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Haywire articles

Post by Admin on Fri Nov 04, 2011 11:05 pm

http://blogs.indiewire.com/theplaylist/archives/2011/11/03/afi_fest_secret_screening_will_be_steven_soderberghs_haywire/

AFI Fest Secret Screening Rumored To Be Steven Soderbergh’s ‘Haywire’


AFI Fest kicks off today with Clint Eastwood‘s “J. Edgar” getting its world premiere, and the lineup for the next week includes an array of awards season heavy hitters including “The Artist,” “Carnage,” “Shame,” “Rampart” and more. However, just like last year, they’ve got one film yet to be announced. Festival-goers in 2010 were pleasantly surprised with a secret screening of David O. Russell‘s “The Fighter,” and on Sunday night another mystery movie will be unveiled, one that should definitely get the adrenaline pumping of everyone in the room.

The Playlist has heard pretty reliable word that Steven Soderbergh‘s “Haywire” will make its world premiere at the Grauman’s Chinese theater on Sunday, November 6th at 9:30 PM. Over the summer, attendees of the San Diego Comic-Con got a first taste of the movie when Soderbergh arrived to show off select footage from the movie, but this will be the first time it screens in full, in what is another solid ace up the sleeve for AFI.

“Haywire” marks the big screen debut of MMA fighter Gina Carano, who takes the lead in the gritty spy thriller written by Lem Dobbs (”The Limey”) about Mallory Kane, a black ops soldier on a mission of revenge after she’s double crossed by one of her teammates. As usual, Soderbergh has assembled a crackerjack ensemble that includes Michael Fassbender, Channing Tatum, Ewan McGregor, Michael Douglas, Bill Paxton, Michael Angarano, Matthieu Kassovitz and Antonio Banderas in a movie that won’t be your usual ‘Bourne’ style flick.

As we noted earlier in the year, “Haywire” promises some bracing, reality based action. In our recap of the trailer and fight sequence footage shown in San Diego, we said the choreography maps “out a plain-in-sight geography that put the focus on pure and grueling mano y mano combat.” In the Fassbender/Carano battle that was previewed, it was delivered with “no music and no sound other than grunting, the smashing of fists on flesh and the breaking of glass and furniture.” And it’s this clear-eyed realism that Soderbergh was aiming for.

“People really get hit in this film and they get hurt,” the director told us this summer. And as for the movie, it will get things moving right away. “It’s kind of a cold open, we kind of parachute into the beginning of the story,” Soderbergh explained. “At a certain point, the story catches up…the second half of the film plays out in real time. I love spy movies and we tried to be really accurate about this world…we had a couple of consultants who worked with us to a make sure that everything we were doing was factually accurate.”

Should be a pretty charged up evening, all told. You can try and get tickets here if there are any left (they’re free), but if you can’t, not to worry as “Haywire” opens on January 20, 2012. One more thing, we’re also hearing the film is being eyed by the Berlin Film Festival for a competition slot, but nothing has been firmed up just yet.

Kevin Jagernauth posted to Film Festivals, AFI Fest, Berlinale, Films, Haywire at 10:24 am on November 3, 2011


Last edited by Admin on Fri Nov 04, 2011 11:09 pm; edited 1 time in total

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Post by Admin on Fri Nov 04, 2011 11:06 pm

http://blogs.indiewire.com/theplaylist/archives/steven_soderbergh_says_matt_damon_is_a_14-year_old_girl_retirement/

Steven Soderbergh Says Matt Damon Is A “14-Year-Old Girl” For Blowing Up His Retirement Spot
Comic-Con ‘11: Soderbergh, Gina Carano & Channing Tatum Talk ‘Haywire’


Director Steven Soderbergh‘s motivation for centering an action film around a female Mixed Martial Arts champion with no real acting experience was simple.

“I saw Gina fighting on television. Remember when CBS was running MMA fights on Saturday? I turned it on one time and thought, ‘why doesn’t someone build a movie around her?’ ” Soderbergh said of Gina Carano, the lead of his new spy thriller “Haywire.” “I’ve never seen someone like her fight – in a cage.” Soderbergh quickly sought out the fighter, pitched her the idea and then called up his old screenwriter friend and DVD-commentary sparing partner Lem Dobbs, who had written “The Limey” and “Kafka,” to pen the script.

One of the elements the Academy Award-winning director of “Traffic” wanted to emphasize was real fighting with very little tricks. “They wore padding, but when Gina was punching Michael [Fassbender] in the ribs, she was really punching him in the ribs,” he said.

