"England - The World Cup Movie."

Rumors fresh out of South Africa indicate that film director Fabio Capello is remaking the football film 'England - The World Cup Movie' - only eight years after the last one (there was another remake shot four years ago, but it didn't even make it to DVD).

Fans of the original movie, an unexpected smash hit in 1966; are adamant that new directors must stop remaking it every four years as the newer versions have been appalling, and mostly unwatchable. "Every four years somebody tries to remake it again," said football fan James Innes, "but it's always so predictable." This was an opinion echoed by Greg Baker, not because his opinion was similar but because there was an echo in the room when I asked him.

The problem isn't, as many people believe, that they remake the film every four years - it's that they never have any originality and are always the same. "The film's always start off so promising!" screamed Eric Flump, as he battled to be heard over a passing motorbike, "I always go into it with fresh enthusiasm and belief; and literally, the whole of the UK expects the film to be great. What starts off with lots of energy in the opening stages, soon becomes a pitiful mess towards the end."

"You'd think one of the studio execs would have changed things up a little, or made them a little less predictable, but they're always the same" explained Harry The Hooligan, "but you know exactly what's going to happen---- either halfway through or after three-quarters, one of the character's is going to get angry and cause a scene, or one of the stars is going to leave the movie half way through due to a tight hamstring."

The only remake of the world cup movie that was even mildly loved by fans and critics was the 1990 version, although some felt that the choice of ending was an unfair penalty for what otherwise had solid performances. Betsy Betson, former editor of SoccerWeekly, is hopeful for a fresh approach in the 2010 version but is hardly optimistic; "Jesus, it's pointless, isn't it. Absolutely insane, mental. Outrageous," shouted Betsy, in near meltdown, before following it with, "sorry, what was the question?" As I asked her again about the poor state of the remakes, she instantly blamed Hollywood. "Jesus! They're clearly out of ideas! They think by casting Wayne Rooney they stand a chance of succeeding, but it's ridiculous. Pointless. It's written into their contracts that the film has to die pathetically at least ten minutes before the end."

Various drafts of the screenplay for the 2010 reboot have been read across town (and by town, we mean West London) - but various elements are since believed to have been dropped. Carlo Ancellotti, a talented and experienced screenwriter/director, added in elements where footballers sleep with each others wives, and team captains take large payments for stadium tours, but they were deemed too unrealistic by the producers.

In summary - the new version is believed to be in keeping with all the others. Hugely promising, with a large and overpaid cast. There'll be signs of good dialogue, fun action sequences and occasional inspiration-- only to be let down by a sloppy ending.

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Are you taking your career seriously?

I know some people who moan about the industry. They moan about how it's "impossible to make it as a director" before they've even directed a stranger on how to get to the train station. I know actors who moan about being unable to meet director's, who then go on to cancel three meetings in a row with me. The majority of people don't fail in this industry because it's hard, they fail because they're not trying.

Today I did a filming job in the morning. It was meant to finish at 3pm but it finished at 11am. Fine by me. I got paid. I came home. I was reading a screenwriting book on the way back. When I got home, I decided to watch a film. It was 'Milk'. It was difficult to watch, really challenging-- being that it's pretty much the first film I have watched which is very much about homosexuality (I mean, in 'Philadelphia' Tom Hanks is gay, but it's not as primary a thing in every scene as with 'Milk'). The film was fascinating, and Sean Penn was amazing. Then the DVD stopped working on 53 minutes. Those damn rentals. I made some lunch. Then I watched another rental, 'Look Who's Talking'. Stupid thing stopped working after 23 minutes! I got a phone call from a film festival programmer who's going to screen a couple of my short films. We talked for a bit, talked about arrangements. Tonight I watched about six Tom Hanks interviews, then two episodes of 'The Actors Studio' - one with Will Smith, and one with Kevin Costner. I wrote a film blog about Tom Hanks, I wrote a film blog about Kevin Costner. I set up a Facebook event for the film festival and invited my friends. I emailed a feature screenplay I've recently written to the Head Of Development at a medium-sized production company. He said he'd read it. I am constantly doing the work. Now, I'm not saying I'm successful. I'm just saying, I'm doing the work. I'm in the zone. I'm clearing out the movie trash.

Too many actors say they're going to make showreels, and don't. Too many actors wait too many years for too many films they don't even like anyway. Too many actors put DVD's on their cabinet and wait for some magical mystery day before doing anything to make a showreel. Jesus, there's going to be a Black President before these guys get their showreels done!

