See Ryan Gosling & Eva Mendes Reunite in a New Clip From ‘The Place Beyond the Pines’

Derek Cianfrance’s The Place Beyond the Pines is an enormous and stunning film. And although thrilling, it’s not entirely rife with spoilers and all about narrative tricks; however, you don’t want to give away too much before the actual premiere. But between a batches of stills, trailers, soundtrack bites, scenes, posters, and now a new clip from the sprawling drama, for those you that have not seen the film yet, you may want to savor the surprise of its intimate moments. Personally, I went into the film without a clue and enjoyed the experince all the more for that.

So in this new clip we see Ryan Gosling as Luke, a traveling motor cycle stunt man and Eva Mendes as Romina as his ex-flame as the reunite at the fairground in front of the ferris wheel when Luke rides back into town for work. The moment serves as a catalyst for most of the major events of the film that span decades and legacies. But from the clip you get a taste of how aesthetically rich and beautiful the cinematography is in the film, the bright colors of the fair melting behind the beautiful stars. And obviously, watching this small clip doesn’t do justice to what you’ll see on the big screen but in the meantime, enjoy.

See a Clip of Ben Mendelsohn & Ryan Gosling as They Plan a Robbery in ‘The Place Beyond the Pines’

I’ve said it many times but I believe 2013 will be the year of Ben Mendelsohn. Although he’s been working in film for decades now—everywhere from Terrence Malick’s The New World to Baz Luhrmann’s Australia, this is the first year American has really fallen in love with him. In the past few months, we’ve seen him as the drug-addicted small time crime partner to Scoot McNairy in Killing Them Softly, the uncommitted and absent father to Jessa on Girls, and in just a few weeks we’ll be enjoying his performance as Ryan Gosling’s partner in crime in Derek Cianfrance’s The Place Beyond the Pines

And in a new clip from the film, we get a taste of the casual relationship between the two as they plan out one of their bank robbing schemes. It’s a lighter moment in Pines, filled with humor and lovability that builds to the catalyst the pushes the film forward. Check out the clip below and see the film March 29th in New York and Los Angeles. 

Get a First Look at the Epic Soundtrack for ‘The Place Beyond the Pines’

With less than a month until the release of the Derek Cianfrance’s highly-anticipated family epic/crime drama/triptych melodrama The Place Beyond the Pines, we’re finally given a brief tasting of the film’s amazing soundtrack. Done by fantastic weirdo Mike Patton, the multi-monikered musician whose music Cianfrance has loved for years, his experimental and haunting compositions—filled with from brooding metal fright to synthed-up church organs and a unique vocal style—have been a part of such musical projects as Faith No More, Mr. Bungle, Fantomas, and most recently, Tomahawk. Alongside Patton, a great list of musicians from Bruce Springsteen to Bon Iver and Ennio Morricone will be featured on the soundtrack.

Out digitally March 26 via Milan Records, you can pre-order the album on Amazon. In addition, you can receive a physical copy of the album April 9 and a 180-gram LP may 9. Film Music Reporter has provided us with the details and an original track from the album titled “The Snow Angel” as well as the full album tracklist:

1. Schenectady
2. Family Trees
3. Bromance
4. Forest of Conscience
5. Beyond the Pines
6. Evergreen
7. Misremembering
8. Sonday
9. Coniferae
10. Eclipse of the Son
11. The Snow Angel
12. Handsome Luke
13. Please Stay – The Cryin’ Shames
14. Miserere Mei – Vladimir Ivanoff
15. Fratres for Strings and Percussion – Arvo Part
16. Ninna Nanna Per Adulteri – Ennio Morricone
17. The Wolves (Act I and II) – Bon Iver

‘The Place Beyond the Pines’ Gets a New Set of Character Posters

With less than a month until the film’s New York and Los Angeles release, The Place Beyond the Pines has given us a deep look into the film, while still concealing the key details that make Derek Cianfrance’s sophomore film entirety epic and emotionally brilliant. And today, we get a new set of French character posters for the film—featuring Ryan Gosling, Eva Mendes, and Bradley Cooper—in the style of the previous artwork unveiled a few weeks ago.

A few months ago, when I spoke to Cianfrance about the film (interview coming in a few weeks), we talked about the riveting nature of soap operas like Days of Our Lives but also the desire for honesty and not pandering to an audience. And if there’s one thing Cianfrance does best is contrast the very melodrama that is inherent in everyday life with a guttural and real sense of authentic emotion. And with these posters we get a taste of the grand emotion that acts like an omnipresent voice to the film while the drama of these characters takes place in a very intimate level. 

