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Wettbewerb/IFB 2001 FINDING FORRESTER FORRESTER – GEFUNDEN! A LA RENCONTRE DE FORRESTER Regie: Gus Van Sant USA 2000 Darsteller William Forrester Sean Connery Länge 136 Min. Jamal Wallace Rob Brown Format 35 mm, Prof.Crawford F.Murray Abraham Cinemascope Claire Spence Anna Paquin Farbe Terrell Busta Rhymes Ms.Joyce April Grace Stabliste Coleridge Michael Pitt Buch Mike Rich Dr.Spence Michael Nouri Kamera Harris Savides Matthews Richad Easton Kameraführung Craig Haagensen Massie Glenn Fitzgerald Kameraassistenz Eric C.Swanek Damon Zane R.Copeland Jr. Michael Cambria Janice Stephanie Berry Caesar S.Carnevale Fly Fly Williams III Schnitt Valdis Oskarsdottir Kenzo Damany Mathis Schnittassistenz Helen Hand Clay Damien Lee Tonschnitt Kelley Baker Trainer Garrick Tom Kearns Tonassistenz Paul Koronkiewicz Hartwell Matthew Noah Word Alfredo Viteri Dr.Simon Charles Bernstein Mischung Brian Miksis Bradley Matt Malloy Musik Bill Brown Sean Connery, Rob Brown Foto:G.Kraychyk Sanderson Matt Damon Production Design Jane Musky Ausstattung Darrell K.Keister Kostüm Ann Roth FORRESTER – GEFUNDEN! Maske Michael Bigger Ein abbruchreifes Backsteinhaus in der South-Bronx. Zwischen den vielen Regieassistenz David Webb schmucklos in die Höhe gezogenen Mietskasernen ist dieser übrig geblie- Produktionsltg. Michele Giordano bene Bau ein Fremdkörper in der Gegend. Auf die schwarzen Kids, die auf Aufnahmeleitung Trish Adlesic dem Platz davor Basketball spielen, macht es einen geheimnisvollen Ein- Produzenten Laurence Mark Sean Connery druck – auch wegen des silberhaarigen alten Mannes, der das Haus nie zu Rhonda Tellefson verlassen scheint und immer hinter den blank geputzten Fenstern in der Executive Producers Dany Wolf dritten Etage zu sehen ist. Jamal, Basketball-Ass, Leseratte und überdurch- Jonathan King schnittlich intelligenter Bursche, der sein Licht im Kreise seiner Kumpels allerdings unter den Scheffel stellt, wird von den anderen dazu angesta- Produktion Fountainbridge Films chelt, in die ominöse Wohnung einzusteigen und sich dort mal umzu- c/o Columbia Tristar schauen. Er schleicht sich durch die mit Büchern voll gestellte Wohnung 10202 W.Washington Blvd. des Alten, der ihn dabei überrascht und zu Tode erschrickt. Bei dem eigen- USA-Culver City artigen Kauz handelt es sich um William Forrester, der vor 40 Jahren „Avalon CA 90232 Landing“ veröffentlicht hatte – einen der großen amerikanischen Romane Tel.:310-244 40 00 Fax:310-244 18 75 des 20.Jahrhunderts.Der moderne Klassiker wurde seinerzeit mit dem Pulit- zer-Preis ausgezeichnet, unmittelbar danach allerdings verschwand Forres- Weltvertrieb ter von der Bildfläche. Columbia Tristar Geschickt entzieht sich Jamal dem Zugriff des Alten,vergisst in der Eile aber Film Distributors International seinen Rucksack. Am nächsten Tag wird ihm der Rucksack unter großem 10202 W.Washington Blvd. USA-Culver City Gelächter seiner Freunde aus dem Fenster im dritten Stock vor die Füße CA 90232 geworfen. Hektisch prüft Jamal dessen Inhalt, checkt aber vor allem, ob Tel.:310-244 40 00 seine Kladden noch darin sind, in die er seit geraumer Zeit wie besessen Fax:310-244 18 75 schreibt. Eine Durchsicht ergibt, dass der Alte seine Hefte gelesen haben muss – sehr sorgfältig sogar, denn sie sind mit ausführlichen Randbemer- kungen versehen. Mit Herzklopfen wagt Jamal sich noch mal an die Woh- nungstür . FINDING FORRESTER A condemned brick building in the South Bronx. This leftover house sticks out like a sore thumb in between all the tall, unadorned tenement blocks Titel, Regie, Land, Buch, Kamera, Darsteller that surround it.The building holds a mysterious