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  #601  
Old April 4th, 2011, 06:59 PM
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Ask Orlando A Question

http://today.msnbc.msn.com/id/261848...19683#42419683
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  #602  
Old April 6th, 2011, 10:48 AM
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I love this quote from Mark's twitter

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Orlando Bloom transforms himself in Sympathy For Delicious. The dude is a serious actor.
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  #603  
Old April 6th, 2011, 02:28 PM
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Now this is a cumpliment that will please Orlando for sure...and I agree with Mark,of course...I've always seen Legolas,Joe or Balian...not Orlando in disguise...
Ty for the info IC darling.
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  #604  
Old April 6th, 2011, 03:17 PM
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oh yeah, I so agree Lola. But we always knew he is a serious actor!
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  #605  
Old April 6th, 2011, 05:12 PM
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Thanks IC !

We all ready knew that XD But he's nice ^^
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  #606  
Old April 6th, 2011, 05:38 PM
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Yep, I agree Lola. He gets so absorbed in the roles. I think of Joe as Joe and not Orlando playing Joe. Same for all of his characters.
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  #607  
Old April 7th, 2011, 11:31 AM
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Another from Mark's twitter

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#sympathy4d press today was amazingly good. The media seems to have really got the movie and there were a lot of good discussions. Promising
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  #608  
Old April 8th, 2011, 02:33 AM
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A few pics from the SFD press junket

Source



Source

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  #609  
Old April 9th, 2011, 02:03 AM
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Thanks IC !

Even better ! This movie gonna be awesome !
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  #610  
Old April 9th, 2011, 05:46 AM
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Orlando, Mark Ruffalo and film critic Leonard Maltin at a Q&A:



http://twitter.com/#!/Mruff221

crossposted in pictures thread
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  #611  
Old April 9th, 2011, 06:46 AM
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Orlando looks so cute with that hat!
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  #612  
Old April 9th, 2011, 04:56 PM
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Thanks May !

With a crtitic ? That is really good thing !
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  #613  
Old April 14th, 2011, 09:02 AM
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From Mark's twitter

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I have sad news. I will not be at the April 29th Screening. I have to be at work on that day. Orlando Bloom will be there instead.
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  #614  
Old April 14th, 2011, 09:24 AM
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^ Awwww. Sad news indeed... No Mark, but Orlando... really, really sad...

*puts her "irony"-shirt off*



Thanks, IC!
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  #615  
Old April 14th, 2011, 11:20 PM
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ok... now i HAVE to go.
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Old April 18th, 2011, 09:06 PM
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Hey guys ! I just found this on their FB ^^ There is a part where is a review (in italic), but a QA at the end.

Quote:
I WANNA SEE YOUR HANDS IN THE AIR

Both actor and bona fide Hollywood star, Mark Ruffalo has made a surprising directorial debut with Sympathy For Delicious, a bold fable about religion and rock & roll, betrayal and friendship.



CHRISTOPHER THORNTON IN SYMPATHY FOR DELICIOUS.
While business how-to books will caution, “Never work with your friends,” for most in the film business maintaining friendships is key to both initial success and long-term survival. But of course, in movies, friendships can take many forms. There are friends, “friends,” frenemies and, most commonly, relationships, and usually a director relies on some of each for a film. But, both onscreen and behind the camera, friendships can be explored in deeper ways too. For Mark Ruffalo, a long-running friendship with actor and screenwriter Christopher Thornton provided both the impetus as well as, in some respects, the subject matter for his own directorial debut, Sympathy for Delicious.

After he was paralyzed in a climbing accident, actor Christopher Thornton thought he’d never act again. But, as Ruffalo says in the following interview, after Thornton’s physical rehab he and his friends immediately threw the actor into a production of Waiting for Godot as a form of artistic therapy. Taking longer was Sympathy for Delicious, which Thornton wrote based on his own post-accident experiences, exploring the world of faith healing. Thornton is “Delicious,” an underground turntablist who haunts downtown L.A.’s Skid Row. Ruffalo is Father Joe, a pastor struggling to make his parish successful at its mission of housing and feeding the poor. When Delicious suddenly accrues faith healing powers — his hands can cure the afflictions of others, although sadly not his own — he becomes a potential meal ticket to Father Joe but also to a rock star (Orlando Bloom) and manager (Laura Linney), who see his powers as nothing more than show business spectacle.

