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Post by eaz35173 on May 21, 2014 16:04:21 GMT -5
Other then NY and LA, I guess Ketchup thinks that the only other audiences that will go see this movie live in FL (or Dallas or Phoenix). Really ... 7 out of 11 cities are in FL?! THE LOVE PUNCH debuts in Los Angeles, New York, Dallas, Fort Myers, Jacksonville, Miami, Orlando, Tallahassee, Tampa, West Palm Beach, and Phoenix THIS FRIDAY!
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Post by Ace on May 21, 2014 16:12:05 GMT -5
Other then NY and LA, I guess Ketchup thinks that the only other audiences that will go see this movie live in FL (or Dallas or Phoenix). Really ... 7 out of 11 cities are in FL?! THE LOVE PUNCH debuts in Los Angeles, New York, Dallas, Fort Myers, Jacksonville, Miami, Orlando, Tallahassee, Tampa, West Palm Beach, and Phoenix THIS FRIDAY! Well there are all those retirees in FL....
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Post by eaz35173 on May 21, 2014 16:54:06 GMT -5
Guess us youngsters will need to wait for it on DVD
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Post by Ace on May 21, 2014 19:00:15 GMT -5
Where did tou find the cities on their site? They have photo of the film on their main page but it's not even listed under their "Films" ketchupentertainment.com
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Post by eaz35173 on May 21, 2014 19:46:59 GMT -5
Where did tou find the cities on their site? They have photo of the film on their main page but it's not even listed under their "Films" ketchupentertainment.comIt was posted on their facebook site ...
============== I do hope they roll out a wider release before it goes to dvd.
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Post by Ace on May 21, 2014 20:28:47 GMT -5
Thanks. Pretty much with zero advertising and minimal promotion I don't see how it will roll out any wider and if it does it will be a handful of cities.
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Post by eaz35173 on May 21, 2014 20:42:25 GMT -5
That's a shame. I hope it gets to dvd quickly, then, so the rest of us can see it!
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Post by eaz35173 on May 22, 2014 7:29:40 GMT -5
www.nowtoronto.com/movies/story.cfmEmma Thompson & Pierce Brosnan
Two of Britain’s finest muscle up for a comic caper pic
By GLENN SUMI Emma Thompson wants to do action roles. The woman who’s made a career playing utterly proper, upstanding characters – often in period dress – is telling this to a table full of journalists before the world premiere of The Love Punch at TIFF. “I talked to Sean Penn recently, and he’d just finished one. He said he was covered in bruises, that he had bruises on his bruises,” she says in her typical blithe manner. “I want that! I want to get all ripped like Linda Hamilton in T2 and have muscles on my nose.” Ironic, because her Love Punch co-star, Pierce Brosnan, who’s seated next to her, has executed his fair share of action sequences as James Bond. The two play a divorced couple who get caught up in a comic Côte d’Azur caper after they discover they’ve been swindled out of their life savings by a sleazy French con man. “I’m largely known for being in a certain genre of film,” adds Brosnan, “and it was great to be able to turn it on its head, inside out and back to front.” This is the first time the two have worked together, and they have nothing but good things to say about the process. “He’s the most graceful man on the screen,” she says. “He’s the Rudolf Nureyev of movement.” Brosnan, meanwhile, says Thompson is an amazing actor who covers the gamut of emotions and characterizations. Neither considers The Love Punch aimed at the same greying demographic that made films like The Best Exotic Marigold Hotel a huge hit. “You can’t think like that,” says Thompson. “It might not work or [that audience] might not like it; other people might prefer it. I hope my 13-year-old daughter will get just as much of a kick out of it as my 80-year-old mum, and everyone in between. Otherwise, what’s the point?” Not that she’s happy with all the films marketed toward adolescent boys, like the Transformers movies. “Unfortunately, a lot of films made for 17- or 18-year-old boys are really empty,” she says. “I see a lot of them because I have nephews. I watch them and think, ‘God help us. If that’s what we’re offering our kids, then what are we saying about how we value them?’” If The Love Punch is successful, would they consider doing a sequel? “Yes,” says Thompson. “But I’d want more action in it. Including a training montage. I love those.”
