After nearly three and a half years of producing this cinemagoers’ consumer guide, perhaps its time for a statement of intent. A manifesto, if you will. Something to place these musings in perspective as you skim through them over Morning Tea.
I try and find something good and interesting in everything I see, and I see pretty much everything. Most films have an audience of some description waiting for them somewhere, and that audience may be you, so I try and outline what might appeal (along with what might not) so that you can make an informed choice.
Plus, I have some sympathy for the little battler and will often try and draw your attention in that direction (Don’t forget Two Lovers, folks) and I try and watch films not meant for me (kids flicks, etc) with half an eye on how the rest of the audience is reacting.
It is extremely rare, as regular readers will know, for me to warn you off a film entirely, or indeed (in the case of our first film this week) suggest that its creators should be harshly punished for its perpetration. The films that are really sand under my foreskin are those that only exist to pad a resumé and a bank balance, cynical attempts to separate us from our money, marketing campaigns crudely disguised as art.
“My drumming sucks” – Richard Jenkins in The Visitor
Best known to New Zealand audiences as the deceased patriarch of the Fisher family in television’s “Six Feet Under”, Richard Jenkins has had a steady career in movies over the last 25 years, often in unsung supporting roles, but this year he has really left a mark.
Speaking to the Capital Times from his home in Rhode Island, Jenkins gave thanks to Thomas McCarthy, creator of 2004’s sleeper hit The Station Agent, for having faith in him despite his lack of marquee presence. “He asked me to read the script and I hadn’t read anything I liked more. But I told him, nobody’s going to give you the money with me in it!” But McCarthy persevered, even when one executive producer suggested just weeks before shooting that Morgan Freeman might be a more commercial choice.
2008 has been a great year for Jenkins. In the sophomoric buddy comedy Step Brothers he got to improvise scenes about dinosaurs with Will Ferrell and John C. Reilly; he was reunited with The Coen Brothers for Burn After Reading (in a part that was written for him); and in the sensitive indie he shines as a widowed academic brought back from a boundless depression by a chance New York connection with two illegal immigrants.
But carrying a film on his shoulders was a new experience. “I always wondered what it would be like, you know? Could I do it? But most of all, I didn’t want to let Tom down.” He needn’t have worried, as his performance anchors a typically humane McCarthy film about strangers thrown together and learning to appreciate and then love each other.
Jenkins continues to live in tiny Rhode Island where he moved after successfully auditioning for the Trinity Rep theatre company in Providence in 1970. He happily performed and directed there for 14 years, even spending four years as acting Artistic Director just as his film career was taking off.
The movie work has been so regular he hasn’t been on a stage since 1985 but he never anticipated a film career. ”I’d always loved film but frankly, it was easier to go the the moon,” he laughs. “A career is something you look back on rather than something you plan”.
Now he says he enjoys watching theatre more than he ever did (when he was acting in it) and tries to catch whatever he can, wherever he may be filming.
At the rate that Jenkins makes films (there are another four in the can for release next year), the law of averages suggests he will be shooting in Wellington before too long and he knows the talent we have to offer, describing working with Niki (Whale Rider) Caro on North Country as his best movie-making experience ever.
Printed in Wellington’s Capital Times on Wednesday 3 December, 2008.