Angelina Jolie Pitt breaks down the exclusive new By the Sea trailer

30 Oct 2015 | Author: | No comments yet »

Angelina Jolie Gets Voyeuristic in New ‘By the Sea’ Trailer.

Earlier this year, Angelina Jolie Pitt told EW that writing, directing and starring in By the Sea (in theaters Nov. 13) was made easier thanks to her leading man, husband Brad Pitt. “It was comforting in that he’s a great actor and we produced it together.

In a crowded marketplace where prestige movies without proven stars are sinking like stones, you will be hard pressed to find a fall film with bigger worldwide box office stars than Angelina Jolie and Brad Pitt. Of course,” I stumble, apologising clumsily that indeed his call was expected and, despite appearances, the receiver is not another too-casual Australian. She’s decisive, incredibly intuitive, knife-sharp, and might I say, sexy at her post,” Pitt told ‘V Magazine’. “It was probably not the wisest way to spend a honeymoon.

When Brokaw asked if it seemed like a risk to come out with a movie about a troubled marriage, Angelina said it’s actually the opposite. “I’m counting on the audience to know that if it was close to us at all, we could never make this film,” she said. “It’s because we’re actually very, very stable and these aren’t our issues.” The interview wasn’t only about their new film together. It’s just that these phone calls tend to be highly choreographed enterprises, timed to the minute and connected by a personal assistant or publicist, most of whom then monitor the tone of the conversation. Pitt discussed his decision to stay by her side when she underwent a double mastectomy on Feb. 16, 2013. “Whatever’s got to be done to keep the family together, and keep the family together as long as possible is gonna be done. It was an emotionally charged set — even though the characters are very different from us, when you act you still express real emotion.” A closer look at those real (and raw) feelings are on display in the film’s latest trailer. During a period in which the Hollywood studios have wrested some power back from the stars — or at least the financiers and audiences have shifted their preference to films featuring familiar characters or books rather than familiar movie stars — Pitt is sitting comfortably.

There’s many things that can go wrong and go many different directions,” he said. “You never know what a reaction is,” Jolie said of the public’s reception of her decision. “You have to just make the choices you make in life. I like films that leave questions and cause discussion.” EW asked Jolie PItt what she hopes audiences will take away from seeing this new trailer. “This trailer hints at one of the bolder aspects in the narrative. It represented an early zenith for Pitt the producer as his company Plan B Entertainment underscored its credibility as a generator of quality, socially significant projects. The searing period drama about the 1841 abduction of a free black man from Washington, DC, was more than a worthy film; it was the first best picture winner to be directed and produced by a black filmmaker (Britain’s Steve McQueen) and written by an African-American (John Ridley).

But it was more about getting 12 Years a Slave out here, which was part of our bleakest history and yet we didn’t talk about it that way,” he says. “It was very strange there were no films made since Roots, which was a teleplay, and it took a Brit, Steve McQueen, to say: how come there’s no movies about American slavery? We didn’t say it.” A testament to his early achievements is the number of the films he has produced that had credible claims to the best picture Oscar (he has a producer’s credit on Martin Scorsese’s The Departed , but only one producer, Graham King, was awarded the top prize). However, sources say that at the center of it all is Jolie, a writer-producer-director-star who has ideas of her own and is in involved in every detail of the film’s launch of what is clearly a personal pet project. His productions Moneyball and The Tree of Life had their dedicated supporters when they were pipped for the top Oscar by The Artist in 2012; and last year the Martin Luther King Jr tale Selma was a much admired best-picture nominee but was trumped by Birdman. By allowing the film to go to market in modest fashion as Jolie wishes, they say, Universal is protecting its future relationship with a star who built a strong relationship with film chairman Donna Langley from when the star directed the Louis Zamperini drama Unbroken.

Meanwhile, Plan B’s adaptation with Ryan Murphy of Larry Kramer’s seminal AIDS stage play The Normal Heart won an Emmy award as outstanding television movie last year. The accolades grow, but Pitt’s outstanding achievement as a producer, which made the industry sit up and take notice, was his success in salvaging the 2013 zombie drama World War Z. Said one person with knowledge of the behind-the-scenes machinations: “They aren’t selling it as a mainstream romantic drama because she doesn’t want that and they weren’t willing to take her on.” Also curious is that release pattern. The film, which features Pitt as a UN investigator trying to halt a zombie pandemic, encountered a litany of travails, including reshoots, issues with its director, Marc Forster, the lack of a final act, rewrites and the public airing of all its troubles in a prominent Vanity Fair article.