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Post by Ace on May 22, 2014 12:31:48 GMT -5
www.filmjournal.com/filmjournal/content_display/reviews/specialty-releases/e3ie7c3442725301e521c82deeafbe565e2Film Journal Reviews - Specialty Releases Film Review: The Love Punch Although it’s not in the same league as, say, The Pink Panther, this fun, feel-good romantic caper does make the most of some gorgeous Riviera locales while letting it’s Boomer-age stars have a grand old time being downright silly. If the under-30 crowd gets to yuk it up with their outrageously absurd movie comedies, why can’t the over-50s? May 22, 2014 -By Shirley Sealy When first we meet the long-divorced couple Kate (Emma Thompson) and Richard (Pierce Brosnan), they are trading nasty bon mots while watching the goings-on at another couple’s wedding. They seem like your normal middle-class Brits of a certain age and level of tart-tongue sophistication—a well-off, contemporary couple who have an obvious chemistry but whose marriage ended badly after he took up with a younger woman—leaving her to care for their teenage son and daughter and juggle the needs of her own career. The next time Kate and Richard are seen together, he’s explaining to her that he just learned—on his very first day in retirement, and coincidentally, her first day as an empty-nester—that the French businessman who bought out his firm quickly looted it of all assets, including the pension funds that Richard and Kate had counted on to live out their lives in the style to which they’ve become accustomed. For a moment—just a moment—they panic. But then—zut alors!—he has an idea: Why don’t they go to Paris—together—to confront the guy who did them in, and explain to him that they really, really need to get their money back? “It’s a stupid idea,” Richard admits, a crazy idea, daft. “Yes,” Kate agrees, “but brilliant!” That line becomes a running gag, predictably enough, as we follow Kate and Richard and their stupid but brilliant ideas to Paris (where they get the brush-off) and then on to the Cote d’Azur, where the shameless French businessman, Kruger (Laurent LaFitte), is about to marry the ravishing Manon (Louise Bourgoin). Somehow Richard and Kate learn that Kruger recently acquired a $10 million diamond pendant for his bride to wear at the wedding, and this inspires another stupid/brilliant idea: If they could just steal that magnificent gem and sell it, then all their troubles would be over. But to pull off a heist like that, Kate and Richard need the help of their neighbors and best friends back in London, Pen (Celia Imrie) and Jerry (Timothy Spall), who always believed that Richard and Kate would get back together and who don’t hesitate a nanosecond to fly off to Cannes to join in on the scheme. Before long, these four growing-paunchy pensioners are stuffing themselves into wetsuits to swim out to an island where the wedding takes place. But first they’ll have to scale some treacherous cliffs before changing into the fancy duds, which come out amazingly dry and unwrinkled after being stuffed into their wetsuit backpacks. How do they plan to crash the grand and tightly guarded nuptials? Well, by pretending to be two couples from Texas who were actually invited but unfortunately got themselves waylaid (drugged and tied up) by our fab four. Oh, there’s more: At some point Richard finds a crooked jeweler to make a fake diamond pendant, and Jerry (who’s had a shady past) locates a fence who’ll buy the real one. Kate’s job, meanwhile, is to befriend Manon, the beautiful but naïve bride, so she can pull the old switcheroo. Pen and Jerry take their posts as lookouts during the wedding reception—where she has an embarrassing encounter with an ice statue of a nude boy. And so it goes: one ridiculous plot turn after another—some of them old and hackneyed movie clichés, some invented on the spot. And the movie references abound—from James Bond to The Pink Panther to A Fish Called Wanda—although they go by so fast they’re easily missed. Emma Thompson (who starred in director Joel Hopkins’ Last Chance Harvey) and Pierce Brosnan have never before worked together, but they should certainly do so again—for, if nothing else, The Love Punch proves these two stars have terrific romantic as well as screen chemistry, and they both excel at fast-paced, slapstick comedy. Another plus: Thompson has no rival in her pursuit of what could be called the Katharine Hepburn Award for Outstanding Ladylike Pratfalls, while Pierce Brosnan stands alone in his gift for gleeful self-mockery. (Remember the glitter suit with cape and platform boots in Mamma Mia!, or his walk through that Mexican hotel lobby—wearing cowboy hat and boots and little else—in The Matador?) There’s no middle way with The Love Punch. Critics—and viewers—will either huffily reject all this nonsense out of hand, wondering how such intelligent, quick-witted performers as Thompson and Brosnan and Imrie and Spall could stoop to this level of moviemaking. Or, they’ll take a deep breath, relax and go with it, marveling at how Hopkins managed to put together the perfect cast for this stupid—but brilliant—romantic comedy for the art-house/AARP crowd. Honestly, we’ve been starving for a silly yet truly funny movie of our very own.
