Note: this is an archived entry. Some links might not still work, but I have tried to ensure scan and video embeds are still in place. If any linked material is unavailable, please let me know and I’ll attempt to find a copy in my personal archives.
It's both the best of times and the worst of times to be a Hugo Weaving fan… On the whole things are good, but certain entertainment websites (primarily those catering to um… enthusiasts of certain fantasy genres) persist in blowing a few minor comments Hugo made about Transformers and Marvel films out of proportion, and reposting Michael Bay's now-deleted, petulant-child rejoinder. I will continue to rebut clueless attacks on Hugo Weaving's character wherever I find them online. I know Hugo does not need me or anyone else to do such things, any more than he needs to bother with the sort of nonsensical one-note roles that certain hostile fanboys think should be his sole stock-in-trade.
But since I have been in the fandom for many years, I am in possession of certain facts (including 25-odd years' worth of Hugo's interviews) that elude much of the entertainment press, which seems more interested in creating the perception of "feuds" that don't really exist instead of doing meaningful research. Since I know most fans reading this are already on my side (and Hugo's– which is infinitely more important) I won't go on at length about this subject here. Like Bay, certain people are bent on taking certain facts and opinions far too personally and have gone after me in certain forums. I've had to block a lot of people on Twitter as well. These sort of juvenile insults don't bother me– more often than not, they ironically prove my point. But I don't want any of my friends harassed over this so please, don't feel a need to get involved.
I continue to hope Hugo doesn't say another word about this at any future Cloud Atlas promotional appearances. I hope reporters will leave this subject alone and respect that he's made his statement about these films, and shouldn't need to be ambushed with further questions about them. He's never said anything in a tone of hostility to begin with, but it's far too easy for any website to quote him out of context and provide their own sneery interpretation. I've made repeated requests that Collider provide the full video or audio of their interview which caused all this ruckus. I don't have an issue with that website per se, as they've treated Hugo respectfully in the past, but they handled this whole thing badly, possibly in an attempt to get more page-views by focusing on blockbusters. (So far they still haven't published a word of Hugo's Cloud Atlas comments– despite the fact THAT'S WHAT HE WAS THERE FOR.) THR was infinintely worse in taking only select quotes out of context and writing a lot of bad nerd-insult comedy around them which distorted what Hugo actually said.
Anyhow… we only have a couple more days to wait, and I hope Hugo is able to defuse the whole fake controversy with his usual understated charm. Some fanboys are never going to be content with his answers or preferences, but these people were never really his fans in the first place– if they had been, they'd have known all along what Hugo's priorities are.
Anyhow… onward to the new stuff, of which there is plenty. The Canadian site Sympatico featured this compilation of cast interview snippets. (Alas, they don't allow embedding; Hugo Weaving and Susan Sarandon are briefly seen in the second of two clips.) I hope their full interview is eventually posted separately. I love what Hugo had to say: "The excitement of doing something that is difficult– the excitement of doing something that hasn't been done– is so contagious." The notion that this committed, artistically driven actor is now being taken to task for not preferring easy roles that have been done a thousand times before is astonishing and a bit sad. One can only hope that the voices of real fans (and the artists who've actually worked with Hugo) will eventually drown out those of people who resent being asked to think or feel outside their narrow comfort zones. (I promise I'll avoid any further water metaphors.) 😉
There's a very entertaining cast interview at Yahoo Movies featuring two of Hugo's photos from the recent press junket that appeared on the AP photo site at glorious full-size. (There are also pics of Susan Sarandon, author David Mitchell, Ben Whishaw, Jim Sturgess and… those two leads whose names I forget.) 😉 Pics will go under a cut here. The reporter asked the inevitable reincarnation question and added the fun follow up of asking what each cast member would like to be reincarnated as, regardless of their actual belief. (Hugo isn't directly quoted on the subject of literal belief… in the past he has suggested he's not specifically religious or superstitious, but tries to see a larger meaning and purpose in life.) Sarandon is quoted on various interpretations of how one's "soul" or essence can live on without a literal belief in reincarnation (and Berry seems most literally spiritual on the question). So I suspect the actors are really all over the map on this question, but mostly taking pains to be inclusive and not upset anyone.
