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2008情人節 唯一 靚到痺、笑到震、甜到漏 浪漫喜劇
型男索女愛情大兜圈 !! 花心性感 情難自禁
「《色慾都市》+《穿Prada的惡魔》+《摘星奇緣》精萃盡在其中，魅力四射！」
"Alek Keshishian's sparkling film is a blend of Sex and the City with a hint
of Notting Hill and The Devil Wears Prada".
B.T. (STUDIO Magazine)
「好甜蜜、好感動、好浪漫的英式幽默喜劇！」
"In the fine tradition of British romantic comedies. Love and Other Disasters
is a sweet and touching romantic comedy".
(A Nous Paris)
新一代愛情天后《8里公路》《我有冇問題》碧坦妮梅菲Brittany Murphy
《HEROES》人氣型男 聖地牙哥卡巴拿 Santiago Cabrera 冧爆演繹
名牌型人《第五元素》《聖女貞德》洛比桑 Luc Besson監製
潮派經典《與麥當娜同床》亞力革斯史恩 Alek Keshishian導演
得利影視股份有限公司 香港榮譽發行
戲院、級數、片長：待定
導演：亞力革斯史恩
演員：碧坦妮梅菲、聖地牙哥卡巴拿、麥菲賴斯、嘉芙蓮達蒂、當尼法蘭治
失錯身．上錯心 2008.2.14 情人節笑聲情獻
故事大綱
由「得利影視股份有限公司」榮譽發行，2008年情人節指定浪漫愛情喜劇──《緣份吹吹風》(Love and Other Disasters)，由潮派經典《與麥當娜同床》亞力革斯史恩導演；《聖女貞德》洛比桑 (Luc Besson) 監製；《8里公路、我有冇問題》新一代愛情天后碧坦妮梅菲 (Brittany Murphy)、《HEROES》人氣型男聖地牙哥卡巴拿及麥菲賴斯等上位新星攜手冧爆演繹！兩男一女愛情大兜圈，花心性感，情難自禁！《緣份吹吹風》將於08年2月14日(星期四) 在香港隆重公映。
《緣份吹吹風》故事發生於英國倫敦的璀璨都市裡，積絲（碧坦妮梅菲 飾）貴為時裝潮物VOGUE雜誌副編，自命是大眾愛情專家，最鍾意替朋友扯紅線做媒人，她的同志室友彼得（麥菲賴斯 飾）更是其緣份配對的重點對象。誰不知一夜間殺出個絕世型男保羅（聖地牙哥卡巴拿 飾），這對男女先後上晒電，但又不捨得放棄腳踏的幾道船；最重要是，言行舉止帶點camp味的保羅究竟是直是孿？積絲、彼得深諳是時候出手為自己緣份舖路，連二接三考驗友情的「爭仔風暴」在所難免……
導演亞力革斯史恩 Q&A 解構愛情戲
1. 浪漫愛情喜劇有什麼吸引你？這種類型電影是一個媒介可以用來表達我們對愛情的了解。即使這些電影不是很真實，甚至是很童話式般的理想化了愛情，一種錯誤的想法，以為愛情是會有時無端端會降臨，而其實是我們也需要去選擇的。
2. 對於拍浪漫愛情喜劇，有什麼是最具挑戰性呢？在這個片種當中，我希望可以拍出一部具娛樂性的脫離現實的愛情喜劇，同時也能擁有一點後現代的觸感，減少此類型電影的公式化以及帶來更多新衝擊。所以要平衡這兩個具衝突的目標是甚具挑戰性的，我希望《緣份吹吹風》可以被看作是浪漫愛情喜劇，也能令人享受箇中的巧妙與限制。
3. 當你寫這個故事時，你怎樣利用角色去表達你的想法？對我來說這部電影的兩面──虛假以及自我投射的兩面，是由兩位主角積絲及彼得去呈現。