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Post by eaz35173 on May 22, 2014 13:58:59 GMT -5
www.filmjournal.com/filmjournal/content_display/reviews/specialty-releases/e3ie7c3442725301e521c82deeafbe565e2Film Journal There’s no middle way with The Love Punch. Critics—and viewers—will either huffily reject all this nonsense out of hand, wondering how such intelligent, quick-witted performers as Thompson and Brosnan and Imrie and Spall could stoop to this level of moviemaking. Or, they’ll take a deep breath, relax and go with it, marveling at how Hopkins managed to put together the perfect cast for this stupid—but brilliant—romantic comedy for the art-house/AARP crowd. Honestly, we’ve been starving for a silly yet truly funny movie of our very own. I wonder what critics said about movies like Bringing Up Baby and other screwball-type comedies back when they first came out? Because really, you either buy into the ridiculousness of the plot and enjoy the ride, or you're going to find fault with the whole thing. As Emma said in one of the interviews at TIFF, they don't make many movies these days that are designed to just be fun from beginning to end.
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Post by eaz35173 on May 22, 2014 15:53:16 GMT -5
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Post by Ace on May 22, 2014 17:18:41 GMT -5
www.filmjournal.com/filmjournal/content_display/reviews/specialty-releases/e3ie7c3442725301e521c82deeafbe565e2Film Journal There’s no middle way with The Love Punch. Critics—and viewers—will either huffily reject all this nonsense out of hand, wondering how such intelligent, quick-witted performers as Thompson and Brosnan and Imrie and Spall could stoop to this level of moviemaking. Or, they’ll take a deep breath, relax and go with it, marveling at how Hopkins managed to put together the perfect cast for this stupid—but brilliant—romantic comedy for the art-house/AARP crowd. Honestly, we’ve been starving for a silly yet truly funny movie of our very own. I wonder what critics said about movies like Bringing Up Baby and other screwball-type comedies back when they first came out? Because really, you either buy into the ridiculousness of the plot and enjoy the ride, or you're going to find fault with the whole thing. As Emma said in one of the interviews at TIFF, they don't make many movies these days that are designed to just be fun from beginning to end. Bringing Up Baby though is the apex of the screwball comedy. Beyond talented actors and the wackiest & frothiest of plots it has a brilliant, twisty, smart, witty script and wonderfully tight clever directing. The main criticism here doesn't seem to be the tone or weight and Pierce and Emma have been repeatedly singled out as having great chemistry and being far better than the material. The script sounds like it needed more work and polish and a Director more able to handle the screwball genre. But top notch comedies are so thin on the ground now I wonder if anyone in Hollywood can write a great comedic script or if one is written can it be produced and directed because would anyone recognize it? But there have been many movies made with sub par scripts saved and made very enjoyable by it's actors and sense of fun and it seems as if critics are always harder on comedies for scripting issues they give a pass to in other genres. Bizarrely or maybe not when one sees the demographics of most current reviewers (young and male) gross out/man-boy comedies seem to get a pass and they mostly revel in being stupid.