Co-star Channing Tatum was just one of the many men in the film who took a beating at the hands of the MMA-fighter-turned-actress. “I had to hit her with a ketchup bottle, and I couldn’t do it. She called me the p-word, so then I did it for my ‘manity,’ ” he laughed. “But then she hit me back twice as hard, and I didn’t want to do it anymore.”


Two sequences were shown to the Comic-Con crowd. The trailer, which you saw earlier today, and a brutal and matter-of-fact fight sequence between Carano and Fassbender—note a major spoiler was shown, so careful what you read out there.

Eschewing the conventional wisdom of quickly clipped and disorienting ‘Bourne’ style fight sequences, this brawl between the two actors was extremely grounded, mapping out a plain-in-sight geography that put the focus on pure and grueling mano y mano combat.

Featuring no music and no sound other than grunting, the smashing of fists on flesh and the breaking of glass and furniture, the sequence is a bold statement flying straight against the grain of modern action sequences. So strangely centered that while watching you almost forget to breathe; this is no frills, punishing stuff.

While there’s yet to be a taste of David Holmes’ score—said to be out there, Lalo Schifrin-like and full of brass—his take on “Haywire” should whet the appetite for fans of action films that do not use vertiginous editing to hide the ferocious, and at times uncomfortable, pounding of flesh.

“Mallory Kane is special ops and she just gets the job done and people want to work with her,” the director said of Carano’s protagonist character. “She’s a private contractor and she’s… a professional doing her job, and I think she definitely believes in what she does because her father was in the military as well, so it’s in her blood.”

Soderbergh noted that the film plays with narrative at times. “It’s kind of a cold open, we kind of parachute into the beginning of the story,” he said. “At a certain point, the story catches up…the second half of the film plays out in real time. I love spy movies and we tried to be really accurate about this world…we had a couple of consultants who worked with us to a make sure that everything we were doing was factually accurate.”

“The fights are probably shorter than you’re used to seeing in movies because at a certain point, someone is going to get the drop on the other one and it’s going to be over.” the director said, noting Dobbs was inspired by ‘60s movies featuring Rod Taylor kicking ass in a suit and tie in the middle of a four-star hotel.

In related Soderbergh news. The filmmaker says a DVD re-release of his depression-era 1993 film, “King of the Hill,” is ready to go, but it all depends on the studio who owns it. “I’m hoping that all studios eventually adopt the system that Warner has,” he said of the celebrated Warner Archive. “I don’t know when Universal is going to release it, I just know that I had to look at the remaster and now it’s sitting there.”

As for all that retirement talk? Well, it’s real, but Soderbergh blames it on Jason Bourne. “Matt Damon is apparently about as discreet as a fourteen-year-old girl,” Soderbergh quipped to much laughter. “I had this drunken conversation with him…and that’s how all this started…It kinda got a little bit blown out of proportion there and it’s Matt’s fault.” - Reporting by Kimber Meyers & RP. Photo by LATimes/AP

The Playlist posted to Actors, Anthony LaPaglia, Channing Tatum, Actresses, Gina Carano, Directors, Steven Soderbergh, Films, Haywire at 7:41 pm on July 22, 2011

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Post by Admin on Fri Nov 04, 2011 11:07 pm

blogs.indiewire.com/theplaylist/archives/steven_soderbergh_says_he_studied_finchers_fight_club_for_haywire_/

Exclusive: Steven Soderbergh Says He Studied Fincher’s ‘Fight Club’ For ‘Haywire’ Fight Sequences
Director Talks Action Geography, Playing With Narrative & How The Spy-Thriller Has Tested Well With Female Audiences


Aside from films lead by Angelina Jolie, action pictures starring women are increasingly rare. What’s also few and far between is male stars, known for their action lead roles, who are willing to have their asses handed to them on screen by a member of the opposite sex. When Steven Soderbergh started casting up his latest, the spy action thriller, “Haywire,” these are part of the problems he encountered. Well known action stars—we won’t name names—who didn’t want their asses kicked by a woman shied away from the project.

Their loss were the gain of others, young actors like Channing Tatum and Micheal Fassbender who jumped at the chance to work with the Academy Award-winning director of “Traffic,” “Erin Brockovich” and the ‘Ocean’s’ films franchise among others. However, there was still a little trepidation, but it was pitched in the opposite direction. “I called Michael up when we were discussing the film,” Soderbergh recalled in an exclusive interview that took place after “Haywire” footage debuted at Comic-Con 2011 last week. “And I said, ‘Are you comfortable with the idea of punching a girl in the face? Cause that’s what you’re going to have to do here.’ And he had to stop and think about it for a second.”

