Category Archives: Film

Interview: Screenwriter David Scarpa talks ‘All the Money in the World’ reshoots

Late fall and early winter is generally a busy time in the movie business. Studios not only prepare to release big films for holiday season moviegoers, but debut awards season contenders that will hopefully go on to vie for a bevy of accolades, including Oscar gold. But for the true-life drama “All the Money in the World” — which chronicled the harrowing kidnapping of the grandson of legendary oil tycoon J. Paul Getty — making the film’s Christmas Day release date was truly a gift.

For screenwriter David Scarpa, being involved in “All the Money in the World” was certainly the most interesting project he was involved in, and not just because of the film’s compelling subject matter. No, it’s more about how as a filmmaker you can think your movie is good to go for its release — that is, until the whole world comes crashing down upon it.

“There are many numbers of crazy stories that happen in the course of a movie’s production, but this is certainly the most crazy public thing that I can think of and that I’ve been a part of. People always have their crazy stories, but this was pretty tumultuous,” Scarpa said in a recent phone conversation from Los Angeles. “What’s really weird is how smooth it worked out. Usually when there are problems with a production, it’s usually a crazy set, with some kind of a disaster or weird setback or weird revolution in the middle of the shoot or something. But in this case, everything happened when everybody thought they were in the clear, and we were about three weeks from our release, and that’s when it all went down.”

The tumultuous event Scarpa is referring to is the sexual misconduct scandal that rocked Hollywood regarding actor Kevin Spacey, who originally played the pivotal role of the elder Getty in “All the Money in the World.” Realizing how Spacey’s involvement would greatly hamper the completed film’s box office and awards prospects, director Ridley Scott decided in an unprecedented move to cut his performance from “All the Money in the World” and recast veteran Oscar-winning actor Christopher Plummer in the Getty role.

Michelle Williams and Mark Wahlberg in 'All the Money in the World' (photo Sony Pictures)

But given the fact that the Spacey scandal broke in late October, time was definitely not on the production’s side. Amazingly, all the pieces came together. Scott reshot the film’s Getty scenes with Plummer and stars Michelle Williams and Mark Wahlberg in a nine-day stretch in late November, and a cut of the film was assembled in time for an 11th hour screening for Golden Globes members in early December. The hard work paid off, as Plummer, Williams and Scott all earned Globe nominations, effectively boosting the film’s prospects for forthcoming nominations for the 90th annual Academy Awards.

For Scarpa, the experience proved to him that if something as tumultuous is going to happen to a production, a director like Scott is the person you’re going to want at the helm.

“Ridley has a team that he consistently works with, when he came back and said, ‘I can do this and do it pretty quickly,’ I’m sure he picked up the phone and called his right-hand man and producer, Mark Huffman, and asked, ‘Can we pull this off?’ Mark said, ‘Yes,’ and after that, it was really there was no question that they were going to be able to do it. For me, once they said they were got the actors back and they were going to do it, I was pretty confident that that they were going to get it done.”

As the film’s screenwriter, Scarpa was naturally involved in the reshoots. Nothing was changed from his original script, and he sent to Plummer only the dialogue that was shot with Spacey and in the film.

“We were warned by our editor, Claire Simpson, that the scenes we were shooting for the movie were going to have to conform to the Kevin Spacey movie in order to make our release date,” said Scarpa, who adapted his screenplay from John Pearson’s 1995 book “Painfully Rich: The Outrageous Fortunes and Misfortunes of the Heirs of J. Paul Getty.”

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However, the screenwriter sent quite a bit more to the veteran “Beginners” Oscar winner — and Plummer naturally proved that he’s anything but a beginner when it comes to acting.

“Initially they asked me to send what is called ‘continuity,’ which is only the dialogue that made it into the cut of the Spacey version of the movie, but instead I sent all of the scenes, which included everything including the stuff that was cut into the Spacey version. Plummer actually went off and memorized all of them and used that,” Scarpa said. “As a result, there’s actually a lot more Getty material in the Plummer version than there is the Spacey version. Parts of individual scenes that got cut are now back in the movie because Plummer’s so good at them.”

“All the Money in the World” is currently playing in theaters nationwide. Scarpa’s next project will be an updated version of the classic film, “Cleopatra.”

Tim Lammers reviews movies weekly for The KQ92 Morning Show,” “KARE 11 News at 11” (NBC), “The Tom Barnard Podcast” and “The BS Show” with Bob Sansevere.

