, and lots more.

For the Film Society of Lincoln Center, Brian Brooks talks with Liv Ullmann about Dheeraj Akolkar’s Liv & Ingmar, noting that the documentary draws parallels between her and Bergman’s on-screen collaborations and “their often fiery off-screen relationship, though Ullmann mostly denies the films are direct glimpses into their lives together. ‘I was surprised by this because I didn’t see our films as being the same as our lives together, but that is part of Ingmar’s brilliant storytelling,’ said Ullmann. ‘I think people can look at his movies and see truth about their lives in them, but I don’t look at those movies as [insights] to our relationship.'”

For Filmmaker, Randy Astle talks with Kristoffer Gansing, artistic director of Berlin’s transmediale since 2011. “The festival, which will take place between January 29 and February 2, features a hackathon, conference addresses, film and video screenings, digital art, and other work.”

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