After a short debate, Fassbender, along with Tatum, Ewan McGregor, Michael Douglas, Antonio Banderas, Michael Angarano and Bill Paxton all signed on to star opposite the lead, Gina Carano, a non-acting Mixed Martial Arts fighter that leads this picture as Mallory Kane, a black ops super soldier who seeks payback after she is set up and betrayed during a mission. “Ultimately all the guys were really good sports,” the director said. “They were really supportive and they were all rooting for Gina.”

Women could be rooting for the fighter turned actress as well. The filmmaker said that the film rated incredibly well during testing with women and it’s something he hopes to exploit in the marketing closer to the film’s release on January 20, 2012. “The film tested extremely well with women and the comments they left were super interesting,” he said, suggesting that a group of females could really enjoy a night on the town watching some of Hollywood’s sexiest hunks take a severe beating. “I’m not sure what’s to be done there exactly [with the marketing], but who knows, it could be like a girls night out. It’s not something we see very often on the screen.”

And take a severe beating the men do. As we noted in our recap of the trailer and fight sequence footage shown last week, the film does little in way of editing tricks to mask the fighting. We wrote, “eschewing the conventional wisdom of quickly clipped and disorienting ‘Bourne’ style fight sequences, this brawl between the two actors was extremely grounded, mapping out a plain-in-sight geography that put the focus on pure and grueling mano y mano combat.”

And Soderbergh noted this is exactly how he wanted it. “People really get hit in this film and they get hurt,” he said. “Yes, they were wearing padding [referencing a brutal fight sequence between Carano and Fassbender] but they banged each other up pretty badly” (Fassbender got a vase accidentally smashed against his face). No one went unscathed, not even a stunt person. “Gina calibrated just slightly off on a punch and knocked out a stunt man cold on the first few days of shooting.”

In terms of the austere and “anti-‘Bourne’ ” geography of the fight sequences, this too is by design. The filmmaker noted, that each scene has no music, little sound outside of grunting and the smashing of objects and all the fighting is there for audiences to witness. “It’s my bête noire – disorientation,” he said. “As an audience member you want to actually see what’s going on; [that editing style] it’s a bit of a cheat. So it tends to bother me as a viewer when I don’t know where you are in the scene because the editing and rhythm is far too clipped. I feel like sometimes [progenitors of this style] aren’t giving their audience enough credit.”

But the director also noted that he didn’t choreograph the fighting this way to be contrarian, it’s just the style of action he enjoys from films of the 1960s where actors like Rod Taylor kick ass in a suit and tie in the middle of a five-star hotel. ” ‘From Russia With Love’ is my favorite Bond movie and I’ve always wanted to make a spy film,” he said. “The geography is all there too [in the fight sequences]. They’re not hiding.”

Part of the inspiration for making the film was watching Carano busting skulls on television and realizing someone had to leverage this woman on screen (and he then realized, that someone should be him). And the second half of that inspiration was the challenge the omnivorous filmmaker is constantly seeking to keep things creatively fresh. But he didn’t make it necessarily easy for himself. “I don’t storyboard things, so with this film I stuck to that rule and we just figured out the choreography of the fighting on set as we were shooting,” he said, explaining that this nervewracking process was part of the fun. “It keeps things fresh and it keeps things alive and charged.”

One thing that he did do in advance however was watch and reverse engineer (in his head) the fight sequences in his friend David Fincher‘s “Fight Club.” “David is the guy,” he said reverentially. “He’s a master. So I would study the film and look to see where he was cutting, but not just when he was cutting, but why.”

Was he concerned that his first action movie would star not only a female, but an untested female in her first leading role? “That’s the risk you take,” he said, noting that the financiers had more trepidation than he had. “Look, Gina is an athlete and in many ways she’s a performer. But she held her ground. I mean, my god, she’s got scenes next to Michael Douglas for crying out loud.”

“Haywire” also came together really quickly. Soderbergh saw Carano on TV, contacted her, pitched her and when she was interested sought out his old commentary track sparring partner and writing collaborator Lem Dobbs who penned Soderbergh’s “The Limey” and “Kafka.” “The first draft was banged out in a month,” he said of the on-the-run production. Even Carano noted during the Comic-Con panel that the film almost didn’t come to pass. “It’s going to happen really fast or its not going to happen at all, and then it happened,” Carano said of the early caution she received about the movie. Soderbergh also mentioned that like “The Limey,” this action thriller will also “play around with narrative a bit.”

While the picture is now dated to come out six months from now in January, the filmmaker is eager to show it off, noting that taking it to Comic-Con was part of proudly displaying the film that was supposed to come out earlier this year. “It was a bit frustrating, waiting for the Lionsgate situation to sort itself out,” he said (Relativity Media, the financiers turned distributors are now releasing the film). “The film was supposed come out in April, then in August. Now we have the right amount of time to get the word out there and I’m eager for people to see it.