Copyright 2017

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Movie review: More emotion, less action needed in ’12 Strong’

VIDEO: See Tim’s review of “12 Strong” with Adrienne Broadus on KARE 11 above.

“12 Strong” (R)

It’s hard not to have mixed feelings about “12 Strong,” a new war drama based on a declassified story of the first 12 soldiers on the ground in Afghanistan after the terrorist attacks on America on September 11, 2001. For compelling historical reasons, it’s an important film, yet in terms of the way the film is presented, it comes off as more of a Jerry Bruckheimer action movie than it does a serious chronicle of the first Americans soldiers who set foot in Afghanistan to take on the Taliban.

Perhaps not surprisingly, Bruckheimer is the producer of “12 Strong,” which is a good and bad thing. It’s good in the fact that Bruckheimer been making movies for a long time and clearly knows how to assemble the right team needed for action adventures, but bad in that the movie’s narrative is far more concentrated on action than emotion.

AUDIO: Listen to Tim’s review of “12 Strong” with Tom Barnard on “The KQ Morning Show” (Segment begins 5 minutes in).

Simply put, a movie like “12 Strong,” where 12 Special Forces members selflessly volunteer for a mission where the odds of survival are slim, needed much more emotional impact than we get. Sadly, the film, while it chronicles the events of the Green Beret soldiers of the ODA 595 Special Forces Unit, comes off as more of a Cliff’s Notes version of the story where the true heart of the people involved in the story is left back home.

Directed by Danish filmmaker Nicolai Fuglsig, “12 Strong” begins with a look at the real-life terror Osama bin Laden caused in the years leading up to 9/11, beginning with the bombing attack on the World Trade Center beneath the North Tower in 1993. The film then shifts gears to coverage of the 9/11 attacks, where the likes of Capt. Mitch Nelson (Chris Hemsworth) and Chief Warrant Officer Hal Spencer (Michael Shannon) — who could have both settled for desk jobs at their respective points in their careers — without hesitation volunteer to go to Afghanistan to hunt down the Taliban.

Assembling a group of 10 more elite soldiers (Michael Pena and Ty Sheridan among them), the mission — dubbed Task Force Dagger —  is to meet up with an Afghan warlord (Navid Negahban), combine forces with the Afghan Northern Alliance and break the Taliban stronghold in Mazar-i-Shariff. If it’s successful, the plan will gut the heart of the enemy’s operation.

The story of “12 Strong” is no doubt interesting, considering U.S. soldiers in the year 2001 had no choice but to ride horses in Afghanistan because of the country’s rugged terrain. It was an extraordinary feat no doubt, but with the cinematic telling of the story, Fuglsig seems more intent on making “12 Strong” feel like a heightened, Hollywood action movie with one-dimensional characters rather than digging into the souls of these brave soldiers who knew that the mission could very well be their last. As Steven Spielberg proved with “Saving Private Ryan,” Clint Eastwood with “American Sniper” and Mel Gibson with “Hacksaw Ridge,” there’s a lot of emotional complexity involved in war, and nothing in “12 Strong” comes close to conveying those feelings.

Appropriately, “12 Strong” ends with an epilogue, including a photo of the 12 Green Berets of Task Force Dagger. It makes you proud seeing the faces from one of the most important (yet unknown) missions in the wake of 9/11, yet at the same time makes you wish it was better represented as a feature film about the story about what the Taliban considers its worst defeat. The soldiers of the mission — and those who keep up the fight today — deserve much better.

Lammometer: 6.5 (out of 10)

Tim Lammers reviews movies weekly for The KQ92 Morning Show,” “KARE 11 News at 11” (NBC), “The Tom Barnard Podcast” and “

The BS Show” with Bob Sansevere.

Copyright 2017

Interview: Rian Johnson talks evolution of ‘The Last Jedi’

Spoiler alert: This article highlights some key scenes in “Star Wars: The Last Jedi.”

If the success of writer-director Rian Johnson’s worldwide blockbuster “Star Wars: The Last Jedi” proves anything, it shows that if you have the passion, a person who works hard enough can someday venture not only to the pinnacle of his craft, but in some instance, to a galaxy far, far away.

