Martin freeman, morena baccarin, and jason winer bring operacion de columna lumbar recuperacion us an ode to joy

The film takes place in new york city and focuses operacion de columna lumbar recuperacion on charlie (freeman) who suffers from cataplexy and the simple life he’s carved for himself due to his condition. He drowns out the sounds of revelry on the streets operacion de columna lumbar recuperacion with blaring classical dirges, works in a quiet library, and occasionally enjoys a slow turn around the carousel, but that’s about as joyous as he can get. So when the big energy of firecracker francesca (baccarin) enters his life, he can’t even begin to entertain the notion of falling in operacion de columna lumbar recuperacion love with her. He successfully pawns her off on his brother cooper (lacy) and watches in agony as their relationship blossoms. The new couple get the bright idea to set him operacion de columna lumbar recuperacion up with reclusive shy girl bethany (rauch), and everything would be fine if francesca and charlie could operacion de columna lumbar recuperacion only pretend they don’t have feelings for one another.

The movie is fun and sweet at times, yet also it’s apparent throughout that charlie is a bit of a operacion de columna lumbar recuperacion sociopath in the way that he makes everyone to play operacion de columna lumbar recuperacion the roles he needs from them to engineer his life operacion de columna lumbar recuperacion to his design. If you can look past that deviant sickness, it’s actually a touching film with several laugh-out-loud moments, some heart, and truly wonderful performances. Freeman and baccarin have a fierce chemistry and are a operacion de columna lumbar recuperacion joy to watch on screen, but it’s melissa rauch (TV’s “big bang theory”) who really steals the show. If for no other reason, watch it for “the cello scene”, which I had to bring up to both morena baccarin operacion de columna lumbar recuperacion and director/co-writer jason winer when I had the chance to speak operacion de columna lumbar recuperacion with each of them about the film.

Morena baccarin: it is essentially about a man who has cataplexy, which means he can’t get overly excited, whether it’s happy or upset, or he passes out. I play a very vivacious and excitable character named francesca operacion de columna lumbar recuperacion who comes into his life. It’s about two people finding one another and even though operacion de columna lumbar recuperacion the circumstances are against them try to have a go operacion de columna lumbar recuperacion at it.

MB: it was impossible, IMPOSSIBLE to keep a straight face. She was so good, and really with anything that she did. She had just done the scene at dinner with the operacion de columna lumbar recuperacion cat and I was just, if they’d cut to my face, you could see, I was dying trying not to laugh.

MB: I think it’s a great piece of a slice of life and operacion de columna lumbar recuperacion energy. I also think it’s very sweet and positive at a time when we operacion de columna lumbar recuperacion have just a lot of bad shit going on around operacion de columna lumbar recuperacion us. It’s a movie about love and happiness and finding your operacion de columna lumbar recuperacion jam, whatever it is.

MB: [laughs] wouldn’t you like to know? I mean, it was definitely me; I wouldn’t have been able to play it otherwise. But I definitely drew upon aspects of my childhood and operacion de columna lumbar recuperacion people around me, my family. I grew up in a very fiery and resilient environment operacion de columna lumbar recuperacion and that helped. But her vulnerabilities and her issues, the things she has trouble with, I think is a very common thread that a lot operacion de columna lumbar recuperacion of people have. The fear of losing people creates that sense of vulnerability operacion de columna lumbar recuperacion that finds you basically attracting people that you shouldn’t and whatnot.

EM: I want to go in the wayback machine and ask operacion de columna lumbar recuperacion about the miniseries “V”. I am a man of a certain age so I operacion de columna lumbar recuperacion remember the original when it ran and I loved the operacion de columna lumbar recuperacion revival. I didn’t really feel like we got an ending… what was your experience working on that show?

MB: it was really frustrating. I felt like we started off with something great and operacion de columna lumbar recuperacion we had incredible ideas about where the show was going operacion de columna lumbar recuperacion to go. We had about three showrunners who kept coming in and operacion de columna lumbar recuperacion out of the show and the network kept messing with operacion de columna lumbar recuperacion it and not allowing it to go where we wanted operacion de columna lumbar recuperacion it to go. It suffered from “too many cooks in the kitchen” and as it came to an end there it just operacion de columna lumbar recuperacion kind of petered out.

EM: yeah, while watching the film I thought I hadn’t ever seen you as this pure romantic lead before. There’d always been the action set-pieces and the sci-fi elements, the intrigue. Just to see you smiling and sweeping people off their operacion de columna lumbar recuperacion feet was a lot of fun and I hope that operacion de columna lumbar recuperacion we see a lot more of that in your career.

EM: one more thing that you mentioned: new york. Watching the film it’s such an essential backdrop that it’s basically another character in the film, much in the way that woody allen made it so operacion de columna lumbar recuperacion integral in his early work. How did it feel to add to that cinematic legacy operacion de columna lumbar recuperacion of such an iconic city?

MB: I love that. I really love new york, period. And I love when new york appears in movies. And it’s so nice to shoot somewhere when you’re actually in the city you’re supposed to be in. So often you’re in vancouver or some other city. Like, right now I’m shooting GREENLAND in atlanta and it’s set in atlanta, and that’s so refreshing to actually be in the place you’re shooting at. New york has a very romantic quality to it and operacion de columna lumbar recuperacion it really fits the movie.

Eric M: so we’re going to talk about ODE TO JOY which I operacion de columna lumbar recuperacion watched the other day and I already got to talk operacion de columna lumbar recuperacion to morena about it and she just had a blast operacion de columna lumbar recuperacion making it. So my first question would be “where did this movie come from?” how did you decide “that’s the movie I gotta make?”

