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Viggo with Ethan Hawke at 'The Power of Story' Event


Found By: Chrissie



Thanks to Chrissie for the find.








Images © Getty.

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Viggo at 'The Power of Story'


Found By: Chrissie


Thanks to Chrissie for finding us a pleasant surprise this morning in this clip of 'The Power of Story' event at Sundance.






© YouTube.

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Sundance IMDb Interview Clip


Found By: Chrissie


Thanks to Chrissie for the heads up.







© Sundance/ IMDb.

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Iolanthe's Quotable Viggo


Found By: Iolnanthe

As I’ve had a very music-orientated few weeks I thought another music Quotable was in order. We all know how important it is in Viggo’s life. As well as releasing many albums, often with a mix of collaborators including Buckethead, music has featured in Captain Fantastic as the creative glue that bonded the Cash family together and in Good where it acted as a metaphor for Halder’s increasingly guilty conscience. In Jauja, Viggo’s musical creativity bonded with his acting when his own work with Buckethead, ‘Moonset’, became the only music featuring in a largely silent film, arriving near the end when Dinesen’s journey is becoming increasingly surreal and inward. Music frames our lives and intensifies our emotions and I love Viggo’s comment, below, that ‘rain is the universal music’.




He's a musician, but not in the way many actors dabble in music—he's released 17 albums, including some collaborations with some outstanding musicians.

Viggo Mortensen and the Art of Deliberate Living
By Michael Dunaway
Paste Magazine
3 August 2016




…a prolific discography which boasts more album releases than your average full-time musician.

An Unconventional Method: Viggo Mortensen
Clash
8 March 2015




‘...music is when we all would get together. That was at least once a day we'd get together, all of us. We really were jamming and laughing and talking. We'd have something to eat. Okay, let's go! And then we'd start playing. The feeling there was, There's no such thing as making a mistake. We're just playing together. We got better and better and more comfortable with each other...I thought the music was important as an initial bonding thing.’

Viggo Mortensen
'Captain Fantastic': Matt Ross, Viggo Mortensen and the perils of off-the-grid fatherhood
by Michelle Lanz
The Frame
7 July 2016




“...[Lisandro] said that we didn’t have any budget at all to go find what he was thinking about, so he needed somebody to propose something. And I said there is a guitar player named Buckethead whom I’ve known for years, I’ve done lots of records with him. A lot of the music is kinda strange, but some of it is pretty lyrical. It has a sort of circular quality that would suit the story. I sent Lisandro ten songs, and he picked the one you hear and I thought “great choice.” I wouldn’t have thought of it, but he could see that. It was one of those things that happen.”

Viggo discussing the music in Jauja
Viggo Mortensen on ‘Jauja,’ Producing, Protecting Directors’ Visions
John Hopewell
Variety
25 November 2014




It's the opening night of Viggo's photo exhibition and the room is packed with his friends and associates. They're all here to see the debut of his haunting, abstract images, the ones shot during the making of "Hidalgo", Disney's upcoming $90 million epic in which Mortensen stars as the first American to race across the Sahara Desert on horseback.

More to the point, everyone's also here to see the man himself, yet no one seems to know where he is.

As it turns out, the reluctant "The Lord of the Rings" star is out back with six or seven spiky-haired youths in the parking lot. He's the tall one in the center looking uncharacteristically polished in a charcoal suit and black leather shoes. At the moment, everyone's huddled around his dirty blue Toyota Prius, listening to some loud, swampy, guitar noise pumping out of his dashboard.

"Is that Buckethead?" asks the guy in baggy jeans, the one standing next to Elijah Wood.

"Yeah, that's him," says Mortensen, referring to a certain guitar wail. "I'm not sure about the mix, though. What do you think? Should it be brighter?"

This is vintage Viggo. While crowds of people are anxiously waiting inside to talk to him about one thing, he's already on to the next, in this case his next album with the Japanese [sic] experimental guitar legend known simply as Buckethead.


The Other Side of Viggo Mortensen
By Paul Young
Variety Life
October 2003




One listen to The Other Parade, his rereleased 1998 album with Buckethead, ex-wife Exene Cervenka, and a host of others, reveals total artistic fearlessness...

Holding Court with the King: Viggo Mortensen heralds the return of the renaissance man
by Gregory Weinkauf
East Bay Express, 2003




"....for Good.....I play a professor who has music as his refuge. I also placed myself in the situation of having Mahler's music in my head. I felt the need to play the piano. Each night after filming, I played a bit, a way of leaving myself inspired for the scene the next day. Each time, something different came from my imagination. When I returned home I recorded what I had composed to save a trace, and it became an album!"