而我另一個目標是盡可能把角色塑造得特別且獨一無二。現時的荷里活浪漫愛情喜劇多把角色寫得枯燥無味，無刺激性。是製片公司將角色打造成一式一樣的外型，將角色的古怪特質都剔走，變成浪漫愛情喜劇的「典型」。我偏向認為它的相反才是真實的，觀眾會傾向喜歡從獨一無二而深刻的角色中尋找眾所周知的真理。
4. 你認為人們是否喜歡活在夢中及幻想多於現實中？這是條有趣的問題。我不能代表每個人去答這問題，但我最大的問題是會時常將這兩樣事混在一起……活在幻想的問題是它可避免我們去解決現實上的難題以及改變。但另一方面過份死守在現實之上，生活又有太多的思想限制。我最終目標是可以平衡兩者──有源源不絕的幻想，卻又可以完完全全的活於現實。
5. 你如何挑選角色？我先是選積絲這個角色的，當選擇了由誰去演她時，其他的就好像砌圖的逐塊拼合成整個演員配搭。我需要他們不單是將自己演的角色賦予生命，並且能夠與其他人擦出火花。我希望最終集合到他們成為令人信服的一班好友。
6. 為什麼將故事背景放在倫敦？倫敦在過去10年都是我的家，故事的靈感以及故事人物都是來自我個人在這裡的經歷。
7. 在電影中你似乎想探討時裝世界及當代藝術兩個不同背景中間的諷刺性……我對於時裝及藝術世界兩者有種衝突性的感覺。一方面我有很多朋友都是來自這兩個專業，而他們的作品其實都不是一般人想像中的華麗。同時間在深層些的層面去看，我覺得這兩個世界都有點荒謬。大部份我尊敬的人，即使是在這兩個行業工作的，都某程度發現這內在的荒謬……這就是積絲問「愛情還是時裝較重要」……應該說「FxxK還是時裝較重要」？
8. 你曾導演過無數廣告、video及著名紀錄片《與麥當娜同床》，你的前作經驗如何影響此電影？每種類型電影都有它的獨特性以及它獨有的要求。但我可以說，拍廣告的經驗的確令我更能簡潔地去講故事。現在的觀眾也習慣了電影快速的講故事，我本身就沒有耐性去忍受那些在愛情喜劇中段經常出現的典型音樂montage。
而有關《與麥當娜同床》，它令我明白如何用鏡頭去紀錄真實多於如何去利用它，在風格上我依然是很贊同此學派的。例如我很仰慕活地阿倫的電影，他容許演員在鏡頭中有自我的表達，而不用利用一個自覺的鏡頭風格去限制了演員的演出。這看來可能沒太吸引，但這種純粹依靠演技的拍法是更困難以及需要更多時間。
9. 電影的結局以奧蘭度布魯和桂莉芙柏露演的虛構英雄故事作結，顯得十分有創意，這個構思是如何想出來？電影的結局是顯得機智聰明的，因為我需要利用它來平衡我的兩個衝突的主題：去拍出一部令觀眾滿意的浪漫愛情故事，以及對一般公式地大團圓結局的窩心愛情喜劇開玩笑。此電影的結局是要你同時間既可享受你們期待的結局，但又可取笑這些期待其實是很虛假的。
當然有人會問為何不把大團圓快樂結局完全刪去，但這樣我們又會錯失了重要一點，就是透過這樣的結局，去令我們，包括觀眾去承認這類型電影帶給我們大量的快樂甜蜜及有趣的感覺，同時間又知道這些劇情都是失實的內疚感…
10. 你認為觀眾能捕捉到你電影中的諷刺感嗎？我不清楚……但暫時看到觀眾的反應，尤其是後生的那群，其實是很正面的。我們於多倫多電影節的第一場試映，反映出觀眾在笑位上是絕對識笑，而且看來很享受看此電影。之後我再看他們在網誌上的一些看後觀感，更令我對他們在電影當中獲得很多，以及完全可以明白電影當中的諷刺性而感到高興。而我是不認為人們需要去「捕捉」到當中所有的諷刺才能享受看我這部電影。
例如電影中泰露娜的媽媽費露妮經常把人的名字喊錯，她將積絲叫作鍾絲，就是來自《BJ單身日記》的。另外我們有趕往機場的一幕，也是來自現時很多愛情喜劇愛用的橋段（如《真的戀愛了》），當然如果觀眾可完全察覺到這些場口的出處那會很好，但那不會是去閱讀或者享受這電影的必要因素。
導演亞力革斯史恩的光影法則
《與麥當娜同床》
