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DP/30: Midnight in Paris, actor Corey Stoll

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6 Responses to “DP/30: Midnight in Paris, actor Corey Stoll”

  1. E says:

    A nice interview that helps bring some light on how one enters the acting profession. Of course, it’s unique for each person but nice to know that there are those who first pursue an education rather than jump straight in front of the camera or on the stage and seek out a formal training in acting. This interview should encourage parents or potential child actors from avoiding the route of relying upon a thinly developed talent and believing that a long acting career is possible without formal training and well-rounded education.

  2. CEM says:

    This interview is better than some of the Inside the Actors Studio broadcasts. Interesting comments about the trend of acting pool for theaters (in NYC in particular). Dilemma and irony: major stage roles are now reserved for marquee film stars (to ensure some profit) making it difficult for ‘everyday’ actor to be awarded these roles; but these film stars at times bring into the audience the right people in the acting industry who can give the supporting actors a chance they might not otherwise get. But, personally, I enjoy going to theater to watch everyday ‘middle class’ actors give amazing performances.
    I liked hearing the insights regarding the differences in approaching a role in film vs television (repeating appearance vs single guest appearance) vs theater. And I like the mention in the difference of completing a scene/production for the sake of finishing the product (and thus making studio happy) vs the creation of art.
    Thank you for conducting this interview.

  3. MAB says:

    I can’t wait to see Corey Stoll’s career progress. He needs to work with quality directors on quality, complex movies be they comedy or drama. He mentioned Victor Garber. I can see Corey Stoll in an Atom Egoyan film or another Woody Allen film; definitely an Agnieska Holland film…..

  4. Joanna says:

    Corey Stoll, although mesmerizing, seems to he a person of such depth. He’s made a Hemingway fan out of me. I’m hoping he’s cast in the “Papa Hemingway” adaptation.

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  6. storymark says:

    God, I love spambot grammar.

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon