‘A Very Murray Christmas’ puts musical treats, deadpan comedy under the tree

6 Dec 2015 | Author: | No comments yet »

It’ll Be a Very Miley Christmas! You Have to See the Star’s Incredible Cover of ‘Silent Night’.

In the video, Cyrus, 23, belts out the tune while perched on a white piano, as former Late Night with David Letterman band leader Paul Shaffer accompanies her on the piano.Far from her eccentric image, Miley Cyrus fascinated the crowd with her wholesome rendition of the classic Christmas carol Silent Night in an episode of “A Very Murray Christmas”, December 4, 2015.

The singer wears a sexy Santa-inspired dress with matching red heels trimmed in white fur and a headband with festive red and white flowers attached. “When you hear her [on the radio], you go, ‘She’s not even really singing that, that’s all voice-activated – it’s all tricked out,’ ” he says. “None of that’s true. The movie stars comedy legend Bill Murray — that’s where the Murray in Very Murray comes from — in a star-studded nod to the musical holiday variety shows of yesteryear. In a review written by Lauren Larson for GQ, it was said that Silent Night was a perfect song choice for the tattooed Cyrus. “Cyrus’ performance is mature and lovely and—for anyone who has had a weird year or two—very contemplative.” Cyrus also performed a fun duet with Murray, singing “Let It Snow” and “Sleigh Ride”, where she arrived on stage with George Clooney aboard a sleigh. When I’m advised my phone interview with the 44-year-old to discuss her new festive romp is scheduled at 2am on a Saturday morning Sydney time, I don’t even flinch. “The idea came about over drinks between me, Bill and Mitch Glazer, an old writer friend who also worked on Lost in Translation,” she explains of her new project.

Polarizing holiday flicks are the norm, and even in a worst case scenario this could be the birth of a cult fave with a dedicated core of fans that will make it a point to stream it every holiday season. The hour-long comedy takes place in New York’s legendary Carlyle Hotel, where Bill Murray (playing himself) is set to perform a residency, but no one turns up to see him sing because of polar vortex-like weather.

Instead, Murray croons away his sorrows to Christmas Blues, while Coppola’s famous friends appear (some in character, some as themselves) to cheer him up. “I feel like Bill and I have a good understanding of each other and he indulges me to create a version of himself that I love – polished and in a beautiful suit – that is romantic and funny. Netflix has focused most of its efforts as it pertains to original programming on TV shows because that’s where it can get the most bang for its buck.

Coppola, then aged only 32, earned an Academy Award (for Best Original Screenplay), and became the third woman in history to be nominated for Best Film. Born to Francis Ford Coppola (director of the Godfather films, Apocalypse Now and The Rainmaker) and his wife Eleanor (a set decorator and documentary filmmaker), Coppola grew up immersed in the cinematic world alongside her older brothers Gian-Carlo and Roman. “When I reached junior high, I used to try and get out of writing reports by making a film, like on the life of George Washington, with little clay people. “I didn’t know anything else. Netflix finally jumped on the exclusive movie gig with October’s critically acclaimed Beasts of No Nation, but the emphasis remains on serialized dramas, eclectic sit-coms, and kid shows with more compelling production costs per hour of content. My dad always talked about what projects he was going to do and was always kind of harping on about writing,” she says. “I have to give credit to my dad, because the kids were never off with a nanny; he always wanted us to be on set or at the dinner table meeting these interesting people.” Even if it was obvious to others that a young Coppola displayed early promise for following in the family’s footsteps, it wasn’t her first passion: “I had an interest in fashion since I was about 12, and my parents encouraged that, even though it was different from their world.” Driven by her youthful aspirations to become a fashion editor, she even interned at Chanel in Paris during one summer in the ’80s, fetching coffees for Karl Lagerfeld.

That included starting a fashion line in mid-’90s LA (think graphic T-shirts and slip dresses), before finally taking a career behind the camera seriously. “Jane Campion was the director whose work made me think, ‘That is so cool’ and encouraged me to pursue this,” she says of her early flash of inspiration after seeing Campion’s 1993 hit, The Piano. Her tight CV reflects this – there was the decadent reimagining of Marie Antoinette in 2006 (again, starring Dunst), the drama Somewhere (which won best film at the 2010 Venice Film Festival) and 2013’s The Bling Ring, based on the real-life story of teenagers stealing from the homes of celebrities. Coppola has also managed to indulge her love of fashion by serving as a long-time muse to good friend Marc Jacobs and has starred in several of his Louis Vuitton and fragrance campaigns. However, even with her Academy Award-winning father and brother in her corner, Coppola admits, like many women in Hollywood, she has seen sexism first-hand. “I always feel like it’s not my job to comment on the issue, and I’m not trying to be political publicly, but I do feel more encouraged that there are more [women] emerging. “I just keep trying to put my point of view out there – a feminine point of view – and I hope there’s more opportunity for other voices, besides the male ones.” Sometimes they even cross over – Phoenix has contributed to several of Coppola’s film soundtracks and she even convinced Mars to test his acting skills as an angry French chef in A Very Murray Christmas. There’s also probably a pretty good chance that you haven’t gone through the entire seasons of last month’s Jessica Jones, Master of None, or W/ Bob & David.

Earlier this year, she was linked to a live-action remake of The Little Mermaid, but later left the project because of “creative differences” with the studio. “I’m working on two scripts and I’m hoping that next year I’ll talk to Kirsten about doing something, because I’d love to work with her again,” she says. We do have a certain sensibility and the rapport we had in Lost in Translation continues in this.” It’s the first time the pair has worked together since the 2003 hit movie. Despite the Hollywood connection, however, she was raised near Napa in northern California, where the family owned vineyards. “I made movies on Super 8 film with my brothers and dad when I was little,” Coppola recalls. “I remember always having a video camera as a teenager, too, and filming silly horror movies with my friends.

In May 1986, Sofia’s eldest brother, Gian-Carlo, was killed in a boating accident just days after her 15th birthday – something she has said “interrupted” her carefree teenage years and saw her enter into therapy. Then, at age 19, she experienced the humiliation of being the target of scathing reviews after her dad cast her as Mary Corleone in The Godfather Part III when Winona Ryder suddenly dropped out. (For the record, Coppola never wanted to be an actor and was simply “trying different things”.) “I think all that stuff just toughens you up and then you can get through anything kind of challenging,” Coppola says of those formative years. “It was hard because I was so young and was attacked and blamed for ruining my dad’s movie. I’ve learned that’s how I work best, when I’m most confident.” It’s also helped that her brother Roman, a writer and producer, has never been far from his sister’s projects. But I like to work, too!’” Together with her husband of four years, French rocker Thomas Mars (from the band Phoenix), she juggles parenthood and work.

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