於早年，這位哈佛畢業生亞力革斯史恩的名字就與麥當娜扯上關係，是源於他於麥當娜最當紅最具刺激性的時候，拍了一部有關她的紀錄片。當電影剛於1991年康城電影節首映時，麥當娜剛完成了她那聲名狼藉的Blond Ambition Tour，當時令大家對這位當時得令的天皇巨星有更深入的窺探。同時間此電影對導演在拍攝劇情電影的方向有一定影響。
倫敦
「倫敦在過去10年都是我的家，故事的靈感以及故事人物都是來自我個人在這裡的經歷。在我想到此電影的構思時，我住在Notting Hill的，但當李察寇提斯 (Richard Curtis )的《摘星奇緣》推出了之後，我就不想再在這裡附近拍攝了。而我亦需要尋找一個地方適合二十幾近三十歲的單身女子、扮演一個在Vogue雜誌工作的角色去住。八、九年前這或許會是Notting Hill的，但現在很多一家大小已經搬進此區，所以我選擇了鄰近Spitalfields Market的東倫敦。不選East End的原因是很多黑幫電影愛在那裡取景，而西倫敦又是李察寇提斯的「地盤」。我希望此電影跟之前的有截然不同的感覺。
《珠光寶氣》
「《珠光寶氣》是其中一部參考電影中浪漫愛情喜劇的經典。柯德莉夏萍的演出已變成iconic。但其實電影改編了的卡普提 (Truman Capote) 的原著小說中，它是想探討一個同性戀者跟主角Holly的友情。這當然是立即被電影公司將這個角色減去，此舉完全毀滅了卡普提小說的整個重點。所以卡普提對於當時被此片出賣感到十分憤怒。我認為由彼得這角色去揭露卡普提的中心動機是十分有趣，這也是製片公司希望由彼得在電影中達到的效果…」
《色慾都市》
「我其實沒有特別想起《色慾都市》，但我明白兩者當中有什麼關係。那應該是兩者的坦白以及很具現代氣息的態度及對白多於其他。我想是因為電視這個媒體變得越來越摩登，有時甚至比荷里活的愛情喜劇更加幽默好笑得多。觀眾對角色的睇法也不會規限於荷里活愛情喜劇那種是否「可喜歡」或者「可接受」的法則。」
《八部半》式配樂
導演拍過很多音樂錄影帶，而音樂在他的電影中一直有很重要的位置。而在《緣份吹吹風》的原創配樂中，他的參考是極具電影感的。「我希望向Nino Rota作出致敬的，尤其是他的《八部半》…這是一部敘述現代人生活的困局。我們的配樂師Alexandre Azaria非常厲害，令這明明是原創的音樂看來極像Rota的古老味。我希望影迷可以從Rota音樂上有多一層閱讀，喚起對電影之主題以及它的音樂如何影響我們。而即使對他的音樂上之應用沒有認知的，也能聽出那60年代音樂的氣息，因為它跟電影中的衣著及化妝也很配合的。」
角色解構
積絲（碧坦妮梅菲 飾）
積絲是個浪漫愛情喜劇的女英雄，與眾不同的、幽默、美麗、對自己的缺點視而不見。她是典型浪漫愛情電影中的中心主角：一連串的誤會，以及身份錯配。
彼得（麥菲賴斯 飾）
彼得是一個愛情片中甚少看見的角色──塑造這個同性戀室友的角色並不是單為加入喜劇元素，其實他當中也有自己一條完整的故事線。彼得這個角色是電影內外的一個自我投射，他的故事沒那麼搶眼，但最終令導演覺得他是更真實。
保羅（聖地牙哥卡巴拿 飾）
導演把他設計成阿根廷人，可以進一步加深語言上及文化上的差異與誤會。導演認為把他設計成阿根廷人可以令他遠離了積斯的時裝世界，保羅所代表的是一個更加自然、真實的、不受影響的觀點。
演員介紹
碧坦妮梅菲Brittany Murphy
碧坦妮梅菲九歲時已經開始當演員，第一套主演的劇集是Drexell's Class，之後再拍過一些廣告以及90年代的代表性劇集如Frasier等等。1995年，她開始拍電影，其中與雅麗茜亞蕭華史東(Alicia Silverstone)合演的《叻女掌門人》(Clueless)予人深刻印象。
2000：《我有冇問題》(Girl, Interrupted)
