Lorne Michaels did Hillary Clinton a big solid last night. The presidential candidate made a splashy appearance on the “Saturday Night Live” premiere, playing a bartender who waits on Katie McKinnon as Hillary Clinton and Cecily Strong as Huma Abedin.
Michael Moore: “I think the only safe place for guns would be in a woman’s uterus”
“I’m an optimist. I’m not a cynic. I don’t think it’s all fucked,” said Michael Moore Friday afternoon at the New York Film Festival’s press screening of his new documentary, “Where to Invade Next.”
“I feel like that sometimes. It doesn’t mean it’s the truth. I mean yesterday’s shooting in Oregon,” Moore bemoaned. “What DO we do about that?”
Kent Jones, the director of programming for the New York Film Festival, who moderated the Q&A, mentioned how powerful the president’s speech was in response to the killings at Umpqua Community College. Moore added that, “it was awesome” and said of the president: “He inches his way toward the place where he needs to go and I hope he goes there. He’s got a year left.”
When asked about the inspiration for the documentary, Moore said he traveled through Europe when he was 19 and broke his toe in Sweden. When he went to the hospital he was stunned when there was no bill. “Why don’t we do that?” he thought as he kept having positive experiences like that all through Europe.
In the doc Moore ambushes or invades people in France, Italy, Iceland, Norway and Tunisia and is floored to learn of policies in their country he’d like imported to the U.S. He’s floored – as I was – to learn that Italians get eight weeks paid vacation and five months paid maternity leave.
Norway doesn’t have the death penalty and stress rehabilitation over revenge. French school children, even in the poorest districts, are fed nourishing, gourmet meals and shun sodas; there are no vending machines in schools. When Moore placed a can of coke on the luncheon table the children cringed.
Moore said he heard that critics in Toronto where the film was first screened wrote, “The difference of this film from the other films is it’s not so angry. Mike’s happy!” Moore laughed, “I’m more angry than ever, but maybe I came up with a more subversive way to deal with that anger about conditions in this country.”
Moore admitted, “I’m really nervous today because you are the first American audience for this. No Americans have seen this unless they went to Toronto. That’s it. We didn’t do test screenings. We kept this very quiet,” he said. “I wasn’t even here for the screening today so I don’t know how people responded.”
Jones assured the director the reception to his documentary was positive. (Moore seemed relieved but he couldn’t have been surprised.)
A journalist with an American accent from the Guardian said that friends of his who saw the film in Toronto asked why Moore chose not to invade England.
“ Because the U.K. in recent years has started to look too much like us,” he said. “They changed their value system to believing in a system of inequality according to income and so I wanted to go to places where we could learn from, and I don’t think we have much to learn from the U.K. now. Sorry to say that – You’re an American anyway. Moore added, “They started to act like us think like us, look like us, so fast food is everywhere and their kids are now looking like our kids.”
Moore’s added a strong feminist message in the film that he said came about organically as he made the film. In invading Iceland he discovered three banks that were run by men failed and the officers were sentenced to prison for financial fraud. Women ran the bank that flourished.
“More women are elected in other democracies,” said Moore. “Women actually have this kind of power and it’s not just Iceland where 40 percent of the corporate boards have to be women. It’s the same in Norway – I think actually Norway started it – in Germany 30 percent of the corporate board has to be female. I noticed in these countries where women had real power, not the fake power that women have here, you know, where 20 percent of our congress are women.”
He added, “The majority gender, 52 percent of the population has 20 percent of the Senate and 20 percent of the House. The sad thing is for historians a 100 years from now is like we’ve left behind film and videotape showing ourselves being really happy that 20 women got elected as U.S. Senators,” he said. “It’s sort of a gender apartheid we have in this country.”
Moore noted that foreigners would say every country has a lot of problems and those are ignored in the doc. “I didn’t go there to make a film about your country,” Moore replied. “I went to pick the flowers and not the weeds.”
“My film is about us and not you. I decided to tell a story about America without shooting a single frame of the movie in the United States.”
A journalist asked if we could invade ourselves? What does American still do well?
“We still do rock and roll and music really well, hip hop, they’re still not very good. In France, you turn the radio on, it’s like they should just give up.” Moore added, “I like the choice of cereal here, massive choices.”
