Dec 6, 2016 (XXXIII: 15) Florian Henckel von Donnersmark:THE TOURIST (1992), 105 min.

The Tourist (2010) 103 minutes Directed by Florian Henckel von Donnersmarck Writing Credits Florian Henckel von Donnersmarck, Christopher McQuarrie and Julian Fellowes (screenplay), Jérôme Salle (motion picture "Anthony Zimmer") Produced by Gary Barber, Jonathan Glickman, Tim Headington, Graham King and Adam Rosenberg Music James Newton Howard Cinematography John Seale Film Editing Joe Hutshing & Patricia Rommel Cast Johnny Depp…Frank Tupelo Angelina Jolie Pitt…Elise Clifton-Ward (as Angelina Jolie) Paul Bettany…Inspector John Acheson Timothy Dalton…Chief Inspector Jones Steven Berkoff…Reginald Shaw Rufus Sewell…The Englishman Christian De Sica…Colonnello Lombardi Alessio Boni…Sergente Cerato Daniele Pecci…Tenente Narduzzi Giovanni Guidelli…Tenente Tommassini FLORIAN HENCKEL VON DONNERSMARCK (b. May 2, 1973 in Cologne, North Rhine-Westphalia, Germany) grew up in the US, Germany and Belgium. Upon finishing high school, he studied Russian Language and Literature in Saint Petersburg, graduating as a Soviet-certified Teacher of Russian as a Foreign Language. He went on to read Politics and Philosophy at Oxford. In his final year at Oxford, he won an essay competition to become apprentice to director Richard Attenborough on the Hemingway film In Love and War (1996). The experience convinced him to use his passion for literature, music and spectacle in the medium of cinema. From 1997 to 2001, he obtained a third degree, this time in filmmaking, from the University for Television and Film, Munich. During that

time he won numerous festival awards for his short films, among them the Max Ophüls Prize. While at film school, Henckel von Donnersmarck wrote an outline, Sonata for a Good Man, which told of the relationship between a Stasi agent and the dramatist with whose surveillance he is charged. In this story, looking back at “the century of ideologies”, he explored the old aesthetic question of how to bridge the chasm between thinking and feeling. He felt this tale would allow him to tackle a subject matter that was personal and important to him, while trying to create on film the dramatic and psychological complexity he had often encountered in novels. In 2002 Henckel von Donnersmarck moved to East Berlin to research the historical aspects of this plot, and wrote a screenplay, which he ended up calling The Lives of Others. Shot in just 37 days and with a limited release in 2006, it went on to gross $77 million worldwide. The film won the 2007 Oscar for Best Foreign Language Film and in 2008 received England’s BAFTA and France’s César. After almost two years of presenting the film and writing and lecturing on cinema and aesthetics, he moved to Los Angeles to experience the center of the film world. In December of 2009, he began work on The Tourist, a light-

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hearted thriller set in Paris and Venice. In The Tourist, Henckel von Donnersmarck saw the opportunity to explore a familiar European setting the very elements that European cinema is habitually denied: true Opulence in Décor and the Mystique of the Movie Star. He aimed to create a film that would be gentle, humorous and unpretentious, and make for a soothing, almost contemplative experience of deceleration and elegance. It is possible that this is why it was not nominated for any Oscars (though won many other awards that year): it often jumps between genres of comedy, drama, and action. He is also a member of the International Council at the Museum of Modern Art in New York, the French Ordre des Arts et des Lettres and the Bavarian and Northrhine-Westphalian Orders of Merit. In 2013, the World Economic Forum named him a Young Global Leader. 2015 saw the publication of Kino! a book of his writings on contemporary cinema. He directed and wrote all of his feature films: Werk Ohne Autor (post-production), The Tourist (2010), The Lives of Others (2006), The Crusader (2002, Short), Dobermann (1999, Short), Das Datum (1998, Short) and Mitternacht (1997, Short). JAMES NEWTON HOWARD (b. June 9, 1951 in Los Angeles, CA) scored over 60 films beginning in the mid-'80s, including The Fugitive (1993), The Prince of Tides (1991), Pretty Woman (1990), Glengarry Glen Ross (1992), Batman Begins (2005), Michael Clayton (2007), and the Hunger Games series. He began taking classical piano lessons at the age of four, playing on a piano owned by his grandmother, who was the Pittsburgh Symphony's concertmaster and violinist during the 1930s and '40s. He went on to study at the USC School of Music. After graduating from college, Howard joined a short-lived rock band, and then worked for a couple of years as a session musician with artists including Diana Ross, Ringo Starr, and Harry Nilsson. In 1975, he joined the band of the most popular artist of that time, Elton John, toured with them during the mid-'70s and later re-joined for a tour in 1980 and again in 1986. Over the years, Howard has worked as a songwriter, producer, or arranger with such artists as