飾演被軟禁在精神病院的精神錯亂女子黛絲，碧坦妮打破輕佻少女角色的框框，演技再作一大邁進。她其後的選戲更奠定她能成功於浪漫愛情喜劇及更複雜的角色游走，例如在《贖命密碼》(Don't Say A Word) 演身心受創的受害者Elisabeth等。
2002：《八里公路》(8 Mile)
碧坦妮與Eminem的共同演出，得到影評人一致喝采：「真正的對待！」（華盛頓時報）；「碧坦妮頂呱呱！」(Rolling Stone)。
2005：《罪惡城》(Sin City)
法蘭米拿(Frank Miller)和羅拔洛迪格斯(Robert Rodriguez)改篇了米拿的cult漫畫令碧坦妮首次在康城踏上紅地氈。
2006：《踢躂小企鵝》(Happy Feet) - 配音
早於90年代初，碧坦妮曾經是她的樂隊Blessed Soul的主音，當電影公司找她聲演企鵝Gloria一角時，終於不用再浪費她的天份，聲線得到發揮。
2006：《Faster Kill Pussycat》
跳舞音樂大師Paul Oakenfold找來碧坦妮唱了他的單曲Faster Kill Pussycat，更成為美國細碟榜No.1。這會否是碧坦妮首張大碟的預告？想看她的music video，請到：http://www.youtube.com/watch?v=1WHiO2FRp6g
2007：《緣份吹吹風》(Love and other Disasters)
碧坦妮為積絲這角色添上更多美態及魅力。為了更能演活這個角色，她搬到倫敦住了幾個星期，又特意為此角色去學西班牙文、探戈、在一本時裝雜誌當私人助理去適應倫敦的生活。導演阿歷認為她跟故事中的主角很相似：「一走進房間就好似太陽能般把內裡照亮」。
聖地牙哥卡巴拿Santiago Cabrera
智利籍的聖地牙哥，於卡拉卡斯、多倫多及倫敦長大，當演員前曾希望成為職業足球員。他在倫敦戲劇界的精湛演出令他獲得於電視劇的演出機會，及後更於人氣劇集《Heroes》成為主角之一。
麥菲賴斯Matthew Rhys
出生於威爾斯的他，於倫敦皇家演藝學院進行演藝訓練，之後在BBC一連串的罪案劇集演出。1998年進軍大銀幕，與安東尼鶴健士(Anthony Hopkins)及謝茜嘉蘭芝(Jessica Lange)合演了《Titus》，同時間亦繼續他的舞台及電視的生涯，前者的The Graduate以及後者的Brothers and Sisters中的演出均為他贏得掌聲。
拍罷《緣份吹吹風》後，他正跟凱登基斯頓遜(Hayden Christensen)及美莎巴斯頓(Mischa Barton)合演大衛李蘭(David Leland)的《Territory》。
嘉芙蓮達蒂Catherine Tate
極具盛名的英國電視喜劇明星，她的The Catherine Tate Show為人津津樂道。而她亦染指舞台及電影界，繼《緣份吹吹風》後她會演出《The L Word》導演Billy Eltringham的新作《Mrs. Ratcliffe's Revolution》。
當尼法蘭治Dawn French
身為人氣劇集Ab Fab的編劇以及喜劇French and Saunders的半個要角，當尼已成為cult figure。此外他亦於《哈利波特亞茲卡班的逃犯》演出以及《魔幻王國：獅子、女巫、魔衣櫥》聲演Mrs. Beaver一角。
失錯身．上錯心 2008.2.14 情人節笑聲情獻
Brittany Murphy
A film by Alek Keshishian
LOVE AND OTHER DISASTERS
****HK Releasing Information****
Release Date: 2008/2/14 (Thursday)
HK Distributor: Deltamac (HK) Co. Ltd.
