Oscar season means Oscar parties. Usually you need a star or two in attendance to bring out the journalists because there are only a few who will turn up for the free food and drink alone, and even fewer who do it for their jobs. I myself tend to feel awkward at such gatherings, even though it’s theoretically part of my job. The way the bloggers and journalists swarm the talent always puts one in one’s obsolete place, as adorer and worshipper rather than fellow human being. It’s surreal, but nice. Some of these event are impossible to pass up, however, and one such occasion for me was the All Is Lost party held this weekend in Hollywood in the middle of the day.
A colleague of mine complained that it was the wrong time for a party. Who has a party at 1:30pm in the afternoon anyway? But every so often a film production comes along that requires extra effort to keep it in the conversation during Oscar season. When a writer/director takes this kind of risk, to make a film with no dialogue, heavy on metaphor and spiritual interpretation, with a career best performance by Robert Redford, you stop and pay attention. The more box office the film can generate, the more awards attention it gets, the better the chance that more films like this will get made, the more studio backers will say yes to risk-taking in film, rather than always adhering to the kind of formula that works.
Without Robert Redford in attendance, it seemed like it would be hard to get guests to attend. But the room was crowded as the “below the line” artists were introduced to journalists. Most of us had no idea what it took to get a film like All Is Lost made. What seems, on the screen, like one man in a boat with a camera trained on them was a much longer and more detailed process. Chandor had the film’s editor, Pete Beaudreau, who worked on Margin Call, on set to make sure that they had the footage they needed as they went along. There were things they couldn’t take back, like a destroyed boat.
Three different boats were shopped by Chandor and production designer John P. Goldsmith. I asked them what went into deciding which boat to use? Did they look for a particular insight into Redford’s character? But Chandor wanted it to be left ambiguous, to a degree, much like the film itself. That makes it easier to settle into the idea that the film works both literally and metaphorically — he could be anyone. He could be you. He could represent any of us, all of us.
We drank Campari and soda as the sun cracked through the tall windows. Working on the project turned out to be so rewarding for Goldsmith that he was having a hard time accepting the kinds of scripts that were coming to him afterwards. Both he and Beaudreau try to pick projects that they believe in. All Is Lost was the kind of film that required a team who got it. Such a brilliant collaboration overall that comes across seamlessly on screen.
We could have talked about what it was like to work with Robert Redford. We could have talked about difficulties with the weather. We could have talked about what films we’ve seen that we liked. Somehow, though, our conversation veered towards death and religion. That’s not surprising given the film’s subject. Apparently 50% of those who see All Is Lost interpret the ending one way, and 50% interpret it the other way. Those interpretations depend on what we believe is going in. The only strange thing about it is how so many see it differently.
All Is Lost is the kind of film that has to be seen on the big screen to be appreciated. Those who saw and loved Margin Call, as I did, particularly knowing that Chandor took ten years getting it made, will appreciate the giant step forward he’s taken visually. As a director he’s already showing the kind of versatility that builds a lasting and unpredictable career.
Hollywood needs more production crews like those involved in getting All is Lost off the ground — including a big name like Redford who lived through Hollywood’s most daring era, the 1970s, and remembers what taking artistic risks is still about. Given that, attending a party of theirs is as easy as the warm winds that took to the streets of Hollywood that day, cleaning the trash from the sidewalks and depositing it elsewhere, far from where these filmmakers were gathered.
bd74, there is nothing “strange” about how anyone is bringing up Chiwetel in the context of this article. In case you missed it, this site is about awards — handicapping them, prognosticating, comparing, examining odds and how the wind is blowing for one hopeful or another.
Just to be clear, you are saying that any article about a particular movie should have no mention in the comments section of any other movie? In other words, we can only discuss 12 Years a Slave on a thread about that particular film? And the same with All is Lost?
Now that is what would be “strange,” in my book.
It’s strange how a couple of people here felt the need to bring up Chiwetel Ejiofor. This post has nothing whatsoever to do with Chiwetel or his movie. Why didn’t they reserve their comments for the post directly above this one, which actually is about 12 Years a Slave?
