In tribute to veteran casting director Bonnie Timmermann, Simon Wallon’s Bonnie blew himself up in the opening minutes. When we watched the crude VHS tapes documenting early interviews on the subject, actors like Benicio Del Toro , Natalie Portman and Kate Winslet — all so young, Beautiful and cute – we already hate the more mundane documentation content that’s coming. Why not collect all these tapes you can license, have Timmermann do some intros, and make it a streaming series? Most movie lovers watch it hours before watching it.
Granted, that wouldn’t really be a movie. Wallon succeeded, and if those things were up front, he meant to convey the excitement a casting agent feels when he meets someone the world is about to fall in love with. We get it; we want more.While we did get more as the documentation went on, we also got less: full of delightful anecdotes and warm testimonials from stars ( Giancarlo Esposito , Mark Ruffalo and Laura Linney owe her a debt, the film barely touches on the subject’s personality, her drive, and most importantly is how she got her start in the field. While it’s entertaining from start to finish and explains Timmerman’s role in expanding the range of humanity that Hollywood brings to the screen, it makes us feel like we don’t understand The woman herself, doesn’t know anything about it.
Bonnie
Bottom line More enjoyable than inspiration.
Venue: Venice Film Festival (Venice Classic)Director: Simon Warone
1 hour Minutes
As far as biography goes, we do get so much: she was born in Manhattan, where her father had wanted to be a scout. Almost there. When halfway through the movie, Timmerman casually mentions Leonard Cohen as one of her first boyfriends, and Warren makes the jaw-dropping one Passed without any follow-up questions .
Cohen was Timmerman for the landmark TV series Miami Vice made one of the many crazy additions. She gave us Cohen, Willie Nelson, and Miles Davis as colorful inhabitants of the world of Crockett & Tubbs; attention, but they’re not the most important things she does on the show. Timmerman is determined to make this cybercrime saga look Come to be like a real world – casts of different races and people who look like they’ve lived or stumbled upon in their teenage years – she quit the series early, believing that executive producer The staff at Michael Mann are filtering out all the funny people she sends. Mann got her back on board, and the show benefited greatly.
Although we’re never told how she cares more about it than her peers – is it as simple as growing up in New York? — We heard many actors praise Timmerman for his efforts to find roles for people of color. According to interviewees such as Laurence Fishburne, she is the type to read a script and ask, “Does this character need to be white? What if he’s Puerto Rican or black?” For example, in Mann’s Blackhat , Viola Davis played a character written for Italian-Americans. In the other direction, should a Native American actor like Wes Study, say, always be trapped in characters written specifically for Native Americans? Common problem now; not so much when she started her career.
Wallon doesn’t give us much about how a casting agent taps her way into a nascent talent community, but we do understand (unsurprisingly) it Involves drama that a lot of other people ignore. Timmerman said that when she first saw Sean Penn in the play, there were four people in the audience. Next stop, Richmont Heights . One night at the public theater, she was mesmerized by a man with his back to the audience. This is the future of Mann Manhunter Hannibal Lektor (better known as Lecter): Brian Cox.
Wallon filmed One of Cox’s friendly chat with Timmerman and spend more time watching her befriend relative newcomer Odessa Young. But most of her learning about you is hidden in those tapes that we don’t see. Of course, there were more exciting moments like the moment when Viggo Mortensen politely but firmly opted out of the small talk. He came to audition and that’s what he wanted to do.
“Like” may not be the right word. The actors are here to talk about the pain of rejection, and getting the characters into your hard work. Their art would be incomprehensible to those who haven’t done it or done it well; you’d think that Timmerman’s work would be easier to demystify. But Wallon focuses on what’s easy to show, let’s guess the rest. Full credits
Venue: Venice Film Festival (Venice Classics) 22
Production companies: Idea(L), Eden Rock Media, Kiss & Kill
Director: Simon WallonProducers: Thomas Augsberger , Amanda Sthers, Simon Wallon Executive Producer People: Vanessa Benichou, David Unger, Alvaro R. Valente Directors of Photography: Steeven Petitteville, Pierrick Reiss
Editors: Michael T. Vollmann, Simon Wallon
Composer: Yuksek Sale: Kinology 1 hour Minutes THR Newsletter
Editors: Michael T. Vollmann, Simon Wallon
Composer: Yuksek Sale: Kinology 1 hour Minutes THR Newsletter
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