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Post by eaz35173 on May 22, 2014 21:33:12 GMT -5
From the NYTimes ... www.nytimes.com/2014/05/23/movies/the-love-punch-stars-pierce-brosnan-and-emma-thompson.htmlAnything to Save Their Pensions
‘The Love Punch’ Stars Pierce Brosnan and Emma Thompson By BEN KENIGSBERGMAY 22, 2014 The French Riviera scenery from this month’s Cannes Film Festival may act as an enticement, but onlookers are advised not to imitate the drastic measures taken in “The Love Punch,” a good-natured if strenuously wacky caper comedy about a divorced British couple who plot a diamond heist to save their pensions. Because the scheme takes them to Paris and then to Cannes and its surroundings, the ex-spouses, Kate (Emma Thompson) and Richard (Pierce Brosnan), slowly rekindle the spark. After a hedge fund manager (Laurent Lafitte), based in France, strips Richard’s company of its value, Kate agrees to accompany her former husband to Paris, where the two will demand their money back. When that fails, what else can they do but rob a $10.8 million jewel from the villain’s fiancée (Louise Bourgoin)? A fellow couple (Timothy Spall and Celia Imrie) aid them in this endeavor, which involves kidnapping and impersonating wealthy Texans. As justification, Kate rails against financial fat cats; still, down to its rote soundtrack selections (“All Right Now,” “Takin’ Care of Business”), the film feels too complacent to embody a true fight-the-man spirit. As in ’60s confections like “Topkapi” — a filmmaking tradition “The Love Punch” self-consciously emulates — some wonderful actors add class to the material, which struggles to find a consistent register of cartoonishness. (The quartet’s wedding-crash-by-snorkel-and-cliff-climb might have impressed James Bond.) The antics bear little resemblance to those that follow actual divorce and financial ruin, any more than “The Love Punch” resembles the films that compete at Cannes. “The Love Punch” is rated PG-13 (Parents strongly cautioned). Philandering, kidnapping, too much wine. ========== Love the reason it's rated PG-13
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Post by eaz35173 on May 22, 2014 21:39:55 GMT -5
www.larry411.com/the-love-punch-review-pierce-brosnan-emma-thompson-at-the-wheel“The Love Punch” delivers with Pierce Brosnan and Emma Thompson at the wheel MAY22 2014 WRITTEN BY LARRY411 In the sweet romantic comedy The Love Punch, Pierce Brosnan and Emma Thompson play exes who embark on a benevolent crime caper in the south of France. They enlist hapless friends Jerry and Penelope (scene-stealers Timothy Spall and Celia Imrie) to carry out their Robin Hood scheme. Along the way, they’ll endure car chases, goons with guns, and unsolicited glimpses of their college son’s roommate in his most private moments. If that sounds ridiculous, well, it is…but the marvelously elegant Brosnan and Thompson make it work, a royal couple who give the audience a good time and a hearty laugh along the way. Cerebral and credible it’s not, but what romantic comedy is? Leaving the theater with a smile on your face is all a filmmaker can ask, and The Love Punch delivers. This is only the third feature for writer/director Joel Hopkins, but his previous effort, Last Chance Harvey (2008), picked up Golden Globe nominations for stars Emma Thompson and Dustin Hoffman on the way to a worldwide $32.6 million take. That was all it took for The Love Punch’s team of primarily French producers to bring him on board and fly a cast of veteran British actors to the land of love and lust. Not a bad gig. Independently financed by a European and American consortium, The Love Punch has big budget production values with sharp, bright visuals reflecting its classically European settings. Red is the color of romance, and a crisp crimson color palette dominates the film’s interiors while exteriors need no more than an unretouched view of Paris and the French Riviera. Legendary cinematographer Jérôme Alméras has over 50 pictures to his credit. His widescreen camerawork captures the breathtaking allure of the City of Light and French countryside. This love letter to France would be right at home on The Travel Channel. Alméras likes to keep his camera in motion, taking full advantage of the film’s budgetary allowance for crane and helicopter shots. Editor Susan Littenberg’s impressive credits include Sense and Sensibility (1995), The Ice Storm (1997), Charlotte’s Web (2006), Bride Wars (2009) and Easy A (2010), all festival, critical, and box office favorites. Her snappy cutting, along with Alméras itchy shutter finger, results in a movie whose breathless pace increases as the plot unfolds. Composer Jean-Michel Bernard’s lovely original score is vintage European romantic comedy, broken up by a WTF infusion of rock classics like Free’s All Right Now and I Fought the Law by The Clash. Bernard is a celebrated French musician who crossed over into the Western market with 2008’s Be Kind Rewind and nabbed several prestigious awards for The Science of Sleep (2006). The movie is an aural delight. Ultimately, though, the stars of the film raise it above the level of what could have been standard, lukewarm farce into a lighthearted romp that may not be the most memorable of its genre but is a welcome departure from the current crop of teen blockbusters and weighty dramas filling multiplexes and art houses. Separately, Emma Thompson and Pierce Brosnan each have a body of work unrivaled among their peers. Together they’re simply magical. The chemistry between them is palpable, and one can imagine a franchise built around these two…with this movie being a competent start. The Love Punch is a sweet adult rom-com with a touch of Pink Panther, a “leave the kids at home” escape into a film with an admittedly absurd premise made surprisingly believable (and immensely enjoyable) due to the presence of two of our most supremely talented actors.