For Johnson, his work for four years on the eighth film in the Skywalker family saga was born of the wonder inspired by the first “Star Wars” trilogy when he was young. He shared that passion in an incredible gesture the night before the first “Last Jedi” panel at “Star Wars” Celebration in Orlando, Florida, in April. In an unprecedented move, Johnson made an unscheduled appearance where hundreds of fans were camping out overnight for a spot to see the panel and the first trailer for film, meeting with each fan there individually. As it turns out, those one-on-one meetings proved to be one of the pivotal moments of Johnson’s entire “Star Wars” adventure.

“There were two parts to this whole experience. There was making the actual film and then there’s putting the film out there to the world — and that second part at Celebration was such a highlight and almost like a turning point for me,” Johnson recalled in a phone conversation Tuesday from Los Angeles.

“Coming into Celebration I was a little nervous. I was scared to go up on stage and scared of judgment. I was scared about what people were going to say about this ‘new guy’ making this movie,” Johnson said.  “So, going out that night and just meeting fans face-to-face made me realize, ‘This is me. This is us. This what I’ve been since I was a kid. This isn’t some big, scary mass of folks, this is just the same type of ‘Star Wars’ fan as I have been since a kid.’ Everyone was so kind and so wonderful, that the next day when I got up on stage in front of all of them, I felt like I was standing in front of a huge group of friends.”

Photo: Disney/Lucasfilm

Of course, there were big differences between Johnson and the “Star Wars” faithful: He had the gargantuan task of making a film that would fit within the framework of the sprawling story writer-director George Lucas created 40 years ago. That’s not to say Johnson, 44, didn’t have his share of surreal moments on the set, like bossing Mark Hamill, aka Luke Skywalker, around.

Well, maybe “bossing Mark Hamill around” isn’t the right way to put it.

“To be fair, nobody ever bosses Mark Hamill around. Good luck with that,” Johnson said, laughing. “But I formed a great working relationship with Mark and collaborated with him on this part. But yes, on any single day of the past four years of my life, I can stick my finger down on the calendar and say, ‘On this day was a surreal experience.’ For someone who grew up as a kid on ‘Star Wars’ and it being their world, everything from getting to work with Mark and Carrie Fisher to getting to film on the Millennium Falcon set … You name it, there were just so many instances that it was hard not to have flashes of, ‘Oh, my God, this is really happening.’

“But then those flashes happen, and you get to work, and you get to start to tell a living, breathing story, which is ultimately the goal,” Johnson added. “The purpose of the film is not to showcase all this stuff from your youth, but to tell a story that’s alive right now with these characters and take each one of them seriously as characters.”

In the first film in the new “Star Wars” trilogy, director J.J. Abrams’ ̶

0;The Force Awakens” dealt with the introduction of new characters and caught up with legacy characters like General Leia (Fisher) and Han Solo (Harrison Ford). The telling of Luke’s story, for the most part, rested on Johnson’s shoulders. Fans only briefly saw Luke in the last minute of “The Force Awakens.” Rey (Daisy Ridley) finally locates the legendary Jedi master on an island on the remote planet of Ahch-To, where she presents to him his old lightsaber.

But in a genius spin to show just how Luke’s story evolved in “The Last Jedi,” the grizzled Luke flips the hilt over his shoulder in a move that no one could have possibly seen coming. It was the first of many unexpected moments in the film, even though Johnson says his flip move, so to speak, makes complete sense in the context of the character’s overall storyline.

Mark Hamill in 'Star Wars The Last Jedi' (photo - Disney Lucasfilm)

“For me, it doesn’t start with wanting to do something unexpected or surprising. It’s always a nice thing when you can get that, but for me, that moment with Luke was inevitable,” Johnson said. “It’s wonderful that it plays like a surprise, but given where he’s at in ‘The Force Awakens,’ even though he’s exiled on this island, even though he’s taken himself out of the fight, you realize there must be a reason he’s doing this. I started out by figuring out where the character had to be at in this movie, and it all added up to him being in a place where it would have made no sense at all if we had gotten exactly what we all wanted — which was him firing up the lightsaber and saying, ‘Let’s go kill the bad guys.’ So, the surprise for me is always best when it’s a bi-product of really trying to honestly find he most interesting place to take these characters.”

To date, “The Last Jedi” has made more than $1.2 billion in theaters worldwide and is quickly honing on a place in the top 10 highest-grossing films, globally, of all time. And while “The Last Jedi” is extremely popular, it hasn’t stopped some fans from being vocal with their criticism of the film, including how Johnson dealt with Luke’s fate.

Since Johnson is such a huge fan of “Star Wars,” it does cause him moments of introspection, but ultimately, he said, the best course to take as a filmmaker is to stay true to his vision to see the story evolve — especially since he’ll be involved in the “Star Wars” universe again as the writer and director of the first film in a brand-new trilogy.

“Having been on the internet, I can say the vast majority of feedback I’ve gotten from fans has been ecstatic and on the same level of the critics,” Johnson said. “There are fans who don’t like it and there are fans who absolutely love it. That’s because it’s a ‘Star Wars’ movie. Having been a ‘Star Wars’ fan myself for the past 40 years, (the discussion about the film) is something I’m acutely aware of. If you make a ‘Star Wars’ movie and put some soul into it and give it some life, that means you’re going to have to make choices that inevitably are going to please some fans and not please others.”

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Having grown up in the fan base, Johnson said, he knows that not being able to please everybody is always going to be the case.

“What you need to do as a filmmaker, and this is what Lucas did and all the filmmaker approaching these new movies need to do, is to tell a personal story,” Johnson said. “You have to tell it the way it feels right to you (within the ‘Star Wars’ universe). You have to tap into what that is and you have to trust that. The moment you start second-guessing that, you’re dead in the water, and you’re going to make something that is guarded, dishonest and manipulative, and all the wrong things.

“So, I love hearing the discussion among the fans. I love hearing how the movie connected with people and it’s interesting to hear people’s complaints about it,” Johnson added. “It all adds into the big soup that is the reaction fans have to any new piece of anything that is ‘Star Wars.'”

Tim Lammers reviews movies weekly for The KQ92 Morning Show,” “KARE 11 News at 11” (NBC), “The Tom Barnard Podcast” and “The BS Show” with Bob Sansevere.

Copyright 2017

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Movie review: ‘The Commuter’ is ridiculous train wreck

Hear Tim Lammers’ review of “The Commuter” with Tom Barnard on “The KQ Morning Show” (Segment begins 10:30 in).

“The Commuter” (R)

Liam Neeson is rolling down an all-too familiar path with “The Commuter,” an action thriller that’s a mishmash of several action films, including “Non-Stop” (an in-air thriller that closely mimics this film), “Phone Booth,” “Murder on the Orient Express” and countless others. It’s clear at this point in his career that Neeson, who flirted with the idea of retiring from action films, is in it for the paycheck for this one, and he sleepwalks through what starts as interesting premise but quickly devolves into a manic, monotonous, well, train wreck.

The initial premise of “The Commuter” is promising, as Michael McCauley (Neeson) seems to have found a comfortable life as a life insurance salesman in the 10 years since he left the NYPD. But time has finally caught up with the 60-year-old worker, who is suddenly let go from his firm. Wracked with worry about how he and his wife (Elizabeth McGovern) are going to make ends meet and send their son to college, Michael is suddenly approached by a mysterious woman (Vera Farmiga) on his commuter train ride home. Her proposition is simple. Find a person on the train named Prin, who is carrying a backpack containing stolen device, and plant a GPS bug on them.

It’s a seemingly easy enough gig until Michael realizes that he’s made a deal with the devil. If he decides to walk away from the job, it will put his loved ones in peril, and if he carries through the job, there will be repercussions on that end, too. Looking for ways to get out of the quandary, Michael only makes the situation for himself worse by the minute.

Directed by “Non-Stop” helmer Jaume Collet-Serra (who also directed Neeson in “Run All Night”), the prospects of “The Commuter” building on the promise of its bright premise quickly fade as Neeson finds himself in implausible predicaments, yet, given the fact he is the man who will forever have “a particular set of skills,” manages to wrangle his way out of every single one of them. The film is also hopelessly predictable, which makes this ride a long and agonizing commute that’s in the end, just loud and annoying. The only way you could enjoy this movie is laugh at the ridiculousness of it all. But it’s not an action comedy. It’s an action farce.

Lammometer: 3 (out of 10)

Tim Lammers reviews movies weekly for The KQ92 Morning Show,” “KARE 11 News at 11” (NBC), “The Tom Barnard Podcast” and “The BS Show” with Bob Sansevere.

Copyright 2017

Tim Burton Book 2
Click book cover for info on how to buy!