Check them out below.

dfd

eva

fe

The Most Anticipated Films of the Spring and Summer (Other Than ‘Before Midnight’)

For the past nine years, we’ve all been waiting to see if Jesse ever got on that plane and what became of him and Celine in Richard Linklater’s 2004 intimate walking-and-talking romance Before Sunset, the follow-up to 1995’s Before Sunrise. And now, eighteen years since that first moment in Vienna, we finally get to see where their story lands. Sony Pictures Classics have acquired Before Midnight, and to our delight it’s been revealed that the film we’ve been waiting so long with baited breath to see will finally have a limited release run starting May 24th in New York and Los Angeles. But Linklater’s decade-spanning drama isn’t the only one getting an official date. Pedro Almodovar’s follow-up to last year’s The Skin I Live in, the vibrant comedy I’m So Excited, will hit New York and L.A. on June 28th. And to top it off, as Woody Allen’s annual film will have a mid-summer’s release. Midnight in Paris and To Rome with Love both premiered in early June but his latest, Blue Jasmine (starring Cate Blanchett, Alec baldwin, Peter Sarsgaard, and Louis CK), will roll out on July 26th for a limited release.

So as if you weren’t already looking forward to summer, there are plenty of fantastic films headed our way, all sure to tickle your cinematic fancy. So while you’re cracking open your planner, take a look at what else is set to premiere in the season and what we’re most excited about—from Shane Carruth’s haunting sophomore feature to Danny Boyle’s latest masterpiece.

The Place Beyond the Pines

Derek Cianfrance’s epic triptych drama about a motorcycle stunt rider who turns to robbing banks as a way to provide for his lover and their newborn child, a decision that puts him on a collision course with an ambitious rookie cop navigating a department ruled by a corrupt detective. 

Upstream Color

Shane Carrauth’s confounding and stunnigly complex sophomore effort about a man and woman who are drawn together and become entangled in the life cycle of an ageless organism. Identity becomes an illusion as they struggle to assemble the loose fragments of wrecked lives. 

Reality

Matteo Garrone’s larger-than-life surrealist follow-up to Gommorah, the film is set in the world of reality television and follows a Neapolitan fishmonger who participates in Grande Fratello, the Italian version of Big Brother

To the Wonder 

Terrence Malick’s latest sprawling poem of images is a romantic drama that tells the story of a couple who move to Oklahoma, where problems arise as we watch the natural progression of love’s painful ebb and flow.

.

Frances Ha 

Co-written by director Noah Baumbach and star Greta Gerwig, we get a black-and-white look a a floundering young woman who works as an apprentice in a dance company and wants so much more than she has but lives life with unaccountable joy and lightness.

Trance

Danny Boyle’s vibrant and mystifying heist of the mind drama about an art auctioneer who has become mixed up with a group of criminals that partners with a hypnotherapist in order to recover a lost painting.

Simon Killer

Antonio Campos’s psychologically distrubing yet visually beautiful drama about a recent college graduate who travels to France, where he becomes involved with a young prostitute.

Beyond the Hills

Cristian Mungiu’s third feature that centers on the friendship between two young women who grew up in the same orphanage; one has found refuge at a convent in Romania and refuses to leave with her friend, who now lives in Germany.

The East

Zal Batmanglij’s sophomore effort is a psycholigically challenging eco-thriller about an operative for an elite private intelligence firm who finds her priorities irrevocably changed after she is tasked with infiltrating an anarchist group known for executing covert attacks upon major corporations.

Laurence Anyways

Xavier Dolan’s ornate transgender epic about a man who reveals his inner desire to become his true self: a woman. Spanning through the late 1980s into the early 1990s, the story chronicles a doomed love affair.

Pavilion

Tim Sutton’s subtly poignant and ethereal film plays out almost silently as it tells the story of Max, who leaves his lakeside town to live with his father in suburban Arizona. 

Check Out the Intense New Photos from Derek Cianfrance’s ‘The Place Beyond the Pines’

The best thing about Derek Cianfrance’s The Place Beyond the Pines is how expansive it feels. When the credits roll, it’s as though you’ve just finished a great novel—emotionally satisfied, having entered into another world for two and a half hours, truly getting to be a part of these characters lives. Cianfrance takes his epic themes of generational impact, how lives mysterious intertwine, and how one moment can effect an entire lineage, and makes them intimate, drawing you in slowly as the story unravels and taking us along for the ride.

”I’m attracted to making movies about family,”  says Cianfrance. "Those movies have secrets and intimacy." But no matter how much the narrative changes, the look of the film always stays the same. Cinematographer Sean Bobbit gives us a stunning lens in which to view this world—his high-angle shots and electric framing only heightening the intenisty of the story.

