Couples - Jesse ღ Celine ♥ Before Sunrise - Before Sunset - Before Midnight - Page 17

Gio Gio · 01-03-2014, 03:42 AM

BTS

aabf · 01-04-2014, 12:14 AM

one of the best movie romances ever! Jesse and Celine

Gio Gio · 01-04-2014, 02:35 AM

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The nominations for the 2013 Writers Guild of America awards were announced today - the best indicator of Oscar nods since it's usually the same people in the guild and Academy.

[...]

ADAPTED SCREENPLAY
August: Osage County, Screenplay by Tracy Letts; Based on his play; The Weinstein Company
Before Midnight, Written by Richard Linklater & Julie Delpy & Ethan Hawke; Based on characters created by Richard Linklater & Kim Krizan; Sony Classics
Captain Phillips, Screenplay by Billy Ray; Based on the book A Captain’s Duty: Somali Pirates, Navy SEALS, and Dangerous Days at Sea by Richard Phillips with Stephan Talty; Columbia Pictures
Lone Survivor, Written by Peter Berg; Based on the book by Marcus Lutrell with Patrick Robinson; Universal Pictures
The Wolf of Wall Street, Screenplay by Terence Winter; Based on the book by Jordan Belfort; Paramount Pictures

[...]

Writers Guild Awards

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The 12th Annual Central Ohio Film Critics Association Awards, honoring the best in film for 2013, were announced on January 2, 2014.

Best Film
1. Gravity
2. Her
3. American Hustle
4. Frances Ha
5. The Wolf of Wall Street
6. 12 Years a Slave
7. Inside Llewyn Davis
8. Before Midnight
9. Upstream Color
10. Nebraska

[...]

Central Ohio Film Critics Association (COFCA) - Awards

Gio Gio · 01-06-2014, 05:43 AM

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'Inside Llewyn Davis' Awarded Best Picture by National Society of Film Critics
1:25 PM PST 1/4/2014 by THR Staff

The group of 56 critics voted Saturday and awarded the top honor to the Coen Brothers film.

The National Society of Film Critics have announced its 48th annual awards, honoring Inside Llewyn Davis in the Best Picture category.

The society, made up of 56 critics across the United States, considered any film that opened in the U.S. during 2013.

The list of winners:

Best Director - Joel and Ethan Coen (Inside Llewyn Davis)

Best Foreign Language Film - Blue Is the Warmest Color

Best Non-Fiction Film (Tie) - The Act of Killing (Joshua Oppenheimer), At Berkeley (Frederick Wiseman)

Best Screenplay - Before Midnight (Richard Linklater, Julie Delpy, Ethan Hawke)

Best Cinematography - Bruno Delbonnel (Inside Llewyn Davis)

Best Actor - Oscar Isaac (Inside Llewyn Davis)

Best Actress - Cate Blanchett (Blue Jasmine)

Best Supporting Actor - James Franco (Spring Breakers)

Best Supporting Actress - Jennifer Lawrence (American Hustle)

Experimental Film - Leviathan (Lucien Castaing-Taylor and Véréna Paravel)

'Inside Llewyn Davis' Awarded Best Picture by National Society of Film Critics - The Hollywood Reporter

Gio Gio · 01-07-2014, 02:02 AM

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Julie Delpy in Before Midnight“In Before Midnight, I show my breasts. I decided, Okay, it has to be like I’m alone in the room with my boyfriend. I blocked out the fact that I was topless, and I worked all day  on the set with my breasts showing. I never put on a robe, even between takes.”

Best Performances: See Hollywood's Biggest Stars | People > Celebrities | W Magazine | Photo 19

Gio Gio · 01-07-2014, 02:16 AM

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Richard Linklater, Julie Delpy & Ethan Hawke on Their Before Trilogy
January 06, 2014 By Bryan Abrams

Eighteen years ago, Richard Linklater’s Before Sunrise was released in late January of 1995. Save for a few bit speaking roles sprinkled throughout the film—a pair of Austrian theater actors, a palm reader— every minute of screen time, and every word uttered, comes from a young American, Jesse (Ethan Hawke) and a young French woman, Céline (Julie Delpy), who meet on a train and impulsively decide to spend the next 24 hours together in Vienna. In the span of 101 minutes, Jesse and Céline walk and talk, sit and talk, lie down and talk—all while aware that once the sun rises, Jesse’s due at the airport to catch his flight home.

Their chemistry is palpable, their energy overflowing—here are two hyper literate twenty-somethings falling in love in front of your eyes, and you believe them. Hawke and Delpy, working closely with Linklater (they work shopped Linklater and Kim Krizan’s script from their very first audition), create an incredibly realistic portrait of a young romance—their enthusiasm greater than their wisdom. As one does at that age, they fill any potential pocket of silence with words while the true language between them, the way Jesse covers his smile with his hand when she says something particularly charming, the way Céline watches his hands swinging as they walk and he talks, is unspoken. Their performances ring true. Their night together, loosely plotted at best, has an organic momentum that carries you with them throughout Vienna, finally back to the very train station they had giddily departed the day before. They make a final promise to one another—they will meet back at that station six months later. The film ends. We’re left hoping they follow through with their plan.

