As a dedicated admirer of the art of storytelling and an ardent fan of both the silver screen and the small one, I find myself deeply captivated by the journey of John Slattery, an actor whose talent has graced us for decades but who truly shone as Lane Pryce on Mad Men. His portrayal of the British accountant in the heart of the Madison Avenue ad world was nothing short of mesmerizing, and his character’s tragic fate remains one of the most poignant moments in television history.
In the movie “Reawakening,” actor Jared Harris portrays a character experiencing immense hardship: Ten years following the mysterious disappearance of his and his wife’s teenage daughter, a young woman (played by Erin Doherty) unexpectedly appears at their home, asserting that she is their long-lost child.
Meanwhile, Juliet Stephenson (his wife) readily believes the woman’s identity, but Harris’s character remains skeptical, suspecting that she might not be his genuine daughter and starts anticipating some form of trickery.
The mother tends to trust feelings as her version of reality, while the father, who is quite characteristic of men, seeks facts, details, and proof. He reaches the truth based on facts, whereas she reaches it more through emotions.
In several aspects, the narrative of “Reawakening” bears resemblance to an extraordinary true tale, similar to the one portrayed in the critically acclaimed, Oscar-nominated documentary “The Impostor,” released in 2012.
I was captivated by that movie delving into the intriguing tale of French con artist Frédéric Bourdin, who convincingly masqueraded as a Texas teenager who had vanished three years prior at the age of 13.
Regardless of a considerable age gap, disparities in various characteristics (such as his French accent), and other inconsistencies, the family of the missing boy warmly accepted Bourdin into their residence, viewing him as their long-lost son. Some family members even appeared to be fooled by the deception.
In my perspective as a movie reviewer, this film powerfully demonstrates the extraordinary measures parents take to hold onto hope amidst harrowing situations like the one portrayed. Interestingly, director Harris shares that this tale was just one of numerous “peripheral” stories that captivated his co-star Stephenson during filming. However, contrary to the extensive research vital to the production, Harris admits he wasn’t overly preoccupied with unearthing similar cases myself.
He expresses his viewpoint by stating that acting feels like an exercise of imagination to him and he values the research aspect deeply. However, he clarifies that the purpose of this research isn’t self-contained or conclusive.
The script is designed to ignite your creativity. In other words, I discovered that the writing itself was so potent and complete, that I felt no necessity for additional research. Instead, it became straightforward to let my imagination take over and immerse myself in this realm.
Besides taking on the role of an actor for the movie, Reawakening, Harris additionally functions as an executive producer. This dual role, according to him, granted him more artistic control and influence over the film’s creation.
In his words, Virginia Gilbert, the writer-director, was highly receptive to teamwork. Every morning prior to shooting, there were engaging conversations between her and the cast, a practice not always present in all projects he’s been involved with.
Typically, when joining a project as an actor, you might be asked for input or thoughts about the script, but more times than not, this is met with resistance, as they prefer not to hear it, according to him.
Being a producer gives you an opportunity to join in on crucial discussions. It’s fascinating, almost strange, that those with backgrounds in narrating tales to audiences aren’t often consulted for their insights into the content. However, that’s just how things typically work.
Throughout his acting career, Harris has had extensive experience with numerous indie films, dating back to his initial roles. He remarks that the landscape of independent cinema has significantly transformed over time, largely influenced by contemporary viewing preferences among the audience.
He clarifies, “The primary cause is the ease with which we can access and consume all types of content today. This makes things difficult for independent films because it’s tough for viewers to discover your work amidst the vast amount of content available.
Regarding the practical aspects of filming, he argues that not much has evolved. Additionally, he challenges those who assert that there’s a significant distinction between producing television and movie content.
He points out, “It’s not like there are any changes, you see. The gear we’re using is identical – the lighting, the audio system, the cameras, they’re all the same as before. Even the teams working with us are the same.
On most productions, including major films, you’ll typically need around 3-4 attempts to capture a scene, after which you proceed to the next one. However, David Fincher is an exception as he often requires more than ten takes for every single shot.
Essentially, the method of creating the content is now identical, regardless if it’s for television or film. Previously, there might have been a distinction, but it no longer exists in this aspect.
In terms of television programming, Harris has an impressive track record of selecting successful projects.