Running Time: 90 minutes
Category: IIB (TBC)
Theatre: TBC
SYNOPSIS
Jacks is an assistant editor at UK Vogue and forms the centre of her group of friends, taking an 'Emma'-like role as she match makes and steers them through their disastrous relationships. Her gay flat mate Peter is a particular focus of her repeated attempts to help him find true love. But when will Jacks realize she needs to focus on her own less than ideal love life? And when will Peter stop letting his imagination of the ideal lover get in the way of real-life happiness.
LOVE AND OTHER DISASTERS provides us with a witty glance into a glittering group of friends and their London life, whilst examining the difference between love as it is in the movies versus how it is in real life...
Q&A WITH DIRECTOR ALEK KESHISHIAN
1. What did attract you in the romantic comedy?
I was interested in how this genre, which is generally held in such low regard nonetheless serves as a source or, at the very least, a reflection of our collective understanding of love. Even though we know these movies are not realistic, they imply a kind of mythical ideal – a false belief that love is somehow something which happens to us, rather than something that we have to choose.
2. Dealing with this genre, what was the most challenging?
I wanted to make a movie that worked both within the genre, as a piece of escapist romantic comedy entertainment, while also having a slight post-modern sensibility that could, from time to time, make light of its own cliches and contrivances. The challenge of course was in trying to find the right balance between these two at times conflicting goals. My hope is that one can watch “Love and Other Disasters” both as a romantic comedy, while also enjoying on some level its admission of its artifice and limitations.
3. At the moment you wrote the story, how did the characters impose themselves?
For me the two aspects of the film – the artificial and the self-reflective -- are represented by the two main characters – Jacks and Peter. Jacks is very much my romantic comedy heroine, larger than life, beautiful, witty, and of course blind to her own defects. She is the central character involved in a classic romantic story of mistaken identity and misunderstanding. Peter on the other hand is something we don’t see much in a romantic comedy – the gay roommate who isn’t just the best friend used for comic value, but who actually has his own full story arc. Peter for me serves as the anchor into self-reflection both within and outside the movie itself. His story is less flashy, but ultimately feels more real to me.
My other goal with the characters was to allow them to be as specific, and unique as possible… These days it seems Hollywood romantic comedies insist on making characters that are rather bland. It’s as if the studios think the way to make a character have universal appeal is by getting rid of all their unique eccentricities and making them “typical.” I happen to believe that the reverse is true – that audiences are far more likely to find universal truth in characters who are very specific, and unique and memorable.
4. Why did you make Paolo’s character Argentinean?
The reason I made Paolo Argentinean was because first it serves as a plot device – specifically, someone from Argentina (unlike from Spain for example) would not have the right to “work” in the UK, which allows the whole marriage subplot to work. It also helps further the central misunderstandings, both in terms of language and culture. And finally, I felt making him Argentinean really distanced him from Jacks’s fashion world. Paolo represents a more natural, more authentic, unaffected point of view.
5. Do you consider people tend to live more in dreams and fantasy than in reality?
That’s an interesting question. I can’t speak for everyone, but I know my bigger problem is that I tend at times to confuse the two… The problem with living in fantasy is obviously that it prevents us from actually dealing and changing our reality. However, at times, being too stuck in reality can also be limiting. I guess ultimately the goal is to balance the two – to be able to dream big but then live fully in reality.
6. How did you choose your cast?
I started by first casting Jacks. Once she was chosen, the rest of the cast was like fitting together pieces of a puzzle. Each one had to not only bring their character to life, but also had to work well with the other. Ultimately, my hope was to assemble a cast that felt believable as a group of friends.
7. Why did you locate the story in London?
London has been my home for the last 10 years, and the inspiration for the story and these characters came from my experiences there.
8. You’re kind of ironic concerning both the fashion world and the contemporary art background …
I have a kind of conflicted feeling about both the fashion and art worlds. On the one hand many of my friends come from, or work in these two fields, and most of their work is far less glamorous than most people assume. At the same time, on a deeper level, I find both worlds to be slightly ridiculous. And frankly, I think most of the people I respect, even if they work in these two fields, are aware of this inherent absurdity on some level… This is why for example at one point Jacks asks – “What’s more important, love or fashion… Let me rephrase that, what’s more important ANYTHING or fashion?…”
9. I can imagine you paid special attention to the music in the movie, which is one of the element you use to play with the genre “cliches”: how did you work on it?
