REMAIN IN LIGHT PRESENTEERT

REMAIN IN LIGHT PRESENTEERT

DEMOLITION

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PRAKTISCH

RELEASEDATUM:

DISTRIBUTIE

REMAIN IN LIGHT

www.remaininlight.nl

BOEKINGEN

Katrien Remijn

06 48 25 27 48

PERS

Kay Doms

[email protected]

+32 499 93 46 22

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SYNOPSIS

De nieuwste film van Oscar genomineerd regisseur Jean-Marc Vallée!(WILD en THE DALLAS BUYERS CLUB) is een al even ontroerende, als hilarische liefdesverklaring aan het leven. DEMOLITION vormt bovendien een voorlopig hoogtepunt in de carrière van topacteur Jake Gyllenhaal.

Davis Mitchell is een succesvol zakenman die op een nacht op de spoedafdeling van het ziekenhuis belandt nadat hij net een autocrash heeft overleefd. Daar krijgt hij het aan de stok met een haperende snoepautomaat en Davis besluit een uitvoerige, en erg persoonlijke, klachtenbrief naar de fabrikant te sturen. Zijn brief komt terecht bij de knappe Karen Moreno (Naomi Watts) die op de klantenservice werkt. Gefascineerd door zijn verhaal begint Karen te antwoorden op zijn brieven: het begin van een uitzonderlijke band. Met hulp van Karen en haar zoon, en flink wat sloopwerk, begint Davis pas echt te leven. Want je kunt pas iets opnieuw opbouwen nadat je het helemaal gesloopt hebt.

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SPECIFICATIES

LAND:

Verenigde Staten

JAAR:

2015

DUUR:

100 minuten

BIOSCOOPFORMAAT:

2.35 : 1

GELUID:

Dolby Digital

TAAL:

Engels

ONDERTITELING:

Nederlands

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CAST

JAKE GYLLENHAAL

NAOMI WATTS

CHRIS COOPER

JUDAH LEWIS

POLLY DRAPER

Davis Mitchell

Karen Moreno

Phil

Chris Moreno

Margot

CREW

REGIE

SCENARIO

EXECUTIVE PRODUCERS

PRODUCERS

ASSOCIATE PRODUCER

CINEMATOGRAFIE

PRODUCTION DESIGN

MONTAGE

CASTING

ASSISTENT REGIE

KOSTUUMS

MAKE-UP

Jean-Marc Vallée

Bryan Sipe

Helen Estabrook

Carla Hacken

Jason Reitman

Nathan Ross

Ellen H. Schwartz

John Malkovic

Lianne Halfon

Sidney Kimmel

Thad Luckinbill

Molly Smith

Russel Smith

Emma McGill

Yves Bélanger

John Paino

Jay M. Glen

Kate Geller

Urs Hirschbiegel

Leah Katznelson

Eveline Noraz

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OVER JEAN-MARC VALLÉE

Jean-Marc Vallée – REGISSEUR

o Demolition (2015)

o Wild (2014)

o Dallas Buyers Club (2013)

o Café de Flore (2011)

o The Young Victoria (2009)

o C.R.A.Z.Y. (2005)

o Los Locos (1997)

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Interview met The Hollywood Reporter

TIFF: How Jean-Marc Vallee Captured Jake Gyllenhaal's Evolution in 'Demolition'

With three films in three years, you’ve become one of the most prolific directors

around. How have you accomplished that?

Yeah, that’s why this year, I’m so happy I’m not shooting this fall. Otherwise, I would explode. I got out of my comfort zone doing this. Normally, I direct every three years or so. I was supposed to shoot Demolition after Dallas, and then Wild appeared between the two, and so I did it and then Demolition. So I’m glad I’m resting. I’m not doing another film this year. But it happened, and that was OK, too. You find a new strength and find some adrenaline going from one project to another and just do it. Being active, being creative on the spot is what’s challenging.

Why did you decide to take on Demolition?

It came to me 3 1/2 years ago from [production company] Mr. Mudd, and then we got Black Label Media as a partner. When they saw my film Cafe de Flore at TIFF [in 2011], there was some sort of link between Cafe de Flore and Demolition, and so they sent me the script and I said, "Wow, it is so rare to read a script with that kind of quality. When you turn the pages, you don’t know at all where it’s going, but you’re involved. You’re emotional." So I said, "Whoa, I want to direct this." It looks like it’s a meditation, a reflection on grief, but the film celebrates life, love.

How did you go about casting it?

Jake and Naomi responded to Demolition just the way I did, so that was an easy choice. We didn’t want to do a romance. It’s not about romance, yet there’s a slight romance in the film. These two have some sort of attraction for each other, but there’s nothing sexual. I loved the difference of age between the two, and it shows, and that’s why we went there with Naomi and Jake. There’s a 10-year difference. She meets him, and they’re curious about each other, but they know it’s probably an impossible relationship, but that’s the fun part also.

Gyllenhaal has changed his appearance dramatically in such recent films as

Nightcrawler and Southpaw. Did you sit down with him at the beginning to

discuss his look in this film?

We knew we wanted a transformation from the beginning to the end. I wanted to shoot the film in chronology. At the beginning, this guy is working on Wall Street. He’s clean-cut, shaved, perfect hair. And then by page five, seven, he stops shaving, he stops taking care of himself. So we wanted to have a transformation and do it for real. We managed the production to do that. We start with Jake the way he is. But then he starts to grow his beard, his hair, he starts to dress differently. He becomes this other guy as he tries to find himself.

Most films don’t shoot in continuity.

Yeah, I know. That was a must for me; that was a big thing I fought for. I was telling the producers, “Come on guys, let’s make the concessions and cuts somewhere else, but let’s find the money we need to do that. This is going to help the actors in their art, and this is going to help us.” Sometimes we had to leave a location and then come back three weeks later. It costs more, but it makes quite a difference. Just not having to have a fake beard or fake hair. From the beginning to the end, you will see Jake evolving physically.

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Did you use the same stripped-down shooting style as in Dallas Buyers Club?

Yes, we shot available light, 99 percent. The production designer is lighting the film with his practical lamps, which he chose meticulously with the D.P. in order to have enough light. There’s no flags to block the light, no reflectors to reflect the light. We shoot 360 degrees. That was the approach from Dallas to Wild to this one. The actors love it, I love it, it’s lighter, and funny enough, we go faster this way, too. Everything we needed to do with Demolition, we did in 34 days. It’s very liberating. We focus on the essential. It’s nice to not always know what you are going to do when you arrive on the set. I don’t do shot lists. I work with the actors. The more I shoot, the more I feel comfortable doing this.

Is there added pressure showing opening night?

Maybe a tiny bit. But I rarely put pressure on myself. I’m grateful for what I have going on, I feel blessed and honored. Opening TIFF, it takes some balls from TIFF, from [artistic director] Cameron [Bailey] and [festival director] Piers [Handling] as the opening film, and I’m glad they did it. I feel like I’m always welcome in Toronto.

What’s next for you?

I’m hoping to do a film about Janis Joplin with Amy Adams. It’s not done yet. There are some legal issues, but that’s the project that’s in my heart. I’d like to do a rock ’n’ roll film with lots of music. I like to use music to frame stories. So I hope it’s going to work.

Bron: http://www.hollywoodreporter.com/news/tiff-2015-jean-marc-vallee-821795