“It’s not like anybody was begging us to make a sequel,” Hawke says as we begin our interview. But of course they made their sequel anyway. After various false starts, several versions of the script, and thoughts to expand the scope—more locations, bigger budget, increased cast—the sequel was eventually scaled back and took a similar shape to the original. Only nine years had passed, and Linklater, having had such a rewarding experience working with his actors before to help build out and improve the script, wrote this script with them. Before Sunset opens with Jesse and Céline meeting in a book store in Paris, where he’s talking about his novel. The novel is about, of course, the night he spent with Céline nine years before. Their reunion in the book store is underplayed, subtle, charming. They’re happy to see each other, Jesse visibly so, Céline playing it cool—they walk off into Paris to find a café and catch up. But before they leave, Jesse’s minder tells him he’s due at the airport in just a few hours. These two and their ticking clocks, always racing against time.

Before Sunset is a deeper and more daring film than the first, as it should be considering Jesse and Céline aren’t kids anymore. There’s something magical about the fact that the amount of time between the two films is the same amount of time that has passed since our characters last saw each other. They begin as they had nine years ago, bubbly conversation, smiles, mutual attraction, excitement. But there’s something slightly desperate happening beneath their words. The masks they wear to start the film slowly slip as they begin to reveal themselves. Jesse and Céline have major problems, namely that they’ve never gotten over each other. It is nearly halfway through the film before Céline finally inquires about Jesse’s wife—he’s been wearing a wedding ring the entire time—and what follows that question is the most thrilling moment in the series thus far. Both Jesse and Céline cop to the fact that they’re miserable without each other. They go to her apartment. Jesse’s car waits for him outside—he needs to leave for the airport immediately. Before Sunset ends on such a pitch-perfect note that the final film in the trilogy, even though it would take another nine years to be made, felt like it was promised by their incredible final exchange.

Before Midnight was released this past June to wide critical acclaim. Sharing screenplay credit again with his actors, Linklater has pulled off something astonishing—a trilogy about a single relationship and covered in real time over 18-years. Before Midnight confirms what we suspected at the end of Before Sunset, but it quickly plunges us, without any clunky exposition, into the lives Jesse and Céline are living after having spent the last nine years together.

We’re now in Greece, where they’ve spent the summer. In the opening act of the film, Jesse and Céline get into an argument in a beautifully orchestrated single-shot scene as they drive from the airport (where Jesse’s dropped off his son from his first marriage after spending the summer with him) back to the large estate where they’re staying. Céline claims that Jesse’s mere mention of spending more time with his son (which means moving their family, which includes two daughters, to Chicago) is a time bomb. This fight, this scene, is a microcosm of the entire film.

In a departure from its predecessors, Midnight includes, for a brief period in the first act, an ensemble. Jesse and Céline have dinner with the new friends they’ve made during the summer, including the owner of the house they’re staying at. The scene is made up of different generations of couples—young lovers, our middle-aged protagonists, an older couple, and finally the host and his friend’s widow, both in their 70s. Their conversation includes frank appraisals of how the relationships represented around the table have been sustained—it seems very much like a refutation of everything Jesse and Céline represented in the first two films, the power and beauty of true romantic love. To look at them now, grimacing through this dinner, you see that perhaps their compatriots are right. Soon we’re on another long walk with them, and they’re talking, and things seem hopeful. A fight later that night in a hotel room, the explosion of the “time bomb” that Céline had accurately predicted would go off in that scene in the car, takes our couple, and the viewer, into the very abyss of romantic love’s end. Or so it seems for several excruciating minutes.

The end of this wondrous trilogy is up for interpretation. The fact it exists at all is no small feat. We spoke to Linklater, Delpy and Hawke about their incredible creation.

Richard Linklater directing his actors in the trilogy’s final, magical scene. Courtesy Sony Pictures Classics.

Richard Linklater, Ethan Hawke and Julie Delpy on the set of Before Sunrise, 1994.

Richard Linklater, Julie Delpy & Ethan Hawke on Their Before Trilogy - The Credits

Actor Ethan Hawke attends the 2013 New York Film Critics Circle awards at The Edison Ballroom on January 6, 2014 in New York City.

Gio Gio · 01-11-2014, 08:38 AM

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Best performance by an actress in a motion picture -- comedy or musical

Meryl Streep, who was nominated last year for "Hope Springs," might hope to dominate this category this year with her bitter pill of a character in "August: Osage County." Lucky for her, her competition does not include Jennifer Lawrence. Instead, she faces off against Amy Adams in "American Hustle," Julie Delpy in "Before Midnight," Greta Gerwig in "Frances Ha" and Julia Louis-Dreyfus in "Enough Said."

Streep will probably win, but Delpy's performance in "Before Midnight," the final installment of her walk-and-talk trilogy with Ethan Hawke, is the bigger accomplishment. Not only did Delpy co-write the film with Hawke and director Richard Linklater, but her biggest moment -- a fight scene in a hotel -- is performed half-nude. The effect is so real, so raw, that you almost refuse to believe it was scripted at all.

