Mike Nichols will direct the revival of Death of a Salesman starring Philip Seymour Hoffman as Willy Loman, Linda Edmond as, and Andrew Garfield stage in the role of Biff.
The production is heading for the Barrymore Theater next March.
Andrew Garfield Shocks Fans In Spider-Man Costume, Gives Highly Emotional Speech | Popeater
Regardless of your opinion on the new Spider Man film and Garfield’s casting as Peter Parker, you have to admit his heart is in the right place. And this entrance is awesome.
Teaser Trailer: The Amazing Spider-Man - July 3, 2012
Directed by Marc Webb. Starring Andrew Garfield, Emma Stone, Rhys Ifans, Martin Sheen, Sally Field, and Denis Leary.
This is what happens when Marvel tries to go “dark and gritty.” For the most part the trailer works, if a bit forced in its attempts at realism. Then again this all already looks more grounded in reality than Sam Raimi’s Spider Man. The POV stuff at the end, while clearly trying to promote the 3D aspect of the film, looks like nothing but a video game and is thusly completely disjointed from the approach taken up until that point. That said, this is only a teaser, the casting is good and Webb is a beyond capable director.
(via /Film)
Spider Man Reboot Gets Official Title: The Amazing Spider-Man, and new image | HitFix.com
That’s the official title, and the film has an official release date of July 3, 2012.
I’ve never met [Tobey Maguire]. [But] he sent me a lovely message through a mutual friend. He gave me his support and it meant a great deal of course because a part of the reason I loved this character was because of his portrayal. To step into those shoes is no mean feat. It was generous of him to reach out and say something, so I’m thankful.
“
| — | Andrew Garfield Re: Tobey Maguire’s Spider-Man Support to the BBC via Just Jared |
![Spider-Man Summit of the Day: “We talked it out.” #donald4spiderman
[@donglover. via thedailywhat]](http://25.media.tumblr.com/tumblr_lc75jonj7o1qzpwi0o1_500.jpg)
Review: The Social Network
“You better fucking pay attention cause this is happening.” -David Fincher
Those looking for a better summation of The Social Network, look no further than the above quote (from an interview with Peter Travers live at the Apple Store in Soho). Fincher’s concise, commanding statement regarding Aaron Sorkin’s words and pacing not only perfectly describes the experience of watching this film but also its thematic story line. How convenient. And yet it’s hard to disagree.
Sorkin’s masterful screenplay comes at you hard and fast with more blink-and-you’ll-miss-it lines, moments, and incidentals than anyone person could digest in a single sitting. Like a fine wine, The West Wing creator is only getting better with age - and The Social Network script sparks and cracks, easily becoming the best thing about this movie. The characters are increasingly three dimensional, the structure is artfully crafted, the pacing is swift and exciting, and the dialogue is appropriately theatrical (in the sense that it could live on stage, not that its over the top).
The marriage of Sorkin’s words and Fincher’s image is surprisingly harmonious. Fincher pulls breathtaking performances from his young actors, while carefully crafting weighted, talk heavy scenes. How exactly does one make a movie made up of almost entirely dialogue interesting? Small tactics. For example as the movie progresses Eduardo slowly spins in his chair going from facing the table at the beginning to having his back is to the table at the end. Or a club scene (pictured above) in which the actors have to shout over the loud music, simultaneously providing a realism not often seen in club scenes and a method for pulling the audience in, making them feel like a part of the intimate discussion, and - for lack of a better term - fucking pay attention.
Rounding out the trifecta is the collection of performances put forth by the young cast. Rooney Mara, though appearing only briefly, makes a lasting, emotional impact. Her first scene with Jesse Eisenberg sets up the movie on many levels. Andrew Garfield is charming and rounded giving even the staunchest Spider Man fan hope. But it’s Justin Timberlake and Jesse Eisenberg who come out on top. Timberlake proves he’s a serious acting threat displaying proper restraint and delirious paranoia on opposite sides of the same coin. Eisenberg reels it in to give one of the most complex, introverted performances in a long time. A huge hand should be given to the mop head for making Mark Zuckerberg just as sympathetic as he is unlikable.
On a thematic level, we arrive back at Fincher’s Apple store quote. The film moves just as fast as the occurrences it dramatizes, perfectly symbolizing the requirement to be ahead of the curve. As technology grows at an exponential rate, many would agree on the amount of attention that needs to paid to come out on top. At once there’s both a nostalgia for the recent past and an immediacy of the events it portrays.
As for this being “The Facebook Movie,” that might need to be reevaluated. Yes, the events herein detail the invention of Facebook, and explain its raison d’etre stemming from Zuckerberg’s deep need to connect, but to call it such would be generalizing. An unfair generalization at that. There’s just so much more. Calling The Social Network “the Facebook movie” would be like calling Titanic ”the Boat Movie.”
With so many singular talents collaborating on this vision, again we must heed Fincher’s words. Don’t ignore The Social Network’s event invitation and fucking pay attention.
(And to think I almost made it through the whole review without a lame Facebook joke).