Cher, Earth, Wind & Fire, Rickie Lee Jones, Olivia Newton-John, Bob Seger, Rod Stewart, and Barbra Streisand. He has received eight Oscar nominations and won a Grammy Award in 2009 for his work on The Dark Knight (2008). His work often incorporates extensive use of multiple chord progressions and changes in key. A famously fast worker, Howard is often called upon to provide last-minute replacement scores for films, or to add

to existing soundtracks. A few of his 150 composer credits includes Fantastic Beasts and Where to Find Them (2016), The Hunger Games: Mockingjay - Part 2 (2015), The Hunger Games: Mockingjay - Part 1 (2014), Pawn Sacrifice (2014), Nightcrawler (2014), The Hunger Games: Catching Fire (2013), Parkland

(2013), The Bourne Legacy (2012), The Hunger Games (2012), Green Lantern (2011), The Green Hornet (2011), The Tourist (2010), Love & Other Drugs (2010), Inhale (2010), Salt (2010), Confessions of a Shopaholic (2009), The Happening (2008), Charlie Wilson's War (2007), I Am Legend (2007), Blood Diamond (2006), Lady in the Water (2006), King Kong (2005), Collateral (2004), Peter Pan (2003), Dreamcatcher (2003), America's Sweethearts (2001), Atlantis: The Lost Empire (2001), Snow Falling on Cedars (1999), The Sixth Sense (1999), The Postman (1997), The Devil's Advocate (1997), My Best Friend's Wedding (1997), Primal Fear (1996), Restoration (1995), Waterworld (1995), Wyatt Earp (1994), Night and the City (1992), American Heart (1992), Grand Canyon (1991), The Man in the Moon (1991), 3 Men and a Little Lady (1990), Marked for Death (1990), Flatliners (1990), The Package (1989), Off Limits (1988), Nobody's Fool (1986), 8 Million Ways to Die (1986) and Head Office (1985). JOHN SEALE (b. October 5, 1942 in Warwick, Queensland, Australia) started work in 1963 at the ABC-tv at Gore Hill, New South Wales in the stationary department, dispensing biros and pestering Chief Cameraman Bert Nicholas for a 'driver assistant' position. Nicholas got Seale off his back by giving him the job, and by good fortune cameraman Bill Grimmond took him under his wing. In the early 1960s ABC-tv produced some

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of Australia's first drama series with Grimmond and Bob Feeney as doph's and Seale assisting. In 1965 Grimmond persuaded the reluctant ABC heavies to give Seale a chance as camera operator. Seale operated on his first feature with doph John Williams. From there on he was working regularly as camera operator with Australia's leading cinematographers. In 1983 he was awarded the ACS 'Milli' Award for Cinematographer of the Year for Goodbye Paradise (1983). In 1985 Peter Weir invited him to go to the USA to shoot Witness (1985), which began his international career. Recently, Seale took on the daunting task of working on of the most infamously challenging productions in recent film history, Mad Max: Fury Road (2015). He was happy, though, to come back to work for George Miller having previously collaborated with the director on Lorenzo’s Oil back in 1992 and found him an ideal collaborator. It’s not the first time Seale conquered the desert: He won an Oscar for his d.p. work in The English Patient (1996). Mad Max: Fury Road (2015) brings Seale his fifth Oscar nomination after earning recognition for Rain Man (1988), Witness (1985) and Cold Mountain (2003). Some of his additional credits are The Tourist (2010), Poseidon (2006), Spanglish (2004), Dreamcatcher (2003), Harry Potter and the Sorcerer's Stone (2001), The Perfect Storm (2000), The Talented Mr. Ripley (1999), City of Angels (1998), Ghosts of Mississippi (1996), The American President (1995), The Firm (1993), Dead Poets Society (1989), Rain Man (1988), Gorillas in the Mist (1988), The Mosquito Coast (1986), Children of a Lesser God (1986), Fatty Finn (1980) and Death Cheaters (1976). JOHNNY DEPP (b. June 9, 1963 in Owensboro, Kentucky) was originally interested in pursuing a music career. Following a move to Florida, and his parents’ divorce by age 16, teenage Depp dropped out of school to pursue a career in rock and roll. Over the next few years, Depp fronted numerous garage bands - the most famous entitled The Kids, opened for Iggy Pop. Determination and hope for stardom inspired the band to relocate to Los Angeles. Yet, his band struggled among the competitive West-coast market, and Depp even resorted to selling ball point pens in order to pay the bills. A chance introduction to Nicolas Cage reluctantly persuaded Depp to audition and try his hand at acting. Depp's first film debut was in Wes Craven's major motion