"It was trying to find the idea of romanticism without being overall romantic and silly and cheesy," Delpy said. "How do you find the right balance of real but romantic but not too cute but not too horrible, either? Because otherwise, a relationship could be a horror film!" Delpy should win.

Golden Globes 2014: Who should win vs. who will win - CNN.com

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Linklater, Hawke and Delpy discuss their 'Before' trilogy and why 'life is magic enough'
Also: How each film has mirrored the film industry's status quo every step of the way

By Kristopher Tapley Tuesday, Jan 7, 2014 5:39 PM

For Richard Linklater, Julie Delpy and Ethan Hawke, the goal of three unique films — 1995's "Before Sunrise," 2004's "Before Sunset" and 2013's "Before Midnight" — that have followed the lives of Celine and Jesse, a pair of love-struck individuals, has been to make viewers feel like they know them. These are people trying to be understood, and the idea is "to get in on their communication," as Linklater puts it. The films have aimed to depict Celine and Jesse as fully as they can, and the result has been one of the most singular on-going cinematic experiences in the modern canon.

To that, Delpy adds that a desire for complexity has been at the forefront. "They're not melodramatic," she says. "It's kind of real and a very small window in the life of these people. It's very important not to make them flat characters."

Celine is unusual in that the opportunities to convey such a complex female character are so few and far between, particularly in the Hollywood sphere.

"The problem, probably, is very insidious," Hawke says, "which is that young women are told at a very young age that what's most interesting about them is being pretty. It's a kind of soul-gutting thing to do to our young women. Whereas men are never taught that. The man who overvalues his looks is really sneered at. If you just flip through the channels and how often you see a woman disrobing in some way or dead or in some state of violence being put upon her, it's shocking. It's rare to see a woman not in one of those positions. So that's what's so remarkable about Celine. And also she's a flawed person. It's not a glamorized portrait of a woman. It's a dimensionalized portrait."

It was obvious to everyone involved from the first film that Celine was heading in a direction that is not a simplified version of a human being. Linklater adds by way of caveat that it's rare that you get this sort of latitude to express a full like, but nevertheless, says Hawke, "I think one of the things Rick and Julie and I are most proud of is Celine, just what a fascinating figure she is."

The logic behind the first film certainly didn't necessarily make specific room for sequels. It was just an independent venture with three creatively motivated artists painting a portrait with passion. When the trio came back together for Linklater's animated feature "Waking Life" in 2001, which featured a brief interlude with Celine and Jesse, that got the gears turning on revisiting the story.

"That's when we looked at each other and said, 'Maybe we should do it,'" Linklater says. "That was the big leap, doing the second film. Committing to that in the vacuum of no one wanting it, except three people and maybe Martin Shafer at Castle Rock. It's the moment we realized Jesse and Celine are still alive that we have something to express through them at a new phase or where they are in life. And it's not that conscious. It just bubbles up amongst us and it's when we realize we're all on the same page, what the movie would be."

What's interesting is that each film has mirrored the film industry and where it has been with each release, Linklater says. "The first film, while only a $2.7 million film, was distributed by a major studio, Columbia Pictures, through Castle Rock," he says. "They had a deal there. Small release, but studios would release a small film, it's worth it to have in their library. The second film was Warner Independent, gone, but an indie release. And then this film, we had no industry financing whatsoever. It was like private equity money, then acquired by Sony Pictures Classics, thankfully. We've had similar results with the three films, but who financed it? Three very different things."

The collaboration since "Before Sunset" has been one that credits Delpy and Hawke as writers on the projects as well. The three were nominated for a Best Adapted Screenplay Oscar for that film and have just received a WGA notice for "Midnight."

Leading into the third film, Hawke sat down and watched the first two back-to-back. What it did for him, he says, is unlock the tone. "Those movies have a unique tone and they can withstand a certain kind of humor and not another kind, and a certain kind of cynicism but not another kind," he explains. "There's a unique world to those first two movies that the third one needed to fit into and then push beyond. So you can't break the tone or the spell dies. And what's funny is it changes who I thought Jesse was when I played him in 1995. It's different than how I look at him now. What I thought was confidence I now read as arrogance and insecure. Lots of things change."

On the writing recognition he and his partners have received over the years, he surmises that what people probably think is most unique is what they've done on the page. After all, "most of these movies would be kicked out of any decent screenwriting course in America," he says. "They don't follow any of the necessary rules. The idea of collaborating on a screenplay with your co-star would be rare, but to do it three times in 18 years, it's particularly rare. And it's become a great experience for us."

It feels a lot like getting a band back together every time, he says, and the bar is raised whenever they step back up to the plate. The fantasy and romance of "Before Sunrise" gave way to the added complexity of the tête-à-tête in "Before Sunset," and now, "Before Midnight" takes the stakes to a whole new level as a full-on battle of the sexes is waged.

