Zeros and Ones (2021, D: Abel Ferrara) S: Ethan Hawke
11-15-21, 02:53 PM
#1
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Thread Starter
Zeros and Ones (2021, D: Abel Ferrara) S: Ethan Hawke
Zeros and Ones - In Select Theaters, On Demand and Digital on November 19, 2021.
Ethan Hawke, Valerio Mastandrea, Cristina Chiriac.
Jericho is an American soldier stationed in post-apocalyptic Rome under a pandemic and war-torn lockdown. After witnessing the Vatican blown up into the night sky, he sets out on a mission to uncover and document the truth for the world to see and stop the true terrorists responsible.
Ethan Hawke, Valerio Mastandrea, Cristina Chiriac.
Jericho is an American soldier stationed in post-apocalyptic Rome under a pandemic and war-torn lockdown. After witnessing the Vatican blown up into the night sky, he sets out on a mission to uncover and document the truth for the world to see and stop the true terrorists responsible.
11-15-21, 08:56 PM
#2
DVD Talk Special Edition
Re: Zeros and Ones (2021, D: Abel Ferrara) S: Ethan Hawke
He's had the odd misfire, but I'll watch pretty much anything Abel Ferrara does. Not sure why he's considered so divisive (and yes, I'm aware of Driller Killer, Bad Lieutenant, and Ms. 45 or whatever it was called, and I'm not saying those movies are bad, cause they're not; the original Bad Lieutenant is one of my faves, and Herzog's version, even though it was wildly different cause I know he said at some point he didn't even watch the original, was also great...but Ferrara also did King of New York, which would probably be one of my top-ten most-watched films of all-time, and stuff like R X-Mas and whatnot...I love his films...also love The Funeral, which has never gotten a proper release...I still watch the DVD from time to time but even if you crank the volume to full level, you still struggle to hear what they're saying, and I can't remember but I'm not sure that DVD even has subtitles, which sucks)...He's an oddball, but when he hits he hits...
11-15-21, 10:02 PM
#3
Re: Zeros and Ones (2021, D: Abel Ferrara) S: Ethan Hawke
^I would LIKE to be a fan of Ferrara like I used to, but his last several films have been borderline impossible for me to find.
Did anyone here ever get to see his Pasolini film?
Did anyone here ever get to see his Pasolini film?
11-16-21, 11:12 AM
#4
DVD Talk Hero
Re: Zeros and Ones (2021, D: Abel Ferrara) S: Ethan Hawke
That trailer is a mess but I’m hoping it’s just a shitty trailer and not indicative of the movie.
Looking at his IMDB page, I realized I haven’t seen a Ferrara directed movie since the 90s! I also didn’t realize how many of his movies star Willem Defoe.
Looking at his IMDB page, I realized I haven’t seen a Ferrara directed movie since the 90s! I also didn’t realize how many of his movies star Willem Defoe.
01-24-22, 01:02 PM
#5
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The following 2 users liked this post by dex14:
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01-24-22, 07:19 PM
#6
DVD Talk Legend
Re: Zeros and Ones (2021, D: Abel Ferrara) S: Ethan Hawke
01-24-22, 07:22 PM
#7
DVD Talk Hero
Re: Zeros and Ones (2021, D: Abel Ferrara) S: Ethan Hawke
It's Abel Ferrara. HE'S EDGY GODDAMMIT.
(I'm not a fan of his in case that isn't obvious, and this sort of reinforced that.)
(I'm not a fan of his in case that isn't obvious, and this sort of reinforced that.)
01-24-22, 07:54 PM
#8
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Thread Starter
Re: Zeros and Ones (2021, D: Abel Ferrara) S: Ethan Hawke
Collider: First of all, I don’t know that I’ve ever watched a film where the star of the film provides commentary about why he decided to do the film, before it starts. I thought that was fascinating. How did that come about? What led to that decision?
ABEL FERRARA: When Ethan came to the project, there was no project, really. It was an idea. His desire to do it matched ours, so then there was a movie. The investors wanted something that they could sell. It was basically a selling tool, so I was a little hesitant to ask Ethan. But he came to Rome in the middle of a pandemic and he did it. He knows the game. With us, we use everything. It’s zeros and ones. We use paintings, we use clips, we use whatever is there, if we think it might work. It just seemed like a natural beginning to the movie.
We did it a little bit with Siberia, where Willem [Dafoe] did a voice-over. When I first pitched the film to him, he sent me an email, and miraculously, I kept it and it just popped up at the right moment. It was just his reaction to the idea, not even a script. And then, we were going to Cannes and they needed a clip for that, so I asked him, “Why are you playing the role?” Somehow that just worked at the beginning of the film. And this just worked, at the beginning.
We’re creating the movie, as we do it. As pandemic filmmakers, we go to so many remote festivals. So, a remote message from the director or the actors seemed very normal. The thing at the end, we did for a couple of reasons. I wanted to see how it would go. For me, in a lot of these movies or even in a play, unless it’s Shakespeare, I just want to see the acting at the front of the stage and look the people in the eye when they start talking. In this, [Ethan] is playing two characters and it was almost like I needed Ethan, one more time. I don’t know why. With a lot of my movies, there’s that moment when the actor is looking right in the lens and letting it rock. They forget the charade of the scene and all of the paraphernalia. I just wanted to hear him talk to me.