picture A Nightmare On Elm Street (1984). Unable to regain momentum, The Kids spilt-up soon after the movie's release and Depp diverged from his first love—music—to follow a life of acting. A small role in Oliver Stone’s Platoon (1986) followed. Unwilling at first, Fox pursued Depp to star in a new series entitled 21, Jump Street. Although Depp felt this show "beneath him," it actually catapulted his success as an actor and turned him into a teenybopper idol. In an effort to downplay his unwanted pretty-boy reputation he chose the lead role in Tim Burton’s Edward Scissorhands (1990). The success of this movie established his well known choice for odd and unusual roles, essentially carving a niche for himself as a serious and somewhat dark performer who always surprises audiences with his choice of characters. Next came an extraordinary run of movie roles for Depp. Within five years, starting in 1993, Depp starred in an array of movies including: John Waters’ Cry-Baby (1990), What's Eating Gilbert Grape (1993), Ed Wood (1994), Jim Jarmusch's Dead Man (1995), Donnie Brasco (1997), Terry Gilliam’s Fear and Loathing in Las Vegas (1998) and once again with Burton for Sleepy Hallow (1999) While Depp continued to take challenging parts in more serious fare, in 2003 he debuted his most commercially

successful character playing Captain Jack Sparrow in the Pirates of the Caribbean franchise. Despite his long list of critically acclaimed films, it was Pirates of the Caribbean: The Curse of the Black Pearl (2003) that earned him his first Oscar Best Actor nomination in 2004. Again, Depp teamed with Burton for a series of films including Charlie and the Chocolate Factor (2005), Corpse Bride (2005), Sweeny Todd: The Demon Barber of Fleet Street (2007) [which earned him a 3rd Oscar nod], Alice in Wonderland (2010) and Dark Shadows (2012). He credits Burton's belief in him for rescuing him from being "a loser, an outcast, just another piece of expendable Hollywood meat." He missed out on several roles that went to Keanu Reeves. He was considered for Johnny Utah in Point Break (1991); he was Francis Ford Coppola's

original choice for Johnathan Harker in Bram Stoker's Dracula (1992), but the studio wanted a heartthrob; he turned down the role of Jack Traven in Speed (1994); and he was the Wachowskis' first choice for Neo in The Matrix (1999), but the studio didn't think he was a big enough name. Despite his exceedingly busy acting career, Depp regularly keeps one toe in the music world. From 1993-

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2004, he co-owned L.A.’s famous Viper Room; he’s performed with Oasis and Marilyn Manson; he also has his own band, The Hollywood Vampires, with Aerosmith’s Joe Perry and Alice Cooper. The band’s last live appearance was this summer in Buffalo. The next night Perry fell ill. Due to scheduling conflicts the trio has yet to perform again. Recently Depp starred as our now President-elect Donald Trump in the Funny or Die’s 2016 parody of Donald Trump's The Art of the Deal: The Movie. Some of Depp’s other acting roles include the following films: Pirates of the Caribbean: Dead Men Tell No Tales (2017, post-production), Alice Through the Looking Glass (2016), Into the Woods (2014), The Lone Ranger (2013), 21 Jump Street (2012), Pirates of the Caribbean: On Stranger Tides (2011), The Tourist (2010), Public Enemies (2009), The Imaginarium of Doctor Parnassus (2009), Pirates of the Caribbean: At World's End (2007), Finding Neverland (2004), Once Upon a Time in Mexico (2003), Blow (2001), Chocolat (2000), Before Night Falls (2000), The Man Who Cried (2000), Don Juan DeMarco (1994) and Private Resort (1985).

