'At Any Price' E! Video plus TIFF and Venice Schedules/Info
Zac is anticipated to attend both the Venice and Toronto Film Festivals. Oh, also The Paperboy is going to screen at the NYFF (eta: on Oct. 3rd). (And there is a chance At Any Price will screen at Telluride FF but that is not confirmed yet.)
Also a clip of At Any Price aired on E! yesterday, video thanks to zacefron_news
ETA: updated with clean version from E!
Venice Schedule (in CET):
Press screenings: Thursday August 30 @ 7:30pm, Sala Darsena; Friday August 31 @ 9am, Sala Perla
Official screening: Friday August 31 @ 7:30pm
Additional screenings: Friday August 31 @ 8pm, Palabiennale; Saturday September 1 @ 10:45am, Palabiennale
Press Conference: Friday August 31 @ 1pm, Palazzo del Casino
Also, Bahrani's statement on the film from the Venice site:
During the six months I spent with farmers in the American Midwest, the two phrases I heard most were “Expand or Die” and “Get Big or Get Out.” These mantras fuel American and global dreams of success. Modern farmers run multi-million dollar businesses with highly advanced technology, while doubling as genetically modified seed-salesmen, who constantly check the global markets on their smartphones. The pressures are immense. I wanted to know what happens to a man when he values expansion of business over his family, his neighbor, his community and ultimately himself. Can his family stay together in the face of this intensely competitive world?
TIFF Schedule (in ET):
At Any Price
Sunday September 9 @ 10:00pm, Princess of Wales
Monday September 10 @ 12:00pm, Ryerson Theatre
Press:
Sunday September 9 @ 9:00 AM, TIFF Bell Lightbox 1
Wednesday September 12 @ 12:00 PM, Scotiabank 1
The Paperboy
Friday September 14 @ 6pm, Visa Screening Room (Elgin)
Saturday September 15 @ 6pm, Ryerson Theatre
Press:
Wednesday September 12 @ 3:15 PM, Scotiabank 2
TIFF Programmer's Note: At Any Price
The ongoing urbanization of populations everywhere, alongside the industrialization and financial difficulties of farming, have become mainstays in the news. At Any Price, the latest film from the highly acclaimed U.S. filmmaker Ramin Bahrani - who Roger Ebert named "the director of the decade" - takes these social phenomena and draws from them a very personal and timeless story about fathers and sons and the difficulty of accepting change.
Midwestern seed farmer Henry Whipple (Dennis Quaid), the now middle-aged son of a brusque, unforgiving old patriarch (Red West), wants nothing more in the world than to have his son Dean (Zac Efron) take over the family business. But Dean has other plans. Not one for the patience-testing, decidedly unglorious life of a farmer, he dreams of a career as a race-car driver. Henry, however, is so preoccupied with living up to the weighty expectations placed upon him that he remains oblivious to the situation before his eyes - a son trying to find an escape route, and a wife (Kim Dickens) desperately trying to hold onto her husband's attention and affection. His already fraught home life - teeming with unspoken tensions and accusations-reaches a boiling point when Henry's operation comes under investigation.
Set in the heartland of America, At Any Price dispels many of the antiquated myths around farming, revealing the fierce competitiveness of the industry. Meanwhile, Dean's pursuit of racing yields some white-knuckle sequences at the track. The casting is inspired, offering Quaid the role of a lifetime, vaulting Efron out of teen-heartthrob roles, and allowing for memorable supporting turns from Heather Graham and West, previously seen in Bahrani's Goodbye Solo.
The Festival is proud to have shown nearly all of Bahrani's films, not only because they are each so compelling and well-crafted, but because each work feels like a dynamic move forward in his evolution as a major storyteller. We look forward to whatever comes next, and in the meantime we are eager to share with you this thoughtful and moving tale of family, industry and ambition.
