Lovers Jump by Mark McCombe, starring Laurence Fuller

I've enjoyed a lot watching this atmospheric short directed by Mark McCombe, featuring only two characters from a family unit and their talk at a bridge.

Poster of "Lovers Jump" directed by Mark McCombe (2010)

Official Synopsis:
Peter (Laurence Fuller) is wracked with guilt after the death of his mother. He goes to Lover’s Jump bridge and decides that there is only one way to stop his pain.
After receiving Peter’s ominous phone call, his Aunt Sandra (Holly Clark) rushes to the bridge but can she change his mind before it’s too late? Source: www.napiernews.com

Interview to Lovers Jump director Mark McCombe:
-What training have you received?
-We always had a camera in our family. It was a bulky over-the-shoulder camera so I would pester my dad to allow me to use it; thankfully he gave in most times. One thing he used to do was put music to our home videos, which really had an effect on me; music and video is a powerful combination. Imagining ideas set around the foundations of a song, that’s what I love to do. I have a passion for music videos that I intend to pursue.

-What kind of projects attract you?
-A strong story that can draw the audience into the world I am hoping to create. It’s the backbone. You can have all the fancy equipment of a Hollywood studio, but without a good story you have nothing. When something excites me, ideas seem to be plucked from the air with no effort at all; that’s when I know its something special. It becomes part of my thinking throughout the following days and weeks.

-What’s the best advice you’ve been given as a director?
-Get out there and do it, regardless of what kit you have; you achieve nothing waiting around.

-Tell us the most significant moment in your career so far.
-I’m hopefully right at the beginning of my career, so completing Lover’s Jump was a great achievement for myself and for everyone else involved. Thinking back to when I asked Jenny [Wong] if she would mind me directing her script right through to completion then finally seeing people’s reactions has been extremely rewarding. From its very humble beginning it has blossomed into a project that shows off the talents of everyone involved.

-You’ll die happy when…
-I’d love to make the feature I have penned myself and see people enjoy it; a lot to ask but, hey, life is full of surprises. Source: www.moviescopemag.com

Laurence Fuller is a young, established method actor working in London. He trained at Bristol Old Vic Theatre School in 2007 after fellow alumni Jeremy Irons and Daniel Day-Lewis, similarly known for their physical transformation. After three years in British theatre and over twenty theatre productions, he became an international film actor at 21, with leading roles in such movies as Possession(s) and Cold Blood Kill.
Laurence Fuller (Lovers Jump) was under consideration for "a brooding misanthropic vampire" in The Twilight Saga: "Breaking Dawn" Part 1. Laurence was recently in the mix for lead roles in Pirates Of The Caribbean 4 (directed by Rob Marshall, starring Johnny Depp and Penelope Cruz), Spiderman 4 (the franchise reboot, directed by Marc Webb) and Vamps starring Sigourney Weaver for Ben Stiller's company Red Hour Films.

Laurence wraps as the lead on Saman Perera's Old Times, about a dysfunctional relationship which escaltes to a disturbing end, reminicent of modern day Revolutionary Road.
Lucy Luscombe and Laurence Fuller in Old Times

Having attended the Method School of acting in the UK, Fuller has put together an impressive acting CV in both theatre and in short films.
Still of Martin Scorsese in Boardwalk Empire

Laurence was up for a regular role of a gangster in season 2 of Martin Scorsese's Boardwalk Empire for HBO, produced by Mark Walhberg

Possession(s) is the latest of your short films. How would you describe it to Reelloop readers with no knowledge of the project?

Possession(s) is about the connection between a person and a work of art in a very real and un-glorified way. There are no singing angels or holy lights shining through the window. It’s not pretentious about the subject. It’s about a collector and his desire to possess not just this painting but the people around him and trade them like objects. None of the characters are without their flaws. Max Cullen said the script was very Chekhovian in that way, which was pretty savvy.
The film was launched to coincide with the sale of the famous Painting (Man With Bandaged Head) by Peter Booth on November 25th.

Read more about this up-and-coming actor in Source: www.laurencefuller.com

The Official Academy Awards Nominations Livestream

academyawards on livestream.com. Broadcast Live Free

Tune in on Jan. 25 at 8:30 AM EST/ 5:30 AM PST for the 83rd Annual Academy Awards nominations announcement.

Scans of Jake Gyllenhaal and Anne Hathway and spoiler scenes in "Love and other drugs"

Scans of Anne Hathaway and Jake Gyllenhaal in "Pantalla Semanal" (Spain) magazine via www.wetdarkandwild.com


Jake Gyllenhaal in Criativa (Brazil) magazine


A video featuring some scenes from "Love and other drugs" (2010), starring Jake Gyllenhaal and Anne Hathway. Warning: some spoiler scenes in it.

Duncan Jones: Jake Gyllenhaal is ridiculously handsome in a very hetero way

Jake Gyllenhaal as Jamie Randall in "Love and other drugs" (2011)

"Jake admits spending time with the man that inspired his character in the film was a unique experience. The star was certainly impressed with Jamie’s social skills, and found him extremely fun to be around.