ANGELINA JOLIE (b. June 4, 1975 in Los Angeles, California) is the daughter of Oscar-winning actor John Voight and model Marcheline Bertrand. Jolie made her screen debut as a child alongside her father, Jon Voight, in Lookin' to Get Out (1982). When she was 11, she enrolled in the Lee Strasberg Theatre Institute and performed in several theatre productions. However, her years at Beverly Hills High School where hard on her and she was constantly teased. The teasing and rejection she experienced during her early teenage years had a disastrous effect on her sense of self-esteem, and at the age of 14, she dropped out of high school. When 16, she temporarily tried modeling and appeared in music videos for Meat Loaf, Lenny Kravitz and The Rolling Stones. She made her movie debut in 1993 in Cyborg 2. Angelina's role capitalized on her screen charisma and brash, upfront sex appeal, and before long she was offered another plum role in Hackers (1995), a sci-fi computer thriller. Her critical acclaim increased when she played

strong roles in the made-for-TV movies True Women (1997), and in George Wallace (1997), which won her a Golden Globe Award and an Emmy nomination. Jolie's acclaim increased even further when she played the lead role in the HBO production Gia (1998). This was the true-life story of supermodel Gia Carangi, one of the first celebrities to die of AIDS. Often playing strong-willed female characters, Jolie’s performance in Girl, Interrupted (1999) won her an Oscar for Best Actress in a Supporting Role in 2000. In 2000, Jolie was asked to star in Lara Croft: Tomb Raider (2001). At first, she expressed disinterest, but then decided that the required training for the athletic role was intriguing. While a critical failure, the movie was a commercial success and paired Jolie with her father for the first time on film. One of the Croft movie's filming locations was Cambodia. While there, Jolie witnessed the natural beauty, culture and poverty of that country. She began visiting refugee camps around the world and came to be formally appointed as a Goodwill Ambassador for the United Nations High Commissioner for Refugees (UNHCR). Jolie's dramatic feature film Beyond Borders (2003) parallels some of her real life humanitarian experiences although, despite the inclusion of a romance between two westerners, many of the movie's images were too depressingly realistic; the film was not popular among critics or at the box office. In 2004, Jolie began filming Mr. & Mrs. Smith (2005) with co-star Brad Pitt. The film became a major box office success (it would seem the side bar regarding the pair’s the off-screen romance is well-known enough that it need not be included here here). 2006 saw the premiere of The Good Shepherd, directed by Robert de Niro. But Jolie herself confessed: “It’s getting harder and harder to go back to work after time with children and my United Nations projects.” In 2007, Jolie made her directorial debut with the documentary A Place in Time (2007). Her role in Clint Eastwood's drama Changeling, based on real-life events, which premiered at Cannes in 2008, earned the 35-year-old her second Academy Award nomination. In 2011, she went behind the cameras again to direct In The Land Of Blood and Honey, which tells the story of a Bosnian soldier who encounters a former lover in a camp he now oversees. The film caused some controversy among those who had lived through the war, however critics praised Jolie's skills. While she often chooses real-life passion projects, in 2008 the mother of six voiced the character of Tigress in the Kung Fu Panda series. She reprised her role for a third time this year. In 2015 she and Pitt paired up once again for the first time since Mr. and Mrs. Smith for the breakup film By the Sea (2015). Jolie took on the multiple roles of director, writer and actor, and spoke openly about the strain of the film on her own marriage. Sadly the next year, she and Pitt filed for divorce. When she and Depp were first announced to play the leads in tonight’s film, there was great fan excitement.

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Audiences had long hoped the eccentric pair would be cast together. While the film failed to deliver the anticipatory on-set chemistry, the two have remained friends. In fact, Jolie is using Depp’s divorce attorney and they are apparently consoling one another through their mutual divorces this year. Her additional acting credits include Kung Fu Panda 3 (2016), By the Sea (2015), Maleficent (2014), The Tourist (2010), Salt (2010), Beowulf (2007), The Alexander (2004), Lara Croft Tomb Raider: The Cradle of Life (2003), Lara Croft: Tomb Raider (2001), Pushing Tin (1999), Playing God (1997), Mojave Moon (1996), Foxfire (1996) and Lookin' to Get Out (1982). PAUL BETTANY (b. May 27, 1971 in Harlesden, London, England) first came to the attention of mainstream audiences when he appeared in the British film Gangster No. 1 (2000), and director Brian Helgeland's film A Knight's Tale (2001). He has gone on to appear in a wide variety of films, including A Beautiful Mind (2001), Master and Commander: The Far Side of the World (2003), Dogville (2003), Wimbledon (2004), and the adaptation of the novel The Da Vinci Code (2006). For younger audiences, Bettany might be most known for his voice role as J.A.R.V.I.S. in the Marvel Cinematic Universe in the Iron Man franchise as well as in the recent Captain America: Civil War (2016). Though he often plays secondary characters in his films, Bettany has a knack for stealing scenes. Well-liked by many directors, it is rumored that writer/director Brian Helgeland wrote the role of Chaucer in A Knight's Tale specifically for the actor. The director "refused" to do the movie without him. The production companies did not think Bettany was known well enough, however Helgeland thought that if he backed down on his choice of Bettany, he would have to back down on everything else. He was the first choice to portray King George VI in The King's Speech (2010) but after he turned it down, it went to Colin Firth, who won the Best Actor Oscar for his performance. Some of Bettany’s 46 acting roles are Legend (2015), Iron Man 3 (2013), Blood (2012), The Avengers (2012), The Tourist (2010), Iron Man 2 (2010), Legion (2010), The Secret Life of Bees (2008), Iron Man (2008), The Da Vinci Code (2006), Firewall (2006), Master and Commander: The Far Side of the World (2003), Dogville (2003), A Beautiful Mind (2001), A Knight's Tale (2001), The Suicide Club (2000), After the Rain (1999), The Land Girls (1998) and Bent (1997).

