Leonardo DiCaprio Talks "J. Edgar"

As seen on NBC

Behind the Scenes of Charlie St. Cloud

Sitting on a sunny stretch of Marina del Rey on a recent Saturday afternoon, sipping a cup of tea while waiting my turn to speak with Burr Steers and Zac Efron, respectively the director and star of the new film, Charlie St. Cloud, I started to notice everyone who passed, joggers with strollers, speed walkers in Shape-Ups, tourists in Bermuda shorts, would look above me and get a bizarrely beatific, stupefied smile on their face as they strolled along the water front.

What’s inspiring those beaming faces?

Efron is sitting in a second story window, brightly lit by television cameras, being interviewed about his latest role. His trademark locks are pushed back to reveal a forehead rarely seen during his meteoric rise in the High School Musical trilogy, making his turquoise blue eyes even more striking, and his relaxed charm is palpable even gazing up at the newly minted movie deity from below. The beach cruisers are being treated to a fleeting glimpse of a movie-star-in-the-making and the mere proximity to glory has them drunk with wonder.

When I speak to Efron a short while later, I ask if he realizes he has that kind of effect on people.
“Ooff,” he grunts, shaking his head. “It’s not really tangible to me. I don’t really notice it. But I know my mom gets pissed off when she hangs out with me. She walks behind me and she says no one says anything until after I’ve walked past. After they look and [freak out]. But they never give it away, they’re always really good, so I never see it. I don’t really notice,” he shrugs.

Even if he doesn’t, Hollywood does, knighting Efron the heir apparent to the leading man throne. Although Charlie St. Cloud is only his third major leading role, Efron is already drawing weighty comparisons from Steers.

“All of our leading guys it seems started out as child stars,” Steers points out. “Ryan Gosling was a Mouseketeer, [Leonardo DiCaprio] did Growing Pains, Johnny Depp was on 21 Jump Street. They get those jobs because they’re charismatic and then build on that and understand that there is someplace to go from there, an evolution that has to happen.”

Part of that evolution is strategically chosen roles and the careful cultivation of working relationships. This most recent project has that in spades. The film, based on Ben Sherwood’s novel about a young man literally and figuratively haunted by the death of his younger brother and unable to move past the pain of that loss, reunites Efron and Steers who previously worked together on 17 Again.

Efron brought Steers into the project, feeling the director, who is perhaps best known for his debut, Igby Goes Down, would be able to help him reach the level of performance necessary for the role and he’s absolutely right. The great revelation of the film is that Zac Efron is quite talented and can handle emotionally demanding material beautifully. So how did the director lead his leading man through the performance?

“I don’t walk anyone through anything,” Steers insists. “I create a situation where actors feel safe.” He says he focused on the emotional stakes of the film and the made “[Zac] find it in himself. I don’t let him avoid anything.” Steers explains that one of the things that attracted the actor to the project was his own extremely close relationship with his younger brother, Dylan. Steers used that emotional bond to help Efron tap into his character’s pain. “I made him go there,” the director says. “This wasn’t an easy process for him.”

Though, according to Efron, one he loved, especially since it reunited him with Steers. “He’s very generous with the actors,” Efron says. “Every take, he’s running over to talk to us and he’s got so much to say; an opinion, a new point of view or something to think about, which is great for me. I enjoy that much attention from the director when they really care about your performance.” It was invaluable guidance the actor craved after deciding to step away from the musical genre that earned him legions of fans, even dropping out of the planned Footloose remake in favor of Charlie St. Cloud.

“There’s a style to High School Musical that I knew I didn’t want to stick with forever,” Efron admits. “It’s incredibly fun, it’s very addicting, those movies, I’m constantly chasing that dragon, so to speak, trying to bring that energy to everything I do, but I definitely want to make films with substance, move on, try new things and see how deep the rabbit hole goes.”

Charlie St. Cloud opens July 30.

Hollywood Bites Reviews "Inception"

As Inception arrives in theaters this Friday, little is publically known about the film other than what writer-director Christopher Nolan told the LA Times in January; that the enigmatic thriller revolves around “corporate espionage by way of dream invasion.” Think of it as The Matrix meets James Bond with a side of Freud, starring Leonardo DiCaprio, Ken Watanabe, Ellen Page, Tom Hardy (in a star-making turn) and Joseph Gordon-Levitt. Got it? Good. Because that’s as much of a spoiler as your gonna get.