“He would always grab somebody in restaurants. He would always grab a waitress and ask them where they were from and then I’d come back from the bathroom and he’d know their life story and someone they were related to, it’s crazy,” Jake told Cover Media.
Although Jake’s character in the movie Jamie Randall is fictitious, the Hollywood hunk did add in some of Jamie Reidy’s mannerisms. Jake was particularly taken with Jamie’s storytelling skills.
“There are so many things that are woven in from Jamie. I spent hours with Jamie recording him, picking up his rhythms, picking up his stories, learning his repetition, “I would give little things like he always goes ‘Really?’, it was a thing he always did in the middle of a story,” recalled the star. Source: www.musicrooms.net

Duncan Jones poses with his best British directoral debut award at the Orange British Academy Film Awards on February 21, 2010 in London

Duncan Jones: There was a couple of things. We had just finished Moon. I wanted to have the opportunity to sort of work out what it’s actually like to work on… not so much a Hollywood film, because this is not a studio film, per se, but I wanted to understand what it was like to work over here and through more of the system. Stewart and I, who’s my producer, we sort of did Moon all ourselves, and it was very much our project. We controlled everything. We made all of the decisions. And I wanted to sort of go through the process over here a little bit and have the chance to work with, you know… Jake was a huge draw to me because I’m a big fan of his. I think he’s a terrific actor. Also ridiculously handsome in a very hetero way, but he’s a good looking guy, and he’s a leading man, you know. He’s a leading guy and I wanted to sort of work with him. I thought it would be really exciting.

We had ended up moving very, very fast, and things came together very fast. And then we got Michelle Monaghan onboard, and Vera Farmiga, and Jeffrey Wright, all of whom were people I really sort of went out to get, and I was so excited when they actually agreed to be involved in the film. I mean I’m a huge Vera fan. I think she’s an amazing actress. And, you know, it’s a real thrill to work with her, as well as the others.
Question: In your own words, what is the movie about?

Duncan Jones: Well, let me tell you. It’s a thriller. It has a couple of science fiction elements, but it’s contemporary and it goes definitely beyond science fiction. It’ s much more, I think, open than that. It’s about a guy who wakes up on a train, doesn’t know how he got there, finds… you’ll see in the first few minutes…finds that he is not who he thinks he is. Let me show the first five minutes of the film and then we can talk about it a bit more.

Question: If I could just do one quick follow-up, when is the first trailer getting released, and when is Summit amping up the promotional end…
Duncan Jones: Love and Other Drugs.

Question: You said that there’s basically three parts to the film. Does that mean that we spend equal number of time or equal number of time in each of those sort of realms, if you will?

Duncan Jones: No, no. The limbo land is kind of the glue between the two main ones, which is the train and then there’s this other environment where Colter finds himself, somewhere that is totally alien to him that he’s never been before. So those are kind of these two main elements, and then the limbo land is what kind of joins those two, from him going back and forth between the two.
Question: Film versus digital and why did you pick which one?

Duncan Jones: We actually… I’m terrible at those kind of choices so we shot on both.[laughter] Source: collider.com

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"Wire noises came to me and a sharper crackling, thunder somewhere in the mountains"
-"The Lady in the Lake" (1943) by Raymond Chandler.

"I drove on past the gaudy neons ... Great double trucks rumbled down over Sepulveda from Wilmington and San Pedro and crossed towards the Ridge Route, starting up in low from the traffic lights... Behind Encino an occasional light winked... The big eight-wheelers and sixteen-wheelers were streaming north, all hung over with orange lights. No moon, no fuss, hardly a sound of the surf... But the coloured lights fooled you. The lights were wonderful. There ought to be a monument to the man who invented neon lights. So I went to a picture show." -‘The Little Sister’ (1949) by Raymond Chandler

"The cord was plugged into a black cable that wound along the side of the deep dark green boxes in which the orchids grew and festered. He closed his eyes, opened them again in a brief bright stare, and settled back among his cushions". "The Big Sleep" (1939) by Raymond Chandler.

In motion pictures, "alignment" describes the process by which spectators are placed in relation to the characters. The concept is akin to the literary notion of ‘focalization’, Gerard Genette’s term for the way in which narratives may feed story information to the reader through the ‘lens’ of a particular character: "I propose two interlocking functions, spatio-temporal attachment and subjective access, cognate with the concepts of narrational range and depth…” The viewer’s “spatio-temporal alignment” with Marlowe is constant in the film "The Lady in the lake".

"Whatever it is that you pick up from technical books, it is the lens in your mind that causes the camera's lens to see."-Anthony Dod Mantle, Tractatus 4. Wright’s Default View

After addressing the ‘Geach point’, philosopher Crispin Wright concludes: "The expressivist proposal flies rather further than is usually thought". Wright also considers another allegedly Wittgensteinian view, which he dubs “the default view”.

"The South Seas paradise with its electric waves and palm trees is inextricably bound up with the pinball machine it decorates, which is an element of the barroom, the barroom in turn being a piece of the larger whole, the city. -"Hardboiled America: The Masters Of Noir" by Geoffrey O'Brien

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2011 Oscar nominations stream LIVE

"Love and other drugs" financed by taxpayers support

'Love & Other Drugs' Portrait of Jake Gyllenhaal

Anne Hathaway and Jake Gyllenhaal in Entertainment Weekly

"Government subsidies for film and television productions proliferated in flush times as more than 40 states competed for entertainment work.
That has been enough to send a shudder through Hollywood, where producers have come to rely on taxpayer support for films like “How Do You Know,” “The Social Network,” “Love and Other Drugs,” “127 Hours” and many others. “If you take that away, I think production will leave the U.S.,” a producer, Brian Oliver, said. He is about to leave for Michigan and Ohio to begin shooting “The Ides of March”, a drama directed by and starring George Clooney that follows political campaign operatives on the road to the White House. Mr. Oliver said his Cross Creek Pictures, one of the companies behind “Black Swan” could not function without public money". Source: www.nytimes.com