This is one case where if you're going to place a person in one category or another, you really do need to directly quote them. 😉 For the record, I don't care what anyone thinks of me, and I agree with Tom Hanks*. 😉 But of course, everyone should strive to make their own life meaningful and the lives of others better. And there are non-spiritual ways of living on through your DNA, your work, others' memory of you… even down to the critters that will inevitably devour your carcass and in turn feed larger organisms, trees, etc ("Circle of Life" starts playing, etc.) So, if anything, a longer interview would've been great here. Not a subject for soundbites but profound in different ways for each person.
Fortunately Hugo was directly quoted on what he'd like to return as, should such an opportunity arise:
"Weaving: I love working on the land, actually. My dad's family came from a long line of illiterate farm laborers in the west country of England. Generations and generations of them. There's something of that in me, I think. I plant a lot of trees. I have a property about three hours north of Sydney and head up there with family and friends. So maybe something to do with the earth and the land, or trees or nature."
Portrait of Hugo Weaving at Cloud Atlas press junket Beverly Hills, CA 14 October 2012 Photo: Matt Sayles/AP
Here's the full Cloud Atlas mural from the website:
Here are some photos from the 9 September Photo Call and Press Conference in Toronto from Corbis:
Photo: Igor Vidashev
Photo (plus next four): Hubert Boesl
Photo: Brent Perniac
Hugo Weaving and Susan Sarandon at the TIFF press conference 9 September 2012. Photo: Warren Toda (+ next 4)
Hugo isn't in this one, but I couldn't resist: Tom Hanks bites Andy Wachowski's shoulder as James D'Arcy sneaks a snog with Halle Berry in the background. 😉
Remember that interview with German actor Götz Otto in which he said Hugo was his new role model? Here they are in character (as Nurse Noakes and Withers the groundskeeper) in Cloud Atlas. If anything, I didn't think Noakes got enough screentime in the film.
Here's what Otto said about Hugo… more fuel for my argument that anyone calling Hugo "jaded" or "spoiled" has no clue what they're talking about: "My new role model is Hugo Weaving. I was working with him on ‘Cloud Atlas’ and he is a hell of an actor. And in the meantime he is so not behaving like a star! He is humble, normal and approachable. This is refreshing and it’s good to see that you can stay a human being even when you’re living in the universe of stardom."
There's finally a transcript of at least some comments the cast made during the redcent press conference promoting Cloud Atlas in Beverly Hills at NBC San Diego. Tom Hanks, Halle Berry, Susan Sarandon, Hugo Weaving, Jim Sturgess, Bae Doona, James D'Arcy and Ben Whishaw participated. Hugo was asked about how this experience compared to his prior projects with the Wachowskis (in The Matrix trilogy and V for Vendetta):
"Hugo Weaving: The main difference was the addition of Tom Tykwer, but I would say it was very similar as it was working with Lana and Andy on set on the first ‘Matrix’: the sense of playfulness and enjoyment of each other. Lot of life, a lot of conversations on and off set about life and philosophies and the project you’re working on. I’m immensely fond of both of them. Of course they’ve changed, they got older, and changed in many different ways and they’re a little more open to the outside world than they were before – not that they weren’t open to it, but just protective of themselves within it.
There are many new interviews with the Wachowskis; those I didn't mention in prior entries include chats with /Film (first of four parts), Associated Press/Oakland Press (Hanks, Berry and Sarandon also quoted), The Los Angeles Times, The Huffington Post, and Crave Online.There are new Tom Hanks interviews at NewJersey.com, CNN, The Journal Register, Digital Spy, and Geek News Network. Hanks and Berry did a joint interview for Movie Fanatic (which should not be confused with the sort of "joint interview" Luisa Rey and Isaac Sachs shared in the film) 😉 Hanks, Berry, the Wachowskis and several members of the film crew offered insights on the filming process to New York Daily News. Since Halle Berry managed to get through her Good Morning America interview without dropping a f-bomb, the full interview can be seen here.