If you’re hungry for a spoiler, you’ve come to the wrong place because elaborating on Inception’s plot will do nothing to enhance the rapturous experience of settling into a darkened movie theater to witness one of the best films of the year courtesy of perhaps the greatest director working in Hollywood today. This is a movie best viewed with a blank slate and an open mind; just sit back, relax and let it blow you away. And then dash back into the theater for a second showing.

Since Momento, there’s been no question of Nolan’s ability to create labyrinthine plots that are both mind-bending and heartbreaking. But Inception ups the ante to a blockbuster scale which surpasses the director’s dark Batman dreamscapes by leaps and bounds. Visually stunning, wonderfully acted and richly layered, it’s a film that deserves immeasurable praise (it will surely be heaped with accolades come award season) and multiple viewings. During the summer movie season, when audiences are too often told to switch their brain to auto-pilot, Nolan delivers a thoughtful, compelling, vividly woven film that may prove to be his opus.

The only thing you need to know about Inception is this: It’s brilliant!

Behind the Scenes of Inception

Before attending a screening of Inception, Christopher Nolan’s hotly anticipated new film, Warner Brothers issued explicit instructions to all attendees not to tweet, Facebook, blog or otherwise spread internet word about the film. Usually when a studio issues that kind of edict, it’s because they realize they have a turkey on their hands and they don’t want any advanced negative word of mouth, but in the case of Inception, the veil of secrecy is actually a service to filmgoers. In the Google Age, most films are ruined before you step foot in the theater thanks to reviews that overshare, trailers that leave nothing for later, and blogs focused on publishing every possible spoiler.

Whether out of respect or fear, Nolan has managed to pull off a coup. As Inception arrives in theaters, little is known about the film other than what the writer-director told the LA Times in January; the enigmatic thriller is about “corporate espionage by way of dream invasion.” Think of it as The Matrix meets James Bond with a side of Freud, starring Leonardo DiCaprio, Ken Watanabe, Ellen Page, Tom Hardy (in a star-making turn) and Joseph Gordon-Levitt.

At the press day for the film, whose grandeur and complicated logistics made The Dark Knight look like a cake walk according to the auteur, Nolan bandied back questions about secrecy as a form of hype to promote his movie. “It’s difficult to balance marketing a film with wanting to keep it fresh for the audience,” Nolan replied. “My most enjoyable experiences as a moviegoer have always been going to [see a movie] that I don’t know everything about. You want to be surprised and entertained by the movie. I think too much is given away in movie marketing.”

Without revealing too much (trust me, you want to be surprised) the film was partially sparked ten years ago by Nolan’s fascination with dreams and their similarity to movies. His intrigue with the subject grew from childhood and he was drawn to the idea of trying to portray an imaginary realm onscreen. “I think for me, the primary interest, in dreams and making this film, is the notion that your mind, while you’re asleep, can create an entire world that you’re also experiencing without realizing you’re doing it. I think that says a lot about the potential of the human mind.” Nolan took the idea of dreamscapes and used that as a jumping off point to create a limitless “playground for action and adventure.”

DiCaprio, who admits he’s not a big dreamer, says he was drawn into the film for a number of reasons, but especially the chance to work with Nolan. “This was an extremely ambitious concept that Chris was trying to pull off and he accomplished it with flying colors,” DiCaprio offers. “There’s very few directors in this industry that could pitch to the studio an existential, high-action, high-drama, surreal film and have the opportunity to do it, and that’s a testament to his previous work in [films like] Momento and The Dark Knight.”

Everything about Inception solidifies Nolan’s reputation as one of the best directors working in Hollywood today and he will no doubt be doing major red carpet duty come awards season. One of the most stunning sequences in the film involves Gordon-Levitt in an extended fight sequence that calls to mind Fred Astaire’s anti-gravity dance in Royal Wedding, but about a hundred times cooler.

Asked about the logistics and training involved in shooting the scene, Nolan beams, “We had a stunt guy who looks exactly like Joe, made up perfectly -- and he stood there on set every day for three weeks and didn’t do a thing. Joe insisted on doing everything himself, apart from one shot. He just did the most incredible job with these bizarre sorts of torture devices.”

“Thanks!” Gordon-Levitt replies. “It was just about the most fun I’ve ever had on a movie set. It was also probably the most pain I’ve ever been in. But, you know, pain in a good way, like in the way I guess an athlete must [feel]. They have to put on the pads and wrap their ankles and they get a little beat up during the day but that’s just part of slamming yourself into walls and jumping around.” Referring back to the ode to Astaire, the actor smiles and says, “It’s sort of like how Sesame Street and Star Wars both use Jim Henson puppetry. It’s similar technique, but a very different effect.”

Inception opens July 16.