As we noted in an excerpt from this lengthy conversation posted last week, retirement is still in the cards for the filmmaker. Some wishful thinkers have pointed out that he signed a six picture deal with for Todd Wagner and Mark Cuban‘s HDNet Films for pictures that would be released simultaneously in theaters, on television, and on VOD. That deal produced lo-fi indie pictures like “Bubble” and “The Girlfriend Experience” but it no longer exists. “I was starting to wind down and they starting backing away from the [day-and-date film releases] as well, so we mutually decided to walk away from it.” It didn’t help that many pundits criticized this new model and called it a huge threat to the viability of the film industry. “We got killed,” he said of the media and film industry’s reaction to this experiment.

But retirement is not that soon on the horizon either. There’s still the little matter of two films that have to be released (“Haywire” and September’s virus thriller “Contagion” which will premiere at the Venice Film Festival) and three films that haven’t even been shot. First up is “Magic Mike” a male stripper exploit film based on the life of “Haywire” star Channing Tatum, a big screen adaptation of the ‘60s TV spy series, “The Man From U.N.C.L.E,” and finally, “Liberace” starring Matt Damon and Michael Douglas.

“Contagion” is a germ thriller that is horrific because of the “realism” of the story and Soderbergh says it will have audiences “looking for Purell hand-sanitizer afterwards. It’s incredible to watch people’s reactions [when it’s over].” ‘U.N.C.L.E’ is something he hopes George Clooney will star in. “That’s the hope,” he said, not wanting to count his chickens before they are hatched. “You know, we stay and touch and we talk obviously and he seems like the perfect fit for the role.”

And “Magic Mike” is something that will shoot soon in September. Soderbergh calls it a “Saturday Night Fever”-like picture, but says he was drawn to it because it “was a world that’s really intriguing” and one “we haven’t really seen onscreen before.” Will it push the boundaries of male flesh on screen, play with notions of men’s sexuality and unnerve audiences given that it takes place in the world of male strippers? “Yeah, there might be some of that,” he said, an audible smile coming in loudly over the phone.

“Haywire” hits screens January 20, 2012. Steven Soderbergh’s career, as it stands now, has five films to go.

The Playlist posted to Directors, Steven Soderbergh, Films, Haywire, Interview at 11:03 am on August 1, 2011

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Post by Admin on Fri Nov 04, 2011 11:10 pm

http://blogs.indiewire.com/thompsononhollywood/2011/11/03/afi_fest_2011_conversations_presentations_include_young_hollywood_roundtabl/?utm_source=twitterfeed&utm_medium=twitter

AFI FEST Conversations and Presentations: Young Hollywood Roundtable, 3D Bootcamp, Haywire, Summits
Thompson on Hollywood

AFI FEST 2011’s slate of conversations, presentations and digital alliances includes a Young Hollywood Roundtable (Kirsten Dunst, Armie Hammer, Evan Rachel Wood, Anton Yelchin), Two Visions of the West and the inevitable 3D Bootcamp, Film Technology Summit, Future of Film Summit, plus a Secret Screening (reportedly Steven Soderbergh’s Haywire). There are interactive festival media platforms via MUBI, GetGlue and BuzzMod as well. Details on each below:

The Cosmopolitan of Las Vegas is also hosting a lounge to celebrate the fest’s 25th year. In the Central Courtyard of the Hollywood and Highland Center, the curated lounge will feature AFI FEST trailers and Cosmopolitan digital content, and activities such as croquet, billiards and a must-see Q&A with Shame director Steve McQueen and Elvis Mitchell. More details and calendar listings are below.
Thompson on Hollywood

November 4: The Los Angeles Times Young Hollywood Roundtable celebrates film’s brightest stars. Kirsten Dunst (MELANCHOLIA), Armie Hammer (J. EDGAR), Evan Rachel Wood (THE IDES OF MARCH) and Anton Yelchin (LIKE CRAZY) will engage in a lively discussion with The Los Angeles Times’ Amy Kaufman on life in the industry and being thrust into awards competition.

November 5: Two Visions of the West featuring THE CANADIAN and TRAIL OF THE VIGILANTES, AFI Catalog of Feature Films editor and film historian Robert Birchard and a special guest will explore two distinct and divergent visions of the West through the rich legacy of American film and its rediscovered hidden gems.