Jim Sturgess have an in-depth interview to the San Francisco Chronicle, and was quoted by Starpulse as saying he and a few castmates (Hugo Weaving, Hugh Grant and Ben Whishaw!) had mused about writing a Cloud Atlas follow-up over drinks during the recent press junket: "We were with Hugh (Grant) and Ben (Whishaw) and Hugo (Weaving) the other day having a drink and we were like, 'We don't want this experience ever to end because we loved this film so much. How can we keep this going?'…We thought we'd take all our minor characters who had one line or walk on parts and do a whole other Cloud Atlas. We're in the process of writing that at the moment!" I think this is probably about as serious as Hobbit: The Musical (which Bret McKenzie, Ian McKellen and Hugo joked about composing while on the Hobbit set last year)… but who knows? This time though, they should give Hugo and Hugh all the heroic lead roles and make Sturgess and Bae Doona the villains. Hanks and Berry can play good souls who gradually gets worse over time, and Susan Sarandon can play evil religious figures. Only fair. 😉
Cinema Blend has an optimistic analysis of the film's box office chances: I predict it will have modest success but will gradually accumulate the sort of cult following V for Vendetta now has, and Bound has had since the late 90s. (Even Speed Racer has its steadfast devotees.) The film is a tall order for anyone who can't sit still for three hours or resents being asked to do a bit of work for themselves– though I will stress I found the film relatively easy to follow, and briskly paced. The philosophical elements are also much less opaque here than in The Matrix trilogy (and yes, there's still some action to wash it all down). All six stories are in user-friendly genres and are plot-driven rather than airily contemplative I also want to thank Cinema Blend for treating Hugo's comments on certain blockbuster films more fairly than most, and for being able to ask him about said films without angling for controversy.
There's also an interesting article at MSNBC about the use of the English language in Cloud Atlas (which is creatively repurposed in two futue-set segments, particularly the final one, featuring a post-apocalyptic, tribal Hawaii). Linguists muse on how accurate David Mitchell might be. Me, I find Zachry's pidgin-English more literate than a lot of what I'm already reading online. 😉
And Tom Hanks and Halle Berry's Unscripted Interview is finally up. Alas, they were the only cast members asked to participate– and they did an entertaining job, to be fair. No, Berry's broken foot doesn't really impact her performance. Luisa Rey and Meronym both meet with accidents that could explain a limp– even in the novel.
And it's about time I did a review compilation:
Kenny, My Life As A Geek: "You watch as these stories unravel and you bounce from time to time. Each piece adding a little more to the over all story. It's really cool to see how each of these characters are connected over time. I love how their actions in the past effect their actions in the future or how they mimic each other. I enjoy how some of the characters recognize this connection and comment about it…. This is a movie that you can see again and again and pick up even more details. I don't think the writers try and hide anything it's just that there is so much going on it's difficult to take it all in, with the first viewing… My favorite stories were the lovers in the 30's, though it was very tragic it had some very beautiful moments. Jim Broadbent character in present day, he brought the humor to the film. All his stuff were good but when he gets to the senior home.. man that was some hilarious stuff. And finally the futuristic stuff. I loved the action, the love story and the meaning behind it all…I can't forget the music as it's a big part to…Several of the stories and the sound track to this film was pretty amazing and I'm sure I'll be buying the CD when it comes out…Overall I give this movie an A. It's very ambitious with a running time of almost 3 hours (2:44)."
Virtual Nihilist: " Never has writing a film’s story explanation been so challenging for me as it has with my viewing of “Cloud Atlas”. Literally, I don’t know what to say… In our class discussion following the screening, it would seem that the movie may have made a greater impact on those who have already read the novel on which it is based. For the rest of us, we are either left completely puzzled or totally stupefied, as if we had all been collectively intellectually tasered. People who will appreciate “Cloud Atlas” are likely those who enjoy stories of fantasy, science fiction or philosophy. Just know that going into it, you will not see a traditional film designed for a mainstream audience. No movie has ever been made like this before and probably no movie will ever be made like this ever again. The problem is that I can’t decide whether or not that is a good thing or a bad thing. "
[CJ– The more time I spend on this planet, the more I learn that a film which challenges and dares to confuse you (or make you spend hours thinking it over) is usually a good thing. A film which ends up being exactly what you expected, with no surprises, is disappointing. Some aspects of Cloud Atlas, the film, were good in this regard, some too obvious or predictable. But it's such a jam-packed film that a mixed reaction is somewhat to be expected. ]
Marshall Fine, Hollywood and Fine: "[David] Mitchell has met his equal in the teaming of Tom Tykwer and the Wachowski siblings to create a film of “Cloud Atlas,” opening Friday (10/26/12). Together, they find their own way of reconfiguring the puzzle of these half-dozen tales, doing it in such a way to maintain their essential mystery while refocusing the way they resonate and echo each other – beyond the inclusion in each segment of a character who bears a birth mark in the shape of a comet….What is “Cloud Atlas” about? In various ways, it examines the nature of tyranny and the human instinct toward freedom. It is about the search for truth and the many obstacles that stand in the way of that search. It is about the pure joy of creativity – and the envy it can incite in other, less talented individuals… And it is a look at the way man’s worst impulses forever push him toward disaster, even as his better instincts try to pull him back from the brink. Ultimately, there’s only so much a good person can do, this movie seems to say, so save yourself and hope to fight for what is right again in the next battle… The actors (with the possible exception of Hugh Grant, who seems confined to smaller roles throughout) all get a chance to shine. “Cloud Atlas” is one of the year’s major achievements. This film blends strong storytelling with mind-tickling plots and characters who achieve a meteor shower of transcendent moments."