Other pluses over Europe: “We elected Obama over John McCain, that was a good idea, I think. I think that saved us a little. I don’t think most of these countries are going to elect someone of African descent as the head of their country.”
When someone expressed concern about the Republican candidates, Moore replied, “Don’t worry about them. They’re not going to win. Worry about the other side, if I can place myself on that side; we don’t show up. We’re the slacker side of politics and so our side didn’t show up for the congressional elections in the last election. That’s how the Republicans win.”
As to question about Trump, the director said he doesn’t have a shot at becoming president. “Seventy-nine percent of the people in the United States are either women, people of color, or people between the ages of 18 and 30, young people. Donald Trump has none of those blocks. He can’t win.”
He added of the Republican Congress, “To say that you have the right to regulate a woman’s uterus but not guns. I think the only safe place for guns would be in a woman’s uterus,” he laughed. “I hope that came out right, and there’s the 140 character take away from this press conference.”
Review: Danny Boyle’s High Octane “Steve Jobs” Gets An Early Thumbs Up
Note: we’ll have another review tomorrow, and a report from today’s press conference, premiere and party. You can’t overdo it on this one!
From the first LA screening of “Steve Jobs,” from Danny Boyle: It was a smaller, selected press screening, and the jaded audience, including me, was beyond wowed. Written sharply, smartly and with precision like deftness by Aaron Sorkin and directed with high octane energy by Danny Boyle in his signature unconventional way, “Steve Jobs” jumps right out at you from the first scene and literally never lets up.
Michael Fassbender plays the conflicted Jobs perfectly, with his hubris, fear, humor and brilliance all operating with him in each and every second. Jobs, who in 1984 first introduced the Macintosh computer, changed history forever. The film wouldn’t have worked, though if every actor weren’t spectacular. The ensemble includes a truly terrific Kate Winslet who plays Polish born Joanna Hoffman, Jobs’ long suffering marketing sidekick. It’s clear she is one of the only people that could stand up to him.
The always A plus Jeff Daniels plays John Sculley, the company CEO, and Seth Rogen plays Steve Wozniak, his longtime collaborator and friend, with compassion and true heartbreak. “Woz” wants to consistently love his friend but finds that a frustrating task to say the least. A shout-out to the talented Michael Stuhlbarg, who plays Andy Hertzfeld.
Sorkin concentrates on Steve’s life behind the veil, which includes his troubled relationship with his out of wedlock daughter, whom he denied having fathered but is so obviously his, played sweetly by two actresses, Makenzie Moss and Perla Haney-Jardine and her troubled mother, played with a heartbreaking intensity by Katherine Waterston, now well known from Paul Thomas Anderson’s “Inherent Vice.” Sorkin’s screenplay is filled with his trademark witty banter, along with pathos, compassion and huge insight into who this man was, warts and all.
Fassbender certainly jumps into the top tier of potential Oscar nominees. His electrifying performance is thoroughly enthralling. Sorkin chose to end the story before the iPhone and Job’s battle with cancer. That was a smart move. The movie is so out of this world terrific that it didn’t need to go on with all that. We all know that story. What Sorkin, Boyle and Fassbender and ensemble have done, is dynamically tell us a story that is filmmaking at its absolute best. “Steve Jobs,” will absolutely be an awards contender, as well as it should.
At Last! Matt Damon Has His First Major Hit Since 2007 “Bourne” with “The Martian”
Matt Damon must be very happy this morning. Hard, hard working, very talented, and lately verbose, Damon has not had his own major box office hit since 2007’s “The Bourne Ultimatum.”
But Ridley Scott’s “The Martian” — which debuted last month at the Toronto Film Festival to accolades– made $18 million last night. It’s on track for a $50 million weekend. Rave reviews abound. Damon is a serious contender for a Best Actor nomination.
His third time in space is a charm, after “Elysium”– a fiasco– and a brief appearance in “Interstellar.”
Damon’s performance as an astronaut/botanist left behind– home alone, as it were– on Mars, is just lovely, totally charming, and winning. Everyone else in the movie is excellent, too, starting with Jessica Chastain, Chiwetel Ejiofor, Donald Glover, and Kate Mara.