Jane Schoettle
TIFF Programmer's Note: The Paperboy
Jailhouse sex, life-saving golden showers, brutal bondage and all kinds of inventive nastiness - it’s remarkable to see what Lee Daniels can convince his A-list actors to do. Following on the monster success of the Academy Award®-winning Precious: Based on the Novel "Push" by Sapphire, Daniels has upped the ante with this fiery, deliciously campy chunk of Southern-fried Gothic.
Based on Pete Dexter’s noir-ish crime novel, The Paperboy sizzles in the sun-drenched swamps of the deep south in 1969, where Miami Times reporter Ward Jansen (Matthew McConaughey) has returned to his hometown of Lately, Florida, to uncover the true story of Hillary Van Wetter (John Cusack), who has been sentenced to death for allegedly killing a notoriously racist sheriff. With his partner Yardley (David Oyelowo) and younger brother Jack (Zac Efron), Ward seeks out the assistance of Charlotte Bless (Nicole Kidman), an aging Southern sexpot with a penchant for felons. Believing in Hillary’s innocence, the four embark on a journey into the alligator-infested backwaters, where secrets, lies and desires lurk just beneath the murky surface. A twisted love triangle emerges as the naive Jack becomes increasingly infatuated with the world-weary Charlotte, though she remains devoted to her death-row soulmate Van Wetter.
Daniels keeps the racial and sexual tension simmering as he captures the sounds, smells and tastes of the Deep South. Unabashedly raunchy and playfully tongue-in-cheek, The Paperboy is wholly committed to crassness, complete with garish colour palette, jagged cutting and a bleached-out aesthetic. Kidman, a feverish blend of vamp and vulnerability, effortlessly commands every scene she saunters through, while McConaughey, after his impressively twisted performance in last year’s Killer Joe, seems right at home with this down-and-dirty material. Cusack, meanwhile, is downright nasty as the bloated, machete-wielding Van Wetter, perhaps not guilty, but far from innocent. Part thriller, part love story and part tragedy, Daniels’ wild and woolly camp-fest is a must-see. As The Paperboy careens toward its final act and the already feverish action gets ever wilder, raspy-voiced housekeeper Macy Gray - providing a weary, knowing turn on The Help - offers a reprieve: "I think y’all seen enough."
Cameron Bailey
Also, thanks to audrey_za for scanning in this page on Maika that's in the September Nylon Magazine:
Also a clip of At Any Price aired on E! yesterday, video thanks to zacefron_news
ETA: updated with clean version from E!
Click to viewVenice Schedule (in CET):
Press screenings: Thursday August 30 @ 7:30pm, Sala Darsena; Friday August 31 @ 9am, Sala Perla
Official screening: Friday August 31 @ 7:30pm
Additional screenings: Friday August 31 @ 8pm, Palabiennale; Saturday September 1 @ 10:45am, Palabiennale
Press Conference: Friday August 31 @ 1pm, Palazzo del Casino
Also, Bahrani's statement on the film from the Venice site:
During the six months I spent with farmers in the American Midwest, the two phrases I heard most were “Expand or Die” and “Get Big or Get Out.” These mantras fuel American and global dreams of success. Modern farmers run multi-million dollar businesses with highly advanced technology, while doubling as genetically modified seed-salesmen, who constantly check the global markets on their smartphones. The pressures are immense. I wanted to know what happens to a man when he values expansion of business over his family, his neighbor, his community and ultimately himself. Can his family stay together in the face of this intensely competitive world?
TIFF Schedule (in ET):
At Any Price
Sunday September 9 @ 10:00pm, Princess of Wales
Monday September 10 @ 12:00pm, Ryerson Theatre
Press:
Sunday September 9 @ 9:00 AM, TIFF Bell Lightbox 1
Wednesday September 12 @ 12:00 PM, Scotiabank 1
The Paperboy
Friday September 14 @ 6pm, Visa Screening Room (Elgin)
Saturday September 15 @ 6pm, Ryerson Theatre
Press:
Wednesday September 12 @ 3:15 PM, Scotiabank 2
TIFF Programmer's Note: At Any Price
The ongoing urbanization of populations everywhere, alongside the industrialization and financial difficulties of farming, have become mainstays in the news. At Any Price, the latest film from the highly acclaimed U.S. filmmaker Ramin Bahrani - who Roger Ebert named "the director of the decade" - takes these social phenomena and draws from them a very personal and timeless story about fathers and sons and the difficulty of accepting change.