[CJ– I disagreed with this critic's assertion that Old Georgie shouldn't have been physically depicted in the film… ironically, before I saw the film, I would have tended to agree, as I don't think Georgie is real to anyone but Zachry. But since every other thematic element in the film is literally rendered, down to casting actors as different versions of/reincarnations of various sorts of people, it works in a way it wouldn't have in the novel. Plus, it's easily Hugo's meatiest role in the film. I wish the filmmakers had given him more dimension and ambiguity, if anything– he's a side effect of Zachey's superstitious side, and his fear, but he also has protective and traditional aspects, and is embodied somewhat like an elemental spirit. None of this is properly explored… I continue to find most of Hugo's roles in the film underwritten, though one could argue this is just as true in the book– apart from the Frobisher plot, Mitchell tends to see the world in black and white more than I do. ]
Maryann Johanson, Flick Filosopher: "This is a meta story, an uber story: it’s a story about story. It’s a story about why we tell one another stories — about how we almost can’t not tell stories — and what stories mean to us, and how they affect us….To say that this is an idea, entirely separate from this film, that consumes me is an understatement. It’s been the underlying thesis of my criticism from its inception. It is the thing that drives everything I think about when I think about storytelling. I recently figured out that being a movie geek and a TV geek and a book geek means that I am, in fact, a story geek. And that epiphany came only a nanosecond — compared to the scale of my life — before I saw Cloud Atlas. If this were a story, there would be great significance in such a seeming coincidence… Only we see a more tenuous connection that could, if you’re so inclined, be called the persistence of individual souls, or could be a 'mere' fantastical expression of the metaphor of connection and continuity, simple human unity, and philosophical and biological succession (though there’s nothing insignificant about any of that, even if they’re also nothing supernatural). For a handful of actors play different characters across space and time, often intersecting in different ways than their apparent distant relations did… My god, I love this movie. It’s every movie. It’s the ultimate movie. "
Kam Williams, The Skanner News: "Since I hadn’t read the British Book Award-winner, I initially found myself quite baffled by the surrealistic saga’s elliptical storyline. Still, I was able to enjoy it immensely after gradually discerning the underlying method to the time-shifting madness… Cloud Atlas is as much a morality play about human fears, frailties and failings as it is a mind-bending sci-fi mystery. For, while you’re busy deciphering complicated clues, the picture intermittently indulges in pretentious fortune cookie philosophy prompting reflection upon the deeper meaning of life… A cleverly-concealed, centuries-spanning headscratcher constructed with fans of the original sextet of stories in mind. Very Good (3 stars)"
JBenny At The Movies: "This movie tops other affects heavy flicks like Avatar and Inception and is an experience unlike anything anyone has ever seen before. There are six stories going on, in different time periods, yet they are all connected in some very cool ways. The three directors handle the stories in a smart way, providing many visual cues that you just wouldn’t get in a novel. And the fact that the actors change gender, age and race to fit the different story lines is just another amazing and unique feat this film accomplishes… The main cast play some role in almost all the stories and they all are transformed in some amazing ways. The biggest, and funniest, transformation is Hugo Weaving as an old chambermaid, but Halle Berry becomes a white woman, and Susan Surandon an old man. This is a gimmick that isn’t in the book, but something the directors added as a visual hint to the connections all the worlds have. All the actors do an amazing job in their roles, completely absorbing themselves in whatever character they are playing. But I don’t think any of them will score Oscar nominations for their performances, simply because there is no lead or supporting roles in this film. Everyone gets to do both, as different characters. Regardless, the cast is an important part in telling the story the directors wanted and they do an amazing job… I recommend going to see it with some friends and comparing the experience with them."