The news is good for Ridley Scott, too. He’s kind of fumfered around since reaching a high with “Gladiator” and “Black Hawk Down” 15 years ago. (The list isn’t so good– I won’t get into it, but “The Counselor,” “A Very Good Year”?) “The Martian” harkens back to his best work (“Blade Runner, “Black Rain,” “Thelma and Louise,” “Alien,” and a little gem called “Someone to Watch Over Me”).
Good news all the way around.
Israel Saved from Having to Endure Pink Floyd’s Roger Waters’ “The Wall”– Won’t Be Released There
For Roger Waters, it’s another brick through the window. He’s written another crazy anti-Semitic essay on Salon.com– which they, by the way, love to publish.
Waters, once with a group called Pink Floyd but still capitalizing on their music, has written a screed on Salon to Jon Bon Jovi and his band because they’re playing in Israel tonight.
Shalom, Bon Jovi. I hope you have a wonderful concert. Some wimp from England is not going to tell Jersey Boy Jon Bon Jovi what to do.
Roger Waters, not even a fresh divorce can make him shut his mouth. He routinely attacks artists who play in Israel, from Paul McCartney to Dionne Warwick to the Rolling Stones and Alicia Keys, among others.
I think what’s interesting is that this past week, one thing did make Waters shut his pie hole– money. He paid for a lunch to promote the concert film of his tour, called “The Wall,” where he cashes in on his past fame. I refused to attend because of his attitude towards Israel. Several others refused, as well. I’m told that there was no mention of his anti-Semitic stand or politics, just chit chat to promote the movie.
The movie of “The Wall,” by the way, will not be distributed in Israel, I am told. The Israelis are being spared Waters’ hoary take on World War II. They can listen to Pink Floyd’s greatest hits on YouTube if anyone cares. At this point, I’d be happy to hear Waters was on the Dark side of the moon.
No thinking person should buy “The Wall” when it comes out on DVD. Let’s send a statement back to Roger Waters. It makes sense now that the first line “We don’t need your education” from “Another Brick in the Wall” was written by him. Roger Waters, you absolutely do need some education. And fast.
PS It’s no coincidence that Pink Floyd’s mascot is a pig. You know something isn’t Kosher there.
Unbreakable: Janet Jackson Album Debuts at Number 1 on iTunes, Number 2 on Amazon
Janet Jackson, welcome back. Her “Unnbreakable” album debuted today at number 1 on iTunes and number 2 on amazon.com.
This is a HUGE comeback for the youngest Jackson sister. Her last couple of albums over at Universal Music were duds. She was written off, and then took off. She got married and took a breather.
But now Janet is on tour, selling tickets. And her album is getting rave reviews. It totally backs up the tour. The single “No Sleeep” had a rocky start. But it’s been number 1 on the Billboard Adult R&B chart longer than any other single.
This is thanks to Janet’s management team, including Phil Quartararo, working “No Sleeep” at radio like crazy.
A new single, “Burnitup,” with Missy Elliot, is out now. But “Unbreakable”– produced by Jimmy Jam Harris and Terry Lewis– has a lot of potential hits.
Who looks good today? BMG Music’s Jon Cohen and his team. They licensed the album and went into business with Janet. Now every legacy star will want that deal. Cohen et al should get Gladys Knight and her team right away. Gladys’s single “Just a Little” is perfect for them.
So good news. Even if “Unbreakable” has a short run at number 1, it’s there. That’s all that matters.
Exclusive: Trudie Styler Directing First Film, “Freak Show,” based on James St. James Novel
Trudie Styler has been a producer for a long time now, as well as a talented stage and film actress (and political activist and fundraiser, mom of 4, young grandmother, and wife of rocker Sting). But director? At last: Styler will oversee “Freak Show,” written by P.J. Clifton & Beth Rigario and based on the book of the same name by James St. James. Celine Rattray, Styler’s partner, will produce for their Maven Pictures. What a splendid idea. (Will Sting make a Hitchockian cameo?)
