As a cinephile who has been following Tony Kaye‘s tumultuous journey for decades, it’s both fascinating and thrilling to see him return to the global film stage with “The Trainer.” His eccentricities, which have often been the source of Hollywood lore, have not only survived but thrived, resulting in a bold and unique cinematic experience.
In Hollywood, the term “Eccentric” is frequently used. It describes individuals such as foreign financiers who have substantial resources but lack a genuine connection to the entertainment industry, or actors whose mental states seem detached from reality and might talk about unconventional topics like cow birthing during their acceptance speeches at awards shows. Essentially, it’s a diplomatic way of suggesting that someone is somewhat unusual or even a bit crazy.
However, there are instances where the term suits with a sense of fondness and admiration for the unique produce of eccentricity. This is exactly how Tony Kaye, the elusive director known for the cult classic “American History X” (1999), can be described. When I rearranged our initial interview for this week, he replied that he now had the opportunity to enjoy his vegetable soup in tranquility. During our eventual Zoom conversation, he spends a while silencing his microphone and playing guitar before delivering poetic responses to questions. His mane of snow-white hair and a beard reaching down to his chest hint at him having spent a considerable amount of time isolated – either emotionally or physically – for quite some time. Yet, he’s eager to unveil his latest creative vision to the world.
Kaye makes his comeback to the international film scene this weekend at the Rome Film Festival premiere of “The Trainer,” a satirical LA-based fairytale that follows a narcissistic, yet muscular fitness guru who lives in a world of delusion. Over the past 25 years, Kaye has produced an Oscar-shortlisted documentary and a critically acclaimed drama starring Adrien Brody, despite his turbulent relationship with studio executives like Michael De Luca, due to his own acknowledged difficult behavior. “The Trainer” signifies a daring return to the silver screen for Kaye as a director, while he’s been known to cause quite a stir off-screen. There are numerous tales of his eccentricities, such as hiring a priest, rabbi, and monk for a meeting on the Warner Bros. lot or dressing up as Osama bin Laden for an acting workshop with Marlon Brando.
As a cinema enthusiast, I embark on a journey alongside my leading actor and co-writer-producer, Vito Schnabel, delving into the enigmatic realm of L.A.’s gym communities. Here, name-dropping and chiseled abs are as common as motivational slogans on a wine mom’s Facebook feed. This fascinating world offers rich ground for storytelling, as Kaye and Schnabel pointed out. My primary aim, as the director, is to discover fresh acting talents and focus on the essence of humanity and their captivating performances.
Two years past, “Feud: Capote vs. The Swans” actor Schnabel crashed into Kaye’s residence to propose “The Trainer” to him. This story revolves around Jack Flex, the creator of a hat filled with weights, claimed to boost the flow of hope-inducing molecules to the brain. Despite being dangerous and fraudulent, it symbolizes a pathway to a better life for Flex and his mother (Beverly D’Angelo). In due course, Flex encounters an eager assistant (Julia Fox) at a shopping network who yearns to share his device with the public. During a week filled with intrigue and endless awkwardness in Tinseltown, Flex makes contact with a horde of celebrities and influential figures who could potentially make his aspirations a reality.
Kaye stated that Vito fit the role she had been searching for – a talented actor with a narrative within him. She pleaded with him to let her guide him and transform him into an actor. Now, he has achieved that status, and he’s exceptional at it, according to Kaye.
Undeniably, Schnabel skillfully maintains the ethereal tempo of “The Trainer,” a story where his bare-chested prophet competes for the notice of John McEnroe, Lenny Kravitz, and Paris Hilton. With each presentation of his invention, the “Heavy Hat,” he manages to captivate these wary and skeptical celebrities, making him appear more endearing and less grounded in reality.
Kaye described our production as a Marvel film with a punk vibe when asked about his return to Hollywood. However, he clarified that it’s not your typical Hollywood movie. While it includes action elements like explosions and spacecraft, these are merely external trappings. The real heart of the story lies within the characters, reflecting their inner thoughts and emotions.
Furrowing his brow, Kaye suddenly seems uncomfortable having made the comparison.
Kaye mentions that he obtained a line from Kravitz, the musician. “Self-praise is no recommendation” was the quote. He elaborates on it, stating that in his perspective, he was making the movie for a 14-year-old hanging onto a bus rail, watching it on their tablet (like an iPad or iPhone). For him, this film isn’t meant to be introspective or thoughtful cinema. Instead, it resembles a shopping channel.
In my perspective as a movie reviewer, this film boasts an impressive ensemble cast that includes Gina Gershon, Taylour Paige, Stephen Dorff, and Coleen Camp. However, the chemistry between Schnabel and Fox is what truly captivates me – it’s reminiscent of the magical pairing of Fred Astaire and Ginger Rogers.
Julia exhibits an Italian romanticism reminiscent of Fellini, yet infuses a forward-thinking element as well. Schnabel, whose screenplay draws inspiration from films like “The Deer Hunter” and “Tropic Thunder,” noted. “She radiates in the film, aligning perfectly with the notion of the American dream… what is it to achieve that dream? Does such success truly satisfy?
This weekend, Kaye and Schnabel will pose the same question to their audience in Rome. “The Trainer” is aiming for a global release at the moment.
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2024-10-18 23:17