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BEFORE MIDNIGHT EEN FILM VAN RICHARD LINKLATER WILD BUNCH WILLEMSSTRAAT 24 B - 1015 JD – AMSTERDAM WWW.WILDBUNCH.NL [email protected] WILDBUNCHblx BEFORE MIDNIGHT – RICHARD LINKLATER PROJECT SUMMARY EEN PRODUCTIE VAN DETOUR FILMPRODUCTION IN SAMENWERKING MET FALIRO HOUSE PRODUCTIONS, VENTURE FORTH, CASTLE ROCK ENTERTAINMENT TAAL ENGELS LENGTE 108 MINUTEN GENRE DRAMA LAND VAN HERKOMST USA FILMMAKER RICHARD LINKLATER HOOFDROLLEN ETHAN HAWKE, JULIE DELPY DVD RELEASEDATUM 3 DECEMBER 2013 FESTIVALS SUNDANCE FILMFESTIVAL – OFFICIËLE SELECTIE BERLIN FILMFESTIVAL – OUT OF COMPETITION TRIBECA FILMFESTIVAL - – OFFICIËLE SELECTIE KIJKWIJZER SYNOPSIS Negen jaar na de laatste rendez-vous en bijna twee decennia sinds hun eerste ontmoeting, treffen we Celine en Jesse dit keer in Griekenland. Inmiddels getrouwd en ouders van twee dochters. De zonovergoten vakantie zit er bijna op en beiden staan niet te popelen om terug te keren naar het werkende leven en de dagelijkse beslommeringen in Parijs. Tijdens de laatste nacht op het eiland komen Celine en Jesse’s angsten en frustraties boven tafel en staan ze voor de keuze: bij elkaar blijven of een punt achter de relatie zetten. BEFORE MIDNIGHT van regisseur Richard Linklater is het vervolg op de indiehits BEFORE SUNRISE (1995) en BEFORE SUNSET (2004), wederom met hoofdrollen voor Ethan Hawke en Julie Delpy. CAST JESSE ETHAN HAWKE CELINE JULIE DELPY HANK SEAMUS DAVEY-FITZPATRICK ELLA JENNIFER PRIOR NINA CHARLOTTE PRIOR NATALIA XENIA KALOGEROPOULOU PATRICK WALTER LASSALLY ANNA ARIANE LABED ACHILLEAS YANNIS PAPADOPOULOS ARIADNI ATHINA RACHEL TSANGARI STEFANOS PANOS KORONIS CHILDREN ENRICO FOCARDI MANOLIS GOUSSIAS ANOUK SERVERA HOTEL CLERKS YOTA ARGYROPOULOU SERAFEIM RADIS BEFORE MIDNIGHT – RICHARD LINKLATER CREW DIRECTOR RICHARD LINKLATER SCRIPT RICHARD LINKLATER JULIE DELPY ETHAN HAWKE DIRECTOR OF PHOTOGRAPHY CHRISTOS VOUDOURIS EDITOR SANDRA ADAIR MUSIC GRAHAM ADAIR SOUND BUZZ MORAN SCORE GRAHAM REYNOLDS SOUND MIXER COLIN NICOLSON ART DIRECTION ANNA GEORGIADOU COSTUMES VASILEIA ROZANA MAKEUP EVI ZAFIROPOULOU PRODUCTION MANAGER KOSTAS KEFALAS PRODUCERS RICHARD LINKLATER CHRISTOS V. KONSTANTAKOPOULOS SARA WOODHATCH EXECUTIVE PRODUCERS JACOB PECHEN IK MARTIN SHAFER LIZ GLOTZER JOHN S LOSS BEFORE MIDNIGHT – RICHARD LINKLATER ABOUT THE PRODUCTION In BEFORE MIDNIGHT, “They’re still talking, still making each other laugh” says director Richard Linklater about Jesse and Celine, the couple chronicled in Linklater’s earlier films BEFORE SUNRISE (1995) and BEFORE SUNSET (2004). “This time around, we thought the thing we really had to offer was brutal honesty about long term commitments—just how tough it is. All those little minefields. We had to dig into more of a domestic front, so different from the brief encounter of their twenties or the rediscovery in their thirties. It’s not the same kind of romance, yet we still think there’s something special to this couple.” “We” is the trio who created Jesse and Celine in a remarkable, ongoing cinematic collaboration: writer/director Linklater and writers/actors Julie Delpy and Ethan Hawke. Linklater wrote the original, semi-autobiographical script (with Kim Krizan); Delpy and Hawke, who portray Celine and Jesse, helped Linklater deconstruct and revise the script, leavening the first film with their own dialogue contributions and character insights. Since then, the three have regrouped—every seven or eight years or so—to co-write and create the second and third films in the series. “We’ve just kind of riffed together,” says Hawke, “almost a little bit like a band, and Julie and I play certain instruments in this band and Rick is the lead singer and he calls us up every so often and asks us to play together.” Did they anticipate all along that their original indie effort would someday follow on these characters as they evolved through life and love? “Of course not—you couldn’t plan for such things,” says Linklater. “You never know what’s going to go on creatively between people on a movie. It just so happens we had a really special experience back in ’94. We were just three people who felt like they still had something to express via these characters.” “I don’t think anybody could have imagined it,” agrees Hawke. “But I knew when the first film was over that I wanted to work with them again. It somehow accidentally came together three times in a row. Every time I look back on it I don’t really know how it happened. I don’t think we’d all return to each other if we didn’t have a tremendous amount of love for the whole project.” “We all go our separate ways” concurs Delpy. “but it’s there in the back of our minds for months and years—and we think and think and think, and next thing you know we’re writing together again.” Long term relationship The alchemy that intermittently, unexpectedly brings Linklater, Hawke and Delpy together kicks off a writing process described as “mysterious” (by Hawke), “ego-less” (by Delpy), and “mesmeric” (by producer Sara Woodhatch). After BEFORE SUNSET, says Linklater, “Everyone wanted to know— when’s the third one? What happens?” Six years of percolation later, the trio was again ready to bring Celine and Jesse back to life. Hawke: “The way it works is: we run into each other for some reason and we end up talking and then we debate for a few years about how it would be that these characters would come in contact with each other again. And then an outline appears…” Delpy: “…and we start taking notes, and Ethan will send us a scene, and then I will send them a monologue about losing the