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Post by jeffan on Dec 15, 2008 15:09:33 GMT -5
TMT.com - Adam Resurrected Film Review December 15, 2008 By Jafarkas TinyMixTapes.com
At this point in cinematic history, it would seem a daunting task to tell an original story about the well-visited subject of the Holocaust. Yet, here we are: another awards season and another handful of Holocaust movies coming our way (plus one about Tom Cruise trying to kill Hitler that makes audiences laugh in previews — maybe it’s time to change the subject when even Hitler is losing cache as a viable bad guy). Yes, the Holocaust is the definite front-runner for “Great Tragedy of the 20th Century,” and yes, people can be monsters, especially a good number of Germans circa 1939, but really what else is new?
Paul Schrader’s offering to this year’s crop is Adam Resurrected, based on the 1968 novel by Israeli writer Yoram Kaniuk. Schrader is perhaps best known for his screenwriting collaborations with Martin Scorsese, though he has shown himself to be a capable director in his own right, particularly with his 1997 film Affliction. Although this is one of three films Schrader has directed but not written, the titular protagonist Adam Stein (Jeff Goldblum) is the type of character Schrader seems most comfortable with: the charismatic and emotionally disturbed individual. In the challenging role of Adam, Goldblum is most adept at delivering quips and the vaudevillian comedy the role entails. His German accent, however, is shaky at best, slipping between Jeff Goldblum doing a German accent and, well, Jeff Goldblum. And the decision to have him narrate in a superfluous voice-over only heightens the viewer’s awareness of this throughout the film.
The film offers the potentially interesting conceit of being set primarily in the Siezling Institute, a fictional Israeli mental hospital for Holocaust survivors. Through intermittent flashbacks, we learn of Adam’s life as a celebrated Weimar-era clown/magician and his time as a concentration camp prisoner forced to imitate a dog under the rule of Commandant Klein (Willem Dafoe). Meanwhile, in the Institute, Adam wanders through the halls of the hospital with seeming impunity, drinking, abusing, and charming patients and staff. His doctor (Derek Jacobi) takes a laissez-faire attitude towards his “illness” and his nurse (Ayelet Zurer) is too busy screwing him to enforce the regulations (given the hospital’s unique nature, a disciplinarian approach might not seem the way to go, and there are a few obligatory comparisons of the bureaucratic hospital staff to the you-know-whos).
Adam seems doomed to a life of sardonic quips, parlor trickery, and nurse-screwing in the Institute, until his supernatural sense of smell (one of a set of psychic abilities) uncovers the presence of a dog. The dog is not actually a dog, but a boy raised to believe he is a dog (so much so that he emits a smell), in a one-off of Adam’s imprisonment under the brutal Klein. Through empathizing with and curing this dog-boy, Adam eventually comes to terms with the demons of the Holocaust.
Critic Paul Fussell famously stated that irony was the most suitable way for art to deal with the horrors of war in the 20th century, and, at times, Schrader seems to channel this notion. There is a darkly humorous disconnect with the scope of the tragedy that emerges in the film’s best moments, like when Commandant Klein gleefully dresses his German Shepherd in prisoner’s clothes or when Adam remarks that the Nazis have “no sense of humor at all” and that “God is out to lunch” and “left a note on [their] arms.” At one point, Adam even delivers a lecture to patients on the value of humor in dealing with tragedy, and while this verges on brain-beatingly “meta”-message — this is a movie as much about reenactment of tragedy as it is about tragedy — it does show a certain self-awareness in this task.
Still, the overriding message is not one of irony. While there are times when it feels as though Schrader will break through our pre-conceived wall around this subject, he struggles to escape the standard treatment that Holocaust narratives so often produce. Rather than emphasizing irony as a way to recontexualize the horrors of the Holocaust, Schrader, in the end, sticks to the heavy-handed and predictable approach.
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Post by jeffan on Dec 15, 2008 17:24:42 GMT -5
Adam Resurrected’s Jeff Goldblum on His First-Ever Movie Accent and Forgetting His Secret Mantra By: Bilge Ebiri December 15, 2008 New York Magazine - Entertainment NYMag.com
For Jeff Goldblum, the balancing act between disappearing into a part and maintaining his branded sensibility is nothing new. Still, his performance in Adam Resurrected, Paul Schrader’s challenging adaptation of Israeli author Yoram Kaniuk's acclaimed 1968 novel, is striking: Playing Adam Stein, a German circus performer who survives the Holocaust but finds himself in an Israeli asylum with other Holocaust survivors when he can’t cope with his memories, Goldblum has not only to affect a German accent but also has to run through an almost inconceivable gamut of emotions. All this while he’s also been cast on Law & Order. Goldblum spoke to Vulture about his new part, his old part — his turn in Annie Hall — and his fears about tackling such a legendary book.