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Post by eaz35173 on May 23, 2014 12:33:25 GMT -5
jam.canoe.ca/Movies/Reviews/L/Love_Punch/2014/05/23/21691951.htmlEmma Thompson and Pierce Brosnan go for knockout in 'The Love Punch' MARK DANIELL, QMI AGENCY May 23, 2014 During an interview at last fall’s Toronto International Film Festival, Emma Thompson and Pierce Brosnan didn’t know their rom-com caper The Love Punch was going to be hitting theatres in the middle of a superhero smack down. The pair’s light-hearted tale of ripped-off-revenge (opening in select cities this weekend) didn’t have its release date nailed down at the time. But both actors knew that their breezy romp would appeal to people of a certain vintage not interested in men in tights and fire-breathing monsters. “It’s perfect timing for this screwball comedy,” Thompson said presciently of the film. “I like when people can leave a movie feeling happy.” The Love Punch finds Thompson (Kate) and Brosnan (Richard) as an amicably divorced couple who are forced to reunite after their retirement funds are stolen by a predatory French businessman (Laurent Lafitte). Faced with the prospect of spending their golden years destitute and alone, the pair join forces and head to the south of France to impersonate Texans and embark on a jewel heist from the man who robbed them. With the picturesque French Riviera as their backdrop, Kate and Richard find themselves inexplicably falling back in love. “There are emblems in the story I could identify with,” Brosnan said smiling. “Being middle-aged, dealing with your own failures and successes, married life. So you dwell on that a little… then of course (the film) has its far-fetched hijinks. So there’s a lot of different colours… You have two people who are sad, and wondering, ‘How did we get here?’ And by the end, we have two people who are freshly minted and in love.” Director Joel Hopkins (who worked with Thompson on Last Chance Harvey) wrote the film specifically for Thompson and Brosnan, with Timothy Spall (the Harry Potter series) and Celia Imrie (The Best Exotic Marigold Hotel) as their partners in comedic crime. “Joel’s up for making something that’s very uplifting. There aren’t a lot of filmmakers doing that,” Thompson said. Between the laughs and the nice scenery, The Love Punch does ruminate on the passage of time, and that might prick older viewers ever so slightly. After all, Thompson and Brosnan are playing two people whose lives haven’t exactly gone according to plan. But during a 20-minute chat, the veteran actors were remarkably candid about their careers, with Thompson repeatedly praising Brosnan for avoiding the pitfalls of fame. “Stardom can spoil people really badly,” she said of her co-star. “I’ve never been James Bond; I’ve never been a movie star in that sense. I’m a movie actor who is reasonably famous, but it’s a different thing.” Thompson added: "I think that one of the things I appreciate most about him is he is completely and utterly free of any of that falderal. He’s someone so completely at ease and comfortable and everything is normal." “Sometimes, you look around and you find yourself painted into a corner,” Brosnan said. “So I enjoy it all now. I don’t bother trying to rally against it. I go where the work takes me and hopefully it’s good work and it turns me on and makes me want to get out of bed at five o’clock in the morning. I don’t plot or scheme too much.” “People sometimes ask, ‘How do you feel about your career?’” Thompson added. “And I think, ‘Career? I just go from one job to the next and hope that I’ll get another.’ Some people talk about building careers. That’s a curious idea,” she said. "Just getting a job is a high point. It’s funny, you never really grow out of that feeling of, ‘Will I ever work again?’ You finish a job, and you think: ‘Maybe I won’t ever work again.’ I don’t know why."
