Unable to find her second directing project, Angelina Jolie took to sifting through “generals”.
Looking for a diamond in the rough, the actress-turned-director searched the movies that studios owned but weren’t making.
“So I scanned through these generals and landed on Unbroken, a story of resilience and strength and the human spirit, of faith and survival at sea,” says Jolie. “It was about three sentences and I came home and I said to Brad, ‘What about this one?’ And he said, ‘Oh, honey, that one’s been around forever.’ It had a reputation for being one that never gets done.”
But Unbroken — the true tale of Louis Zamperini, a track star who was lost in the Pacific for 47 days after his plane was shot down during the Second World War — stuck with Jolie, even though it had been kicking around Hollywood for decades. “It was like a fever, an obsession,” she says.
“So I fought for it and I fought for it and I fought for it,” says Jolie. “It took me months of fighting to get the job.”
Even for the world’s most famous stars, determination is a necessary ingredient for the autumn movie season. Few of autumn’s films haven’t had to claw their way to cinemas. It’s a season for the movies’ most unconventional thinkers, the ones dedicated to making a tragic Olympic wrestler drama (Foxcatcher) or finding humour in North Korea (The Interview).
Here’s what to look forward to, with UAE release dates in bold where available (these are subject to change).
Led by Unbroken (December), this year the autumn is a battlefield of war stories, including Jolie’s (new) husband Brad Pitt on the Western Front in Fury (October 23), a Second World War drama about a tank of American soldiers. Clint Eastwood also returns for his second film this year with American Sniper (December), starring Bradley Cooper as an elite Navy Seal marksman.
American tales, both triumphant and warped, will be numerous. In the based-on-a-true-story Foxcatcher (December 4) from Bennett Miller (Capote, Moneyball), an Olympic wrestler (Channing Tatum) is taken in by a rich but demented benefactor (Steve Carell).
A year after David Oyelowo and Oprah Winfrey co-starred in The Butler, they re-team for Selma (December), in which Oyelowo plays Martin Luther King. (Winfrey is a producer.)
In The Interview (October 16) from Seth Rogen and his directing partner Evan Goldberg, Rogen and James Franco play journalists asked by the CIA to assassinate Kim Jong-un. It’s distinguished as the only autumn film a country (North Korea) has asked President Obama to block.
Stewart’s impatience
An almost as unlikely international pairing comes in Rosewater, Jon Stewart’s adaptation of Maziar Bahari memoir about being imprisoned for 118 days for reporting for Newsweek on the 2009 Iranian elections. (His appearance on The Daily Show was used as evidence of him being a spy.) Stewart, who hadn’t directed before, jumped in as a writer and director only because he and Bahari were unable to find someone else.
“We were four months into it and nothing was done,” says Stewart. “For me, who’s used to topical comedy on TV — the single most ephemeral thing you can produce — you have an idea at 9 in the morning and by 6 o’clock, it’s done. In some ways, it was impatience with the process. So I just told Mazier, let me just write this thing.”
Many of the upcoming films — like Alejandro Inarritu’s Birdman, or the Unexpected Virtue of Ignorance (January 29) with Michael Keaton, and the Reese Witherspoon drama Wild (February 12) — will drum up anticipation on the festival circuit and hope to be drafted into the awards season industrial complex, an increasingly all-consuming annual rite of hype-soaked frenzy. This year, one film will set the season’s beat unlike any other: Whiplash (October).
In the Sundance hit, Miles Teller plays an obsessively focused jazz drummer at an elite New York conservatory under the strict tutelage of a drill-sergeant teacher (J.K. Simmons).
“Absolutely where I connected to Andrew was his drive and his ambition,” says Teller, the 27-year-old actor whose 2013 breakout with The Spectacular Now will continue with Whiplash. “You can look at this movie and say, ‘It’s destroying him. It’s killing him. He’s giving away his humanity for his art.’ But a lot of people go through life not caring about anything remotely as much as Andrew cares about drumming.”
Whereas Teller is a fresh face to the gauntlet of awards season, David Fincher is a seasoned veteran - one who has consistently avoided the season’s trappings. He directs one of the autumn’s most anticipated movies, Gone Girl (October 2), an adaptation of the best-selling Gillian Flynn novel, starring Ben Affleck. Though the story’s twists are famous, Fincher says he was drawn by the murder mystery’s portrait of narcissism, the 24-hour news cycle and “the notion of tragedy vampirism”.
“The exploitation is somebody else’s job,” Fincher says. “Right now, it’s like: ‘Let’s finish it and get it into theatres.’ I don’t put a lot of emphasis on ‘Let’s see if this can be decorated.’”
Other heavyweight filmmakers, of course, will be debuting films this autumn, including Paul Thomas Anderson’s Thomas Pynchon adaptation, Inherent Vice (December), starring Joaquin Phoenix. But no film is more eagerly awaited than Christopher Nolan’s Interstellar (November 6), a philosophical science fiction thriller starring Matthew McConaughey. A year after his Oscar win for Dallas Buyers Club, the McConaissance is going to space.
On tap are biopics on Jimi Hendrix (Jimi: All Is by my Side, September), Stephen Hawking (The Theory of Everything, November) and British painter J.M.W. Turner (Mr. Turner, October) revenge dramas with Liam Neeson (A Walk Among the Tombstones, September 18) and Denzel Washington (The Equalizer, September 25) and posthumous releases from Robin Williams (A Merry Friggin’ Christmas, November), James Gandolfini (the Brooklyn crime film The Drop, November 13) and Philip Seymour Hoffman (“The Hunger Games: Mockingjay: Part 1, November 20).
After a weak overall summer box office (down 14.7 per cent from 2013), movies like Mockingjay, the Will Smith-produced musical Annie (December 25), Ridley Scott’s Moses epic, Exodus: Gods and Kings (December) and Peter Jackson’s final Tolkien film, The Hobbit: The Battle of the Five Armies (December 11) will try to bring the crowds back.
Other performances to watch include Robert Downey Jr. in the courtroom drama The Judge (October 16), Meryl Streep as Stephen Sondheim’s witch in Into the Woods (December 25), Benedict Cumberbatch as Second World War code breaker Alan Turing in The Imitation Game (November) and Bill Murray as a cantankerous next-door-neighbour in St. Vincent (December 18).
No movie will offer more pronounced cross-programming to the prestige pictures of autumn than Dumb and Dumber To (November 13), the long-in-the-works sequel to the 1994 Jim Carrey and Jeff Daniels comedy of extreme idiocy. But even the resurrection of fools required serious conviction.
“There was the battle of ‘that was then, this is now,’ and, ‘It’s not going to work.’ All those guys keep their job by saying no,” says Daniels. “But we kept going, ‘How can this miss?’ Jim and I would look at each other and say, ‘This is a no-brainer’ — so to speak.”