Is this the first time you’ve had to do an accent on film? I’ve done it in a play or two, but in a movie, I think it is the first time. I didn’t know if I would do it at first. I’d also seen films where American actors played prisoners in concentration camps and used their regular American accents. But they had cast of three spectacular German actors in the film – Joachim Krol, Juliane Kohler, and Moritz Bleibtreu. So I worked on an accent with a dialect person in L.A., then I went to Berlin for a month and worked on it there.
Did you have any qualms about taking on a novel that was so legendary and beloved in Israel? Absolutely. The book was actually very controversial when it came out — it had the same tone as The Tin Drum, Catch 22, and Slaughterhouse Five. Only after some time did it become an internationally celebrated book, when Susan Sontag compared it to Garcia Marquez and Faulkner. But even when it was published, Charlie Chaplin had called Yoram Kaniuk over the phone and barked about how he had to play this part. And Orson Welles had also wanted to make it a movie at one point. It was actually very helpful to meet with Kaniuk, who was a very generous and helpful guy. I could see that much of the sensibility of the book is him. He’s snarky and dark and hilarious and brilliant and contradictory and unexpected at every turn. It was also a sobering and alerting challenge. I’d talked to a lot of Holocaust survivors in L.A. and Europe. I knew I had to do my best to meet everyone’s expectations.
It seems to me you’re doing more personal projects these days, taking bigger risks. I’ve always been able to pick projects for myself, but yes, I think in recent years that’s been more the case. My great teacher Sandy Meisner always said, “Don’t copy anybody. Always try to find your own unique way.” The whole endeavor of acting has been a wild-hearted adventure for me. As I get better and better, I feel like I can take more risks. I certainly have more of an appetite for it.
Is it ever difficult to put your own personal stamp on roles in big-budget films or big franchises like Jurassic Park, Law & Order, Independence Day? Not really. I liked making those movies. Even though Jurassic Park was a big franchise movie, I appreciated how Steven Spielberg was very character-oriented and very independent in spirit. It was inspiring to work with him.
In Annie Hall, you had a tiny but famous part as a person at an L.A. party on the phone saying he’d forgotten his mantra. As someone who studied the Meisner technique, which says to build emotional lives for your characters, did you actually have a mantra in mind? And if so, what was it? I did have something specific in mind. My character was obviously supposed to be a California New Age spiritual type. In fact, I myself was not unfamiliar with transcendental meditation myself. I studied TM. When you’re initiated and they give you your mantra, your initiator whispers in your ear. It’s purposefully designed for you, and it must never be spoken aloud or told to anyone. So I adhered to that, even in the imaginary world. So I can’t tell you.
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Post by jeffan on Dec 16, 2008 14:12:22 GMT -5
Jeff Goldblum's Dirt Shoot 12/15/2008 MaleFirst.co.uk
Jeff Goldblum found making his new movie "horrible".
The actor stars as a concentration camp survivor who ends up in a mental institution in 'Adam Resurrected' and admits the emotionally-challenging role took its toll.
He said: "Playing Adam was disturbing, provocative, inspirational, emotional and occasionally horrible.
"When I'm acting, I'm usually pretending. I don't get drunk to play a drunk. But I couldn't escape that way this time. I knew I was going to have to suffer - but not in any way like the unimaginable things that people really went through during the Holocaust.
"Still, for the better part of three months when we were filming, I was a wreck going around crying every day. It was life-changing."
The 'Jurassic Park' star underwent some tough challenges during filming, but says the oddest was when he found himself having to eat dirt.
He explained to Parade.com: "It was all tough, but I remember the strangest moment. We shot a scene in a graveyard towards the end of the movie where I sort of lose my mind in grief, I just go crazy.