Too many people are busy. Busy running around meeting for 'coffee' and discussing projects, and quoting lines from George Bernard Shaw, instead of doing the work, creating the work, being the work, finding the work. By work I mean work, and I mean studying, and I mean chasing, and I mean living. You are too talented to be sitting on Facebook. You are too talented to be too tired to work on your business plan, or your storyboards, or your composition. You are too talented to repeatedly meet up with the same 'safe' people who are all industry-talk-but-no-action.


Yesterday, I had a free day. I had nothing to do. Luckily, I had friends who wanted to see me. One of them is a music composer who I've worked with in the past, but we've never really spent much time talking. So we met for coffee. And we talked for hours about all aspects of our industry; and all the things we talk about here like creativity, inner critics, Tom Hanks, gender issues in film, etc -- and he taught me lots about music rights and publishing. How awesome! Instead I could have been at home, talking to some girl on MSN who I don't really know and don't really care about. I learned a lot, and got to understand more about how he works and how he finds and channels his creativity. The only problem was - I paid for the damn coffee.

I know actors that are constantly late for meetings, I know film director's who haven't watched a film in four months, I know writers who know everything that is wrong with every film ever made, yet have never written one right thing themselves; not because their writing is bad but because they've never actually written anything.

The right time to do the work is, surely, right now, otherwise what's the point? If you said you'd read my script, you should. If I said I'd watch that musical from 1937 that you lent me two years ago, then now is a good time. If we said we'd go to the ocean to get some inspiration from nature for our screenplays, then we damn well should. The time is now and the time is now and the time is now. We are too healthy and too privileged and too alive to not do anything now. And if some of you can honestly say "hey, actually, I'm not healthy enough right now," then that's even more of a reason why the rest of us should get off our asses and actually do the work we were put on this Earth to do.

I know you have talent, I know you love movies. Whatever has stopped you, be it laziness, confusion, or a lack of confidence. Whatever is behind that; debt, bad parents, negative teachers, depression;- your freedom will come from your passions, from your dreams, from your talents; if only you bother to start finding them and using them. DO IT.

I beg you
Do something
Learn a dance step
Something to justify your existence
Something that gives you the right
To be dressed in your skin in your body hair
Learn to walk and to laugh
Because it would be too senseless
After all
For so many to have died
While you live
Doing nothing with your life.

-Charlotte Delbo, Holocaust Survivor.

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Kevin Costner On The Animals That Understand You

"I knew what I wanted to be. I was really really happy. I didn't care if I took out trash. I just knew in my psyche, that it needed to be movie trash, it needed to be stage trash, I needed to be close to the business. And I think that's what you have to be, you have to be close, you have to talk with the animals that understand you."

-Kevin Costner

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Tom Hanks & His Corporate Duties...

I've always admired Tom Hanks and his career choices. Until 'The Da Vinci Code', when it seemed like he was jumping on the latest-craze bandwagon. But then again, he's earned the right to do so - having satisfied his fans again and again and again and again and again making great movies, giving perfect performances. So by all means, he should get the golden paycheck. But then he did the sequel. And again, why not, I guess. But Tom Hanks is my favorite actor of the modern era - and I long to see him doing more subtle and fascinating characters.. (I can't wait for 'LARRY BROWNE'!). Anyways--

Here's something difficult to watch. It's Tom Hanks giving a keynote speech for SONY in 2009, and it's rather painful to watch. Whilst I, as a fan, have felt a bit uncomfortable seeing my acting hero doing the giant-budget-bore films recently, I think there's an element of that feeling in him too.
He had to give this keynote speech as part of his contract for Angels & Demons. As the speech progresses, he gets more and more awkward with the material he's made to read from the prompter; and when the big Sony boss comes on stage, their joking with each other does have some 'ouch' moments - and there's genuine tension between them. Hanks jokes that he's not getting his Angels & Demons paycheck until the speech is done - yet, funnily enough, there is truth to that.

Here's Tom Hanks, doing his corporate duty; yet remarkably, by some miracle, maintaining his integrity and remaining my complete All-American hero. Fascinating, funny, and painful. This video demonstrates the remarkable tension that exists between the business side and the creative side of the industry. Even Tom Hanks isn't immune.

