Monday, June 01, 2009

Movie Interview : Chris Pine - Star Trek

by Sheila Roberts

At the LA Junket for J.J. Abrams Star Trek we sat down to talk with Chris Pine about his new role as Captain Kirk. Chris Pine plays young Captain Kirk and takes us through his upbringing all the way to the captain's chair in epic fashion.

Set in the 23rd century, the adventure begins with the incredible story of a young crew’s maiden voyage onboard the most advanced starship ever created: the U.S.S. Enterprise. In the midst of an incredible journey full of optimism, intrigue, comedy and cosmic peril, the new recruits must find a way to stop an evil being whose mission of vengeance threatens all of mankind.

Q: The scene with the green girl brings down the house, and you’re probably only the second actor in history to have a love scene with a green girl, what was that like and did the make up come off? Were there accidents?

Chris: Were there accidents? I think it brought the house down. I don’t think I had anything to do with it, it wasn’t my acting ability. I think it’s because you’re speaking of the fact that the green girls have a certain place in the Star Trek canon. I remember that day being very long and, yes, that poor girl, Rachel Nichols, I think she was in the make-up chair for two hours getting painted, so there was a lot of green paint on my nose after many a take, but it wasn’t as fun as it looked. It was a long day and, yes, the make-up proved to kind of kill any buzz that I might have gotten otherwise.

Q: J.J. said you had the liberty to recreate the character, but seeing the movies you took notes when you saw them. What kind of qualities did you think that you had to capture about William Shatner’s character?

Chris: There are certain things that are just very inherent to the character, so I would say that I used the script that Alex Kurtzman and Bob Orci wrote as kind of my bible, and that gave me my back story in the sense of who this guy was, why he was who he was. And, going back and watching the series, what I was able to take away from it, or what appealed to me about Mr. Shatner’s performance, and things that I felt that I could use without hitting people over the head with a bad impersonation, I felt were little physical characteristics.

What really appealed to me was the way that he moved about the deck of the ship. He’s got a very theatrical quality, just his physicality, that I felt was – it just made me smile every time I watched it. And then there were things about how he sits in the chair that are very small. I felt less is more, in my case at least, in that it really was conversation at the end of the day between me and J.J. about – and it would be on any given day -- it would be, “So what do you think about this? Do you think it would work now?” And it would just be very small things, but it wasn’t anything conscious of like characteristics I must take from Mr. Shatner. It was way more of a, I don’t know, of an ever changing thing I guess.

Q: Have you talked with him?

Chris: Yeah, I saw him last night for the first time in the flesh and shook hands and, you know, he was very busy last night. It was a charity event for him, and he raises money for all these wonderful children’s charities, so I was there more to support him in the great work that he does, but it was great to finally meet him and I hope to have more of a chance to sit down with him for a longer period and actually talk to him about his experiences.

Q: We’ve heard that a sequel is already being thought of – are you talking about it already?

Chris: Again, I think it’s presumptuous to start talking about future installments before the movie has come out, and we’re very excited about this one. I think people will enjoy this whether they’re fans or non-fans. I know that Bob and Alex are, and Damon actually, Damon Lindelof, the producer from Lost and a friend of J.J.’s for a long time, is now attached I guess to write a second one if there is in fact going to be a second one. But I know from my part that I loved making this, and I loved the team behind it, my fellow crew mates, so if I were to be asked, I know that I would sign up.

Q: Chris, can you comment on the physical challenges for your role?

Chris: Well, one of the major difficulties was I would say it’s a very scary thing doing a fight scene with Eric Bana when he’s running at you at full speed and promised you beforehand that nothing bad will happen, but the fight of flight kicks in quite quickly. I was not prepared for it at all. It’s one thing to read the script and skim through the pages and say, “Oh, I’ll get back to that later. Oh, that’s a fight sequence stunt, let’s get back to the scenes,” failing to realize that those four or five pages take about a month and a half to actually shoot. But we had a great stunt team behind us. I guess the only anecdote worth mentioning is that on my first day of shooting was the bar scene in the beginning of the movie and I ended up breaking a stunt guy’s nose on the second take, and word of caution to any young actor out there, do not hurt stuntmen because they will pay you back in kind. And the next take after that, that big stunt guy kicked me in the stomach. He said it wasn’t on purpose, but I don’t know. But it was a lot of fun, way harder than I ever expected it would be.

Q: Do you feel the pressure waiting for the reaction of the Trekkers to see you in that role?

Chris: I have no control over what people think, and if I were to spend energy on that, I would be a lifeless, deadened human being, so I hope that they like it, but I just simply have no control when it’s in the can. We’ve done a good job, I think. I’m proud of it. I hope that they’ll accept these changes to their canon that they hold so dear, which are definitely changes, but I don’t think do anything other than tell a great story differently.

Q: Once you put on that gold shirt, was there a real feeling that the role had become yours?

Chris: That was a fun day when we shot that scene, because it was towards the end of the process and everybody had – we were finally friends in the story and everybody was together, but in terms of feeling that the part was mine, in my mind Captain Kirk will always be William Shatner and William Shatner will always be Captain Kirk.