Viggo Mortensen
Viggo Mortensen the Insatiable
by Sophie Benamon, Studio Magazine
November 2007




'I like to play with music. But I would not define myself as a musician, but as a sound modulator. I love to be with musicians and play, to see what comes out from the mess that we do together.’

Viggo Mortensen
The Painter Hero
By Giulia D'Agnolo Vallan
CIAK
March 2002




As an oblivious world walked by - including hordes of media types attending TIFF - actor Viggo Mortensen sat openly in the lobby of the Sutton Place, gently tickling the ivories of a baby grand piano…. Following his impromptu recital, the soft-spoken taciturn actor said, "I just made it up."

Asked to comment on whether the piano was properly tuned, he replied: "More or less."

His response to the question, "I didn't know you played:"

"I didn't either," followed by a loud, horsy laugh.

Viggo Mortensen plays piano at Sutton Place
Bruce Demara
TheStar.com
8 September 2008




Listening to Viggo Mortensen and Buckethead's renditions of Viggo's works on ‘This That And The Other’ is to be brought back to the direct immediacy of art and to be given the opportunity to experience a creation firsthand from its creator.

Review: This That And The Other
By Richard Marcus
blogcritics.org
March 20, 2007




And in music, what are your essentials?

I don't know if I have essentials; the selection depends on the moment. This morning I've been listening to Ray Barretto, The Ramones, Andrés Calamaro and Janis Joplin.

Viggo Mortensen: "If I'm lost, it's because that's how I want it."
By Juan Luis Álvarez - translated by Ollie, Rio and Zoe
La Vanguardia
9 September 2012




Rain is the universal music - along with the contribution of the wind through a forest or punishing an open window, the roar of the rivers, the sea.

Viggo Mortensen
If The Rain Gets Here
By Viggo Mortensen and Fabián Casas - translated by Ollie and Zoe
Sobrevueloscuervos.com
9 October 2014



Is there anything you regret not having even attempted?

Yes, many things. But it’s never too late. I wish I had learned music at a younger age, but I did many things and I was very lucky about the people and places that I got to know in my travels, the experiences I had, the people I loved and the ones that loved me. I cannot complain.
Viggo Mortensen Under The Spotlight
Selecciones Magazine
March 2009
Translated for V-W by Graciela



You will find all previous Quotables here.

© Viggo-Works/Iolanthe. Images © Wilson Webb/Bleecker Street.

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‘Falling’: Film Review


Source: Variety.
Found By: Lindi



Thanks to Lindi for the find at Variety.


Quote:

Lance Henriksen gives the performance of his career as an emasculated father facing dementia, but it's writer-director-star Viggo Mortensen who makes the film’s universal themes resonate so strongly.

fall12.png
Image Caitlin Cronenberg.
© Hanway Films.
By Peter DeBruge

Viggo Mortensen may have three Oscar nominations to his name, but I get the feeling most folks still don't take the guy seriously enough. Maybe they don't realize that, in addition to his acting work, Mortensen is also a painter, a poet, a photographer and a musician. When "The Lord of the Rings" made him rich, he used some of that money to launch an indie publishing label, Perceval Press. And between high-profile projects, he went out of his way to collaborate with European auteurs such as Lisandro Alonso ("Jauja") and David Oelhoffen ("Far From Men"), comfortably acting in languages other than English (he speaks seven).

So what kind of directorial touch should we expect from such a Renaissance man? Will his first feature turn out to be basic and broad, like the meatball chauffeur he played in "Green Book," or more poetic, informed by his work with relatively esoteric-minded art-house helmers? The answer, you may not be surprised to learn, is a little of both. More deeply felt than your typical American debut, "Falling" is unpretentious and perfectly accessible to mainstream audiences. Mortensen's patience, his way with actors and his trust in our intelligence are not unlike late-career Eastwood, which isn't a bad place to be so early in one's directing career.

Drawing on his own upbringing while touching on universal themes of family and loss, Mortensen reimagines the relationship with his parents — doting mother, difficult father — through the protective filter of fiction. In the process, the actor reminds that his best work comes from a place of emotional vulnerability. Dad was clearly a piece of work, portrayed here as a scorpion-tempered patriarch who dominated his family for decades (roughly half the movie takes place in flashback, featuring Sverrir Gudnason as Willis, the tough-love father), growing even more difficult with the onset of dementia (as seen in the present, where Lance Henriksen brings the hellfire).