TIMOTHY DALTON (b. March 21, 1946 in Colwyn Bay, Wales) is perhaps best known as 1980s James Bond in The Living Daylights (1987) and Licence to Kill (1989), though he is a classically trained Shakespearean actor. As a youth, he was enrolled in a school for bright children, where he excelled in sports and was interested in the sciences. He was fascinated with acting from a young age, perhaps due to the fact that both his grandfathers were vaudevillians, but it was when he saw a performance of Macbeth at age 16 that his destiny was clinched. Between 1964-66, he studied at The Royal Academy of Dramatic Art (RADA). Just before completing his two years, he quit

and joined the Birmingham Repertory Theatre, playing the lead in many productions under the direction of Peter Dews while at the same time turning

professional. Dalton later said of RADA in an interview with Seventeen Magazine (December 1970), "It took a year to undo the psychological damage that was caused by the oppressive teachers". In late 1967 Peter O'Toole recommended him for the role of the young "King Philip of France" in The Lion in Winter (1968), which coincidentally was also Anthony Hopkins' big break. Also during this time, he was approached and tested for the role of James Bond in On Her Majesty's Secret Service (1969) but turned it down, feeling he was too young for the part. In 1983, he starred as "Rochester" in what he considers one of his best works, the BBC's very popular Jane Eyre (1983). Also, during this time, Roger Moore was considering leaving Bond, and Dalton was again approached, but due to his full schedule, he had to decline. Pierce Brosnan was offered the part. When Brosnan was unable to get out of his Remington Steele (1982) contract at the last minute, Dalton was again approached. Able now to work it into his tight schedule, he agreed. His first Bond film, The Living Daylights (1987), recast the series in a grittier light and proved to be an international hit with significant commercial success at American theaters. But Dalton's second Bond film, Licence to Kill (1989), which proved even darker than Dalton's debut 007 flick, struggled at the box office. When a legal battle between MGM and the film's producers ruptured over the ownership of the franchise, Dalton, who had three movies left to fulfill on his deal, called it quits. His colder, grittier portrayal of James Bond is considered by many fans of the franchise to be the closest to the characterization of Bond from the original novels by Ian Fleming, but was greeted