Morality play, relationship drama, capitalist fable and entertainment industry satire — Sympathy for Delicious boldly and indescribably dances between genres. It’s a completely surprising directorial debut from Ruffalo, whose performances in films such as Zodiac, The Kids Are All Right and Shutter Island have made him one of both Hollywood and the independent community’s most versatile and well-loved actors. Stunningly shot with bold compositions and chiaroscuro lighting by d.p. Chris Norr, the film resists the pattern of most indies, which boil their large themes over running times into smaller personal resolutions. Sympathy for Delicious heads the other way, crazily getting more thoughtful and provocative as it unspools. And, as their characters wind up antagonists in this story, Thornton and Ruffalo bring lifetimes’ worth of subtext to their scenes together.

Sympathy for Delicious is released this spring through Maya Entertainment




MARK RUFFALO DIRECTING ON THE SET OF SYMPATHY FOR DELICIOUS.
I don’t like to do interviews where the interviewer presents a thesis about the film and asks the director to respond, but in this case I am going to do that. [laughs] That’s cool.

And maybe I’m influenced by having seen your Q&A following the premiere at Sundance. But it seemed to me that the film is a product of — or is even about — a very complicated friendship. I never really thought of it that way. Christopher Thornton [and I] — our friendship is not that complicated. But whatever is in our friendship I think is in the film. There’s a lot of our history in that film. In a lot of ways, the film is emotionally and deeply based on our friendship and our experiences over a specific period of time.

So how did you and Christopher come together to do the film?
Chris and I were friends before he had his climbing accident that broke his spine. We were in acting school together. He was going to quit acting at that point, and a couple of friends and I weren’t going to let him accept that life choice. So, as soon as he got out of this state rehab facility, we threw him on stage in a production of Waiting for Godot.

Wow. And that was pretty intense. [laughs] We were probably closer to brothers, and he had a lot of resistance to embracing himself as an actor at that moment. He felt like he couldn’t really be an actor in a chair. He didn’t want to be known as an actor in a chair. And at the same time he was beginning to accept what was happening to him, he was also beginning to think of faith healing as an option.

As an option for him to —
To walk again. To get out of his chair. To fight against his fate. You know, the reason it’s called faith healing is because you have to have faith to get healed. [laughs] That’s part of how they sell you on it. If you don’t get healed then you didn’t believe enough. It’s part of this magical thinking thing. Somehow you’re blamed for the failure of the healings. And so he was going to these healing services. I had a lot of trouble with them personally, but I supported him in his efforts. He went to Christian, Catholic, Thai and even the more esoteric psychic [healers]. And he was doing all the alternative methods, of course, as well.

Was he a religious person before this?
No. He grew up in a Catholic household, like myself. But when the accident happened, he did turn pretty starkly toward his faith to help him get through it. He got a lot of comfort from that. As this was happening, he started to come to grips with the idea that as an actor in a wheelchair, there’s a limited amount of parts and material. And usually, when there is a great part for an actor in a chair, the guy who plays it gets up and walks to his limousine at the end of the day, you know? So he started throwing around this notion of writing himself a great part, which I thought was beautiful and proac- tive. I was constantly encouraging him to do that. He’s a gifted writer, and he would pitch me ideas. So, it was the anniversary of his fall — we used to always go to lunch on that day — and he pitched me. This was probably year four [after the accident]. He said he was really still struggling with it. So I said to him, “Maybe there’s a gift in all of this. I’ve seen who you were beforehand and I’ve seen what you’ve become — an immense human being. You’re an inspiration to a lot of people. And you might want to hit me in the balls for saying that.” And then he said something like, “**** you. You can be the saint in the wheelchair and I’ll be the ******* walking around.” And then he punched me in the balls. [laughs] But it was joking — we have that kind of relationship. Out of that conversation the kernel of Sympathy for Delicious started to be born. This idea that in life sometimes you get handed a bag of ****, you know? But in time life springs from it.