Midwestern seed farmer Henry Whipple (Dennis Quaid), the now middle-aged son of a brusque, unforgiving old patriarch (Red West), wants nothing more in the world than to have his son Dean (Zac Efron) take over the family business. But Dean has other plans. Not one for the patience-testing, decidedly unglorious life of a farmer, he dreams of a career as a race-car driver. Henry, however, is so preoccupied with living up to the weighty expectations placed upon him that he remains oblivious to the situation before his eyes - a son trying to find an escape route, and a wife (Kim Dickens) desperately trying to hold onto her husband's attention and affection. His already fraught home life - teeming with unspoken tensions and accusations-reaches a boiling point when Henry's operation comes under investigation.
Set in the heartland of America, At Any Price dispels many of the antiquated myths around farming, revealing the fierce competitiveness of the industry. Meanwhile, Dean's pursuit of racing yields some white-knuckle sequences at the track. The casting is inspired, offering Quaid the role of a lifetime, vaulting Efron out of teen-heartthrob roles, and allowing for memorable supporting turns from Heather Graham and West, previously seen in Bahrani's Goodbye Solo.
The Festival is proud to have shown nearly all of Bahrani's films, not only because they are each so compelling and well-crafted, but because each work feels like a dynamic move forward in his evolution as a major storyteller. We look forward to whatever comes next, and in the meantime we are eager to share with you this thoughtful and moving tale of family, industry and ambition.
Jane Schoettle
TIFF Programmer's Note: The Paperboy
Jailhouse sex, life-saving golden showers, brutal bondage and all kinds of inventive nastiness - it’s remarkable to see what Lee Daniels can convince his A-list actors to do. Following on the monster success of the Academy Award®-winning Precious: Based on the Novel "Push" by Sapphire, Daniels has upped the ante with this fiery, deliciously campy chunk of Southern-fried Gothic.
Based on Pete Dexter’s noir-ish crime novel, The Paperboy sizzles in the sun-drenched swamps of the deep south in 1969, where Miami Times reporter Ward Jansen (Matthew McConaughey) has returned to his hometown of Lately, Florida, to uncover the true story of Hillary Van Wetter (John Cusack), who has been sentenced to death for allegedly killing a notoriously racist sheriff. With his partner Yardley (David Oyelowo) and younger brother Jack (Zac Efron), Ward seeks out the assistance of Charlotte Bless (Nicole Kidman), an aging Southern sexpot with a penchant for felons. Believing in Hillary’s innocence, the four embark on a journey into the alligator-infested backwaters, where secrets, lies and desires lurk just beneath the murky surface. A twisted love triangle emerges as the naive Jack becomes increasingly infatuated with the world-weary Charlotte, though she remains devoted to her death-row soulmate Van Wetter.
Daniels keeps the racial and sexual tension simmering as he captures the sounds, smells and tastes of the Deep South. Unabashedly raunchy and playfully tongue-in-cheek, The Paperboy is wholly committed to crassness, complete with garish colour palette, jagged cutting and a bleached-out aesthetic. Kidman, a feverish blend of vamp and vulnerability, effortlessly commands every scene she saunters through, while McConaughey, after his impressively twisted performance in last year’s Killer Joe, seems right at home with this down-and-dirty material. Cusack, meanwhile, is downright nasty as the bloated, machete-wielding Van Wetter, perhaps not guilty, but far from innocent. Part thriller, part love story and part tragedy, Daniels’ wild and woolly camp-fest is a must-see. As The Paperboy careens toward its final act and the already feverish action gets ever wilder, raspy-voiced housekeeper Macy Gray - providing a weary, knowing turn on The Help - offers a reprieve: "I think y’all seen enough."
Cameron Bailey
Also, thanks to audrey_za for scanning in this page on Maika that's in the September Nylon Magazine: