Colin Farrell is unrecognizable as the bloated Penguin in teasers for “The Batman.” But transforming himself into the pock-marked villain with a bad combover required him to be in the makeup…
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Colin Farrell is unrecognizable as the bloated Penguin in teasers for “The Batman.” But transforming himself into the pock-marked villain with a bad combover required him to be in the makeup chair for “four hours,” Farrell said at Variety’s Virtual Sundance Studio presented by Audible.
“Eventually they got it down to two,” the actor recalled.
Farrell, who was on-hand to discuss his meditative sci-fi drama “After Yang” after its premiere at this year’s virtual Sundance Film Festival, wanted to take on the supporting role in the superhero reboot because of the movie’s writer and director.
“Matt Reeves is a wonderful filmmaker, so I was just grateful to be allowed anywhere near it,” Farrell said of Reeves, who previously oversaw the rebooted “Planet of the Apes” franchise.
“Hopefully people are entertained by it and moved by it,” Farrell said. “It’s a very unique take on a story that’s often been told.”
The actor was equally excited to discuss his work in “After Yang,” the story of a father and daughter who try to save their robot babysitter after he malfunctions. The movie, which debuted at Cannes and is screening at Sundance, is the latest work by Kogonada, who scored rave reviews for 2017’s “Columbus,” the story of an architect who forms a bond with a librarian. Farrell said working on “After Yang” was “one of my most favorite experiences by a mile.”
“I can’t recall ever being given such permission by a filmmaker to feel whatever the story was provoking within me,” he added. “Kogonada is a filmmaker who doesn’t curate emotions, who doesn’t direct the audience to feel this or feel that. He presents the story that he has a deep love for.”
Kogonada said he was interested in presenting a kind of low-fi look at the future.
“I didn’t want this sci-fi to be defined by its gadgets and monitors everywhere,” he said. “It was sort of a post-post-apocalyptic society.”
The ensemble in “After Yang” includes Justin H. Min, Malea Emma Tjandrawidjaja, Haley Lu Richardson and Jodie Turner-Smith, all of whom said that they resonated deeply with the material.
“It really is a reflection on humanity and what makes us human and what makes us a family,” Turner-Smith said.
Watch the full conversation above.