The film takes place over roughly a week, as Willis leaves his Midwestern farm to seek lodging closer to his son in California — which is like escaping the viper's nest, only to invite the snake back into one's home. Despite being a consistent challenge, Willis isn't a villain, at least not in Mortensen's eyes. His script manages to be tough yet tender while remaining objective enough not to do a "Mommie Dearest"-style hit job on his dad. Selected for the closing-night slot of the 2020 Sundance Film Festival, "Falling" feels like a cross between two other Park City premieres of recent vintage: Shia LaBeouf's transparently therapeutic "Honey Boy" and Paul Dano's 1960s-set "Wildlife," in which a bitter divorce serves as the crucible from which an artistic teenager forges his independence.

The movie packs two big surprises: First, Mortensen plays gay, which isn't the case in real life. The choice serves to heighten the conflict between his character, John, and his immigrant father. Second, it gives erstwhile action star Henriksen (Bishop in "Aliens") an unprecedented opportunity to actually act.

Now pushing 80, Henriksen already looked grizzled by the time he hit 40, and that quality — a raw Marlboro Man toughness written on his face and carved into his cheeks — serves the character well, extending to Willis' stubborn cigarette habit. He's similarly unfiltered in his remarks, taunting others with off-color quips about "Negros" and "fairies" and "whores" the way a mean-streak teen tosses cherry bombs, determined to provoke a reaction. "I promised myself I was not going to rise to the bait and engage in another big blowout," John says at one point.

The film doesn't give in to such grudges either, preferring a more oblique approach to revealing the source of the scars left by such parenting. If you don't count Willis' words to his infant son — "I'm sorry I brought you into this world so you could die" — the first sign that he's not the great father young John (Grady McKenzie) idealized comes when slightly older John (Etienne Kellici) overhears his mom (Hannah Gross) on the couch sobbing while listening to a recording of Chopin's Waltz in C Sharp Minor. (Mortensen composed and performed the gentle piano score.)

"Falling" isn't just about father-son dynamics; it's also reflective of Mortensen's relationship with his mother, who died relatively young. While it's a bit simplistic to imply that John, a "momma's boy," should grow up to be gay, it's clear Mortensen appreciates how difficult coming out would be for someone raised by such an authoritarian (pursuing an artistic career may have been similar for him, whereas John went off and joined the Air Force). The way Mortensen signifies John's homosexuality, by unabashedly kissing his Asian American partner (Terry Chen) in front of his disapproving and racist dad, makes no big deal of that identity but speaks volumes about the many off-screen arguments that have brought them to this detente.

Meanwhile, Henriksen portrays Willis as someone who, bitter in his old age, rejects John's help at every turn. It won't take a mental-health professional to recognize that Willis has control issues, which lends an added dimension of tragedy to his dementia. Mortensen elegantly, intuitively weaves past and present throughout the film, inviting just enough ambiguity for us to wonder whose point of view we're getting: Do these flashbacks belong to John, or are they windows into Willis' subjectivity — an attempt by the son to better understand his father?

"Falling" ends with a lovely scene that ought not to be spoiled here. Suffice to say, it pays off a question asked by Willis' adoptive granddaughter (Gabby Velis), revealing another character's final words and what was going through that person's head at the time. Mortensen also carves out a small but impactful role for Laura Linney as John's adult sister, who does her own version of walking on eggshells around the combustible Willis. It took long enough for someone to entrust a part as tricky as this to Henriksen, whose plunge pays off in Mortensen's sensitive hands.

'Falling': Film Review

Reviewed at United Talent Agency, Jan. 17, 2019. (In Sundance Film Festival.) Running time: 112 MINS.

Production: A Perceval Pictures, Ingenious Media presentation, in association with HanWay Films, Scythia Films, Zephyr Films. (Int'l sales: UTA Independent Film Group, Los Angeles.) Producers: Viggo Mortensen, Daniel Bekerman, Chris Curling. Executive producers: Danielle Virtue, Brian Hayes Currie, Peter Touche, Stephen Dailey, Peter Hampden.

Crew: Director, writer: Viggo Mortensen. Camera: Marcel Zyskind. Editor: Ronald Sanders. Music: Mortensen.

With: Lance Henriksen, Viggo Mortensen, Terry Chen, Laura Linney,, Sverrir Gudnason, Hannah Gross.

© Variety. Images © Sundance.


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Last edited: 16 February 2020 15:23:20