Ari Dassa, Pass Me The Popcorn: "At nearly three hours in length, Cloud Atlas is certainly a lot to digest in one viewing, but the film is as fun as it is ambitious and engaging. A big factor in one’s enjoyment of Cloud Atlas will be in how much genre filmmaking excites you as a film goer… Cloud Atlas is a massive genre film. In fact, it features just about every genre you can think of at one point or another and is absolutely giddy in the way it wants to play in every genre sandbox. There’s an A-list science-fiction thriller in a chapter set in futuristic Korea complete with Matrix-esque action, while the aforementioned post-apocalyptic storyline features the best of the B-movie world with cannibals, a hallucinatory, foul-mouthed devil (played by Hugo Weaving in one of the many great villain roles)… There’s a dark comedy about Jim Broadbent trying to escape a retirement home (it’s hilarious), there’s a story about an evil medicine doctor on a ship traveling the seas in the 19th Century, there’s a love story about a musician in the 1930′s, there’s a 1970′s mystery with Halle Berry as an investigative reporter who gets herself mixed up with the wrong corporation. Each narrative is tied together by the idea of eternal recurrence… There is no subtlety in “Cloud Atlas”. This film is designed as an epic, and the concepts and ideas presented by the story are meant to stir conversation about what happened, how it happened, and why it happened. Even though it’s heavy on plot, the film is never confusing. The greatest strength of Cloud Atlas is how the intercut narrative engages the viewer and holds your interest from beginning to end. It’s emotional and funny, thrilling and sad, violent and beautiful."
Moisés Chiullan / "Monty Cristo", Ain't It Cool News: "It's taken me weeks to get this out. I've started, restarted, and revised this review countless times… The simplest way to crystalize what the movie is about is to say that it is about 'life, the universe and everything': not answering the meaning of it so much as driving you to ponder that question…. The six separate (though at once interconnected) stories that make up CLOUD ATLAS span different eras, genre, and stylistic tones, resulting in one of the most potent and densely packed modern cinematic experiences I've had the pleasure to digest. To define the scale and ambition of CLOUD ATLAS as 'epic' feels reductive… CLOUD ATLAS features actors playing races, genders, and character archetypes that they never have the chance to so much as sniff at outside the theatre… They do this with not just changes in makeup, but different dialectic and vocal register choices in service of painstakingly-crafted inhabitations of personae… The fact that I often mistook Jim Sturgess, Ben Whishaw, and James D'Arcy is partially a testament to the makeup, costume, and performance work all on display allowing them to truly dissolve across races and roles. As a multi-ethnic person (Chinese-Cuban/Western European American), I grew up as a young actor who was often passed over for the "white" guys for lead roles, being pushed instead into RAV types (Russians, Arabs, Villains, and "others"). This will undoubtedly sound racist (I welcome your angry, hateful comments below), but I personally took some satisfaction that the attractive young/youngish white guys all blended together to some extent… The craft of CLOUD ATLAS from all points reveals such immaculate precision and intention that to me, it truly defines a new conception of modern epic storytelling."
[CJ– Take that, identity politics police! ;)]
There's also an entertaining (if for all the wrong reasons) review at Smart Reviews From Stupid Celebrities which lovingly points out all of the reasons the film got a R rating in the US.
Finally, though I disagreed with most of what the New Yorker critic had to say– I usually have, no matter the film– I do owe the magazine for showcasing the film itself on October 6 so I could see it under ideal circumstances and personally applaud the directors. So here's an excerpt followed by more of my comments. (Yes, I know it's somewhat pretentious to review other reviews, but as many critics have said, this film almost requires interactive discussion. That said, I've bracketed my comments so they may be easily skipped over, should you desire.)