I think it’s just an inextricable connection and the relationship between those two men, and I just feel like I’ve taken – this was a great role and as an actor you search for great roles, and this one just happened to be named James Kirk, and so for the time being in this movie I’m playing James Kirk. But after the movie’s done, or after the next two, I look at it from part to part and from story to story, so as for the part being mine, I think I, as many other people, will always forever connect Mr. Shatner to that role.

JJ Abrams Star Trek is in theaters this Friday. You can read my early Review of Star Trek

Movie Review : Terminator Salvation

by Dave White

Terminator Salvation Grade: B+

Who's In It: Christian Bale, Sam Worthington, Moon Bloodgood, Anton Yelchin, Bryce Dallas Howard, Common, Jane Alexander, Michael Ironside, Helena Bonham Carter

The Basics: Skynet keeps trying to kill all the stupid humans and the stupid humans keep getting themselves killed. And this movie proves that it's a never-ending battle, one destined to be played out over many more marketing platforms sequels. With luck those sequels will help me figure out how messiah-of-the-future John Connor and his own teenage father--who hasn't met John Connor's mother yet-- can exist in the same time frame without John Connor magically disappearing back up into Dad's balls.

What's The Deal: I have no emotional connection to any of the people in this mythology. What that means is that when the giant machine robot thingies pluck them from the ground and squeeze them to death, all I can think to do is yell, "AWESOME!" I don't even care if John Connor messiahs everybody back to safety in a post-machine future. But I figure the movie probably wants you to care. Which means on one level it fails in a spectacular way. Of course, if cold mechanical death, megadestructive nuclear blasts, humanoid battles, helicopter crashes and wacky hellish fiery peril are what you care about, if sensation alone makes a movie work for you, then this one succeeds on those strengths every 15 seconds.

Starring The Dark Knight And Some Australian Guy: I walk in thinking, "Nice, this is Christian Bale's wildman rant movie. He's going to be all kinds of crazy." But no, that happened when the cameras weren't rolling. What he's doing here is the husky whisper-talking he uses when he plays Batman. Not that it's bad. I just expected something else. Meanwhile, Australian newcomer Sam Worthington seems to be battling a dialect coach terminator living inside his own throat, one that's trying to squash his native accent and failing in a way that would make Outback Steakhouse laugh out loud. If restaurants laughed, I mean.

Number Of Surprises: A nice handful. There are some freaked-out machines that are actually pretty frightening, some character reveals that, while predictable, are still entertaining, and a chance to see former NEA chairperson Jane Alexander get herself into a shocking machine-based predicament. But again, if you're looking for something satisfying story-wise, humanity-wise, logic-wise, or any of the other -wises, then you'll be bored after the 37th thing explodes in your face. And there are like a hundred more to come after that.

Summer Movie Earplug Warning: It's loud. Really loud. If you go see it in a theater with a good sound system you might want to bring protection for the big decibel moments.

ART : The History of Tattoos

by Rae Schwartz

Tattoos have an ancient history stretching back over thousands of years. Egyptians were tattooing themselves for decorative reasons back in the days of the pyramids. The Chinese adopted the form around 2,000 B.C. The body of a primitive man found frozen in the Swiss mountains dated to 2000 years ago had multiple tattoos on him. The practice of making permanent marks into the skin with pigment has been found at some point in nearly every major culture in history.

japanese style tattooingIn some societies it helped identify bands of people - as when family crests or tribal symbols were used. During the Victorian era, the modern tattoo machine was first invented and patented, a design that has changed very little in style to this day. When explorers of that era came across primitive cultures that practiced tattooing, individuals were often returned to Europe for audiences and exhibitions. When religious missionaries encounter tattooing, they often do their best to discourage and end the practices. Sadly the twentieth century saw many native tattooing practices disappear, especially in the South Pacific island cultures.

calla liliesIn other societies, criminals or outcasts were 'marked' in order that others would know clearly who they were. One of the most notorious uses of tattooing was in ancient China where the offender was marked with three lines on the forehead, forming the character for “dog” after the third offense. The Yakuza, a Japanese organized crime syndicate, historically has used full-body tattooing as a way of identifying members and/or proving commitment. Street gangs in contemporary America frequently utilize tattooing, often on the neck or hands to prove commitment, as the marks can’t be hidden casually and your group identity is always on view.

modern tribal mixThe word “tattoo” is fairly modern. The first recorded usage of the word is an entry in British sea Captain James Cook’s diary dated 1796. The word is derived from the Polynesian/Samoan root word “tatu,” a verb meaning “to strike.” There is also a related modern usage where a tattoo refers to a military exercise or a continuous drumming. Internet query searches quickly reveal there are a variety of common misspellings for the word “tattoos.” Popular errors are tatoos, tattos and tattoes.

The modern wave of tattoo interest has its roots in the late 1960s. For the first time, people with fine art training began to work in the field of skin art, bringing with them all their art history knowledge. The modern body art renaissance has been the saving grace for many tribal tattoo styles, now being worn by people with no attachment to the symbolic histories of many of these patterns. Nonetheless, this fascination with mixed cultural tattoo styles has saved certain styles of skin art from extinction.