"I was crying and Paul Schrader the director said, 'That's good, but why don't you get a handful of the dirt from the grave and put it in your mouth and eat it.' And I said, 'That sounds strange. Do we have anything edible that looks like dirt?' He said, 'No, Jeff. Just eat some dirt.'"I kept hesitating and he yelled 'Look Jeff!' And he picked up a handful of dirt and put it in his mouth and ate it. I said, 'Paul, OK. I'll do it.' "
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Post by jeffan on Dec 18, 2008 10:01:07 GMT -5
Adam Resurrected Peers into the Soul of a Condemned Man Son of Dog F.X. Feeney December 17, 2008 LAWeekly.com
The torturer’s greatest art, so it is said, is to make his victims go on torturing themselves — for life, if possible. That certainly seems the fate of Adam Stein (Jeff Goldblum), a Jewish comedian of genius in prewar Berlin, who is unable to save his family when the Nazi genocide overtakes them and only survives a concentration camp himself by becoming the literal pet of the camp’s commandant (Willem Dafoe).
These harrowing memories torment Adam in 1961, when he is the star patient at a special mental hospital built for Holocaust survivors in the Israeli desert (where most of Adam Resurrected is set). A charismatic marvel of wit and physical self-control (he can bleed at will), Adam is a compulsive Casanova, whose first language would seem to be seduction. He charms circles around his doctors (led by Derek Jacobi), who in turn let him toy with them, hoping that this will help them to crack the impenetrable labyrinth of suffering that overtakes Adam whenever his manic humor fails him.
Director Paul Schrader and screenwriter Noah Stollman, adapting Israeli author Yoram Kaniuk’s 1968 novel, establish a structure highly akin to Fellini’s 8 1/2: The hero “takes a cure,” while memories, dreams and reflections (and several complicated women) relentlessly crowd him. Goldblum is ideally, even blazingly suited to such a role — it is hard to recall when, if ever, a part has asked more of his actorly gifts — and his scenes with Dafoe in the concentration camp are painful in the best sense. Where Fellini made ecstasy contagious, Schrader is after much darker vistas — the mystery of how good men fail, and condemn themselves. One cannot recommend this film strongly enough.
ADAM RESURRECTED | Directed by PAUL SCHRADER | Written by NOAH STOLLMAN, based on the novel by YORAM KANIUK | Produced by EHUD BLEIBERG and WERNER WIRSING | Released by Bleiberg Entertainment | Sunset 5
Thanks LAWeekly.com!
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Post by caitlen on Dec 18, 2008 10:51:31 GMT -5
I heard him talk about this film, it sounds powerful, cant wait to see it. Thanks again for such great articles jeffan
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Post by jeffan on Jan 6, 2009 6:04:50 GMT -5
Movie Review: Adam Resurrected
Written by El Bicho
Published January 05, 2009
Based on Yoram Kaniuk’s 1968 novel, Paul Schrader’s Adam Resurrected is a powerful story about human survival presented through a tour-de-force performance by Jeff Goldblum that is quite possibly the best of his career. The film is very captivating, but its conclusion is unsatisfying because it happens so quickly and is difficult for the medium to show.
When we meet Adam Stein (Goldblum), it is in 1961 Tel Aviv. He is being returned to an asylum for Holocaust survivors. Adam is very intelligent and charismatic, especially in contrast to his other inmates, many of whom idolize him because he was a talented cabaret star in 1920s Berlin until his family’s internment at a concentration camp in 1944. Stein is similar to Jack Nicholson’s R.P. McMurphy in One Flew Over the Cuckoo’s Nest, except Stein sleeps with the head nurse rather than strangles her. Although he did attempt to strangle his landlady, though he seems unaware of it, and this is why he is returned to the asylum.
Although he is likely an alcoholic, Stein seems in control through his dealings with both the patients and the staff, which may or may not be part of his therapy. That is, until he discovers a dog has been allowed into the facilities. This sends him on a tirade because he was told explicitly that there would be no dogs. The reason this causes so much turmoil is revealed in flashbacks. During his internment, Stein was separated from his family and was forced to live his life as a dog in the quarters of the camp commandant (Willem Dafoe). In the hopes that he could help his family, Stein accepted being completely dehumanized by, among other things, having to walk around on all fours, eating food off a bone, and providing comfort to the commandant.
Stein finds the dog, only to learn that it is a young boy who was horribly treated by his parents and forced to live in the basement. Stein is able to communicate with the young boy. Both the characters help each other heal although Stein’s issues are not as obvious. As the audience witnesses Stein’s life play out, it’s quite understandable that he has serious emotional problems, but they manifest themselves so subtly at times, though not always, it’s almost a surprise when they are finally dealt with in the third act. In addition, the ease and quickness with which the conflicts are resolved call into question how serious they were, even though it’s undeniable that they were very serious.