With just a little over a month until the premiere, the trailer and main poster for Pines have already debuted, but now EW has provided a fresh batch of stills. Although the snapshots do their job at conveying the dramatic nature of the film, this first still below feels like the most important you’ll see. I’d suggest looking at these while listening to this.

pies

danecopeva2bjmbradevaffmoney

Bradley Cooper and Omar Sy in Talks to Star in Derek Cianfrance-Helmed Chef Comedy

In more odd Bradley Cooper news of the day, Variety reports from Paris, that the in-demand actor is currently amidst discussions for the lead in The Weinstein Company’s new culinary comedy (tentatively titled) Chef. Omar Sy, known to most in the US as the star of this year’s The Intouchables, is also in negotiations to topline the film—which would mark Sy’s first role in an English-language picture. 

The comedy tells the story of a "disgraced chef who, after losing his Michelin-rated restaurant in Paris, decides to bring his crew back together in an attempt to create the best best restaurant ever in London." Premise sounds okay enough, especially for Cooper who once starred on "Kitchen Confidential," but Variety also reports that Derek Cianfrance is set to direct picture.

Having just worked with Cooper on The Place Beyond the Pines, undeinably the two share a great simpatico and I’d love to see them collaborate again, but this seems like a stray for Cianfrance who is currently filming Metalhead—"the story of a heavy metal drummer who blows his eardrums out and must learn to adapt to a world of silence," that’s apparently, "an introspective journey into the vortex of our senses, tinkering with cinema’s boundaries." But who knows, nothing is set in stone yet. If all goes as planned, Eastern Promises screenwriter Steven Knight will be penning the project that Cooper told a local Parisian radio station—in fluent French—that he’s been in talks about, saying, "I want to do it. It’s a beautiful story. And I love cooking." However, he did go on to say that he’s "going to make another film in March and after that I think I’m going to take a break and stay in Paris for Roland Garros (the tennis tournament set in late May)."

We’ll be keeping an eye on where this one goes.

See the Dramatic New Poster for Derek Cianfrance’s ‘The Place Beyond the Pines’

Despite having seen The Places Beyond the Pines back in NovemberI still find myself doubled-over with emotion every time I watch the wonderfully cut trailer. As a sprawling triptych film that dives into the nature of generational impact, the mysterious ways in which lives intertwined, and how one moment can effect an entire linage, the epic drama proves writer and director Derek Cianfrance has evolved into one of the most fascinating filmmakers in Hollywood. After we all endured the heartbreak of Blue Valentine, his intimate snapshot of love chipped to the bone, it was evident that he has a unique way of portraying relationships and human emotions—so starkly realistic at times it falls close to melodrama. In Pines, Cianfrance displays his prowess for capturing the essence of his characters’ interiors with authenticity. Loosely reminiscent of Michael Cimino’s 1978 Oscar-winner The Deer Hunter, the film goes deep into the lives of its characters as they wrestle with what plagues them internally and the inability to change those around them.

And with the release of the film only a couple months away, a new poster for the film has been revealed, showing both the melodramatic, classical nature of the film with the worn-out, gritty side as well. Even from the trailer we can grasp the supreme artistry of the cinematographer Sean Albott (best known for Steve McQueen’s Shame and Hunger) at work. The music for the film was done by a fantastic weirdo, the multi-monikered musician Mike Patton, whose music Cianfrance has loved for years. Known for his experimental and haunting compositions that range from brooding metal fright to synthed-up church organs and a unique vocal style, he has been a part of such musical projects as Faith No More, Mr. Bungle, Fantomas, and most recently, Tomahawk, whose first album in five years, Oddfellows, has finally been released. His score for the film is a killer, heightening every moment with the utmost fierceness and grandeur but also plays gently to Cianfrance’s world, never taking the reigns but flowing like an omnipresent voice through time.

Check out the new poster below, and watch the trailer 500 more times.

the place beyond the pines

Derek Cianfrance on ‘Blue Valentine’ & His Costars’ Real-Life Chemistry

It’s taken Derek Cianfrance approximately 12 years to turn an idea into one of the most talked about films of 2010. But in the last month alone, it’s been almost impossible to avoid talk of Blue Valentine, whether it revolves around the raw performances of its two leads, Ryan Gosling and Michelle Williams, or its initial and unjust NC-17 rating, which has since been overturned. The film, which charts a relationship’s course by shuffling between its final, wrenching days and its idyllic, hopeful origins, has been lauded for its realism and unflinching, anti-Hollywood take on love, a quality Cianfrance attributes to his need to explore his fear of his parents’ divorce, as well as the dedication of Williams and Gosling (the actors lived together to embody the mindset of a real couple). Here’s the director on how he landed two of Hollywood’s most coveted stars, their real-life chemistry, and what happens after you make your dream project.