I’ll confess that I don’t know very much about faith healing. Were you interested in depicting this world realistically? Because there’s a quality of the film that’s almost like a fable. After watching it I wondered how much of the movie, whether it’s the world of turntablism or the faith-healing world, is based on research or observation, and how much has been deliberately abstracted into something more fable-like.
What we set out to do is take this totally fantastical thing and then just play it as real as possible. When you see these movies [about faith healing] usually, the ****ing lights are flickering, and there’s some CGI spiritual wind blowing through. [laughs] That wasn’t the movie that I wanted to make. And there are so many disparate tones in the movie and kinds of people — and some of the characters and situations are broad — that I felt the only way we could pull it off is to deeply ground it in as much reality as we could. So we spent days on Skid Row feeding the homeless. I sent Chris down there to live in his car for a couple days. We had all of the faith healing background from Chris’s experience, and then when we decided to make him a turntablist, we went out and found one of the great underground turntablists, DJ Disk. We brought him in, gave him the script and asked him what’s real in that world. I like to think of the movie as a modern fable, but I still wanted it to resonate with honesty in people. I think what a fable does is capture a universality, some aspect of being a human being. Hopefully you learn something from it. There’s a teaching to the story.

It felt like an emotionally honest film even as elements felt quite unlike real life.
I think it’s totally and completely fantasy. I would even venture to say that faith healing for the most part doesn’t exist. Do amazing, miraculous things happen for people? I haven’t seen it firsthand, but I hear people talk about it, and I want to give them the benefit of the doubt. I don’t want to think that they’re going out of their way to bullshit people. But as an industry, I don’t know if I buy it. We used it as a jumping-off tool to talk about capitalism, the com-modification of spirituality, charity and the gift of hardship.

Another theme in the movie is betrayal, which seems to be a common theme in many films that deal with some aspect of show business. Why do you think that is, and were you thinking of that theme when you made the movie? That’s interesting. There’s a capitalist system — and I’m not knocking it per se — but [betrayal] is inherently built into it. If you make money, have success and fame, you’re the highest aspirations of a culture. And you are going to run into a moment when somebody says, “Those things are more important than other human beings.” Those kinds of betrayals happen every day. That’s just part of doing business in America. People get thrown under the bus all the time. It’s not just in Hollywood; it’s happening everywhere. It’s just more dramatic and interesting if it’s done in a movie. Father Joe does the same thing. He is put in this incredibly difficult position. He has to sell something in order to get charity. Most charities are in that position. That’s the nature of a capitalist society: even with charity, you’re selling something. You’re selling tax breaks, you’re selling someone’s name on a charity. So, I was wondering, can [charity] really exist in a culture that puts money and fame above everything else? Father Joe is caught in this incredible predicament. What he’s doing is absolutely right and pure. He’s trying to help the poor, feed them, and build this homeless shelter. The system he’s working in leads him to do things that are amoral in a way, but is it amoral, really? It’s an interesting problem.

Do you think there’s an analogy there to art-making as well? Say, by the time a band like the one in your movie achieves their level of popularity, have they by necessity crossed that line?
You mean where they’ve sold out? I don’t know, it’s tough. You have to really be on guard to keep that [integrity] intact, through commerce and everything. And I think the quicker [success] happens the easier it is to lose [one’s integrity].

I’m presuming you had an extremely high degree of control over your movie. Obviously, you’ve got great, well-known actors in it, who I suppose are elements that a conventional distributor or producer would think are marketable. But, as we know, the film world is a tough one right now for challenging material. To extend this line of dialogue, was it difficult to maintain some of your ideas within this commodified world of film production?
If there is a miracle, it’s the miracle that the movie got made at all. [laughs] It’s about a paraplegic, and no one wanted to touch that, and they certainly didn’t want to touch it with a real paraplegic in the part. And they thought the Christian right would be offended by it. People didn’t want to talk about religion in a non-political, non-haranguing sort of way — like have a real dialogue about it, not talk at you but talk with you about it. And so when we were trying to distribute it, people were freaking out about those things. They said, “We love this movie, but we just don’t know how to market it. We want you to screen it for religious groups and see if it’s going to offend them.” We did do some of that, and oddly enough it didn’t, although some people said we were going to have problems because of the [swearing]. A woman who is a tastemaker in L.A. and a big part of the Christian community there in the entertainment world said, “I love this movie, and I think the message is right. It’s incredibly in line with Christ’s teachings, but I think it’s going to make many Christians have to question their lives.” There were moments when we were having a hard time getting distribution, and someone asked me to go through and cut all the swear words, drug use and sex. But then that’s not real anymore. Thank God I never felt like going down that road. But then again, it wasn’t totally my choice. My producing company, Corner Store, had a say in it as well. They said, “Listen, this is a special movie. And we’ll wait it out. It will find its place.”