I wanted to pay homage to Nino Rota, specifically his score for 8 1/2… which was a movie that also chronicled the “circus” of modern life. Alexandre Azaria, our composer, did an amazing job in writing a score which in actual fact is totally original yet feels like vintage Rota. I hope for cinephiles, the Rota influence adds a layer of reference, again thematically invoking the idea of “movies” and how they’ve influenced us. But even for those who don’t recognize the specific reference, I think the score harkens back to the 60s a bit, which fits with the style of the clothes, and make-up. This 60s influence I carried over into the source music as well.
10. “Breakfast at Tiffany’s” is an obvious reference for you: the ultimate one?
“Breakfast at Tiffany’s” is one of those movies that has become a romantic comedy classic. Obviously Audrey Hepburn’s performance has become iconic. But in truth Capote’s novella on which the movie is based, is a study of the friendship between a gay man and Holly Golightly, And of course the first thing the studio did was to eliminate this gay character, which kind of defeats the whole point of Capote’s story. That’s why Capote was so furious and felt betrayed by the film. I thought it was interesting for Peter to uncover this central alteration to Capote’s intent. Because at the end, this is precisely what the studio does to Peters movie as well…
11. There’s a kind of “Sex and the City” perfume in the movie: is it a reference you call for?
I didn’t actually think about Sex and the City at all. However, I can understand how some might see a kind of relatinship between the two. I think this is more in terms of the frankness and moderness of the tone and dialogue rather than anything specific. Again, I think this is partially due to the fact that recently television has been more modern and often times more witty than the Hollywood romantic comedies. And audiences are a lot more open to characters which don’t subscribe to Hollywood’s notion of “likeable” or “acceptable.”
12. You have also directed countless commercials, video clips and the famous documentary “Truth or Dare” (aka “In bed with Madonna”): how did these other experiences influence this film.
Each genre is unique and obviously has its own requirements. But I would say that directing commercials has definitely made me more succinct in the way I want to tell a story. I think audiences as well have become accustomed to fast story-telling. I personally have no patience for example for those typical music montages that seem to always appear in the middle of romantic comedies.
In terms of “Truth or Dare” (aka “In Bed With Madonna”), what that movie taught me was to the power of allowing the camera to record the truth rather than try to impose it. And I suppose stylistically I still subscribe to that school. I adore for example the movies of Woody Allen, which allow the actors to perform more organically within a scene rather than impose on or limit the performance with a self-conscious camera style. It may seem less flashy, but in truth it is far more difficult and often time-consuming, since it relies purely on performance,
13. It’s particularly original to end the movie with the fictional story of the heroes, played by Orlando Bloom and Gwyneth Patron: how did you come up with this?
The ending of the movie was the trickiest aspect in terms of balancing my two conflicting desires – how to make a satisfying romantic comedy and yet make fun of the typical feel-good neatness of the usual ending. The ending we used I hope allows the audience to both enjoy what they expect while turning it on its head and making fun of just how artificial these expectations are… To me this is the moment when the lights are fully turned on to the artifice of the movies and specifically the romantic comedy genre. Of course one could ask why not eliminate the happy ending entirely – but to do this would actually also miss the point. What’s interesting is admitting, perhaps guiltily, that it can be incredibly amusing and fun to watch these kinds of stories, and their happy endings, even when we know they are false…
14. Do you think people will get the irony of your movie?
I don’t know… But so far the reactions of the audiences, especially younger people, has been really encouraging. Our first screening at the Toronto Film Festival indicated that people definitely got the jokes and seemed to enjoy the story. But when I read the blogs of various viewers afterwards, I was really pleased to see how much most of them also got and embraced the irony of our references. But I don’t think one has to “get” the irony in order to enjoy the film.
For example, Talullah’s mother, Felicity, constantly gets everyone’s name wrong, and in fact calls Jacks, our heroine, “Jones” which is a reference to “Bridget Jones.” Likewise, we have the classic race to the airport at the top of Act 3, a nod to so many romantic comedies (most recently Love Actually) although in ours the results are less than movie perfect. Or the reference of our score to Nino Rota’s 8 1/2. Now obviously, I’d love people to get all our references, but it’s not necessary for the comprehension and enjoyment of the film.