And there is no performance that can be said to be the “best”, as that’s entirely subjective.
I gotta say I agree with the folks here that say this isn’t Redford’s career best, nor is it the best lead actor performance. I like Ejiofor, Dern and especially McConaughey better. Saw Dallas Buyers Club on Saturday. Its actually a better movie than some critics are saying, and McConaughey is officially my pick for Actor. I’ve seen most major contenders now (with the exception of Bale, Isaac, Phoenix and Dicaprio) and for me it comes down to a tight race between McConaughey and Ejiofor, with Bruce Dern as my dark horse. But Matthew deserves to win this year, I think.
My rankings in order of preference:
1. Matthew McConaughey – Dallas Buyers Club
2. Chiwetel Ejiofor – 12 Years A Slave
3. Bruce Dern – Nebraska
4. Michael B. Jordan – Fruitvale Station
5. Robert Redford – All Is Lost
6. Tom Hanks – Captain Phillips
7. Hugh Jackman – Prisoners
8. Miles Teller – The Spectacular Now
9. Simon Pegg – The World’s End
10. Ethan Hawke – Before Midnight
11. Tye Sheridan – Mud
12. Toby Jones – Berberian Sound Studio
13. Isaiah Washington – Blue Caprice
14. Michael Shannon – The Iceman
15. Chris Hemsworth – Rush
Still Haven’t Seen:
Joaquin Phoenix – Her
Oscar Isaac – Inside Llewyn Davis
Leonardo Dicaprio – The Wolf Of Wall Street
Christian Bale – American Hustle
OK, it’s a terrific film and Redford carries the picture all the way — of this there is no question.
But let’s get real here — there isn’t anything in either the depth of the character or his struggles that is all that universal or that can hold one candle to Chiwetel Ejiofer’s magnificent, multi-layered, deeply moving performance in 12 Years a Slave. In terms of both character and performance, Solomon Northrup and Chiwetel Ejiofer are in another universe altogether. It will be a damned travesty if Redford is handed the Oscar, and a triumph of industry back-patting over sheer artistry.
And I’m not saying it is just a two-horse race either, but Ejiofer’s work is the best of the year — he and Cate Blachett deserve to stand together as the highest achieving actors on film this year. I am praying we do not see a Redford/Bullock combo, which would indicate pure industry sentiment.
Wait I’m sorry…WHO’S the hottie in the first picture??
Yeah, Redford is already a legend and All Is Lost is only going to add to his stature. At the same time, given how his talent has been discounted over the years (particularly by the likes of Pauline Kael and her followers) it is really nice to see that this film is generating some critical reappreciation of his work.
I love the film too. It is different and so interesting. I know nothing about sailing, so that was fascinating to watch “Our Man” go through every task. Also a relief at the end. (My opinion, anyway).
I know Redford has two Oscars. I’d love for him to win another one for this film, but I am not holding my breath. He is a winner to me, so the rest doesn’t matter.
I saw this last night and loved it. I could talk to the filmmakers forever about how this thing was made – I constantly found myself wondering how they managed to accomplish certain shots or scenes. I wasn’t totally in love with the shots of the fish below the raft near the end; in my opinion, it came a little too close to cribbing Malick, something the rest of the film was much better than. Still, one of my favorites of the year, and a perfect ending.
On another note, given the complete debacle that was the Hollywood Elsewhere comments today, I just wanted to say I think you do a great job, Sasha. We don’t always agree but I appreciate your perspective and passion.
Paul
Thanks for posting this (and attending this). Obviously All Is Lost is not a film for everyone, but those of us who love it seem to really, really love it.
I just don’t think that it was Redford’s “career best,” and among the films already out to the general public, Bob isn’t the best of 2013 — Chiwetel is. (AMPAS hasn’t been giving “lifetime achievement” awards in the competitive categories as much as they used to, plus he has a BD Oscar. I hope they keep to the new trend.)