Tell me a little bit about working with your d.p., Chris Norr, on the film’s visual style. What format did you shoot?
We shot two-perf 35mm on a Panavision camera. We had been told we could only afford digital, but two-perf gives you this beautiful 35mm grain pattern at half the price [of four-perf stock and processing]. You can only shoot 2.35, but that’s what we wanted anyway.

And how about coming up with the style of the film?
Oddly enough, we first went back to and looked at Renaissance paintings and early religious paintings. And we kind of settled on Caravaggio for the overall [visual] tone of the movie. That’s the perfect combination of realism and fantasy, or realism and iconography. We sort of came upon the phrase: we wanted it to be “rough and holy.” We wanted it to have a rough, gritty feeling but also feel like it was magic. Those paintings are illuminated from the inside; it feels like the light is almost coming from the people who are present in the scenes. When they’re in tableaux, their edges fall off, and the blacks are really saturated, the colors pop and the skin tones are real. When Dean gets busted and he goes to prison, I wanted a lot of headroom [to convey] the feeling that the human is so small in the system and the system is so big. At that point we locked off the camera and put it on sticks or a dolly and didn’t do any panning. We wanted to convey the idea that the reality he’s now in is solid. It doesn’t fluctuate. It’s not dynamic. And then we stay with that until he heals Rene at the end of the movie. And then we move back to that handheld, fluid camera. Chris and I talked a lot about this. He was a great collaborator. And we danced a lot — he’s one of the great handheld guys. He’s not afraid to let an actor break a frame. He’s not chasing actors. But at the same time, he knows where the magic is happening in the scene. I’d do a scene with the band and Dean, six or seven pages in one take, and I’d be right behind him with a clamshell [monitor]. We’d just be walking through the scene picking up the person who was hot at that moment. When you’re in a big scene like that, not everyone’s firing at the same time. I was literally right next to him the whole shoot. I never went back to the monitor. That’s a good way to stay away from producers, by the way, if any filmmaker wants to know.

Are there filmmaking values you learned from being on so many sets as an actor that you tried to bring to this film?
Yeah. I didn’t know how much I’d learned over the years until I was actually shooting — how much actual film school I’ve had through the past 15 years of working with really good directors. Someone who was really important to me when I first decided I wanted to direct a movie was Jane Campion. I was shooting In The Cut, and we’d become good friends. I told her about the film and said, “Can you give me some tips?” And she sat down with me for a few hours and literally went from Day 1 — what to expect, what to look for, what to do, what not to do. And because of the time constraints — this was a 23-day shoot — I found that the way that she worked also worked very well for me. She goes to where it’s happening and sort of builds off that. I love the way she works with actors, so she was a big inspiration. And the way Scorsese and David Fincher move the camera — there’s no one who moves a camera better than them as far as storytelling. And then there’s a smattering of other people. I definitely think Michel Gondry is a flavor in there. And Isabel Coixet too.

Well, the film doesn’t feel like anyone else’s film. Like I said at the beginning, it has a real psychic life underneath the more obvious narrative. I watched it a second time last night, and I was really struck by the subtext of your scenes with Chris. There’s something honest and unique about the relationship between your character and Chris’s. Thanks. Does it age well?

It does. Well, in a lot of ways it is as complex a relationship as I’ve had with anybody. I said it’s simple, but we have been through so much together. We’ve known each other for so long and worked on the script for 10 years. Tearing it down, putting it back together, and the relationship between a writer and a director, and his star — all of that is way outside a lot of normal relationships. And so when I say complicated, I do mean we’ve ****ing run the gamut. Through tragedy, death, brain tumor, paralysis, making a movie together, learning how to make a movie together, there’s a lot in there that’s reflected on the screen.
http://www.filmmakermagazine.com/new...-in-the-air-2/

Last edited by citygirl; April 18th, 2011 at 09:12 PM.
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  #617  
Old April 22nd, 2011, 09:17 AM
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Village East Cinema

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SYMPATHY FOR DELICIOUS - Q&A with ORLANDO BLOOM and CHRISTOPHER THORNTON
following the 7:55PM show
Friday, April 29, 2011


Full description:
Join us Friday 4/29 at the Village East Cinema for a Q&A with stars Orlando Bloom and Christopher Thornton.