person you love, dying or whatever, and it may or may not ever end up in the film…” BEFORE MIDNIGHT – RICHARD LINKLATER Linklater: “… but it didn't totally come together until we got to Greece. We spent seven weeks, very, very intensive weeks writing, workshopping, really demanding a lot of each other.” Hawke: “People love the idea that Julie writes Celine and I write Jessie and Rick edits it or something. And that would make sense, but the truth is there’s no part of this script that Julie or I or Rick hasn’t had our hands in. Rick has a rule that if anybody doesn’t like something, it’s out and that gives us a feeling of relaxation and confidence.” Delpy: “I often write for Ethan and Ethan for me, and you know, we all work for each other and with each other. We try to let go of any ego, because otherwise the work would suffer from it.” Writers in paradise Once the writing process on BEFORE MIDNIGHT was truly afoot, with an outline and Greek setting decided on, producers Christos V. Konstantakopoulos (Take Shelter, Attenberg, Somebody Up There Likes Me) and Woodhatch assembled the writers (along with fortunate spouses and children) to hash out the final script. “We wanted to create the best creative environment for them to write in—a bubble, just a fabulously idyllic setting with no outside diversions. We set them up at Costa Navarino, the gorgeous resort in Messinia where the hotel scenes in the film were shot. To watch the creative dynamism is mesmerizing—it’s like they have invisible elastic bands between them. They audition funny parts and sad parts for each other to see if they work, and it’s so compelling.” Timeless Greece The camera may be trained squarely on Celine and Jesse, but when it breaks away to take in the surroundings, Greece itself—beautiful, troubled, ancient, modern—becomes a character in the film. “There was just something about Greece,” says Linklater. “We find Jesse and Celine in a sort of paradise: they're together, he's writing books, she's an environmentalist, they have children—I mean so much of what they probably wanted to have happen in their lives has come to pass, and yet here they are on this idyllic summer vacation, and all is not perfect, it never is.” “There’s no more moving place to be in Europe than Greece right now,” says Hawke, “Because it’s both intensely ancient and it’s very present as a modern force. It’s in the news every day. But romantic love is timeless—love is always new and it’s always been done before. Everybody’s doing it. Kids are falling in love—you know, there’s a new set of before sunrises every day. It’s a well-worn path and it’s infinitely interesting to us, to humans. Eros is a very mysterious god, because he’s both the youngest and the oldest. Greece conjures up a longing for some meaning in life, which I think is valuable as a metaphor to the film.” Says Delpy, “It made memorizing the lines and shooting those scenes a little less painful because we were in the most amazing place I’ve ever been—this ancient place where western civilization basically started, you know?” Filming on home turf For producers Linklater, Konstantakopoulos and Woodhatch, and the mostly Greek crew, Greece was more a magnificent production opportunity than a metaphor. Producer Sara Woodhatch, a Londoner who produces with Castle Rock Entertainment (and longtime veteran of romantic-comedy productions) joined forces with Konstantakopoulos and his Faliro House Productions to pull together a lean but top-notch shoot. “Rick, Christos and I did a very fast location scout and found the writer’s retreat, which actually was the home of Patrick Leigh Fermor, a great travel writer and intrepid, swashbuckling guy. There’s a lot of character in that house.” The people in the dinner party scene resonate with Greek cinema too: BEFORE MIDNIGHT – RICHARD LINKLATER “Walter Lassally, who plays Patrick, the host, was the Oscar-winning director of photography on Zorba the Greek and countless other films.
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  • 2 Days in New York

    2 Days in New York

    Mongrel Media Presents 2 DAYS IN NEW YORK A FIL M B Y JULIE DEPLY (91 min., France/ Germany 2012) Language : English Official Selection: 2012 Sundance Film Festival 2012 Tribeca Film Festival Distribution Publicity Bonne Smith 1028 Queen Street West Star PR Toronto, Ontario, Canada, M6J 1H6 Tel: 416-488-4436 Tel: 416-516-9775 Fax: 416-516-0651 Fax: 416-488-8438 E-mail: [email protected] E-mail: [email protected] www.mongrelmedia.com High res stills may be downloaded from http://www.mongrelmedia.com/press.html SYNOPSIS Hip ta lk-radio host and journalist Mingus (Chris Rock) and his French photographer girlfriend, Marion (Julie Delpy), live cozily in a New York apartment with their cat and two young children from previous relationships. But when Marion's jolly father (played by Delpy’s real-life dad, Albert Delpy), her oversexed sister, and her sister's outrageous boyfriend unceremoniously descend upon them for an overseas visit, it initiates two unforgettable days of family mayhem. With their unabashed openness and sexual frankness, the triumvirate is bereft of boundaries or filters. and no one is left unscathed in its wake. The visitors push every button in the couple’s relationship, truly putting it to the test. How will the couple fare. when the French come to New York? 2 ABOUT THE FILM It’s the next big step: meeting the relatives. Maybe you get a little nervous, take a little while to warm up to everybody, but, hopefully, everything will go smoothly. But somebody forgot to warn poor Mingus: HERE COME THE FRENCH.