With that in mind, it's interesting that "Midnight" is the first of the three that features any form of nudity, as Delpy launches into the argument that takes up the film's third act topless. She says it's funny, because no one in France ever asks about that, but it's nevertheless indicative of the spiked level of realistic intimacy the films have entered into.

"Here a lot of people ask me the question and say, 'Oh, don't you feel objectified,'" she says. "Little do they know I decided as much as those guys did! It's also there's a certain strength in a woman being naked starting an argument. I always remember that scene in 'Short Cuts' of Julianne Moore, the other way around, screaming at Matthew Modine. It's kind of like, 'Wait a minute. We're starting an argument but this person is naked.' It's kind of distracting and at the same time real and I think it does something to your brain, like, 'I'm in a real fight. This is not a Hollywood fight. This is not a movie. Those people are fighting.'"

On the writing recognition he and his partners have received over the years, he surmises that what people probably think is most unique is what they've done on the page. After all, "most of these movies would be kicked out of any decent screenwriting course in America," he says. "They don't follow any of the necessary rules. The idea of collaborating on a screenplay with your co-star would be rare, but to do it three times in 18 years, it's particularly rare. And it's become a great experience for us."

It feels a lot like getting a band back together every time, he says, and the bar is raised whenever they step back up to the plate. The fantasy and romance of "Before Sunrise" gave way to the added complexity of the tête-à-tête in "Before Sunset," and now, "Before Midnight" takes the stakes to a whole new level as a full-on battle of the sexes is waged.

With that in mind, it's interesting that "Midnight" is the first of the three that features any form of nudity, as Delpy launches into the argument that takes up the film's third act topless. She says it's funny, because no one in France ever asks about that, but it's nevertheless indicative of the spiked level of realistic intimacy the films have entered into.

"Here a lot of people ask me the question and say, 'Oh, don't you feel objectified,'" she says. "Little do they know I decided as much as those guys did! It's also there's a certain strength in a woman being naked starting an argument. I always remember that scene in 'Short Cuts' of Julianne Moore, the other way around, screaming at Matthew Modine. It's kind of like, 'Wait a minute. We're starting an argument but this person is naked.' It's kind of distracting and at the same time real and I think it does something to your brain, like, 'I'm in a real fight. This is not a Hollywood fight. This is not a movie. Those people are fighting.'"

Linklater, Hawke and Delpy discuss their Before trilogy and why life is magic enough

Julie Delpy arrives at the Diane von Furstenberg's "Journey Of A Dress" Opening Party at Wilshire May Company Building on January 10, 2014 in Los Angeles, California.

Gio Gio · 01-12-2014, 03:53 AM

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• Ethan Hawke and Julie Delpy, “Before Midnight” – Richard Linklater’s “Before” series has had a lot of praise heaped upon it, but it’s only ever received one Oscar nomination, for the screenplay of 2005’s “Before Sunset.” That script was a collaboration between Linklater and the movie’s stars, Ethan Hawke and Julie Delpy, whose performances deserve as much recognition as their writing. Very few actors are given the chance to develop their characters as extensively as Hawke and Delpy, playing two characters who grow and change with the actors over long stretches of time. The last hour of “Before Midnight” is essentially an acting showcase for the two of them, when we see every peak and trough in these characters’ shared histories. It’s about time their onscreen work got some recognition from the Academy.

These likely Oscar snubs still deserve a nod - Spokesman.com - Jan. 12, 2014

Star hails 'revolution' for older actresses - Telegraph

Julie Delpy is lovely in lace balloon dress at Film Independent Spirit Awards Nominees Brunch

Emily Mortimer goes edgy in dark floral dress as Julie Delpy is lovely in lace at Film Independent Spirit Awards Nominees Brunch | Mail Online

Gio Gio · 01-12-2014, 11:07 PM

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Julie Delpy is fashionable in red on the carpet at the 2014 Golden Globe Awards held at the Beverly Hilton Hotel on Sunday (January 12) in Beverly Hills, Calif.

The 44-year-old French actress was nominated for her work in Before Midnight in the Best Performance by an Actor in a Motion Picture – Musical or Comedy category, but lost out to Amy Adams in American Hustle.

FYI: Julie is wearing a Romona Keveza dress, Jimmy Choo shoes, Lorraine Schwartz jewels, and a Salvatore

Julie Delpy – Golden Globes 2014 Red Carpet | 2014 Golden Globes, Julie Delpy : Just Jared

etcetera · 01-13-2014, 09:59 AM

I think that Julie Delpy should have won. I mean, I do believe that Amy Adams is a great actress, but Julie, Ethan and Richard have managed to create such a big following of an indie film for 20 years. And it would be nice if they got some recognition for it once.

Gio Gio · 01-14-2014, 01:31 AM

I like Amy but I agree with you. Julie deserved to win it.

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AT THE GOLDEN GLOBES Julie Delpy, nominated for Best Actress in 'Before Midnight', wears @TheRomonaKeveza

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Good Q&A w/ Julie Delpy @ the Aero Theater in Santa Monica on the writing process and character development.