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Interview with GIUSEPPE SULFARO, Star Of 'Malèna'

Malèna is a perfect film. One of the most memorable things about it is the incredible performance by GIUSEPPE SULFARO. When they shot the movie, he was only fourteen years of age, and had never acted before. He was discovered by one of the world's finest director's, Giuseppe Tornatore (Cinema Paradiso) - who gave him the enviable privilege of working alongside Monica Bellucci. I talked to Giuseppe about what it was like to be discovered at such a young age and given such a great opportunity - and found out about the great work he's been doing since.

When did you first know that you wanted to be an actor?

It all started when my aunt read in a newspaper that Tornatore was looking for the protagonist of his new movie with Monica Bellucci. My aunt has always been convinced since I was a child that I had very expressive eyes, so I took pictures and sent them to the production, and from there began the road that allowed me to discover this world to me which was completely unknown but fantastic at the same time. Tornatore began to select 2500 photos of kids from here and summoned 90. These 90 kids he met for an interview, where he liked to tease my adolescence! The first was followed by another two or three, the second meeting was a test on hand, from the 90 kids we were then 40. In the next audition an actress took the place of what would be Monica Bellucci, From 40 actors we were down to 9, then another meeting with Tornatore, who chose three finalists, then a video with the 3 finalists was sent to Miramax. Miramax was also thrilled with me, so from that day, I was catapulted into the world of cinema for a year.

In "MALENA". It's amazing that your performance was so perfect, considering you were only 14. What was the experience like for you?

It was the best year of my life, I was away from home for about one year, I followed my father as I was underage, I did not go to school but when I went to the production, I kept in touch with my teachers, so I could integrate school. Filming began in September.I was the youngest and most spoiled, even though my father was very hard with me, but he understood the time and sometimes turned a blind eye and let me do what I liked.

Giuseppe Tornatore is such an amazing writer and director. What is his directing style like? How would he direct you?

Initially, before six months of shooting, me and Tornatore talked about much of the script in general and, once we started filming - every night we met and talked of the work to be done the next day. Sometimes Monica attended, this was so Monica and I gained great confidence that would help us in the "hottest" scenes, other times I let the scenes play at my leisure and if there was something he did not like we would talk about it and try to reach an agreement .... I was very young and had my first experience at the cinema, he was very patient with me, as I was with him, since he is very meticulous and precise, sometimes too much. Tornatore carefully thought how to complete the whole film, as the attention to detail in dubbing and editing.. sometimes the perfectionism borders on madness!

I'm trying to think of what it would be like to be 14 and working with Monica Bellucci. Was it exciting? Scary?

With Monica I had a great relationship from the beginning, we talked about everything, obviously being 14 years old, after a couple of days you will begin meetings with Monica Bellucci to fall in love; this she understood and maintained this relationship of complicity to facilitate the work later. Well I was glad of this, Monica greeted me every morning with a little kiss on the lips, and it made me feel like her husband Vincent Cassel [Giuseppe smiles]. The film was turning into reality - a reality that I knew would fade when the film was released. This was good and made me feel safer at work, sometimes I feel Monica and I remember with great joy and satisfaction the moments spent with her.

What to say more?!?! I was 14 when they called me to make the film and I had never seen a live naked woman, the first was Monica, now you can understand my teenage years ...... [the memory makes Giuseppe smile] it was a special and wonderful experience.

Recently you have been doing TV work, which most of us don't get to see in other countries. What have you been working on?

A couple of years ago I was in a film by Krzysztof Zanussi "The Black Sun" nothing special, but always a great experience. Then I was in Greece to shoot a film in original Greek, was a good challenge; I was there for three months learning Greek.. just for the script. The film screenplay was nice, but technically quite poor even though the budget was not so strangely low ... but always an experience. I recently worked in Italy for a fiction with Thérence Hill, do not know if you know it, the new series will resume in December for another year.

Do you think you will always work in Italy, or would you like to work elsewhere?

If I had to leave Italy and learn another language, after acting in Greek does not scare me or anything .... almost. [smiles].

What Film Director would you most like to work with?

To be honest I do not have a favorite director to work with, the important thing is to work... but if I have to say a few names there are many like Pupi Avati, Ettore Scola, Giovanni Veronesi, Gabriele Muccino, Neri Parenti.

MALENA is one of my favorite films, by one of my favorite director's, with one of my favorite acting performances (Giuseppe's, of course). If you haven't seen it already, I thoroughly recommend it - it's a magical, heartbreaking film about youth and unrequited love.

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