While Universal and Jolie’s camp maintain that a limited release was always in their minds and that anybody who says different made the mistaken assumption this was going to be bigger, the film has been listed as going “wide” on exhibitor schedules (including on Rentrak’s release schedule, which gets its information directly from the studios). To be fair to the studio, the press release of their date announcement had no reference to the release pattern. “It’s still on my list as wide,” said one exhibitor this week. “If they are going limited, they probably need to tell people pretty soon.” Said one observer: “Why would you make a $30M movie with two big stars and deem it worthy of a three-city release?” That is was ever going wide was vehemently denied by Jolie’s camp, and by Universal, which has told us that the movie wasn’t ever intended to be more than what it turned out to be: Jolie’s version of a ’70s art film; not a sweeping romance but rather a small “personal” film about a crumbling relationship. The reason most art house films don’t feature big TV spends is because the expenditure doesn’t support the model, and those films rely dearly on word-of-mouth and the hustling of stars to create any kind of awareness. Late last year, Jolie told The Weekend Australian she was almost done with acting, saying: “I’m sure I’ve got a few more in me but I’d be very happy to say goodbye to that part of my life … [and] unless I’m sure there’s a role or something I should do or [which] really means something to me, I’d rather spend my time telling stories from behind the camera.” “Not directing, but certainly I’m older now and want to spend more time with my family, and I get to do that through producing, so yeah I’m peeling back,” he says. Plan B has a broad slate of projects ranging across size and genre, including the war satire War Machine, which is being directed by David Michod, the Australian director of Animal Kingdom, and will be released through the streaming platform Netflix.

The AFI Fest choice, says Universal, “was an easy one because it offered an opportunity to debut at a filmmaker-centric festival that aligned well with the availability of the film as well as a window of time in the demanding schedules of Angelina and Brad. The package is not designed, we’ve just kind of gone where we found those opportunities.” Hitting the Apex is one of those opportunities, a pleasing diversion that reflects one of his passions. Pitt narrates and produces the film by Mark Neale documenting the scintillating 2011-13 MotoGP seasons and the feuds among the disparate personalities driving those seasons: Valentino Rossi, Marc Marquez, Jorge Lorenzo, Dani Pedrosa, Marco Simoncelli and Stoner. Just this week, Rossi underlined his brilliance and volatility when, during the Malaysian Grand Prix, he kicked Marquez off the track during a mid-race fight.

His penalty — being assigned to the back of the grid in this weekend’s title-deciding final race in Valencia — all but lost him the chance for his seventh championship, as he currently leads Lorenzo by seven points in the championship. We support Angelina’s artistic vision and plan to give the film the care it deserves.” Set in the 1970s, the drama is about couple’s relationship set against the backdrop of a seaside town. Universal picked up the project with awards-season hopes, but the studio is already waging campaigns for Jobs and Straight Outta Compton, (the latter a surprise critical and box office darling).

Documenting it was easy, at least for Pitt; MotoGP is Pitt’s true sporting love (Neale nearly went bankrupt twice before Pitt’s company saved the day). He started riding as a child. “I grew up in kinda Mark Twain country of the US [Missouri] with a lot of fields and a lot of kids with dirt bikes, a lot of cousins with dirt bikes,” Pitt recalls. “My dad [who owned a transport company] had ridden bikes, so it wasn’t foreign.” “I got hip to it in the 90s, during the [Mick] Doohan era and got to meet Doohan a couple of years ago back when my wife was directing her film (war drama Unbroken) over there in your lands, and it was fantastic,” he says of the Australian rider who won five consecutive 500cc World Championships from 1994.

And lest we forget, this comes after the studio spent millions of dollars in TV spots trying in vain to sell Michael Fassbender as Steve Jobs to a mainstream audience. The latter, who had once made music videos for U2 and Paul Weller, forged a solid documentary career with films such as No Maps for These Territories, which showcased cyberpunk author William Gibson, and earlier forays into MotoGP, Faster and Fastest, narrated by another bike nut, Ewan McGregor. McGregor was trying to develop a MotoGP drama for film with Neale before Pitt’s Plan B was “up and running and pretty strong, and he came to us just to make the ride a little simpler”, Pitt says. “I feel for the documentarian,” Pitt adds. “They put in four years into a film and each month they’re spending their last dime, getting more money to put the pieces together. It’s a very dedicated profession.” Neale wanted to focus on the seasons from the end of 2010 to 2013 because of the changing of the guard among riders and bikes, with Rossi’s abysmal jump from Yamaha to Ducati and Stoner’s retirement, Pitt says, “at the top of his game when he certainly had another championship or two in his pocket”. Pedrosa, for instance, is very forthcoming about the regret of a singular moment on which his career seemed to pivot, yet sanguine about his knowledge of how that transformed his life.

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