Finds Much Common Ground With Film
By Ryan McLendon
NEW YORK (AP) --On Tuesday morning, just before the 2010 Academy Award nominations were announced, screenwriter Geoffrey Fletcher couldn’t get his TV to work. He scrambled to his computer and searched for the online broadcast of the nominations, his ears perking up for his name to be called.
He found a feed and waited. “After the first couple of names were mentioned, I somehow didn’t think mine would be,” Fletcher said.
Seconds later, Fletcher’s name flashed across the screen. He was stunned. He was nominated for best adapted screenplay for “Precious: Based on the Novel ‘Push’ by Sapphire,” the story of a semi-literate teen girl from Harlem in 1987 that has captivated audiences since the 2009 Sundance Film Festival.
Precious is physically and sexually abused from infancy by her mother and stepfather. After Precious becomes pregnant again, she’s forced to leave school, her mother demanding she go on welfare.
But Precious resists. She wants a better life, one filled with education and love. With the help of a devoted teacher at an alternative school and a caring social worker, she weaves a new life from the tatters of her previous one.
The film has been nominated for best picture. Gabourey Sidibe is a best-actress nominee, Mo’Nique, best supporting actress, and Lee Daniels, best director.
Fletcher finds much common ground with “Precious.” His struggle to enter the entertainment industry resembles her humble beginnings. And through dedication, they both found their true calling. “Precious” was the first screenplay Fletcher had adapted, a job he given to him by Daniels after viewing his mid-’90s 23-minute short film “Magic Markers.”
“I really didn’t believe him,” Fletcher said. “I had heard ‘no’ so many times over the years that I thought even if he meant it, he said it too quickly.”
Fletcher said he fell in love with “Precious” from page one.
“It was such a complete and fulfilling experience. I was just cast under its spell.”
Fletcher was drawn to “Precious” because the story touches on some many common threads that connect all people. The marketing slogan used to promote the film, “We Are All Precious,” was an apropos way for the audience to identify with a girl whose life, from the outside, seems unremarkable. It’s the commonalities, the dreams, the ambition and the hardships that kept the audience — and Fletcher — clinging to “Precious.”
“I love stories that have such specific characters and specific places, yet are about things that are so universal,” he said.
Fletcher loves Precious — the character and the film — because he understands being invisible, an overarching theme in the story. Before “Precious,” his career was largely off the radar in the entertainment world. “I was searching for my voice and my place in the film industry,” he said. “In large part, she reminds me of myself.”
Jennifer Kent On Why Her Feature Directing Debut, “The Babadook,” Continues To Haunt Us
"The Babadook," when it was released 10 years ago, didn't seem to portend a cultural sensation.
It was the first film by a little-known Australian filmmaker, Jennifer Kent. It had that strange name. On opening weekend, it played in two theaters.
But with time, the long shadows of "The Babadook" continued to envelop moviegoers. Its rerelease this weekend in theaters, a decade later, is less of a reminder of a sleeper 2014 indie hit than it is a chance to revisit a horror milestone that continues to cast a dark spell.
Not many small-budget, first-feature films can be fairly said to have shifted cinema but Kent's directorial debut may be one of them. It was at the nexus of that much-debated term "elevated horror." But regardless of that label, it helped kicked off a wave of challenging, filmmaker-driven genre movies like "It Follows," "Get Out" and "Hereditary."
Kent, 55, has watched all of this — and those many "Babadook" memes — unfold over the years with a mix of elation and confusion. Her film was inspired in part by the death of her father, and its horror elements likewise arise out of the suppression of emotions. A single mother (Essie Davis) is struggling with raising her young son (Noah Wiseman) years after the tragic death of her husband. A figure from a pop-up children's book begins to appear. As things grow more intense, his name is drawn out in three chilling syllables — "Bah-Bah-Doooook" — an incantation of unprocessed grief.
Kent recently spoke from her native Australia to reflect on the origins and continuing life of "The Babadook."
Q: Given that you didn't set out to in any way "change" horror, how have you regarded the unique afterlife of "The... Read More