ETHAN HAWKE: As a student of theater, my whole life, that’s what Brecht was always trying to do. He was like, “Why are we pretending that we’re not in a theater? Why are we pretending this guy’s not an actor? I hate it! Let’s break all of the walls down and communicate with each other.” So, in some weird way, the way you use that is an extension of things that other artists have been thinking about too. There’s something really Brechtian or Goddard-esque that knocks you off balance and hopefully puts you in a position to absorb the film.
https://collider.com/ethan-hawke-abe...interview/amp/
01-25-22, 12:01 AM
#10
DVD Talk Legend
Re: Zeros and Ones (2021, D: Abel Ferrara) S: Ethan Hawke
Collider: First of all, I don’t know that I’ve ever watched a film where the star of the film provides commentary about why he decided to do the film, before it starts. I thought that was fascinating. How did that come about? What led to that decision?
ABEL FERRARA: When Ethan came to the project, there was no project, really. It was an idea. His desire to do it matched ours, so then there was a movie. The investors wanted something that they could sell. It was basically a selling tool, so I was a little hesitant to ask Ethan. But he came to Rome in the middle of a pandemic and he did it. He knows the game. With us, we use everything. It’s zeros and ones. We use paintings, we use clips, we use whatever is there, if we think it might work. It just seemed like a natural beginning to the movie.
We did it a little bit with Siberia, where Willem [Dafoe] did a voice-over. When I first pitched the film to him, he sent me an email, and miraculously, I kept it and it just popped up at the right moment. It was just his reaction to the idea, not even a script. And then, we were going to Cannes and they needed a clip for that, so I asked him, “Why are you playing the role?” Somehow that just worked at the beginning of the film. And this just worked, at the beginning.
We’re creating the movie, as we do it. As pandemic filmmakers, we go to so many remote festivals. So, a remote message from the director or the actors seemed very normal. The thing at the end, we did for a couple of reasons. I wanted to see how it would go. For me, in a lot of these movies or even in a play, unless it’s Shakespeare, I just want to see the acting at the front of the stage and look the people in the eye when they start talking. In this, [Ethan] is playing two characters and it was almost like I needed Ethan, one more time. I don’t know why. With a lot of my movies, there’s that moment when the actor is looking right in the lens and letting it rock. They forget the charade of the scene and all of the paraphernalia. I just wanted to hear him talk to me.
ETHAN HAWKE: As a student of theater, my whole life, that’s what Brecht was always trying to do. He was like, “Why are we pretending that we’re not in a theater? Why are we pretending this guy’s not an actor? I hate it! Let’s break all of the walls down and communicate with each other.” So, in some weird way, the way you use that is an extension of things that other artists have been thinking about too. There’s something really Brechtian or Goddard-esque that knocks you off balance and hopefully puts you in a position to absorb the film.
https://collider.com/ethan-hawke-abe...interview/amp/
ABEL FERRARA: When Ethan came to the project, there was no project, really. It was an idea. His desire to do it matched ours, so then there was a movie. The investors wanted something that they could sell. It was basically a selling tool, so I was a little hesitant to ask Ethan. But he came to Rome in the middle of a pandemic and he did it. He knows the game. With us, we use everything. It’s zeros and ones. We use paintings, we use clips, we use whatever is there, if we think it might work. It just seemed like a natural beginning to the movie.
We did it a little bit with Siberia, where Willem [Dafoe] did a voice-over. When I first pitched the film to him, he sent me an email, and miraculously, I kept it and it just popped up at the right moment. It was just his reaction to the idea, not even a script. And then, we were going to Cannes and they needed a clip for that, so I asked him, “Why are you playing the role?” Somehow that just worked at the beginning of the film. And this just worked, at the beginning.
We’re creating the movie, as we do it. As pandemic filmmakers, we go to so many remote festivals. So, a remote message from the director or the actors seemed very normal. The thing at the end, we did for a couple of reasons. I wanted to see how it would go. For me, in a lot of these movies or even in a play, unless it’s Shakespeare, I just want to see the acting at the front of the stage and look the people in the eye when they start talking. In this, [Ethan] is playing two characters and it was almost like I needed Ethan, one more time. I don’t know why. With a lot of my movies, there’s that moment when the actor is looking right in the lens and letting it rock. They forget the charade of the scene and all of the paraphernalia. I just wanted to hear him talk to me.
ETHAN HAWKE: As a student of theater, my whole life, that’s what Brecht was always trying to do. He was like, “Why are we pretending that we’re not in a theater? Why are we pretending this guy’s not an actor? I hate it! Let’s break all of the walls down and communicate with each other.” So, in some weird way, the way you use that is an extension of things that other artists have been thinking about too. There’s something really Brechtian or Goddard-esque that knocks you off balance and hopefully puts you in a position to absorb the film.
https://collider.com/ethan-hawke-abe...interview/amp/