Adam Resurrected shows an interesting perspective of the Holocaust experience by focusing on the aftermath and recovery, which presents a more complete picture of the survivors. Even though, the ending is rather abrupt and causes the film’s intensity to dissipate, Schrader and his team still deliver an intriguing work anchored by Goldblum’s brilliant and captivating performance. The film is not for everyone, but for those who appreciate fine acting, it is well worth seeking out.
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Post by caitlen on Jan 6, 2009 6:13:58 GMT -5
Another good article Jeffan, thanks for posting.
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Post by jeffan on Jan 9, 2009 8:03:27 GMT -5
Jeff Goldblum appears on the cover of Yoram Kaniuk’s novel, the basis for Goldblum’s latest film.
by Lawrence Levi Nextbook
January 8, 2009
In Adam Resurrected, Jeff Goldblum delivers an Oscar-worthy performance as Adam Stein, a Weimar-era cabaret star who in the 1960s is relegated to an Israeli insane asylum for Holocaust survivors.
As we learn in flashbacks, he survived a concentration camp by submitting to the perverse whim of a Nazi commandant (Willem Dafoe): behaving like a dog at all times. In the asylum, Stein — wily, charismatic, and devilishly witty — carries on an affair with a sultry nurse (Ayelet Zurer) and falters only when he encounters a new patient, a boy who thinks he’s a dog.
The film, directed by the provocateur Paul Schrader, was adapted by Noah Stollman from the 1968 novel by Israeli writer Yoram Kaniuk.
Goldblum, 56, grew up in Pittsburgh. Over the past 35 years he has worked with such directors as Robert Altman, Philip Kaufman, David Cronenberg, and Steven Spielberg.
Nextbook: Paul Schrader says that the Holocaust “is a subject that in many ways has been exhausted cinematically.” How does Adam Resurrected differ from other Holocaust films?
Jeff Goldblum: Well, I’ve never seen anything like it. And like Paul, I was struck in the first reading of the script. The central event of this movie that he describes as being “about a man who was once a dog who meets a dog who was once a boy” — we thought that was a knockout of a metaphor and worth doing. And if you read Yoram Kaniuk’s book, which is just now being reissued — I love the movie, but the book of course is different and more complicated and more elaborate and spectacular — we tried to stay devoted to the sensibility and voice and spirit of the book.
I met with Kaniuk in Israel. He’s like the character and like the book, snarky and unconventional and surprising and contradictory and brilliant and provocative and wonderful and kind and funny. When the book first came out in Israel, there was an uproar. They were like, “Irreverent about this material? Nothing like we’ve seen before.” But since then, it’s been translated and become an international treasure — and Susan Sontag compared him to [Gabriel Garcia] Marquez.
Nextbook: Do you agree with Schrader that cinematically the Holocaust genre is played out?
Goldblum: He knows. He’s a cinematic historian, I’m not. While we were filming in Israel, I asked him, “What movies shouldn’t I have missed out on by this point?” He said, “Here are the 20 movies I recommend,” many of which I hadn’t seen. I watched them all.
Nextbook: In preparation for the role, you visited the sites of concentration camps and spoke at length with survivors. What did you learn from those experiences?
Goldblum: A greater feeling for those events. Many survivors were very generous with me, welcomed me into their homes, told me their stories, showed me their artifacts. I felt a greater empathy for, an understanding of, what it must have been like.
Cafe Europa in Los Angeles is an organization that serves survivors. One of the women who was running Cafe Europa — I said I’d never been to a concentration camp, and she said, “The one I recommend that’s most intact of any is Majdanek, in Poland, outside Lublin.” So I went to Germany, spent a month there, went to Sachsenhausen, and figured out a way to do this side trip to Poland, and it was an amazing experience. Amazing. Reading all about it, immersing myself in it, you can only scratch the surface in a year. But going there and seeing Germany and seeing the concentration camp and standing next to the gas chamber and seeing a room full of shoes — it was life-changing, very emotional, devastating.
Nextbook: I’ve read that you grew up attending an Orthodox synagogue and went to Hebrew school.
Goldblum: I did!
Nextbook: Is there anything you learned in Hebrew school that stays with you today?
Goldblum: I was telling somebody today I like that Passover song “Dayenu” — “It would be sufficient,” if nothing else occurred — talking about what I wish I had done, what else I could have done, what I’d like to do now. I have more appetite than ever, looking forward to whatever comes, and have strong feelings, but having said that, if nothing else would occur from the huge abundance that I’ve been gifted with, it would certainly be more than sufficient. And I’d be eternally grateful.
Nextbook: Did being Jewish have any connection to your choosing the role of Adam?