Winner of a Special Jury Prize at the 2010 Sundance Film Festival and marking the directorial debut of Oscar nominee Mark Ruffalo, SYMPATHY FOR DELICIOUS is about wheelchair bound DJ Delicious (played by writer Christopher Thornton) living on the streets of Los Angeles. Things take a dramatic turn for Delicious when he gets involved with a punk band and, with the help of a local priest played by Ruffalo, discovers he has miraculous healing powers. The film features original songs from punk icons Omar Rodriguez-Lopez and Cedric Bixler actually performed by the cast, which includes Oscar nominee Juliette Lewis and Orlando Bloom. This gritty story about redemption also stars Oscar nominee Laura Linney and Noah Emmerich.
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  #618  
Old April 22nd, 2011, 09:39 AM
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From Mark Ruffalo on his Twitter page:
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Old April 22nd, 2011, 02:43 PM
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thanks for all this. Of course I had no doubt about Orlando's talent. It seems as if somebody else had that doubt. we didn't
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Old April 23rd, 2011, 12:05 AM
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An interesting interview with Mark and Christopher from the New York Times

Quote:
Two Old Acting Pals, Together on Film at Last

SOON after Mark Ruffalo and Christopher Thornton met as acting students at the Stella Adler Conservatory in Los Angeles, they were cast in a school production of “A Midsummer Night’s Dream.” Twenty years later both men still argue about Mr. Ruffalo’s performance one night.

“Ask Mark about lighting his shoelaces on fire,” Mr. Thornton suggested recently. “Onstage, during someone else’s monologue — my monologue. He’ll deny it up and down.”

He doesn’t quite. A few days later Mr. Ruffalo is digging into seafood stew in a cafe on Main Street of this upper Delaware River hamlet, where he has long owned property and, for the past several years, lived full time with his wife, Sunrise Coigney, and their three children. “Chris and I used to have a very strong competition with each other,” Mr. Ruffalo, now 43, recalled. “I had to find a way to upstage him during one of his monologues, so I may have lit my shoelaces on fire during the course of a scene. I just would never admit it to him.”

Pyrotechnic pranks aside, the two men became close friends, were roommates for a time, and this week will finally see the culmination of a decade-long struggle to make a film together when “Sympathy for Delicious” opens in theaters in New York and Los Angeles. With Mr. Ruffalo making his directorial debut and Mr. Thornton taking on screenwriting duties and acting in the leading role, the small-budget feature is set at the unlikely intersection of skid row, faith healing and rock ’n’ roll. It tells the story of a D.J., Delicious Dean O’Dwyer, who is left a paraplegic after a motorcycle accident. Depressed and homeless, eating his meals at a soup kitchen run by an idealistic priest (played by Mr. Ruffalo), the character becomes possessed with the ability to cure any affliction, except his own. It is a fantastical tale, one that sprung from harsh reality.

In the early 1990s Mr. Ruffalo and Mr. Thornton were trying to break in as actors, sharing a struggling actors’ flophouse in the Hollywood Hills, running a small theater company, taking auditions and working restaurant jobs. One day Mr. Thornton fell while rock climbing and fractured two vertebrae, leaving him a paraplegic. “Mark played a big part in my recovery,” Mr. Thornton, now 44, said. “About six months after the injury he came to me and said, ‘We’re going to do another play.’

“I told him, ‘I can’t do a play. I can’t even walk.’ But he wouldn’t take no for an answer. We ended up doing ‘Waiting for Godot.’ And it was a big hit and won awards. It kept me going.”

After years of theater work and small movie roles, Mr. Ruffalo appeared in the 2000 Kenneth Lonergan film “You Can Count on Me” opposite Laura Linney; Mr. Ruffalo’s film career blossomed. He quickly became known for inhabiting a range of roles, from a dark and sexually menacing detective in Jane Campion’s “In the Cut,” to a goofy pothead in “Eternal Sunshine of the Spotless Mind.” Meanwhile, Mr. Thornton was getting some work acting in a wheelchair, but he soon realized that if he wanted a substantial film role he’d have to write it for himself. When Mr. Thornton came up with the film idea, Mr. Ruffalo promised that he would direct. That began the 10-year process.

Finally, in 2009, after dozens of rewrites and Mr. Ruffalo’s surgery for a benign brain tumor that left him with temporary facial paralysis, a start-up independent studio named Corner Store added the final piece of financing. “Sympathy for Delicious” was scheduled to begin production with a budget of just over $3 million and a 23-day shooting schedule.