How did you get actors as famous as Ryan and Michelle to commit to such a risky project over such a long period of time? Michelle read the script in 2003 and came to a meeting with gifts for me. She had a book of poetry and a CD, because it just touched her. We had an instant dialogue about the film, but I couldn’t get it made with her back then, because she wasn’t financeable. Ryan and I met in 2005, and he loved the script but didn’t think he could play the older version of his character, so I just said, Why don’t we shoot now, and just wait six years to shoot the second part? And he thought it was the best idea he’d ever heard, but then we couldn’t get that financed, and we felt cursed—I felt cursed. I spent 12 years trying to make this film. Michelle was on for 7 years, Ryan for 4 or 5 years, and the script was getting better, the moments were getting more and more honest, more and more true, and Ryan, Michelle, and I were developing trust. By the time we started rolling the cameras, no one questioned anyone.

How different was the final script from when Michelle read it in 2003? A lot, because she had a lot to do with it. I consider Ryan and Michelle to be co-writers on this, because they had so many ideas, from lines of dialogue to full scenarios. They collaborated with me, so by the time we were going, everyone owned the movie. I set up certain rules, like there was no such thing as bad ideas. That means every idea is valuable, so it becomes a democracy of ideas and you put them out there and you don’t judge them. That created an openness on the set.

And how did you get the script into their hands in the first place? I was represented at the same agency as Michelle, and my producer had produced Half Nelson, and they got it to Ryan.

Did you ever consider making the film with unknowns? I worked for a long time with some great, great performance artists, but I was never going to get financing on that. That was before I met Ryan, and once I met Michelle, it was clear that it was them.

Did you ever come close to losing their participation? Yeah, because sometimes the movie was ready to go, but life wasn’t ready. For instance, I had always written this movie to take place on the beach. It was called Blue Valentine, and it took place on the ocean. I called up Michelle and told her that Ryan was on board, and I said, Pack your bags, we’re going to California. And she said, I can’t. And I said, Why not? And she said, I promised my daughter I’d keep her in school, I’d tuck her in bed every night and drive her to school every morning. And I said, Look, there’s beds in California, and you can get a tutor. And she said, I can’t do it, I promised her. I understood, because I’m a parent and I knew she didn’t want to break a promise to her kid, so I hung up the phone and thought about recasting. Then I thought to myself, If she could just make that kind of selfless decision for someone else in her life over a film that she loved so much, then that’s the reason why she is the only person to be in this movie. So I called her back the next day and I said, I’ve got a deal for you. If I can get you home every night to tuck her in and every morning to take her to school, will you do it?” And she said, That’s the most generous thing anyone’s ever offered me. So we picked a place that was an hour from where she lived, and for me, that was a turning point, because the film was never about the place, it was about the people.

Do you ever get self-conscious in your own relationship after making a move this realistic? No, I’ve already been like them, and the whole reason I started writing the film in the first place was to deal with my own fear of my parents divorce. When I was a kid, I used to be scared of nuclear war and my parents divorcing, and when I was 20, they split up. I wanted to make a film that would confront all those fears in an honest way as I was entering my young adulthood and trying not to repeat the same things. So this movie was a cautionary tale for me and my generation about love and about moving forward in love, or not.

Has the devolution of Dean and Cindy’s relationships reached the point of no return, or is there hope for them? I see the ending of Blue Valentine to be very hopeful, because there’s a recognition of a disease, and that there’s something wrong. For so long, they don’t recognize the issues they face. I think when you don’t talk about things and don’t recognize things, when the seed is planted, it’s going to grow, and you better dig it out quick. Otherwise, it’s going to be like Alien – it’s going to come out in a very violent way. That’s what happens in Blue Valentine, but at least it comes out. And so I think there’s hope, because at least it’s been confronted.

Is there part of you that is sad to see these characters leave your life? Do you feel the need to continue telling their story? I think in the movie world, there’s beginning, middle, and end. In real life, there’s not. This movie was more inspired by life than the movies, so at the end of this movie, their lives go on. Dean and Cindy keep going and yeah, I imagine different outcomes for them. Just like my parents, I used to imagine maybe they’d get back together in a couple months. I kept the hope open for that, so I think Dean and Cindy still have that hope. It might be a delusional hope, but it might be a possibility, too. I definitely think they are better at the end of the movie than they were at the beginning.

With the extent that Ryan and Michelle embodied their characters during the making of this film, how did that love not bleed into real life? Do you think they become extraordinarily close, to the point of feeling actual love for each other? You know, that first scene I shot, that scene where he shows up at her house with flowers, I had never seen them together before. He showed up, and I just put the camera in the back of the room and watched. It was pretty tangible, the connection and chemistry between them. I felt like I was making a documentary on love, and I’m not going to lie, I felt like, Wow, this is deep right here. I think what was happening though, was that Ryan had spent so many years on this character, and she had spent so many years on hers, and now they were showing it to each other. And they’re both amazing people, and so curious about people, that they were getting to know each other on screen.

Where do you go from here as a film maker? What do you do when your dreams come true? You keep dreaming.