Johnny Cash was guest starring on the show and had become friends with the star, Jane Seymour, and her husband, director James Keach. Cash suggested to Keach that he should tackle a film of the singer's life which he readily agreed to, so Keach and Seymour started compiling interviews with Johnny Cash in preparation for a script. By , Gill Dennis had enough material to put a screenplay together, but the project had stalled. That's when Keach reached out to James Mangold, knowing the director had been lobbying hard for the chance to get involved.
James Mangold was looking to cast an actor who would come across as "an angry, sensual, tortured young man". He knew he'd found that actor when he watched Gladiator Cinematographer Phedon Papamichael shot the concert scenes mainly with hand-held Super 35 cameras, as he didn't want to give a false sense of glamor to the performances.
Tyler Hilton originally auditioned to play a background musician and extra. He played an Elvis song during his audition, and was subsequently cast as Presley. Both men would later go on to play the Joker, and both men won Oscars for their portrayal of the character.
After visiting many of Johnny Cash's old houses, production designer David J. Bomba created ninety different sets for the film and tried to underline the contrast between Cash's two lives, one that was close to earth and nature in Arkansas and Tennessee, and the other set in the fast-moving world of rock music.
When Johnny Cash is drunk walking in the rain and begins singing a song about June Carter, the song is the same rhythm of "Hey Porter", which was one of Johnny Cash's first hit singles. Although Johnny Cash often wore leather, all of his costumes for this film were made with synthetic leather instead of authentic leather in order to accommodate Joaquin Phoenix, who is a strict vegan.
When Cash calls his wife during his first show, a sign on the wall says "Ring in case of fire. Johnny Cash's daughter Rosanne Cash was not a fan of the film. Shelby Lynne grew up listening to Johnny Cash's music. She composed the song "Johnny Meet June" the day he died. In the Oscars, Joaquin Phoenix, nominated for portraying a real-life celebrity, was in competition with two other actors who played a celebrity: David Strathairn Edward R. Murrow in Good Night, and Good Luck.
Hoffman won. When country singer George Hamilton IV first viewed the movie, it seemed to him like he was actually watching the young Johnny Cash whom he knew and not an actor. Waylon Payne has a few personal connections to the characters in the film. Subscribe Now. Your Subscription Plan Cancel Subscription. Home India News Entertainment. HT Insight. My Account. Other guest appearances followed on several other series until he won his first part in a major motion picture.
Phoenix delves deep inside to tap into the intricacies of each of his characterizations. It was exactly his commitment to delivering such personal performances that finally led Phoenix to check himself into rehab when the movie wrapped in In his personal life, Joaquin is doing great.
The acclaimed actor is engaged to Rooney Mara. In his latest role, as Arthur Fleck in the psychological comic book drama Joker, he transforms himself into a tortured and mentally unstable loner driven to highly inhumane acts of violence—against humans—in pursuit of a quixotic stand-up comedy career.
On camera his cackling laughter, sheepish grin, and slow-blinking eyes channel unexpected heartbreak and humanity in a DC Comics villain from Batman —in fact, erasing any trace of comic books and instead presenting a character study of a fevered vigilante suffering from mental illness, alienation, narcissism, and latent rage. Phoenix mostly wants to let the film speak for itself. Or you can say this is somebody that disproportionately needs a large quantity of people to be fixated on him.
His satisfaction comes as he stands in amongst the madness. Phoenix has always had an intuitive feel for the dark side of the human psyche. Ron Hubbard-like quasi-religious leader. That began a run of finely wrought indie performances. The public memory of his brother has faded enough that Joaquin is now the most familiar Phoenix, but the tragedy is never far for Joaquin himself.
But he was also deeply influenced by his brother, and by his death, even if he remains reluctant to draw a straight line between his unusual background and his private tragedy and his talent for inhabiting the morose, damaged, violent, and otherwise anxiety-riddled characters he takes on—roles he seems vividly made for.
Soda has an allergy to direct sunlight, which means she must be kept out of the sun from nine to five. Phoenix bought her a specially made suit to go to the beach.
He believed Mara despised him during the making of Her but later learned she was just shy and actually liked him too. Never looked up a girl online. His fingernails are chewed to nubs and he keeps two packs of American Spirits and several lighters close at hand. For Joker, he went on an extremely restrictive diet—advised by the same doctor who helped him lose weight for The Master —and lost 52 pounds.
After the film, he gained back 25, but the oily image of his severe, wraithlike body in the trailer for Joker arrived like a shock last spring, evidence that Phoenix had once again gone all in on a role. As Arthur Fleck, Phoenix leans into his physical features, from the scar on his upper lip not a surgically fixed cleft, he says, but a nonsurgical scar he was born with to his leonine gaze, sad-sack grin, and distended shoulder, which he was also born with.
Phillips, who directed the comedies Old School and the Hangover series, pitched the idea of a Joker movie to Warner Bros.
The result is a drama that doubles as a critique of Hollywood: an alienated white guy whose failure to be funny drives him into a vengeful rage. He says he conceived the character with Phoenix in mind and gave him the script in late Phoenix queried Phillips endlessly before he joined the film—part of his process, it turns out, which also included asking his mother to examine the script.
In pitching the movie to Phoenix, Phillips told him he needed to think of the film as a heist movie. It was just a movie. Like Dog Day Afternoon is, like, intense, heartbreaking, and fucking funny. And those are the movies that I love. And those are the movies that I pursue. During one scene, the screenplay called for Fleck to shut himself in a bathroom after several murders, looking for a place to hide his gun. Phoenix began dancing, an elegant, tango-like movement, and Phillips asked the cameraman to start filming with a handheld camera, just the three of them in the room while a crew of waited outside.
The muse of the movie, in many ways, is one of its costars, Robert De Niro, who plays a late-night talk show host modeled in part on Johnny Carson. Ironically, the two barely spoke on the set, in part because of their similar acting methods and artistic superstitions.
Relate as the characters to each other.
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