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with a mixed reaction from the general public following twelve years of Roger Moore's much more lighthearted portrayal. In the years since the Bond films, Dalton has explored a range of different kinds of projects. In 1994 he stepped in as Rhett Butler in the CBS miniseries and Gone With the Wind sequel, Scarlett, then donned the role of Julius Caesar in the ABC miniseries Cleopatra (1999). More recently he had a semi-regular role opposite Linda Hamilton in the NBC series Chuck. On the big screen, Dalton has continued to stay busy. He co-starred in the comedy flick Hot Fuzz (2007), and was the voice of Mr. Pricklepants in Toy Story 3 (2010). In 2014, Dalton returned to series television on the cable drama Penny Dreadful. His other acting credits: Penny Dreadful (2014-2016, TV Series), The Tourist (2010), Toy Story 3 (2010), Doctor Who (2009-2010, TV Series), Made Men (1999), The Informant (1997), Naked in New York (1993), The King's Whore (1990), Brenda Starr (1989), Hawks (1988), The Master of Ballantrae (1984, TV Movie), Jane Eyre (1983, TV Mini-Series), Flash Gordon (1980), Agatha (1979), The Man Who Knew Love (1978), The Executioner (1975), Mary, Queen of Scots (1971), Wuthering Heights (1970), Cromwell (1970) and The Lion in Winter (1968). STEVEN BERKOFF (b. August 3, 1937 in Stepney, London, England) received dramatic arts training in both Paris and London and then moved on to performing with several repertory companies, before he formed the London Theatre Group in 1968. Berkoff had actually been appearing in uncredited roles in UK cinema since 1959, and started to get noticed by casting agents with his performances in Hamlet at Elsinore (1964), Nicholas and Alexandra (1971), A Clockwork Orange (1971) and Barry Lyndon (1975). Mainstream film fans are probably most familiar with Steven Berkoff via his portrayal of a trio of ice-cold villains in several big budget Hollywood productions of the 1980s. Firstly, he played a rogue general plotting to launch a war in Europe in Octopussy (1983), then a drug smuggling art dealer out to kill Detroit narcotics officer Eddie Murphy in Beverly Hills Cop (1984), and thirdly as a sadistic Russian commando officer torturing Sylvester Stallone in Rambo: First Blood Part II (1985). Berkoff has also written and performed original plays including Decadence, "Harry's Christmas Lunch, Brighton Beach Scumbags and Sink the Belgrano, as well as appearing in productions of Hamlet, Macbeth and Coriolanus. Furthermore, he has authored several books on the theatre and his life including The Theatre of Steven Berkoff, Coriolanus in Deutscheland, A Prisoner in Rio, I am Hamlet and Meditations on Metamorphosis. Some of his over 130 acting credits include London Heist (2016), Manhattan Night (2016), North v South (2015), Doctor Who (2012, TV Series), The Girl with the Dragon Tattoo (2011), The Tourist (2010), 44 Inch Chest (2009), Say It in Russian (2007), The Headsman (2005), 9 Dead

Gay Guys (2002), Legionnaire (1998), La Femme Nikita (1998, TV Series), Another Nine & a Half Weeks (1997), The Krays (1990), Revolution (1985), Underworld (1985), Rambo: First Blood Part II (1985), Beverly Hills Cop (1984), Octopussy (1983), Outland (1981), Joseph Andrews (1977), Barry Lyndon (1975), The Passenger (1975), A Clockwork Orange (1965), The Avengers (1965, TV Series) and Konga (1961).

Johnathan Crocker: “The Tourist—Angelina Jolie Interview,” IGN, 10 Dec 2010 IGN: This is your second action thriller this year. What's the appeal of this genre? I love that you think this is an action thriller! Is it? I haven't seen it. I actually did it for the opposite... Maybe for me it wasn't an action adventure. Maybe there's action in it, but I didn't get to participate as much. IGN: So why did you take this project? Angelina Jolie: Honestly, this one came about... I had finished Salt and Brad [Pitt] was to work next and he had a small delay in his film, in Moneyball, and so we had a few months and I questioned if there was anything out there that shot in a great location. Honestly, that's the phone call I made! And it was a character I hadn't done before. Just something new. I got this call that there was this film that happened to shoot in Venice and Paris and it was a real lady. So I was interested and then [director] Florian [Henckel von Donnersmarck] came on board and then Johnny [Depp] and it was just a pleasure. IGN: Why did you contact Florian? Had you seen The Lives Of Others? Jolie: I had seen The Lives Of Others and I loved it. When I talked to Florian, for me, I didn't know if it was just that I wanted to go to Venice or if there was something more to the material. And when Florian and I sat together, I think I even said, 'somebody who does deep art like The Lives Of Others, I'm curious why you're interested.' He talked about how people often confuse something as art only if it's very dark or very unhappy or very emotional.