Goldblum: Yes, possibly so. Well, I had a feeling about it anyway. My dad served in World War II, volunteered in the service, and his brother — who was a pilot, went down, and was killed in World War II — looked kind of exactly like me; he was my height exactly. So I always had a connection to — was intrigued by, arrested, disturbed, haunted, and was interested — in those events, but not until this year did I really get more fully into it.
Nextbook: I couldn’t help thinking of your role in Independence Day, which was a fairly stereotyped Jew opposite a fairly stereotyped black guy played by Will Smith, and I wondered if in playing Jews, you’re ever concerned about the impression you may make.
Goldblum: Yes, that occurs to me.
Nextbook: Have you ever refashioned a role or spoken to a director about those feelings?
Goldblum: I may not have mentioned Jewishness along with it — that may not have been my only or primary concern — but yes, I’ve steered and contributed and otherwise lobbied for adjustment in one aspect or another that could add a negative stereotype. And I like to avoid cliche anyway, generally.
Lawrence Levi, a coauthor of The Film Snob’s Dictionary, is a senior editor at Nextbook.org, a new read on Jewish culture.
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Post by jeffan on Jan 12, 2009 9:54:43 GMT -5
Anyone who reads this interview may experience deja vue. I know I did. Towards the end of the interview Jeff discussed LOCI but did not toss a S8 premiere date into the air!
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DH.com: Exclusive Interview: Jeff Goldblum for "Adam Resurrected" By Paul Fischer Monday, Dec. 22, 2008 DarkHorizons.com
Never one to repeat himself, Jeff Goldblum thrives on taking risks. Though he’s been seen in many mainstream films, the actor returns to the theater and takes on independent films that take him to places he has never been before.
His latest film is "Adam Resurrected" which follows the story of Adam Stein, a charismatic patient at a mental institution for Holocaust survivors in Israel, 1961. He reads minds and confounds his doctors, lead by Nathan Gross.
Before the war, in Berlin, Adam was an entertainer - cabaret impresario, circus owner, magician, musician - loved by audiences and Nazis alike until he finds himself in a concentration camp, confronted by Commandant Klein. Adam survives the camp by becoming the Commandant's "dog", entertaining him while his wife and daughter are sent off to die.
Years later we find him at the Institute. One day, Adam smells something, hears a sound. "Who brought a dog in here?" he asks Gross. Gross denies there is a dog but Adam finds him--a young boy raised in a basement on a chain. Adam and the boy see and recognize each other as dogs--and their journey begins.
"Adam Resurrected" is the story of a man who once was a dog who meets a dog who once was a boy. Goldblum talked exclusively to Paul Fischer about the challenges of doing a film of such sheer complexity.
Question: Paul Schrader told me that this was a role you were born to play. Do you agree with that? And how do you feel about that?
Goldblum: Well, it’s awful nice of him to say that. And because that was his idea, that’s how I wound up doing it. He really lobbied to have me do it. And thank goodness. Well, I guess I can see the things that I might have been right for. But it was a great privilege to try to do it. And – you know, the movie had been – they’d been trying to make the movie for a while. And Charlie Chaplin wanted to do the part. Orson Welles wanted to do the part and make the movie. And I’m just thrilled that it got to me. And I had a year to prepare with it and work with Paul on it.
Question: Tell me what the preparation was to get into this character. How hard was it to get into the skin of this character? Or the challenges that you faced.
Goldblum: The challenges to prepare for it? Well, luckily, I had it for a year before I did it. And I immersed myself in that year in preparing for it. I teach acting for the last 20 years, whenever I’m not working. I’m always interested in experimenting with how you do things, and craft. And it felt like on this one, that I wanted to learn the most of it early on, like a play. Which I did. And I had my students kind of apprentice me. I have a place in my backyard, a little acting space. And they would come every day and play the other parts. And I would have run-throughs of it with my students and different people. And I’d have run-throughs of it. And that was the beginning of it. And then I went to Israel-- I’d never been to Israel before-- and met with Paul, and we went over it. And I started to take violin lessons, and played violin every day. Started to work with dialogue people. Went to Germany for the first time, to Berlin, and spent a month there and worked on things. Talked to survivors in Los Angeles and Israel and Europe. Went to a concentration camp in Poland called Majdanek, which was supposedly the most intact one, and had a very powerful experience there. Worked with dog people, you know? Cesar Milan, the Dog Whisperer got together with me, and we went through the script. And I started to develop all aspects of things having to do with dogs. And then just looked at as many documentaries of the Holocaust as I could, and fictional movies. And talked to Michael Berenbaum, the guy who designed the Holocaust Museum in Washington. He consulted on Sophie’s Choice. And we went through the script together.