THE WORLD OF ALEK KESHISHIAN
IN BED WITH MADONNA
(TRUTH OR DARE)
Very early on, Harvard graduate Alek Keshishian found his name associated with that of Madonna, to whom he devoted a documentary at the height of her most provocative period. Shot during the notorious Blond Ambition tour, In Bed With Madonna premiered, out of competition, at the 1991 Cannes Festival and offered a more intimate glimpse of the star. It was a highly formative experience for the director, even influencing his approach to fictional filmmaking: “That movie taught me the power of allowing the camera to record the truth rather than try to impose it. And I suppose stylistically I still subscribe to that school. It may seem less flashy, but in truth it is far more difficult and often time-consuming, since it relies purely on performance.”
LONDON
“London has been my home for the last 10 years, and the inspiration for the story and characters in Love & Other Disasters came from my experiences there. When I first had the idea for the film, I was living in Notting Hill. But after Richard Curtis’s film was released, I really didn’t want to shoot in the neighbourhood anymore. I had to find where a single young woman in her late twenties, who works for Vogue, might live. Eight or nine year agos, that could have been Notting Hill, but a lot of married couples with children have moved in there now. As a result, we focused on areas of East London, round Spitalfields Market, which is a great part of the city. I had no intention of venturing into the East End, where all the gangster movies are set, or into West London, which is Richard Curtis territory. I wanted something totally different.”
BREAKFAST AT TIFFANY’S
“Breakfast at Tiffany’s is one of those movies that has become a romantic comedy classic. Obviously Audrey Hepburn’s performance has become iconic. But in truth Capote’s novella on which the movie is based, is a study of the friendship between a gay man and Holly Golightly, And of course the first thing the studio did was to eliminate this gay character, which kind of defeats the whole point of Capote’s story. That’s why Capote was so furious and felt betrayed by the film. I thought it was interesting for Peter to uncover this central alteration to Capote’s intent. Because at the end, this is precisely what the studio does to Peter’s movie as well…”
SEX AND THE CITY
“I didn’t actually think about Sex and the City at all. However, I can understand how some might see a kind of relationship between the two. I think this is more in terms of the frankness and modernness of the tone and dialogue rather than anything specific. Again, I think this is partially due to the fact that recently television has been more modern and often times more witty than the Hollywood romantic comedies. And audiences are a lot more open to characters which don’t subscribe to Hollywood’s notion of ‘likeable’ or ‘acceptable’.”
MUSIC
Alek Keshishian has directed many music videos and music has always had a special place in his work. For the original score of Love & Other Disasters, his references were highly cinematic. “I wanted to pay homage to Nino Rota, specifically his score for 8 1/2. Alexandre Azaria, our composer, did an amazing job in writing a score which in actual fact is totally original yet feels like vintage Rota. Even for those who don’t recognize the specific reference, I think the score harkens back to the 60s a bit, which fits with the style of the clothes, and make-up.”
JACKS
“Jacks is very much my romantic comedy heroine, larger than life, beautiful, witty, and of course blind to her own defects. She is the central character involved in a classic romantic story of mistaken identity and misunderstanding.”
PETER
“Peter on the other hand is something we don’t see much in a romantic comedy – the gay roommate who isn’t just the best friend used for comic value, but who actually has his own full story arc. Peter for me serves as the anchor into self-reflection both within and outside the movie itself. His story is less flashy, but ultimately feels more real to me. “
PAOLO
“I made Paolo Argentinean because, first, it serves as a plot device – specifically, someone from Argentina (unlike from Spain, for example) would not have the right to work in the UK, which allows the whole marriage subplot to work. It also helps further the central misunderstandings, both in terms of language and culture. And finally, I felt making him Argentinean really distanced him from Jacks’s fashion world. Paolo represents a more natural, more authentic, unaffected point of view.”
THE FASHION WORLD
Set in the world of fashion, Love & Other Disasters pokes fun at the superficiality of the fashionistas. The world of modern art is also treated with delicious irony. “I have a kind of conflicted feeling about both the fashion and art worlds. On the one hand many of my friends come from, or work, in these two fields, and most of their work is far less glamorous than most people assume. At the same time, on a deeper level, I find both worlds to be slightly ridiculous. And frankly, I think most of the people I respect, even if they work in these two fields, are aware of this inherent absurdity on some level.”