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Post by eaz35173 on May 23, 2014 18:08:20 GMT -5
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Post by eaz35173 on May 23, 2014 20:23:27 GMT -5
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Post by eaz35173 on May 24, 2014 8:45:56 GMT -5
www.deadline.com/2014/05/box-office-specialty-cold-in-july-gore-vidal-united-states-of-amnesia-the-love-punch-words-and-pictures-stand-clear-of-the-closing-doors-preview/The Love Punchlovepunch Director-writer: Joel Hopkins Cast: Pierce Brosnan, Emma Thompson, Tuppence Middleton, Timothy Spall, Celia Imrie, Marisa Berenson Distributor: Ketchup Entertainment Ketchup first had a taste of The Love Punch at the 2012 AFM. The comedy revolves around a divorced couple who scheme to recover the retirement money that was stolen from them. “Even at the promo stage, it had great chemistry,” said Ketchup’s Stephen Stanley. “It then premiered in Toronto and we closed the deal.” Stanley said that the older demographs are the natural fit for The Love Punch, though, they hope it will break out. “The film had the elements we like. It’s a commercial film with great actors,” added Stanley. “We don’t see it just for older people, but they are the core. We will grow it from there.” Ketchup brought on veteran distribution exec Bob Berney of Picturehouse to oversee the film’s marketing. “His team have developed a great strategy,” commented Stanley. Ketchup said The Love Punch is a broad comedy and it is opening it on a comparatively large 120 screens this weekend in ten markets. Ketchup is doing a round of TV spots and radio in the lead-up to the roll out in addition to the regular press rounds. The Love Punch opened in the UK, grossing 2.5M GBP (about $4.25M USD). “It is a broad fun comedy and we want to give it that chance. We want to see how it plays as a wider release,” said Stanley. “Then we’ll look at results and start expanding.”
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Post by eaz35173 on May 24, 2014 8:50:37 GMT -5
www.azcentral.com/story/entertainment/movies/2014/05/20/interview-qa-joel-hopkins-lets-age-show-love-punch/9340239/Q&A: Joel Hopkins lets age show in 'Love Punch'
Bill Goodykoontz, The Republic | azcentral.com 11:29 a.m. MST May 22, 2014 For his last couple of films, writer and director Joel Hopkins has been able to attract some serious talent. In "Last Chance Harvey" he wrangled Dustin Hoffman and Emma Thompson into the project. Now, in his latest film, he re-teams with Thompson and adds Pierce Brosnan for "The Love Punch." They play a divorced couple who have to get back together to try to recover money stolen from them. Hopkins talked about his actors and his movie recently. REVIEW: The Love Punch Question: This is a pretty broad comedy. Why go in that direction? Answer: Did you see "Last Chance Harvey?" I don't know, the main thing was I wanted to work with Emma again. And we both wanted to do something more playful, so that was the starting point. I don't know if you've seen my first film ("Jump Tomorrow"), but that's much more in this tone, I guess, than "Last Chance Harvey." More playful and goofy. So I don't know, maybe that's my much more natural home. Q: Emma Thompson is underrated as a comic actress. A: Yeah. Her background, before she became an actress, she wanted to do stand-up. I knew this about her, and I knew she had that side to her. I think she can do it all. (Laughs) She's great. That's what I love about her in this movie. She goes to quite goofy places, but she still inhabits real things, with a sort of dignity to it. Q: You hear directors and actors say comedy is harder than drama. A: I would agree with that. … Somehow with comedy, you have to go out on a limb a bit more. It's more vulnerable in a way. If you imagine yourself at a dinner party and you told a serious, dramatic story to the room, it's kind of less of a gamble in a way. But if you tell a funny story to the room, you're saying, "I'm funny, and I'm going to make you laugh." Q: Age plays into this movie a lot. Is that a hard sell to the actors? A: Yeah (laughs). Especially with Pierce, because I was sort of saying, you're playing a retiree. But it's not by accident that he was (James) Bond, and I'm asking him to be a cautious driver and scared of heights. I think there were a few more overt anti-Bond references in the script. I think I took them out when I first sent him the draft, because I didn't want to put him off. It could go two ways — you're taking a cheap shot because I was Bond or whatever. But he totally got it. He knows he'll never be as famous in anything as he was for Bond, and he gets that. He was totally willing to go with it and subvert it. I think it's testament to him as a man that he was willing to take the piss out of it a little bit. Q: Do you like writing for older characters? A: As a writer I find writing characters who are older, well, for one, I find it more easy because they're inherently more interesting. As a character you've lived more. You've collected more baggage along the way. You ask me at this stage to write a twenty-something romantic comedy and I might struggle a bit. I'm sure I've got one in me somewhere, but as a writer, I find writing for older characters easier. Q: Do you prefer writing or directing? A: When I'm writing I'm desperate to be directing. I'm sitting in a room all alone thinking, no one knows I'm doing this. Will I get the money? Will I get the actors? And then when I'm directing I'm desperate to be on my own again in the edit room, which is like another draft in a way, the edit. You can't have one without the other. I think editing is my favorite bit.
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Post by eaz35173 on May 27, 2014 20:09:19 GMT -5
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