fascination for a bunch of black kids who play basketball out in front;something else that has aroused Filmografie their curiosity is the silver-haired old man who never seems to leave the 1978 THE DISCIPLINE OF D.E. Kurzfilm house and can always be seen behind the shiny-clean windows on the 1979 ALICE IN HOLLYWOOD third floor.Jamal is a great basketball player.He is also something of a book- Kurzfilm worm, an unusually intelligent boy who, however, tends to hide his light 1985 MALA NOCHE (MALA NOCHE) under a bushel when he’s with his mates. Goaded by the others, Jamal 1986 FIVE WAYS TO KILL YOURSELF climbs one day into the ominous-looking apartment to have a poke about. Kurzfilm MY NEW FRIENDS Jamal creeps around the apartment crammed full of books and is fright- Kurzfilm ened half to death by the appearance of the old man himself. This strange 1987 KEN GETS OUT OF JAIL old bird, it transpires, is a man named William Forrester. Forty years ago, he Kurzfilm wrote a novel called “Avalon Landing” – one of the greatest American nov- 1988 JUNIOR els of the twentieth century.The book was hailed as a modern classic at the Kurzfilm 1989 DRUGSTORE COWBOY (DRUGSTORE time and awarded the Pulitzer Prize, however, Forrester himself disappeared COWBOY) entirely from the literary scene shortly afterwards. Jamal manages to slip 1990 MY OWN PRIVATE IDAHO (MY away nimbly from the old man’s clutches but, in his hurry to get away, he PRIVATE IDAHO) leaves his rucksack behind. The next day, his bag is thrown out of the win- 1992 THANKSGIVING – THANK YOU dow on the third floor and lands at his feet – much to his pals’amusement. AMERICA Kurzfilm Gus Van Sant Foto: G. Kraychyk Jamal swiftly goes through his belongings,checking to see if the notebooks 1994 EVEN COWGIRLS GET THE BLUES he has been scribbling in like a madman are still there. At a glance he realises (EVEN COWGIRLS GET THE Biografie that the old man must have read his writings;in fact,he must have read them BLUES) Geboren am 24.7.1952 in Louisville,Ken- very carefully indeed, judging by the notes in the margins.His heart pound- KIDS (KIDS) tucky.Absolvent der Filmklasse an der ing, Jamal dares to make his way to the apartment door once again . Regie:Larry Clark,Produzent Rhode Island School of Design.Ab 1975 in 1995 TO DIE FOR (TO DIE FOR) Hollywood zunächst Regieassistent.Seit sei- 1996 BALLAD OF THE SKELETONS nem Spielfilmdebüt MALA NOCHE (1985) A LA RENCONTRE DE FORRESTER Kurzfilm einer der erfolgreichsten unabhängigen Une maison en briques délabrée dans le sud du Bronx. 1997 GOOD WILL HUNTING (GOOD WILL amerikanischen Filmemacher.Drehte auch Perdu parmi les nombreuses tours qui ont poussé dans tout le quartier, ce HUNTING) Musik-Videos („Under the Bridge“,Red Hot bâtiment rescapé d’une autre époque a l’air d’un corps étranger. Pour les 1998 PSYCHO (PSYCHO) Chili Peppers),veröffentlichte Fotobände 2000 FINDING FORRESTER („108 Portraits“,1995) und einen Roman jeunes Noirs qui jouent au basket sur le terrain voisin, il s’en dégage une („Pink“,1997).1998 Oscar-Nominierung für impression de mystère due en partie à la présence d’un vieil homme aux GOOD WILL HUNTING. cheveux argentés, qui ne quitte apparemment jamais la maison et que l’on voit distinctement à travers les carreaux tout propres des fenêtres du troi- Biography sième étage. Born in Louisville,Kentucky on 24.7.1952. Graduated from the film class at the Rhode Jamal est un as du basket, par ailleurs passionné de lecture et exception- Island School of Design.Began working as nellement intelligent, ce dont ses copains sont loin de se douter. Ceux-ci an assistant director in Hollywood in 1975. l’incitent à pénétrer