He’s been featured in numerous critically acclaimed shows of the 21st century, ranging from Mad Men and Chernobyl to The Crown and the less-watched yet universally praised The Terror. So, what’s his method for choosing so many series that have undeniably resonated with viewers?
His straightforward reply is: “The focus is on the narrative.” He questions why one wouldn’t find another person intrigued by it as well. To assess this, when he reads, he always dedicates the initial 30 pages. If the story captivates him, he finds himself eager to continue until the end. However, if he notices himself checking the time and struggling to get through the writing…
He explains, “You only agree to things like that when necessary because we all have bills to cover, such as rent and mortgages. So, sometimes you say yes due to financial needs. These situations usually turn out to be disappointing experiences and seldom become something extraordinary. However, there are occasional exceptions.
He goes on to say: “For me, it’s all about the content and the way it’s written. However, this doesn’t imply… there have been pieces that were exceptionally well-written, yet they didn’t resonate. It remains an enigma.
If there was a method to always predict the outcome, then whoever knew this secret would control the world. However, if everyone had this ability, the excitement would fade since we’d grow tired of the predictable results. It’s the element of uncertainty that keeps us intrigued and coming back for more.
Amongst the various characters Harris portrayed throughout his career, it’s possible that the standout role was Lane Pryce in Mad Men, which he performed during seasons three through five of the acclaimed 1960s series.
The program had already achieved massive success prior to his participation, yet during his tenure on the series, it seemed to reach its peak in terms of quality episodes. Additionally, his character was central to one of the saddest, emotionally intense storylines in the show’s duration – a tale that might even rank among the most heartbreaking in television history altogether.
When Harris recalls the television series, he gets quite lively, sharing heartfelt memories from that period, and mentioning that he maintains a connection with its creator, Matthew Weiner, even to this day.
He recalls that we stood side by side on the protest lines during the labor action,” he states. “Whenever I meet those who were part of it, it’s always a warm embrace and a lot of reminiscing. Plus, Jon Hamm presented us with the Emmy for Chernobyl!
He reminisces about a wonderful work environment, truly exceptional in his memory. The project we were part of had struck a chord with people. By the time I came on board, it had already resonated deeply. It won consecutive Emmys and Golden Globes, and was universally praised. Shops even sold suits inspired by Mad Men, for both men and women.
The impact was significant; it changed people’s fashion styles noticeably. The cocktail culture resurfaced. This phenomenon is exceptionally uncommon, almost unprecedented, even for shows or forms of entertainment. Everyone recognized this while they were involved in its creation.
As a devoted movie enthusiast, I found myself captivated by the unique way this series was produced – unlike many modern productions, it was shot one episode at a time. This approach allowed me, along with the entire cast and crew, to unfold the narrative in tandem with the audience, making our journey through the story remarkably immersive and engaging.
He mentions that there was uncertainty about what would transpire subsequently, as they wouldn’t receive the script until the day before filming the following episode. The cast and crew would get their scripts during lunchtime, and while eating, they would be reading through the script for the upcoming shooting day.
He goes on to say that the level of detail and thoughtfulness put into it was incredibly thrilling, and this meticulousness permeated throughout everyone else involved. Weiner aimed to inspire the same enthusiasm in others that he felt. Therefore, when you opened a drawer at a desk, the magazines on the desk would correspond with the month during which this event was occurring.
If you open the drawer and discover items that don’t belong to the time period, which is unusual, those items will be discarded. Notably, even the candies were vintage ones. The level of detail was astonishing; everyone seemed to take such care.
It’s evident that Harris is equally invested in Reawakening. He was thrilled with the reception it got during its premiere at the Dublin Film Festival this year, and now he’s hoping it will resonate with cinema-goers as well.
He remarks that the story is quite compelling and grabs your attention from the start. It leads you through a significant, emotionally charged experience, concluding in a fulfilling way without leaving things unresolved or opting for an ambiguous ending.
In the story, deeper questions surface beyond the initial impressions, and these are addressed within the mystery itself. It sparks thought-provoking reflections afterward. Personally, I’d ponder if I’d be willing to embrace such a reality as portrayed in this tale.
Reawakening is now showing in UK cinemas.
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2024-09-13 14:05