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The Late Late Show with Craig Ferguson (S00E00) – Tig Notaro, Julie Delpy, 15 January, 2014 | Top episodes

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Before Midnight: A Conversation about our Film of the Year

Published at 8:30 PM on January 13, 2014

Louis Black, the editor-in-chief and co-founder of The Austin Chronicle, has quite a history with Richard Linklater, the co-writer and director of our 2013 Film of the Year, Before Midnight. In addition to being a longtime friend of Linklater, Black is the co-founder, with him and others, of the Austin Film Society, and the co-founder of South by Southwest, where many of Linklater’s films have premiered. He even appeared in the Linklater’s feature debut, Slacker. Michael Dunaway, in addition to being the movies editor for Paste, is the producer (with Tara Wood) and director of the forthcoming documentary 21 Years: Richard Linklater featuring Ethan Hawke, Matthew McConaughey, Julie Delpy, Jack Black, Keanu Reeves, Billy Bob Thornton, and many others.

Michael Dunaway: So the last time we spoke, that day on the back porch of the Austin Four Seasons, we were admiring together the first two Before films, and you had not seen the third. So I guess I’ll just start out by asking you: what’d you think?

Louis Black: You know, it was remarkable, a completely pleasurable and satisfying experience. I think this is one of the great trilogies in film. It’s one of the most ambitious, one of the most sophisticated. And I hope it’s not just a trilogy. I mean, you know, I’ve talked to Rick asking if there’s going to be a fourth, or maybe even a fifth, and he doesn’t even answer the question. But the third one kind of began organically, and hopefully there’ll be more. As Rick likes to point out, few films have ever performed as weak commercially as these first two to lead to sequels. You know, in the face of all odds, these films turned out three remarkable films.

I think it’s really a culmination. These films are really about modern love, what romance and love and relationships are really like in the world. I think so few films really tackle that. Most Hollywood films, most films period, the actual films, you know, have a very sugarcoated version of love and romance. And a lot of them, the vast majority of films that are about romance, culminate with the couple coming together, which is really when the hard work and the real complications set in. And this film more than any other deals with what happens then.

You know, there’s a magical meeting in Before Sunrise, there’s a more troubling but very sophisticated romantic reunion in Before Sunset. You have that magic moment where the couple walk hand-in-hand off into the sunset together, and at the end of Before Sunset we don’t know if they’re walking off into the sunset together, although we’re probably hoping they are. Well, what happens? Where are they at 10 years later?

I think this film is really amazing in that it deals with kind of a realistic romance. You know, I think there’s only a handful of films that deal with that afterglow. Bertolucci’s Last Tango in Paris is a remarkable film in that it really deals with the mystification of sexuality and romance and then demystifies it, brutally demystifies it, and I think Nicholas Ray’s In a Lonely Place is another film that does that. And Preston Sturges’ Palm Beach Story in many ways is a really kind of sophisticated take. In Palm Beach Story the marriage falls apart and then they come back together without illusion, like at the end of the movie, without illusion. And without, and you know it’s not a Hollywood, sunset, fireworks ending. It’s a very realistic love story in a lot of ways, if you can call depressing stories realistic.

But there are very few films like that, and I think that in so many ways this not only belongs in that august company, but in a lot of ways it’s even more ambitious. On the one hand it doesn’t mystify romance, which so often happens, and on the other hand it doesn’t totally make it a tragedy. You know, there are a lot of films where the whole film is about the horrors of romantic relationships, of monogamous relationships or you know any kind of coupling: male-female, male-male. There are a lot of films that have no hope. But this is really an ambitious film, and an important film that’s about what an incredible struggle being in a relationship is. And anyone who’s been in a relationship will talk about that, but it’s rarely portrayed in fiction. I mean usually fiction—film and books and theater—its one extreme or the other. There are a lot of works that don’t mystify romance but they show it to be a stark tragedy, a horror story in ways…you know, Who’s Afraid of Virginia Woolf, if you will. And Rick is so much more mature and sophisticated than that. It’s really an ambitious attempt to talk about how two people who love each other and are together in a committed relationship deal with the kind of ongoing issues and problems of two individuals trying to be together.

Dunaway: I love what you said in our documentary about the shot at the end of The Graduate when they’re sitting in the bus, and that this movie is about what happens next after that.

Black: Right it’s that, “what happens after they get…” I find that about a lot of movies. The Graduate is so great because there’s that great shot—and I timed it! I remembered it as being like, five minutes long and it’s only 30 seconds or 45 seconds.

Dunaway: Feels five minutes.

Black: Yeah, because there they are in the back of the bus and the whole film has been building to this. They’re in the back of the bus, they don’t know each other, he’s just taken her away from being married, she’s changed her whole life and they’re both as uncomfortable as they can possibly be, and this is the future. You know? And in a way Nichols gets to cop out—I mean, I think it’s a great film and a great moment, but he doesn’t have to say what happens when they get off the bus stop.

Dunaway: Right, right.

Black: And, you know, Rick does.

Dunaway: Yeah. Exactly.

Black: And it’s not just Rick. Ethan Hawke and Julie Delpy and Rick Linklater together make this movie, and they each bring their life experiences to it and they push each other, and it’s not easy. It’s not an easy film. In a lot of ways I like Before Sunset more in that it’s more cathartic. But it’s not any more honest, and this is just a remarkably honest, adult film.

And it’s entertaining as hell, to get to speak to these people is a privilege and a pleasure, but it’s also very real, you don’t feel like there’s any cheating going on. And you know you don’t think at the end that they’re going to wake up in the morning and there’s going to be bluebirds outside of the window pleasantly singing. They’re going to have to face another day and they’re going to have to go through what they went through again. It’s not a culmination—it’s a journey.

Dunaway: No you’re right, the guys on the Filmspotting podcast talked about that a little bit and I thought they did a really good job talking about that, about how it’s a happy ending that’s somehow not completely happy—it’s a hard happiness, it’s a difficult happiness, you know? Its not denying any of those issues or thinking that any of them have gone away because Ethan told a cute story, because Jesse told a cute story.

Black: No, absolutely. I mean they both know, during that whole really torturous, long third chapter—you know, the final third of the film where they’re in conflict with each other—they both at different points try and resolve things because they know they have to work at it. And they’re just not ready to do it at the same time, until the end. And it’s not climactic. I mean in the film it’s climactic, but within their lives and their relationship it’s not climactic.

We don’t think that everything’s going to be different. They’ll still have to work at it. Or you know, they still have issues to resolve and they still have to work at their relationship, but it’s exciting at the ending that they both accept that their relationship is worth the amount of work they have to put into it, and the amount of energy, and the amount of strife.

Dunaway: Yeah it’s an incredibly realistic yet incredibly optimistic film in a way. It combines those two in a way we very seldom see combined.

Black: I actually, I mean, one of the things I rant at a lot is that I think the cultural body of work now is very negative. It assumes the best is behind us, the worst is yet to come—science fiction is very rarely optimistic, it’s more often prophecies of doom.

Dunaway: Sure.

Black: You know, so many films, you know, are a dark, maybe black comedic, maybe just dark in that, you know, the world is a shrinking place. And I think there are very few directors who I would say are optimistic. I think Jonathan Demme is one of them, and I think Rick Linklater is one of them. And I think that when you look at Rick’s films, none of them are naïve. I once was with Jonathan and told him that, you know, this was my feeling, and he didn’t want to use the word “optimism.” He said that you could be accepting of the world as a troubled and troubling place, where there are incredible difficulties and injustices, and know that survival—living—is a real struggle, but still feel that there’s a possibility, there are possibilities, that our world can be better, that communication can be achieved.

And that’s not, you know, again, that’s not closure. It isn’t, you don’t hit the Yellow Brick Road, it doesn’t suddenly turn from black-and-white to Technicolor, it’s…you know, we’re adults in a very tough world, but there are possibilities. And as much cause as there is for the overwhelming pessimism you see in so many films, and so many films I think really are pessimistic. And again, “optimism” and “pessimism” are weak words that get at what I’m trying to convey. I think there is something that says, you know, that we have options, that there are possibilities and that in no way, you know, denudes life of its conflicts and contradictions and difficulties, but that that could all be in service of moving forward.

Dunaway: You know, I don’t know if you agree with this or not, but I said to some people, “I think that Before Midnight is the best of the three films,” and they kind of raised their eyebrows and said, “How can you say that?” But it only makes sense—of course, for us all, Before Sunrise was our first love, that’s when we fell in love with Jesse and Céline, so of course we all just have this special place in our heart for it. But the thing is, Before Sunrise is a very young guy in Rick, and two even younger people in Ethan and Julie, analyzing love. And then Before Sunset is a slightly older guy and a slightly older couple coming together and sharing their thoughts and wisdom and feelings about love. And now Before Midnight is a middle-aged guy and a middle-aged couple who are bringing to bear everything they’ve learned and all of their insight. I mean it only makes sense that the possibility would be there, even the probability, that the series would continue to get better as they continue to get older wiser and more insightful, right? Does that make sense?

Black: You know, I agree with you in principle. I think it’s the most ambitious, the most complex, the most mature of the three. I have to admit, I have a weakness for Before Sunset like nobody’s business. You know if I’m being honest—intellectually, I probably, totally agree with you. But emotionally, Before Sunset—when I was a student of course I liked Before Sunrise.

When they showed Before Sunset at South by Southwest, and I went to see it, and this was back—now I go to see lots of movies, because I’ve you know been kind of kicked upstairs, it’s so big that now there’s not much for me to do—but back then I rarely went to movies and I went to see it because it was Rick’s new film, and it just blew my mind. I just spent like two days babbling, and unfortunately both Ethan Hawke and Julie Delpy showed up during the—Ethan was there and Julie came like the next day, and Lee Daniel was there and Sandra Adair—so I babbled to all of the people involved in making the movie, you know? I was just babbling because it just ripped the top of my head off. I permanently embarrassed myself. And again, Before Midnight was cathartic and a great cinematic experience. But I just have a special spot in my heart for Before Sunset. So I’m not disagreeing with you in any way, it’s just, you know, there’s a way certain films ring your bell.

