Holman stuurde mij de volgende link, die ik uitpakte. http://www.variety.com/review/VE1117932546.html?categoryid=31&cs=1
Sundance 2007
Interview
(U.S. – Netherlands)
By DENNIS HARVEY
A Cinemavault Releasing presentation of an Ironworks Prods. and Column Pictures production.
Interview
(U.S. – Netherlands)
By DENNIS HARVEY
A Cinemavault Releasing presentation of an Ironworks Prods. and Column Pictures production.
Produced by Bruce Weiss, Gijs van de Westelaken.
Executive producer, Nick Stiliadis.Directed by Steve Buscemi.
Screenplay, David Schechter, Buscemi, based on the film by Theo Van Gogh and screenplay by Theodor Holman.
Katya - Sienna Miller
Pierre Peders - Steve Buscemi
2003's "Interview" was one of three features Dutch director Theo van Gogh hoped to remake in English when he was assassinated the next year by an Islamic extremist. His producers have gone ahead with the first of them as a tribute. Steve Buscemi's adaptation preserves the original's biting basic scenario while adding a few Americanizing tweaks to this tale of a disdainful journo's unpredictable night with the seemingly vacuous starlet he's assigned to interview. Ace perfs by Sienna Miller and Buscemi himself are the main attraction in a nimble two-hander that could hazard niche theatrical but may find small screens more welcoming.
Conceived and shot in haste to showcase two actors van Gogh wanted to use together, the original "Interview" was limited to a single interior setting. Buscemi & co-scenarist David Schechter open it up a bit, particularly in the first reel. Veteran political reporter Pierre (Buscemi) is not happy to be stuck in Manhattan just as a White House scandal is breaking -- and he's here because his editor (for reasons divulged only much later) has handed him just the sort of puff piece he abhors. His assignment is to profile Katya (Miller), a mono-monickered blonde sexpot popular for her trashy genre movies and (amusingly excerpted) cheesy TV soap -- but famous for her highly publicized love life.
Pierre's mood worsens when he's left cooling heels for an hour in an upscale restaurant two blocks away from Katya's home. She's offended by his obvious condescension, plus the fact that he seems ignorant of (and disinterested in) her life and career. Mutual accusations of unprofessionalism escalate into name-calling. Katya storms out, the "interview" is over within minutes.
Outside, however, the inevitable gawking caused by her presence triggers an accident that leaves Pierre slightly injured. Katya insists on taking the dazed man to her vast loft for some cold compresses. Both chastened by the odd shift in circumstance, apologies are swapped, drinks poured and the evening begins again -- its tenor shifting as often as Katya's moods, which swing freely from spoiled-brat to surprising intellect to reflexive sex kitten.
Pierre isn't easily taken in. But it's the actress's prerogative to use all her guile when facing a challenge.
In the end, after much alcohol, some coke, a little making out and brief physical violence, these near-strangers exchange their darkest secrets. But as both acknowledge, in their world, no such exchange is ever truly equal; there are only winners and losers, and one of them is going to emerge out-manipulated.
It's doubtful whether even an out-of-control celebrity party girl would allow a reporter to get so much potential dirt on her. But the twisty nature of the clever script, performances and staging maintain an edgy, often humorous involvement that doesn't demand full suspension of disbelief.
In his fourth pic as helmer, Buscemi adopts van Gogh's favored technique of using three hand-held digital cameras for simultaneous coverage. Result, much aided by Kate Williams' sharp editing, is a psychological couple's dance that neatly avoids potential theatricality.
Afforded a comparatively rare chance to stretch out in a complex lead role, Buscemi is excellent, limning Pierre's career battle-fatigue even as the character flickers from amusement to sympathy to contempt. Miller shows authority as Katya, who may not be a dumb blonde by a longshot, but still sports the self-absorption and petulance of a showbiz diva.
Conceived and shot in haste to showcase two actors van Gogh wanted to use together, the original "Interview" was limited to a single interior setting. Buscemi & co-scenarist David Schechter open it up a bit, particularly in the first reel. Veteran political reporter Pierre (Buscemi) is not happy to be stuck in Manhattan just as a White House scandal is breaking -- and he's here because his editor (for reasons divulged only much later) has handed him just the sort of puff piece he abhors. His assignment is to profile Katya (Miller), a mono-monickered blonde sexpot popular for her trashy genre movies and (amusingly excerpted) cheesy TV soap -- but famous for her highly publicized love life.
Pierre's mood worsens when he's left cooling heels for an hour in an upscale restaurant two blocks away from Katya's home. She's offended by his obvious condescension, plus the fact that he seems ignorant of (and disinterested in) her life and career. Mutual accusations of unprofessionalism escalate into name-calling. Katya storms out, the "interview" is over within minutes.
Outside, however, the inevitable gawking caused by her presence triggers an accident that leaves Pierre slightly injured. Katya insists on taking the dazed man to her vast loft for some cold compresses. Both chastened by the odd shift in circumstance, apologies are swapped, drinks poured and the evening begins again -- its tenor shifting as often as Katya's moods, which swing freely from spoiled-brat to surprising intellect to reflexive sex kitten.
Pierre isn't easily taken in. But it's the actress's prerogative to use all her guile when facing a challenge.
In the end, after much alcohol, some coke, a little making out and brief physical violence, these near-strangers exchange their darkest secrets. But as both acknowledge, in their world, no such exchange is ever truly equal; there are only winners and losers, and one of them is going to emerge out-manipulated.
It's doubtful whether even an out-of-control celebrity party girl would allow a reporter to get so much potential dirt on her. But the twisty nature of the clever script, performances and staging maintain an edgy, often humorous involvement that doesn't demand full suspension of disbelief.
In his fourth pic as helmer, Buscemi adopts van Gogh's favored technique of using three hand-held digital cameras for simultaneous coverage. Result, much aided by Kate Williams' sharp editing, is a psychological couple's dance that neatly avoids potential theatricality.
Afforded a comparatively rare chance to stretch out in a complex lead role, Buscemi is excellent, limning Pierre's career battle-fatigue even as the character flickers from amusement to sympathy to contempt. Miller shows authority as Katya, who may not be a dumb blonde by a longshot, but still sports the self-absorption and petulance of a showbiz diva.
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Zelf vind ik de Nederlandse versie van Interview helemaal niet zo geweldig. Van Gogh heeft andere films gemaakt die mij veel beter liggen, maar een Amerikaanse versie met Steve Buscemi is natuurlijk wel iets om trots op te zijn. Ik kan niet aan de indruk ontkomen dat de Amerikaanse productie een andere film is dan de oorspronkelijke editie.
Buscemi was op het Sundance Festival trouwens in nog een film te bewonderen, Delirious, waar iets meer aandacht naar uitging.
De eerste teen op Amerikaanse filmbodem is gezet. Interview betekent eveneens sollicitatiegesprek. Of deze sollicitatie geslaagd is geweest bepaalt de bioscoopbezoeker. Daarom hoop ik dat Interview niet alleen in grootsteedse, onbeduidende, kleine zaaltjes wordt vertoond en sowieso op DVD uitkomt. Dan heb ik in december weer mooie, makkelijk verstuurbare kerstpakketjes voor mijn vrienden overseas.
Column producties wens ik toe dat ze voor een 2e gesprek worden uitgenodigd. Van de Westelaken zal zijn cellphone number toch wel hebben achtergelaten. 06????????
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