As I delve deeper into the world of cinema and its intriguing characters, I find myself continually captivated by the stories of those who have navigated this challenging industry with unwavering determination and creativity. One such individual is Landry Jones, whose journey mirrors a rollercoaster ride through the winding lanes of Tinsel Town.
If anyone had a particularly surreal Venice in 2023, it was Caleb Landry Jones.
The actor spent just 24 hours on Lido, not only for the debut of Luc Besson’s “DogMan”, where he portrayed a cross-dressing vigilante-thief accompanied by a pack of dogs, but also due to being abruptly pulled from a muddy film set atop a Scottish mountain early one morning. After a quick change into formal attire, he was whisked away to press conferences and red carpet events in Italy, only to return to Scotland the following day for crucial shooting up on that same mountain.
“He mentions that while he was in Venice, his mind was preoccupied with a crucial scene he needed to perform. He explains how he repeatedly dozed off during screenings and would attempt to wake up, only for Luc to console him saying, ‘It’s alright, take a nap.'”
In Venice, Landry Jones added an element of allure and enigma by speaking with a Scottish accent throughout. At the “DogMan” press conference, Besson stated that his star was acting in character, and while he had never thought of himself as a method actor before, after talking to others, he now believes he might be one.
He explains to EbMaster that while he doesn’t embody every action his character takes, he engages in numerous activities that help him think and behave similarly. He mentions an interview with Nicolas Cage about “Ghost Rider,” where the actor discussed surrounding himself with ancient artifacts to feel more like the role (he finds it intriguing that Cage admitted he wasn’t sure if this method was effective).
A year after filming a gritty Scottish production titled “Landry Jones” with a Scottish accent, the actor is returning to Venice. The movie, titled “Harvest,” is the English-language debut of Greek director Athina Rachel Tsangari and features Landry Jones as the main character, now portraying a townsperson-turned-farmer in a tragicomic interpretation of a Western. As described, the film presents a village that vanishes over seven surreal days in an undefined time and location. The movie is adapted from Jim Grace’s novel, which was shortlisted for the Booker Prize and serves as an allegory for our current times, cautioning about the dangers of modern society.
For Landry Jones, who won the Palme d’Or for his portrayal of an Australian mass shooter in Justin Kurzel’s “Nitram” and has become renowned — and sought after — for playing figures on the fringes of society, “Harvest” represented “something probably missing from cinema right now, a way of making movies and the kinds of characters we’re seeing.”
The movie, as he asserted, was considered “unattainable” by many, and it challenged its director during the entire production phase.
As a passionate film enthusiast, I faced challenges from all directions during our production, even from me as an actor, I must admit I tested her patience greatly. However, I wasn’t alone in this. The struggle came from the unpredictable nature of filmmaking, the pressures of the set, some members of the crew, and the constant advice about how a movie should be made and couldn’t be made. To make matters worse, we had a stunt coordinator who was under the influence, causing chaos and storming off in anger, waving his fists.
He remarks: “At every stage, she faced opposition, but she managed to complete the movie, and I believe it came close to taking her life – and by ‘nearly,’ I truly mean it may have taken a significant toll on her.”
Despite the challenges encountered during its creation, films like “Harvest” are extremely hard to bring to life, and Landry Jones, who spends his free time as a talented musician and released his debut psychedelic rock album in 2020, is thrilled that it has been selected for competition and he’s honored to be part of Tsingara’s creative vision.
“He remarks that her unique vision is quite scarce at the moment. Few individuals share this exceptional blend of intellect and emotion, which has shaped them into the remarkable artists they’ve become.”
Another director whose artistic perspective closely aligns with Landry Jones’s (though arguably quite unique compared to Tsingara) is Luc Besson. The duo has just completed working on their second movie together.
“Step into the captivating world of ‘Dracula: A Love Story,’ Luc Besson’s latest cinematic endeavor, boldly ventured during the production of ‘DogMan.’ This film, as ambitious as his space odyssey in ‘Valerian and the City of a Thousand Planets,’ promises to be a romantic reimagining of Bram Stoker’s timeless gothic masterpiece. With Landry Jones gracefully embodying the iconic character, this film is brimming with ‘some really wild ideas’ as claimed by its visionary director.”
“He adds, ‘I believe it will be a deeply emotional tale.’ It revolves around the concept of love being torn away, an agony that lingers for four centuries, only to transform into something new. However, it’s distinctly [Besson], brimming with elements that bring him joy and excitement.”
Similar to Tsangari, Besson is someone he admires greatly, primarily due to his ability to transform ideas from script to screen in a timeframe that leaves others still discussing them. “I’ve never collaborated with anyone who is so meticulously organized about their film, he’s simply unstoppable, utterly relentless, from the very first day until the last,” he states. “I’ve worked with many remarkable directors, but I’ve never witnessed such determination before.”
Landry Jones might have inspired Besson and served as a preferred choice for filmmakers looking to add to their collection of characters like outcasts, rebels, and troublemakers, including Tsangari, Kurzel, Brandon Cronenberg (he portrayed a vendor of celebrity diseases in “Antiviral”), Jordan Peele (Alison Williams’ racist brother in “Get Out”), and David Lynch (a drug-addled character destined for failure in his “Twin Peaks” reboot). However, he has also worked on more mainstream studio productions, such as the 2011 film “X-Men: First Class,” where he played the mutant Banshee. As time passes, he’s unsure if that’s the cinematic realm he wishes to revisit—not that anyone has really approached him about it.
Occasionally, you might come across an audition or similar opportunity, but when I see the title and it’s only a quarter of a page, I’m not sure if I should take it,” he admits. “When I was 19 in LA, that’s usually what you’d receive most of the time. However, there was an audition for ‘We Need to Talk About Kevin’, and when I looked at the book, then got a script to read, I thought, ‘Wow, this is exactly what I hoped for, I can truly excel with this role, I can give my best performance.’ You have a character that’s not clearly defined; they just tell you how they’re dressed and that they’re angry.”
He recalls an audition for Star Wars (although he won’t reveal which one), and having to say “something about a gamma something ray,” and thinking to himself, “Is this what I’ve been working towards?”
Although he hasn’t been offered roles in major film franchises yet, Landry Jones expresses confidence that there are opportunities for him to create significant work on a grand scale. Interestingly, he points to the “Despicable Me” series as instances where this is done effectively.
“So I think there is the space to do good work in this kind of place. I haven’t seen the ‘Joker’ movie, but I know people really like it, although it just makes me want to watch ‘King of Comedy,’” he says. “I know there’s a way to do it. I think if the corporations can stay off backs, because it’s hard enough to make movies as it is. Even on a movie like ‘Harvest,’ where we were completely isolated, we were still going to have problems. It’s very difficult to make a movie and I think the more money you get, the harder it is, because the more people are involved.”
Despite his frequent criticisms of Hollywood’s upper tiers, Landry acknowledges that everyone, including himself, can be harsh when discussing movies in general. He explains this by stating, “It’s challenging to produce and create a quality film, full stop,” and he believes that every movie is a small miracle.
“I recall conversing with a director known for producing many romantic comedies. He seemed surprised, almost skeptical, when I expressed my admiration for ‘The Notebook’, saying, ‘No, really, that film is extraordinary, it’s truly remarkable! Even tough military men are moved to tears by it!'”
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2024-09-01 16:17