November 6: The Sony 3D Technology Center’s Senior Vice President Buzz Hays returns with 3D Bootcamp, an open seminar covering the fundamentals of 3D’s tools and techniques with an emphasis on the importance of storytelling in the third dimension.

November 6: “Secret Screening,” a sneak peek of a high-profile filmmaker’s latest work, to be unspooled at 9:30pm. Sponsored by Pepsi, AFI FEST will roll out the red carpet for all ticket holders to walk. The film selected will be revealed the morning of the screening, but tickets are available online.

November 7, 8: In alliance with AFI FEST, Variety will present the Film Technology Summit and the Future of Film Summit. The conferences will bring together an exclusive group of industry thought-leaders to discuss the latest innovations in entertainment and the current state of the industry.

Digital media options to delve deeper into the festival experience: Available exclusively through iTunes, the AFI FEST “App” sponsored by AT&T offers film goers access to the festival’s schedule, movie synopses and images, as well as the latest AFI FEST news, all from their mobile devices. In addition, AFI FEST has teamed with the digital media platforms MUBI, GetGlue and BuzzMob for festival goers to actively engage with their favorite AFI FEST films online: MUBI, in celebration of AFI FEST’s 25th edition, is accessing their extensive library to showcase and stream 25 retrospective titles that have screened at AFI FEST in previous years; GetGlue enables the festival’s audience to check-in at festival films and redeem prizes at the AT&T Box Office; and BuzzMob connects the audience with festival filmmakers through real-time chats and on-site interviews.

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Post by Admin on Mon Jan 23, 2012 3:40 pm

http://www.wmagazine.com/w/blogs/thedailyw/2012/01/19/haywire-screening-soderbergh.htm

After Hours: The Cinema Society Hosts a Screening of Haywire
January doldrums got a kick in the ass Wednesday night when the Cinema Society hosted a screening of Haywire, the new spy thriller from Steven Soderbergh. The film stars former mixed martial arts fighting champion Gina Carano as Mallory Kane, a black-ops government security contractor who’s double-crossed by someone close to her. Her neck on the line, she successively hunts down the suspects. Fortunately, Carano, who makes her acting debut in the film, gets to work through a rather nice roster of possible backstabbers, including co-stars Michael Fassbender, Antonio Banderas, Channing Tatum, and Michael Douglas.

blog-haywire-premiere-01.jpgEwan McGregor and Gina Carano

Just before the screening, held at the Landmark Sunshine Cinema and hosted by Blackberry Bold (spoiler alert: there are no iPhones to be found in the film), another of Carano’s cast members, Ewan McGregor, convincingly declared that he felt relaxed on set despite having to film action scenes with a professionally trained fighter. “She’s very precise. I was always in safe hands with her. I didn’t ever think she was going to hit me,” he said. Quite the contrary, apparently. “One time I punched her by accident in the side of the head and she asked me if I was okay—and she was right to do so because I almost broke my fingers.”

For her part, Carano, who arrived in a form-fitting black satin Bebe pencil skirt and jacket, was impressed by her male punching bags, err, colleagues. “It was okay to be physical. It wasn’t egotistical, it was more like we were roughing each other up for the better cause of the film,” she explained in a surprisingly sweet voice (no G.I. Jane stoicism here). “It’s really interesting, if you were to get jumped when you walk outside this place, your natural instincts would kick in. Their natural instincts were all very interesting: Channing’s very passionate and very athletic, and then Michael Fassbender is very tricky, you can tell the dirty Irishman in him is going to do anything to win that fight. Ewan, he picks up things very fast and he’s very smart, so he can be very technical.”

blog-haywire-premiere-03.jpg blog-haywire-premiere-02.jpgAbove: Steven Soderbergh and Greg Jacobs; Below, from left: Justin Bartha; Blake Lively

After the movie, Blake Lively posed for a photo with some guys in the lobby (“We’re SUCH huge fans,” they gushed) while Stephen Baldwin did the same outside on the street before high-tailing it to Sons of Essex for the after-party. His walking partner was an underdressed Aaron Carter, who spent much of the frigid stroll jumping up and down like a possessed person and proclaiming that he felt “like Jack on the Titantic.”

blog-haywire-premiere-04.jpgAaron Carter and Stephen Baldwin

Once in the wood-paneled coziness of Sons of Essex, guests like Elizabeth Banks, Billy Magnusson, and Justin Bartha sipped bourbon and tequila and devoured mac ‘n’ cheese balls and truffled mini pizzas. Meanwhile, Tony Danza pointedly avoided any roving cameras. Whose hit list is he on?

Click here to read W's February 2012 profile of Gina Carano.

Photos: Patrick McMullan
By Vanessa Lawrence
January 19, 2012

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