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But that art should also just make people happy and be beautiful. And that's not a lesser art. His view really made me more excited about just doing something that was lovely. IGN: He's an intelligent guy, isn't he? Jolie: It was a challenge having a director who could speak five languages. Because he's very specific. His French is perfect. His Russian is perfect. I think he taught Russian philosophy to Russians in Russia. I mean, he's just beyond...! So the bar was set pretty high with him as a director. I know that he wouldn't let me slide. IGN: How did Florian tell you to play the character? Jolie: My note that I got almost every day, was, 'Slow down.' Because I think a very modern woman, we attack things, we're aggressive, we move like New Yorkers... so this was the hardest thing for me, to kind of take a deep breath and just glide a little more. Which took me a really long time. IGN: Were you going for a different look in this film? Jolie: It was very different certainly to anything I've ever worn. So it took me a while to get used to the heels and the gloves and the how to hold the handbag. I think everybody knows I'm not necessarily that female, in that way! So it was a little bit of an exercise to get that in there. IGN: Were you conscious of paying particular attention to the way you walk? Jolie: Well, I was conscious because the first time I did it I had the camera about a foot behind my rear end. Following my down the streets of Paris. And I thought, 'Oh, this is so uncomfortable. This is the most bizarre thing.' Because it's one thing when you're walking, but when somebody's watching the way you walk, you actually become very aware of it. And in five inch heels on cobblestone, it was not the most pleasant! But you get into it. And you kinda have the fun of being a girl. And I think it was, because I tend to - having come off Salt and even literally being a guy - it was nice to rediscover 'female.'

IGN: It's your first time working with Johnny Depp. What do you make of him? Jolie: Oh, he's just such a nice guy. You walk into someone's office and you see what's important to them. He's got lots of books and lots of pictures of his children. So it's immediately somebody you feel at ease with. He's a real, experimental, deeply feeling artist, who gives a lot and tries a lot and is very gracious on set to everybody. IGN: Is he a funny guy on set? Jolie: There's some footage floating round, which I'm surprised hasn't surfaced... God, there was a good 20 minutes, half-an-hour early on where we could not stop

laughing. We wasted a lot of film. And got a lot of producers frustrated. The outtakes of this I'm sure are very

funny. IGN: Did you watch any similar films to prepare? Jolie: We watched The Catch A Thief and there were lots of other things we were supposed to watch. I didn't watch everything on my list. But I did watch To Catch A Thief. And just became more aware of those periods. But at the same time, you watch those movies and you don't watch to mimic. We wanted to make it modern so I was nervous with her; I didn't want to make her too precious. IGN: Is it tough to find roles that you're excited about these days? Jolie: It's getting harder to make decisions to just want to do something to work... I'm trying to find things that are extremely challenging or mean something to me deeply. Sometimes something like The Tourist comes up and it's just fun, but I think it's not as easy to find projects now, to find something that means so much that you have to do it. IGN: What's the latest on your directorial debut? Jolie: I am done filming it. I go back to edit in January. And it was great, it was really nice to take the spotlight off myself and put it on some brilliant actors. I'm excited to show their work and their talent to the world. IGN: Which directors have you modelled yourself on?

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Jolie: I've learned a lot from Clint [Eastwood], who's an extremely economical director. I learned a lot from Michael Winterbottom, who really gave a lot of trust to the actors and allowed them to live in the space. And working with [Robert] De Niro taught me a lot about being an actor's director. Johnathan Crocker, “Interview with Johnny Depp,” IGN: IGN: Did you get to be a tourist for real while you were in Venice? Johnny Depp: My tourist times were between the hours of 10pm and 2am. That was the only time I could only wander and have a look around. There's virtually no one on the street at that time. I was amazed, everywhere you look it's kind of a visual poem. I like the night time Venice. The quiet Venice, where it feels like the ghosts are around. IGN: There are few stunts in the Venice canals. How's the water? It doesn't look too clean... Depp: Oh, no, it's not. Doing stunts - being yanked down the Venice canal, being handcuffed to the boat railing - that was way secondary to the immense fear I had of going into the drink. Because that's like; god knows what you come out with. The stunt guys who did have to go into the drink were on intense antibiotics for weeks and weeks prior. IGN: Is it true you cut your feet up while doing the scene where you run along the rooftops? Depp: I did, I did. That was wild. Because when you're doing it and your adrenaline is going, you don't really notice things like that. But I was standing there talking to [director] Florian [Henckel von Donnersmarck] and he was like, 'Oh my God.' There was blood dripping down these terracotta tiles and I guess I'd left a little trail behind me. You don't feel it till later. IGN: How did you find working with Angelina Jolie for the first time? Depp: She's a real treat to get into the ring with. She's a lot of fun, deeply committed, very smart, funny, very perverse sense of humour. We met, oddly, right before we did this. We have a lot of mutual friends and we'd never

met. And when we sat down together, it was kind of instant. Got each other. Within minutes, we were yakking about our kids and the perils of parenthood. IGN: Now that you're a huge global movie star, how do you see yourself and your career? Depp: Well, certainly not like a huge global movie star. Even thinking of myself in those terms, I can't help but smile, because it just doesn't register as me. But it feels like I'm still doing the same bits. Just trying something different each time, exploring something new. That's what's important. To keep challenging myself. And trying to come up with some new faces every now and again.