If the name James St. James rings a bell, it’s because he wrote the book that became the movie “Party Monster” starring Macaulay Culkin as Michael Alig. Alig was one of the Club Kids in New York. He killed Angel Melendez in 1996 and went to jail until his parole in 2014.
“Freak Show” sounds like a lot more fun, about a teen named Billy Bloom described as “smart, funny, cultured, artistic kid who loves to dress up in wildly imaginative and fabulously flamboyant ensembles. Determined to be himself, he’s not going to change his ways, even if it means braving it out among the bullies at his new high school.”
Styler has already produced several small terrific films including Dito Montiel’s “A Guide to Recognizing Your Saints” which introduced Channing Tatum and Shia LaBeouf (in film), as well as exec producing Guy Ritchie’s “Lock Stock and Two Smoking Barrels” and “Snatch.” She and Rattray brought Catherine Hardwicke’s “Miss You Already” to Toronto with much success. She will bring her savvy and edgy style to the picture. Look for an indie hit here.
Update: Sam Smith “Writing’s on the Wall” Drops More As Fans Reject James Bond Theme
I must say I am surprised. Sam Smith was so hot earlier this year, I thought his James Bond theme song for “Spectre” would go through the roof. And one week this morning– Friday– “Writing’s on the Wall” soared to number 1 on iTunes.
But one week later, the “Spectre” song is really a bust. It’s number 38 on iTunes, 112 on amazon, and not streaming on Spotify’s US top 50 chart. It is number 8 on the Spotify global, and around 24 on the UK Spotify chart.
On the UK iTunes, the song is number 2. It was briefly number 1.
Basically, “Writing’s on the Wall” has not charted the wall Adele’s “Skyfall” did. Or any of the Sam Smith singles this year.
But, you know, plenty of singles aren’t charting that have been available for a week. Janet Jackson’s “Burnitup” with Missy Elliot, and Lady Gaga’s “Till it Happens to You” aren’t doing much of anything. I am surprised, especially about the Gaga. It’s not easy out there.
“Empire” Spin Off is The Monkees Meets Destiny’s Child about Four Aspiring Pop Starlets
TV EXCLUSIVE “Empire” is such a big hit that of course, everyone wants a spin off. But history shouldn’t repeat itself: When “Dynasty” took existing characters and spun off “The Colbys,” it was a disaster. The new show lasted one season. Its theme music was later repurposed for “Star Trek.”
Now I’m told that Lee Daniels is casting a pilot that will feature four young women who are aspiring pop stars. This sounds like an “Empire” spin off, as a record company would be involved. It’s called “Star.”
The ladies’ names in this show are Star, Cotton, Alexandra, and Simone. They’re 18-20 years, black, white, and mixed, and one of them is, naturally, transgender.
What could be interesting is if the four girls gel, and become a singing group that makes records in real life– sort of “The Monkees” become Destiny’s Child. That’s a whole other income stream for everyone, especially Sony Music.
Daniels isn’t diluting “Empire” to make this pilot. “Empire” writer Danny Strong isn’t involved. Instead, Daniels’ writer on the show is Tom Donaghy, whose credits include “The Mentalist” and a Rob Morrow show I guess I missed called “The Whole Truth.”
Could Cookie make appearances? We’ll see….
Michael Moore Sells “Where to Invade Next” to Hot New Film Company
Michael Moore has finally made a deal for “Where to Invade Next.” The doc which got raves in Toronto will be released by the new company formed by former Radius chiefs Tom Quinn and Jason Janego. They are teaming with Alamo Drafthouse Founder and CEO Tim League to form a new company.
In a statement, Quinn, Janego and League stated: “Together with Michael Moore and his extraordinary new film we hope to remind Americans they have the inalienable right to laugh, especially in an election year. We’re thrilled about our new label and can’t think of a better film or filmmaker to launch with.” The company name and details of the new venture will be revealed at a later date.
Quinn and Janego had had Radius at the Weinstein Company, where they won an Oscar for “20 Feet from Stardom” and released a lot of good documentaries. They said they were leaving TWC to do bigger films. But now it seems like they’re doing the same kind of films, just elsewhere. Ironically, it was Harvey Weinstein who got Moore his biggest success with “Fahrenheit 911.”