dans le logement suspect pour voir ce qui s’y passe. Il Since his feature film debut MALA NOCHE s’introduit discrètement dans l’appartement bourré de livres mais le vieil (1985) he has become one of America’s homme le surprend et il est pris de panique. Ce singulier locataire n’est most successful independent filmmakers. Has also made pop videos (“Under the autre que William Forrester qui a publié quarante ans auparavant « Avalon Bridge”,Red Hot Chili Peppers),published Landing », l’un des plus grands romans américains du 20e siècle. Devenu books of photographs (“108 Portraits”, très vite un classique, il reçut à l’époque le prix Pulitzer mais son auteur dis- 1995) and a novel (“Pink”,1997).He parut peu de temps après sans laisser de traces. received an Oscar nomination for GOOD Jamal échappe adroitement à son poursuivant mais dans sa précipitation, il WILL HUNTING in 1998. oublie son sac à dos chez le vieil homme. Le lendemain, le sac est jeté par Biographie la fenêtre du troisième étage et atterrit devant les pieds de Jamal tandis que Né le 24-7-1952 à Louisville,Kentucky. ses copains se tordent de rire. Le garçon vérifie nerveusement le contenu Diplômé du cours de cinéma de la Rhode du sac, s’assurant avant tout de la présence de ses cahiers dont les pages Island School of Design.Débute à Holly- sont remplies de textes de son cru. Il s’aperçoit au premier coup d’œil que wood en 1975 comme assistant réalisateur. Depuis son premier long métrage de fiction, le vieil homme les a lus avec beaucoup d’attention car il les a même anno- MALA NOCHE (1985),il est l’un des plus tés et commentés en détail dans la marge. Le cœur battant, Jamal retourne célèbres cinéastes américains indépendants. à l’appartement . Tourne également des clips musicaux (« Under the Bridge » ,Red Hot Chili Pep- pers),publie des livres de photos (« 108 Portraits »,1995) et un roman (« Pink », 1997).Nommé aux Oscars pour GOOD WILL HUNTING en 1998..
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  • James Newlin

    James Newlin

    The State(s) They‘re In: Intersections of the Henriad, Hustler Narratives, And Alternative Music in Gus Van Sant‘s My Own Private Idaho James Newlin The State(s) They‘re In: Intersections of the Henriad, Hustler Narratives, and Alternative Music in Gus Van Sant‘s My Own Private Idaho By James Newlin “An inheritance,‖ Derrida writes in Specters of Marx, ―is always the reaffirmation of a debt, but a critical, selective, and filtering reaffirmation…‖ (114). Gus Van Sant‘s highly allusive film My Own Private Idaho marks itself as an heir to various histories and genres— including the genre the History, demonstrated by the film‘s oft-noted reworking of Shakespeare‘s Henriad—and in this paper, I investigate a similar ―critical, selective, and filtering reaffirmation‖ in the film, in order to interrogate Idaho‘s collage-effect and structure. I contend that the way Van Sant juxtaposes Shakespeare‘s History with his other sources—Orson Welles‘s earlier filmed version of the Henry Plays, Chimes at Midnight, hustler narratives, and, punk, folk, popular, and ―alternative‖ music—must be read as a thoroughly personal vision, constructed out of engagements with historically situated genres and texts that force Idaho‘s viewers to resist their expectations about those genres and texts. By defying genre, Van Sant challenges our notions of what makes an ―authentic‖ Shakespeare adaptation, hustler narrative, or punk song; he produces something that goes beyond ―authentic,‖ and becomes something fantastical. Consider one blind spot found in some earlier analyses of My Own Private Idaho: i.e. the ―gritty, realistic‖ reading of the film.