IGN: Do you feel like you have some new faces in you? Depp: Many years ago, Marlon Brando asked me, he says, 'How many films do you do, per year, kid?' I said, 'I don't know, maybe three or something?' He said, 'It's too much... We only have so many faces in our pockets...' And I thought, wow, it's really true. Well, I feel like I've still got a few faces in my

pockets. IGN: Did you improv a lot of your character? Depp: It was... I can't remember, you know? I don't know that a full formed Frank was in the script. We sat down and went through all these ideas and that's what seemed to come out. The idea was to make him seem the Everyman, this math teacher who doesn't have particular highs or lows in his life. He has a slight amount of obsessive-compulsive disorder in his weird routines. The idea was to take this normal guy and put him into these situations that are certainly less than normal. High stakes situations. The electronic cigarette was a device that would ring the alarm that he's in panic mode. IGN: Did you help push the film towards comedy? Depp: I just thought if you took this guy and put him these situations - especially if he's going to stick around - he has to recognise the level of absurdity in what he's going through here. And for what? And also I'm a real sucker; if I see a gag coming around the corner, I snatch it up immediately. I can't help myself. You spend nine-tenths of the time when you're working trying to make your co-star laugh, so I guess some of it's in the film. I don't know. IGN: How do you go about building a character?

Von Donnersmark—THE TOURIST—9

Depp: My process is still the same as ever. I get these images of someone that I may have known in the past or reminds me of the character. For example, Frank with his heavily groomed beard, which by the way, I can't grow, that was all glued on, that perfect landscaped beard came from a guy I knew years ago, and I was always fascinated with

that beard, because it just looked like, I don't know, something in a jar. I couldn't believe someone could have that and treat it so pristine. IGN: Do you always strive to find ways to tweak your characters? Depp: That's what I look for. I've always had that... it's probably a bad habit! I remember doing Platoon back in '86 with Oliver Stone and rewriting my dialogue. It's probably why he cut me out of the film mostly! But yeah, I've always had that.

IGN: Where do you think that impulse comes from? Depp: I think it probably comes from being locked into that television thing for a few years. The parameters were so rigid, there was no room to grow. It was just 'play that character.' That was it. So I swore to myself after that, I couldn't do that again. If I had to go back to construction, okay, I

was pretty good at that, pumping gas, I can do that

too... IGN: When was the first time you really were allowed to make a character your own? Depp: I suppose the first time, really, was Cry-Baby. That was a character I felt good about. Edward Scissorhands. Nobody really knew what I was going to do prior to that. Even Tim [Burton], bless him, was a little nervous initially with my take on it. But I think it all worked out.

PRELIMINARY APRIN 2017 BUFFALO FILM SEMINARS 34: Jan 31 Buster Keaton: The General 1926

Feb 7 Ernst Lubitsch: Ninotchka 1939 Feb 14 Michael Powell and Emeric Pressburger: The Red Shoes 1945

Feb 21 John Huston: The Misfits 1961 Feb28 Stanley Kubrick: Dr Strangelove 1964

Mar 7 Robert Bresson: Au Hazard Balthazar 1966 Mar 14 Bahram Beizai: Downpour/Ragbar 1972

Mar 21 recess Mar 28 4 Akira Kurosawa: Dersu Uzala 1975

April 4 Terry Gilliam and Terry Jones: Monty Python and the Holy Grail 1975 April 11 Sergio Leone: Once Upon a Time in America 1984

April 18 Krzysztof Kieslowski: Double Life of Veronique 1991 April 25 Wong Kar-Wei: In the Mood for Love 2000

May 2 David Ayer: Fury 2014 May 9 Mike Leigh: Topsy Turvy 1999

CONTACTS:...email Diane Christian: engdc@buffalo.edu…email Bruce Jackson bjackson@buffalo.edu...for the series schedule, annotations, links and updates: http://buffalofilmseminars.com...to subscribe to the weekly email informational

notes, send an email to addto list@buffalofilmseminars.com....for cast and crew info on any film: http://imdb.com/ The Buffalo Film Seminars are presented by the State University of New York at Buffalo and the Dipson Amherst

Theatre, with support from the Robert and Patricia Colby Foundation and the Buffalo News.

Gull at Danieli’s Restaurant Terrazza,. Venice, BJ 2016.