Robert Redford appeared before the press Thursday to discuss the Sundance Film Festival, but it was impossible to ignore the news that he’d been snubbed by the Academy, which overlooked his acting performance in All is Lost. Speaking at the festival’s Day 1 press conference, Redford insisted he wasn’t disturbed or upset by the slight, but he expressed regret that the film’s distributors, Lionsgate and Roadside Attractions, did not do more to champion the film’s award prospects. “When these films go before to be voted on, usually they’re heavily dependent on campaigns that the distributors provide,” he said. “There’s a lot of campaigning that goes on and it can get very political, but that’s okay. Because it is a business. In our case, I think we suffered from little to no distribution. So as a result, our distributors either — I don’t know why — they didn’t want to spend the money, they were afraid, or they just were incapable. But whatever, we had no campaign to help us cross over into the mainstream. So I suspect that had something to do with it.” READ FULL STORY
Tag: All Is Lost (1-5 of 5)
Robert Redford is one of the movie stars of our time, yet I would contend that he’s always been an underrated actor. There are a host of reasons for that, and they feed into each other in subtle, at times mythic ways. You could say, on the one hand, that Redford was too golden-boy pretty (always a surefire way to not get nearly the respect you deserve), or that he was too understated as a screen presence, or that he was too openly skeptical of the Hollywood game. Redford had his first major big-screen role in 1965, in Inside Daisy Clover, and by 1969, when he starred in the independently financed Downhill Racer, he was already seeking ways to work outside the system, and that echoed his dynamic as an actor: He played men who stood apart, who created their own private space of action and wary observation. That was the Redford mystique, and it’s what attracted audiences to him and, at the same time, allowed him to come off on screen as self-contained and even aloof. From Butch Cassidy and the Sundance Kid (1969) onward, Redford had the glow of a larger-than-life star, but as the 1970s rolled forward, it was his special karma to be the last WASP god in a Hollywood that was busy leaving the world he stood for — the world of WASP gods — behind. READ FULL STORY
Robert Redford has had one of the greatest and most interesting careers in Hollywood history, starring in iconic movies like Butch Cassidy and the Sundance Kid and All the President’s Men, directing movies like Ordinary People, and making the Sundance Film Festival the premiere indie showcase. So it’s really a surprise to some when they discover that he’s only been nominated for one Academy Award for his acting (The Sting). That could change this year with All is Lost, a daring cinematic and acting challenge that places Redford’s mariner at the center of a looming ocean disaster. He plays a man whose sailboat becomes crippled as he battles one deep-sea misfortune after another.
Like his character, Redford is alone in the film. There are no other characters. There are no pet dogs, or flashbacks, or video-camera confessions. There is hardly any dialogue. The movie is Redford fighting the elements with every ounce of his strength. With so much riding on the audience’s relationship with the unnamed main character, who writer/director J.C. Chandor simply refers to as Our Man in the script, casting someone with Redford’s history on film turned out to be essential. “There are so many similarities between the Redford persona, Redford the actual person he is on the planet, and then the performances that he’s given,” says Chandor. “Obviously, that’s sort of his biggest weakness, it almost seems: people have a hard time disconnecting all three of those things from each other. What I thought I was going to be able to do in this movie was use that weakness as a strength. So instead of just ignoring that relationship the audience has with him, I want you to have it but then I want you to forget it a couple of minutes into the movie — but subconsciously it’s always going to be there.” READ FULL STORY
A lot of movies give their trailers the silent treatment, with powerful images and an evocative musical score responsible for conveying the drama. But in All Is Lost, which stars Robert Redford as an old man whose sailboat is slammed with one misfortune after another, the spare trailer accurately reflects the film, which is practically devoid of dialogue. Not that you’ll miss it, or wish there was a Bengal tiger or Wilson volleyball stowed aboard as he tries to stay alive. It’s just Redford, the camera, and the cruel winds of mother nature.
The movie, directed by J.C. Chandor (Margin Call), won raves when it premiered at Cannes in May, with some predicting an Oscar nomination for Redford, who has never won for Best Actor despite iconic turns in Butch Cassidy, The Sting, and Out of Africa.
Watch the new trailer for All Is Lost below:
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Cannes 2013: With hardly a line of dialogue, Robert Redford is marvelous as a man lost at sea. Plus, Liz Taylor's bling
All Is Lost is a man-stranded-at-sea movie, starring Robert Redford, in a role that has almost no dialogue, as a fellow who wakes up in his small yacht, somewhere in the middle of the Indian Ocean, only to discover that a random floating shipping crate — who knows how it got there? — has gashed a hole in the boat’s hull. It’s like his own miniature iceberg scrape: All of a sudden, his boat could go down, and him with it. Most movies that strand a solitary figure at sea, like Life of Pi, or on a desert island, like Cast Away or the template of the whole genre, Robinson Crusoe, are lonely but upbeat tales of invention and survival. J.C. Chandor, the writer and director of All Is Lost, does a radical existential twist on those tales. The film opens with Redford in voiceover, reading a farewell note to his family (confessing his selfishness, he says “I’m sorry,” and explains that he has only half a day’s rations left, and that he’s resigned to his fate, and that “all is lost”). It’s quite a bummer of a beginning, and when the movie then flashes back eight days, we’re already primed to experience Redford’s journey not as a series of small, ingenious acts of self-salvation but as a gradual downward spiral, the story of a man getting sucked into the void. READ FULL STORY
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