Dunaway: Well, I’m going to ask you an impossible question, which we cheated on at PASTE, because we gave our, we actually gave our No. 1 “Performance of the Year” to Oscar Isaac for Inside Llewyn Davis, but No. 2 was a tie between Ethan and Julie So the impossible question is: do you take—for this movie only—do you take Ethan’s performance or Julie’s performance?

Black: You know I feel that’s like saying “Do you like Laurel or Hardy better?” There’s no Laurel without Hardy there’s no Hardy without Laurel. And you take either one of them out of it and, you know, you don’t have the genius that is Laurel and Hardy. Because take either one of them out of it you don’t have the genius that is Delpy and Hawke, and I really mean that. You know, I thought one of the triumphs of Before Sunset is that so much of that movie is Julie. And so much of it—half—is Ethan. And for such a long run in that movie of that movie he’s got that look on his face, which I know only too well, that kind of frozen smile when you’re with a woman and you’re thinking, “I may get laid! If I persevere, I may get laid!”

Dunaway: “Don’t blow this, don’t blow this!”

Black: Yeah exactly! Like, “I’m not 100% sure but I’m going along with this right now, and I haven’t given up hope!” And it just strikes me as this most remarkable performance because I know that feeling so well, and you so rarely see it in film, and there’s a lot of other things in that movie that I don’t want to take anything away from, but you know in that movie he’s—a lot of times he’s the catcher and she’s the pitcher.

Dunaway: Yeah, yeah.

Black: But in this movie you know they’re playing catch. Each one is catching and pitching. Again, I’m not taking anything away from Before Sunset, but in this movie more than in so many movies I think it’s impossible to judge between the two of them.

Dunaway: If they do the next movie, there is something that I am dying to have Rick, to have them, explore, and it was kind of implicitly brought up in this film. But I want to see it, as much as I love Jesse and Céline, I want to see them deal with something. I want to see them deal with the fact that their relationship, this beautiful relationship that we all love, started—or continued at least in the second movie—with Jesse cheating on his wife. You know?

Black: Yes!

Dunaway: So what I think would be perfect for the next movie would be for the kids, they come back for the kids’, whatever it is, college graduation ceremony or whatever it is, so it’s in New York or Chicago—it’s Chicago that they live in right?

Black: Yeah.

Dunaway: And they have to deal with the ex-wife. They have to deal with the kids. You know, and maybe the kid is in some kind of romantic thing, and they’re seeing like, the multi-generational aspect of this. I don’t think they’re bad people and I don’t think they should suffer, but I do think that it would give this sort of moral center to the saga. To have them confront that, even though good comes out of it, that this started with something that was wrong, you know? I don’t know, what do you think? Am I being too prescriptive or moralistic?

Black: No, I think you’re being fascinating. I mean I’m totally—I’m thinking about it, and you’re right. And, I mean, in a way they make it easy because the relationship between Jesse and his wife is so troubled, and it’s clearly doomed. But he’s still with her, and yet he goes back to this woman he’s always loved. So I think it’s fascinating, and I think that dealing with that would be fascinating. But a long time ago, you know, I know enough filmmakers that I learn whenever I beg for suggestions along those lines, they roll their eyes and they tap me gently on the top of my head and send me on my childish way.

Dunaway: “Oh, you’re so cute, little critic.”

Black: Yeah! You know, I think that in terms of writing an essay on the trilogy that would be a great and fascinating point of view, and I think it’s, among the three of them, if that’s the way they decided to tackle it, that would be exciting. But I’ve come to fully appreciate all my shortcomings, and one of them is narrative exploring. You know, I do best sticking to other people’s maps.

Before Midnight: A Conversation about our Film of the Year

trucherrygirl · 01-14-2014, 08:29 PM

Glad to see Before Midnight win Best Screenplay! Well-deserved!

Gio Gio · 01-15-2014, 01:23 AM

Quote:

Critics' Choice Awards To Honour Forest Whitaker, Ethan Hawke, Julie Delpy, And Richard Linklater
By DAVID HUMPHREYS

1/14/2014 at 3:50 PM ET

Earlier today, The Broadcast Film Critics Association (BFCA) announced four of the recipients of this year's Critics' Choice Awards. The Joel Siegel Award will be given to The Butler star Forest Whitaker while the Critics’ Choice LOUIS XIII Genius Award will be shared by Before Midnight creators Julie Delpy, Ethan Hawke and Richard Linklater.

The BFCA also announced that Whitaker's award will be presented to him by his Butler co-star Oprah Winfrey.

The rest of the winners will be announced live at the ceremony on Thursday, January 16. Aisha Tyler will host the event.

ET Canada | Blog - Critics' Choice Awards To Honour Forest Whitaker, Ethan Hawke, Julie Delpy, And Richard Linklater

Quote:

CCMA’s To Honor Forest Whitaker, Richard Linklater, Julie Delpy & Ethan Hawke
By THE DEADLINE TEAM | Tuesday January 14, 2014 @ 12:05pm PST

(Los Angeles, CA – January 14, 2014) – The Broadcast Film Critics Association (BFCA) has announced that it will be honoring Forest Whitaker with the Joel Siegel Award, to be presented to him by his co-star in “Lee Daniels’ The Butler,” Oprah Winfrey. Julie Delpy, Ethan Hawke and Richard Linklater will receive this year’s Critics’ Choice LOUIS XIII Genius Award at the 19th annual Critics’ Choice Movie Awards. The rest of the night’s winners will be announced live at the Critics’ Choice Movie Awards ceremony on Thursday, January 16, 2014 from the Barker Hangar in Santa Monica, Calif. Hosted by Aisha Tyler, the star-studded awards gala will be broadcast live on The CW Network at 8:00 PM ET/PT.

The Joel Siegel Award is a special honor given by the BFCA in the name of “Good Morning America” film critic and founding BFCA member Joel Siegel, who lost his long struggle with cancer in June, 2007. The Joel Siegel Award is special to the BFCA, honoring its namesake’s legacy and his belief that the true value of celebrity is as an enhanced platform to do good works for others. It spotlights the leadership role so many great stars undertake to help solve the world’s most pressing problems. Previous recipients include Sean Penn, Matt Damon and Don Cheadle.

Forest Whitaker is an exceptional actor. He won an Academy Award and a Critics’ Choice award for his work in “The Last King of Scotland,” and he was acclaimed this past year for his performance as Cecil Gaines in “Lee Daniels’ The Butler.” But he is also an exceptional humanitarian who has worked to raise awareness about youth and violence. In 2012, he founded the Whitaker Peace and Development Initiative, dedicated to helping people affected by violence regardless of age, gender, nationality or faith. Its mission is simple: empower individuals by creating a space for them to be heard, and inspire youth, women and men to promote peace everywhere.

Matthew McConaughey will present Richard Linklater, Julie Delpy and Ethan Hawke with the Critics’ Choice LOUIS XIII Genius Award. Given last year to Judd Apatow, the LOUIS XIII Genius Award recognizes “an unprecedented demonstration of excellence in the cinematic arts.” The trio of collaborators are being recognized for creating one of cinema’s most compelling and unique romantic sagas. The genius of their approach to this extended love story lies in its unvarnished honesty. Nearly 20 years ago in the film “Before Sunrise,” a romance ignited between two soul mates on a train to Vienna and defined a generation. In the decades that followed, that generation grew up and the complicated characters played by Julie Delpy and Ethan Hawke have matured right along with them. In 2004’s “Before Sunset” and last year’s “Before Midnight,” the conversation between the French Céline and American Jesse continued to unfold in real time – a sort of special cinematic effect which has long fascinated Richard Linklater.

The Critics’ Choice Movie Awards are bestowed annually by the BFCA to honor the finest in cinematic achievement. The BFCA is the largest film critics organization in the United States and Canada, representing more than 280 television, radio and online critics. BFCA members are the primary source of information for today’s film going public. Eligible films were released in 2013. The accounting firm of CMM, LLP tallied the written ballots.

Since its inception in 1995, the Critics’ Choice Movie Awards has been a star-studded bellwether event of the movie awards season. Historically, the Critics’ Choice Movie Awards are the most accurate predictor of the Academy Award nominations. Among nominees expect to attend Thursday’s gala are Amy Adams, Cate Blanchett, Sandra Bullock, Bradley Cooper, Alfonso Cuarón, Bruce Dern, Leonardo DiCaprio, Chiwetel Ejiofor, Adèle Exarchopoulos, Tom Hanks, Spike Jonze, Jared Leto, Julia Louis-Dreyfus, Melissa McCarthy, Matthew McConaughey, Steve McQueen, Robert Redford, Julia Roberts, David O. Russell, Martin Scorsese, Meryl Streep, Emma Thompson, Oprah Winfrey, and Hans Zimmer.

The 19th annual Critics’ Choice Movie Awards will be produced by Bob Bain Productions and Berlin Entertainment.

CCMA's To Honor Forest Whitaker, Richard Linklater, Julie Delpy & Ethan Hawke - Deadline.com

Gio Gio · 01-16-2014, 07:27 AM

Congrats

Quote:

BEST ADAPTED SCREENPLAY
Before Midnight
Captain Phillips
Philomena
12 Years a Slave
The Wolf of Wall Street

All the Oscar 2014 Nominations here! | Clickonline.com

**Crystal Clear** · 01-16-2014, 07:40 AM

Please can I be added to the shippers' list?

Amazing couple with amazing chemistry. Plus, it amazes me that Ethan and Julie work together with Richard on the scripts for each of the sequels. To be that committed to a movie trilogy when each film premieres 9 years after the other one, is truly special.

I'm thrilled that Before Midnight is nominated for the Oscars' Screenplay Award. Really looking forward to seeing Ethan, Julie and Richard all there

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Fan Forum > General Discussion > Couples > Jesse ღ Celine ♥ Before Sunrise - Before Sunset - Before Midnight