Anthony Lane, The New Yorker: "If your first instinct is to note how that smooth vessel echoes the creaking, masted ship of the earliest tale, then “Cloud Atlas” could be the film that you desire. Its fans, I suspect, will consume the movie time and again, in order to relish the bountiful links in which it delights. The manuscript that the modern publisher reads on a train journey, for instance, is subtitled “A Luisa Rey Mystery,” Luisa Rey being the name of the California reporter. She had a friend in her apartment building, an inquisitive kid, who, we realize, has grown up to be a writer of mysteries, taking her name for his heroine. As for the nuclear whistle-blower who assists her, we first saw him, decades before, in bed with the young musician. And so on, ad infinitum—or ad nauseam, if, like the publisher, you have no taste for 'tricksy gimmicks.' This narrative nesting is not the filmmakers’ idea but Mitchell’s. On the page, though, his story lines follow one another in chronological order, whereas in the movie they are tossed and tangled like noodles, the plan being that our interest should not linger, let alone relax, in any zone of history for too long. The same goes for tone. We hop from the farcical whimsy of old folks, as they bust out of the retirement home, to the severe and glittering saga of Neo-Seoul, which is constructed as an Orwellian satire on corporate conformism, but which—as with the Wachowskis’ work on the “Matrix” franchise—becomes laughably oppressive in its insistence that every character must, under all circumstances, retain a poker face. … If you were scared of Hugo Weaving as the fissile villain in “The Matrix,” when he fanned himself out like a deck of cards, get a load of him in 'Cloud Atlas,' where he proves to be hardly less daunting in drag, as a fearsome and bosomy nurse. The problem with these transformations, however boldly conceived and eagerly played, is that they cannot help drawing attention to themselves. When I saw the film, the audience clapped during the final credits, as brief clips revealed incarnations—Broadbent in the background, say, clad in white sci-fi robes—that we hadn’t even noticed. So warm a response is wondrous to hear, and the best thing about “Cloud Atlas” is that it could, and should, turn into a properly divisive film, touching off feuds between the fervid and the splenetic, but one has to ask: does it allow for immersion? Even as we applaud the dramatic machinery, are we being kept emotionally at bay?"
[CJ– As is standard practice for New Yorker reviewers, this critic wouldn't don't dare allow himself to get "immersed" in any film as brazenly populist and open-hearted as Cloud Atlas. It's already more than evident that plenty of viewers had a very immersive, emotional response to Cloud Atlas. I was drawn in by the smaller moments, as this critic was, and left a bit cold by the more overstated Big Thematic Moments. But the film gnaws at you enough that you question your responses, positive or negative, which is why so many reviewers start off by apologising that they still can't organize their thoughts properly, and can't be as definitive as they'd like.
And it doesn't bother me in the slightest that the actors threw themselves into their work with such abandon. Their enthusiasm is infectious because they're so damn good at what they do.
I agree some character sets resonated more than others- the whole thing reminds me a lot of Robertson Davies' Fifth Business and The Deptford Trilogy (which probably did change my life, as I read it at an impressionable age.) We are all different people with different stories (at different times in our lives), so we respond to different characters and the mythic archetypes they might embody. I've always felt like a "fifth business" sort of character in most peoples' lives, so I was really drawn to James D'Arcy's set of observers, who aren't as neatly and explicitly tied into the romantic recurrence plot as some others. I've always enjoyed villains more than I probably should, and Davies was careful in differentiating that some dark characters aren't necessarily villains, that there are shades of grey (and not just in bad porn.) 😉 This is one area where the film could have done better– the villains are all fairly awful, and mostly there to be paper tigers or obstacles to be faced down. I prefer heroes who have more difficult choices and allegiances than the film offered at times. (Ben Whishaw's Frobisher and Jim Broadbent's Cavendish have their tragic sides but we're meant to love and sympathize with them. It's a testament to these actors that we do, in spades.) The young, pretty and full of revolutionary zeal in the audience will probably enjoy Jim Sturgess and Bae Doona the most, while older and more moderate optimists will enjoy watch Hanks and Berry sort things out over time. Those who aren't buying some of the grandiose "interconnected" themes will just enjoy Hugo and Hugh Grant messing with the lot.] 😉
Speaking of Cavendish, he's on the latest promo poster, courtesy Flicks and Bits:
Pity they've chosen one of his least interesting lines… though the best ones should be seen in context. 😉
And I'm absolutely being spoiled seeing another new Hugo Weaving/Susan Sarandon interview every day. This time it's AMC's turn:
I'll have to watch that again… too distracted watching Hugo play with his chest hair the first time. 😉 And I'll repeat, these two actors should work together again, this time playing less archetypal, more human characters if possible. Though it'd be fun to see Sarandon play evil for a change. 😉
I'll be back and possibly add in some photos or screencaps soon. Unless there's a ton of even newer material!