Question: Have you prepared this much for a role ever?
Goldblum: No, I haven’t. I’m usually conscientious, and as soon as I get the part, I figure that’s when I need to start working on preparing it. But I’d never had something for a year before I did it, really. And thank goodness for this one, because I’ve never had a part that was quite as demanding and challenging.
Question: How hard is it to leave a part like this behind at the end of the day?
Goldblum: Well, while I was doing it, for that whole year and for the three months that I did it, it was very emotional, too. And then even after, I knew I was going to have to loop – do some ADR, do some sound. Kind of act it again, the better part of several months later. And we did some re-shooting, several months after that. So I knew I had to keep it alive in me all during that time, and I did. And I got a rough cut of the movie before we did that ADR, and had a daily run-through of it like that, and would go through the whole thing. And then finally, really, after seeing it with several audiences, do I finally sort of feel like I could take a breath, and let it out. But it was life-changing, really. And I think I learned a lot during that year, although scratching the surface on all those events. And people spend their whole lives studying about – but I have a deeper feeling for people who go through things like that. You know? And the movie is about some spiritual things that interested me, too, that really changed me.
Question: Like what, for example?
Goldblum: Well, you know, this character, in a horribly, most horrific and dramatic way, goes through loss. Loses everything. You know, his career, his home, his family. His abilities, his health. And the people he loves. But we all go through things like that. You know, in one way or another. And it either diminishes you, or some say it’s an opportunity for asking yourself, “Who am I?” in a deeper way. And this character finds himself in the middle of the desert, and realizes himself, I think, finally, through the love of this boy. That who he is is something apart from all the trappings of form that have come and gone. And finds a real source of peace, perhaps, and creativity and love. Those are – I love that whole aspect of the movie.
Question: Do you think doing a movie this give you a very different perspective on the way you approach acting, and the film industry? On acting as a tool for you? I mean, given the amount of work that you did. Does it change the way you approach acting?
Goldblum: Oh, yeah. Yes. It was a creative challenge. And yeah I mean, it was so adventurous and risky, and challenging. That just the muscles to get through it, I think, have equipped me in a different way. And then – yeah. When we went into it, I could tell – you know, my approach to things emotional and sort of in preparation – it just taught me a lot.
Question: Will it be hard for you to find something as challenging as this to do in the future? I mean, I can’t imagine you going back and doing a mainstream Hollywood movie after doing something like this.
Goldblum: I think so. I’m doing now – since I did that, I did this play in London called Speed-the-Plow, the David Mamet show with Kevin Spacey, a brilliant actor. We ran for three months in London. And that’s – I think that’s a wonderful play. But it was commercially successful. And now I’m doing this part on Law and Order: Criminal Intent, which is very kind of mainstream. But I’m enjoying it no end, though. There are very smart people on it, very smart writers, directors, and great actors. And I’m enjoying it no end.
Question: Would you do another Jurassic Park?
Goldblum: It depends on the script, you know? And the director. I loved working with Spielberg those couple of times, and I would relish doing anything with him. I had a great time on those. And in fact, on those, even though they were very popular, the way Steven approached it felt like in some ways – with the actors, the acting – kind of an independent, adventurous way.
Question: What are you doing next, do you know, Jeff?
Goldblum: Next? Well, I’m doing Law and Order for the next – the whole season. We shoot until late April, in New York.
Question: Who do you play in that?
Goldblum: I play a detective. You know that Criminal Intent show? They alternate. One week is Vincent D’Onofrio, heading this detective team. And then the other week had been Chris Noth. And the character I played took over for him at the police station. So, I’m a detective. I’m a homicide detective named Zach Nichols.
Question: Is it fun to do TV? Are you enjoying that?
Goldblum: I am, a whole lot. Like I say they’re really smart, and just sort of develop character over a course of time. It feels very creative and challenging. I like, in a way, not having all that much time to prepare for scripts to come in. You have to be instinctive, and not think too much about it. It’s really fun.
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Post by DonnaJo on Jan 12, 2009 10:38:30 GMT -5
Nice article, jeffan. The Golden Globes last evening paid a special tribute to Steven Spielberg. They ran clips of all of his films, including "Jurassic Park." I was hoping to see Jeff in the clips, but they used the ones with Sam Neil.
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