Jason winer: well, I was introduced to this idea by mike falbo, he’s one of the producers. He brought me a “this american life” piece that they had done about this disease called cataplexy, which I had never heard of, which many people had never heard of, yet it affects 1 in 2,000 people, about 3 million people worldwide, so it’s not that rare. It’s related to narcolepsy but it’s triggered by extreme emotion, most notably in the case of our main character, happiness. When he feels very happy he can pass out. Well, to be fair, it’s not actually passing out; it’s muscle weakness that takes him to the point of operacion de columna lumbar recuperacion crumbling. So when I heard this I thought, and mike thought the same thing, which is I’ve never heard such an original reason why someone couldn’t fall in love. We both love romantic comedies but we believe that one operacion de columna lumbar recuperacion of the reasons they’ve petered out over the years is that we’ve sort of run out of reasons to keep people operacion de columna lumbar recuperacion apart, and this is one we’ve never seen.

JW: yeah, we knew the high wire act was we’re doing a comedy about a man with a disease operacion de columna lumbar recuperacion and we have to be very specific about the disorder operacion de columna lumbar recuperacion and respectful and have to strike a tone that is operacion de columna lumbar recuperacion at once funny but still human and resonant, so no one thinks we’re making fun [of it] and hopefully we pulled that off.

JW: well, I love comedy when it’s mixed with emotion so to me, my favorite actors are those that are equally adept comedically operacion de columna lumbar recuperacion and dramatically. And you’ve seen that from martin over the years. We had a very funny call with him early on operacion de columna lumbar recuperacion when we were first talking about doing this, and he, in his funny sort of demure british way, said “does anybody really want to see me do this?” and we were like “yes, martin! Yes they do!” and I think what he was talking about was like operacion de columna lumbar recuperacion in this role as a romantic lead. What we loved was that, despite how incredibly diverse his career has been, he hasn’t really been given the chance to play the romantic operacion de columna lumbar recuperacion lead in film. So, in that sense, finding him in the role in this film is surprising.

JW: yeah! Well, morena and I met many years ago, when she was doing “V” and I was filming the first season of “modern family”; we met at like an ABC event and expressed mutual operacion de columna lumbar recuperacion admiration for each other. And thankfully when this script got sent to her, she remembered me, and she was open to it and read it even operacion de columna lumbar recuperacion though we were offering her, like, zero dollars. And from the first meeting we were on the same operacion de columna lumbar recuperacion page about this character, and she loved the chance to mix together things she operacion de columna lumbar recuperacion had done throughout her career; the emotional capacity, say, of her character in “homeland” with some of the piss-taking banter she had in DEADPOOL but add to it operacion de columna lumbar recuperacion a kind of sweetness and lightness that she had never operacion de columna lumbar recuperacion done before. Certainly not as a lead in a movie. And I think it’s going to be an eye-opener as they look at morena.

JW: she does! She and martin connected so much. They’re both classically trained, and what that meant on this set was that no operacion de columna lumbar recuperacion two takes were ever the same. The two of them would always stay present and alive operacion de columna lumbar recuperacion in every take, of every scene, so that there was always a kind of a ping operacion de columna lumbar recuperacion pong of energy between them. So if morena would change this one subtle thing about operacion de columna lumbar recuperacion her performance then that would change the way that martin operacion de columna lumbar recuperacion reacted to her in that moment and so on down operacion de columna lumbar recuperacion the line. It reminds me of one of the scenes in the operacion de columna lumbar recuperacion film, and it’s one of my favorites, where she introduces herself to him in the library stacks. It all takes place in one take and we’re just observing the ping pong between them, and how uncomfortable and threatened martin’s character is by her vivaciousness. It’s super tense in a way that makes you laugh.

JW: [laughs] yeah, it’s not a lot. It’s martin. Martin was the only one who could, whatever he was doing in his mind to go to operacion de columna lumbar recuperacion a place dark enough to not laugh, he was the only one that could quite get there. Melissa is a comedic assassin. She’s so specific, both in the creation of the character and what she operacion de columna lumbar recuperacion wants to do in a given scene; it’s incredible. She begins the creation of every character with the voice. She finds the voice of the character. Once she knows how a character talks and their rhythm, then the whole thing comes out from there. When we first met about this, she said, “I know how this character talks.” she was described in the script as “she speaks so softly they can barely hear her.” she said “that tells me everything I need to know” and she built the character around that quality.

EM: one last thing: I’ve looked over your resume, jason, and you’ve done so much television, garnering so many awards and accolades, but not as much film. What about this project made you think it’s a silver screen ambition and had to be done operacion de columna lumbar recuperacion this way?

JW: I’ll tell you a story: I was in the editing room, working on this movie. After seven years of developing it, working on the script, trying to get actors attached, trying to get the money to get it made… and I’m sitting there, after having watched the assembly of the whole movie, and after seven years, for the first time, I looked at the film and I said “my god, this is about me!” and I hadn’t realized it until that moment, that this idea, this disease, it’s a metaphor for this thing that we all do operacion de columna lumbar recuperacion where we protect ourselves to the point that we never operacion de columna lumbar recuperacion want to experience emotion too deeply. That if allow ourselves to get too happy that it operacion de columna lumbar recuperacion means we’re opening ourselves up to sadness when it comes along. And I’m a person who stays even, which as a director is great on set, but in your personal life, staying even isn’t always the best thing, and it’s something I have to learn to break through and operacion de columna lumbar recuperacion get shaken out of. That’s what this character needs: he needs to get shaken out of his emotional flatline operacion de columna lumbar recuperacion through life. Hopefully it’s a theme that a lot of people can connect operacion de columna lumbar recuperacion to.

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