BRITTANY MURPHY (JACKS)
Brittany Murphy started acting at a particularly young age, first appearing on stage at the age of 9. In her teens, she landed a starring role in Drexell’s Class, and featured in numerous commercials and other leading ‘90s sitcoms, such as Frasier, Parker Lewis Can’t Lose and Sister, Sister. In 1995, Brittany broke into movies, memorably starring opposite Alicia Silverstone in Clueless. 2000: GIRL INTERRUPTED As Daisy, a disturbed young girl interned in a mental hospital, Brittany moved up a gear from the roles of skittish teens she had previously been offered. Her subsequent choices confirmed her determination to alternate between romantic comedies and more complex characters, such as trauma victim Elisabeth in Don’t Say A Word and druggie Nikki in Spun.
2002: 8 MILE
Brittany’s performance alongside Eminem won unanimous acclaim from the critics: “The real deal” (The Washington Post); “Brittany Murphy is dynamite!” (Rolling Stone).
2005: SIN CITY
Frank Miller and Robert Rodriguez’s already cult adaptation of Miller’s comic book offered Brittany her first experience of the red carpet in Cannes, where the film screened in competition.
2006: HAPPY FEET
Lead singer of her own band, Blessed Soul, in the early ‘90s, Brittany has lost none of her vocal talents, using them to great effect in the animated movie Happy Feet, in which she voices the part of Gloria the penguin.
2006: FASTER KILL PUSSYCAT
Paul Oakenfold, one of the biggest names in modern dance music, ask Brittany
to provide vocals for his new single, Faster Kill Pussycat, which went to number
1 in the U.S. charts. A prelude to producing the young lady’s debut album...?
To see the video, go to: http://www.youtube.com/watch?v=1WHiO2FRp6g
2007: LOVE AND OTHER DISASTERS
Brittany Murphy brings all her beauty and charm to the part of Jacks. To get a better feel for her character, Brittany moved to London several weeks before shooting started and took crash courses in Spanish, tango dancing, being a PA at a leading fashion magazine and adapting to London life. Alek Keshishian says the young actress is very similar to her character in that she has “solar energy that lights up any room as soon as she walks in.”
MATTHEW RHYS (PETER)
Born in Wales, Matthew Rhys trained at the prestigious Royal Academy of Dramatic Art in London before starting his career on television in a BBC crime series. In 1998, he broke into movies, appearing alongside Anthony Hopkins and Jessica Lange in Titus. While continuing his career on stage (his performance opposite Kathleen Turner in the revival of The Graduate won Matthew rave reviews) and TV (most notably in ABC’s Brothers and Sisters), Matthew has confirmed his talent on the movie screen. After Love & Other Disasters, he can soon be seen in David Leland’s Virgin Territory, co-starring with Hayden Christensen and Mischa Barton.
CATHERINE TATE (TALLULAH)
A British TV icon, Catherine Tate is best known for the comic talent that she showcases on the BBC’s highly popular The Catherine Tate Show. Catherine’s virtuosity in these satirical sketches has allowed her to broaden her career to theatre and movies. After Love & Other Disasters, Catherine will topline in Mrs. Ratcliffe’s Revolution by The L Word director Billie Eltringham.
SANTIAGO CABRERA (PAOLO)
Of Chilean origin, Santiago Cabrera grew up in Caracas, Toronto and London. He planned on becoming a professional footballer before switching to acting. His performances on the London stage led to offers of parts in TV series before landing one of the leading roles in NBC’s new primetime hit, Heroes.
DAWN FRENCH (THE SHRINK)
Writer of the hugely popular series Ab Fab and one half of the French and Saunders comedy duo, Dawn French is a cult figure in the UK, where she starred in The Vicar of Dibley, written by Richard Curtis. Dawn’s film credits include the role of the Fat Lady in the Painting in Harry Potter and the Prisoner of Azkaban and The Chronicles of Narnia: The Lion, the Witch and the Wardrobe, in which she voices the part of Mrs. Beaver.
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