A Quote by Elvis Mitchell
The stoic drama 'A Somewhat Gentle Man' is photographed in a palate of steel gray tones that match Stellan Skarsgard's complexion. It's a low-blood-pressure version of the kind of thing James M. Cain used to do in his sleep, and its filmmaking accomplishment is as minimalist as its narrative ambition is minimal.
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To be with Derek Jacobi and Stellan Skarsgard, it's a master class in acting every day.
I mean, if you are director like Lars Von Trier who is able to get actors on a table like Lauren Bacall, Ben Gazzara, James Caan, Nicole Kidman, Chloe Sevigny, Stellan Skarsgard, Udo Kier, all in the self-service situation in the same room, the same trailer, no money, then you must have something that everybody accepts.
There are plenty of writers, past and present, from Shakespeare to Henry James to Lydia Davis, who test the limits of coherence and put pressure on current notions of accessible (and acceptable) narrative methods. To thrive and change and grow, any art needs this kind of pressure.
What always strikes me in the story of Cain and Abel is how often the word "brother" is used. Cain killed his "brother." God says it was "the blood of your brother." The killing was done to another human being, a child of God like you, breaking that sacred bond of common humanity.
I used a kind of gray-green early on in my practice for painting steel, to make it look more like it had a kind of patina to it, like copper and bronze and so on. The color I used was a Benjamin Moore color called 2012. My then-young daughter started calling me 2012 - it was my nickname.
Freaks was a thing I photographed a lot. It was one of the first things I photographed, and it had a terrific kind of excitement for me. I just used to adore them. I still do adore some of them.
Jesse [James] was known as a kind of Robin Hood character and also it was known that his exploits were somewhat dubious - however, he perpetuated this myth. Our film [The Assassination of Jesse James] really takes place at the end of all that, the last year of his life, at the end of all that celebrity.
Oh Sleep! it is a gentle thing, beloved from pole to pole, to Mary Queen the praise be given! She sent the gentle sleep from Heaven, that slid into my soul.
Cain's an animal, man. Cain's a competitor. I want to spar with Cain because I know if I'm able to hang with him here in the gym, once I get out there in the cage and fight, I mean, I've already gone toe-to-toe with Cain Velasquez, you know?
To be ourselves we must have ourselves – possess, if need be re-possess, our life-stories. We must “recollect” ourselves, recollect the inner drama, the narrative, of ourselves. A man needs such a narrative, a continuous inner narrative, to maintain his identity, his self.
His view of the world is one that keeps his blood pressure low, sweeping the cholesterol from his relaxed, freeway-sized arteries. Everyone knows he is going to live till age ninety, although the question that goes begging is, “for what?
Freaks was a thing I photographed a lot. It was one of the first things I photographed and it had a terrific kind of excitement for me. I just used to adore them. I still do adore some of them. I don't quite mean they're my best friends but they made me feel a mixture of shame and awe.
There are three types of palate. There's the palate that can't taste anything, there's the normal palate, and there's the Super Palate. I don't think I've got a Super Palate, but it's pretty good.
And I like the way Cain writes his women. Very strong. They're kind of lusty, they know what they want, they're full of conviction. Cain's women are sexual.
To lift farm drudgery off flesh and blood and lay it on steel and motors has been my most constant ambition
Like Godfather, you look at a movie like that, or something that James Gray has directed, a film with minimal or pin lighting as opposed to everything being lit bright and flat, where everything is evident
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