But there was another delay, prompting two stars to abandon the project. One was James Franco, who was to play an egomaniacal lead singer who enlists Delicious to join his band and exploits his faith-healing gift on a concert tour. The other was the actress who was to play the band’s amoral manager, a cynical promoter who christens the tour Healapalooza.

Mr. Ruffalo enlisted Ms. Linney for the band manager role. For the over-the-top singer, he found Orlando Bloom. “Orlando came to me,” Mr. Ruffalo said, “and he told me: ‘I really need to have this experience right now. I don’t feel like an actor anymore. I’m broken.’ I told him, ‘You’ll fit right in. Get to the back of the line. There’s a whole line of broken people here.’ ”

In late 2008 Mr. Ruffalo’s younger brother, Scott, a hairstylist, was found shot in the head in his Beverly Hills apartment. He later died. The coroner ruled the case a homicide, but there have been no arrests.

“I was grieving about my brother,” Mr. Ruffalo said. “I didn’t think I wanted to act anymore, honestly. After ‘Sympathy’ I realized I really loved directing. I thought, I’m going to scale my life way back, I’m sick of being on the road all the time, living in L.A., just trying to make ends meet there. I was ready to get the hell out. So we sold everything. I parted ways with my representation. Came here. I was going to start a new career.”

During his break from acting, Mr. Ruffalo didn’t exactly fall out of sight. He found a new role as an environmental advocate and lobbyist, lending his celebrity to groups trying to stop natural gas drilling from moving into upstate New York. “This is not some pet project for me,” he said. “I don’t plan on going anywhere. This is my home.”

But while the movie star tried to settle into small-town life, gardening and driving in his children’s school car pool, he was pulled back into the media glare after being nominated for an Academy Award for his role in “The Kids Are All Right,” his last part before a two-year hiatus. Recently he decided he was ready to act again, and accepted Joss Whedon’s offer to play David Banner, the Hulk, in “The Avengers.” Mark Ruffalo the director will have little time to celebrate the opening of his first film because Mark Ruffalo the actor is committed to rehearsals as the Hulk.

Still, the tug toward directing is strong. David Fincher, who directed the actor in “Zodiac,” loaned Mr. Ruffalo his editing facilities to cut “Sympathy for Delicious,” and the two men went through the film in a five-hour session that Mr. Ruffalo called a “master class.”

“Mark was up against it,” Mr. Fincher said. “He was trying to do something with an unbelievably small amount of money while acting and directing, having never been in that chair before. So he didn’t have practiced technique to fall back on. I was shocked at how generous he was able to be with his actors. He’s just innately good.”

Whatever his natural talents, his directing career is off to a somewhat bumpy start. He was surprised and stung by negative reviews of “Delicious” after screenings at the 2010 Sundance Film Festival, where it was awarded a special jury prize. “Is it the perfect movie?” Mr. Ruffalo asked. “No. Does it have its shortcomings? Yes. But I’m really proud of it for what it is — sincere and not cynical. We were going for the humor. Tonally, this film is like theater, which often makes you laugh when you’re uncomfortable — purposefully.

“My whole acting and now directing style is to have one foot on a banana peel and another foot in the grave.” And these days, no flaming shoelaces.
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Old April 23rd, 2011, 01:00 AM
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TexasGal TexasGal is offline
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Thanks, IC!
That is a wonderful interview.

But hearing that Orlando said that he was "broken", just about ripped out my heart.

But I have to remember that he said that a couple of years ago. Many very good things have happened in his life since then. And not just personally, but professionally as well.

Being given the chance to use his abilities in smaller movies started to mend him. Finding love helped even more. And baby Flynn is the super glue.
He will never be "broken" again. Bless his sweet heart.

On another note....

Lookee what I found on Amazon:
Quote:
Soundtrack
Sympathy for Delicious (Artist) | Format: Audio CD
Price: $16.77
This title will be released on June 7, 2011.


*Imagines being able to listen to Orlando sing to me as I drive to work every day*
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  #622  
Old April 23rd, 2011, 05:50 PM
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erendira erendira is offline
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Location: Watching the most beautiful sunset in the world...
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Thanks a lot IC for that interesting article...yes I suposse he's feeling much better now...
And thank you TG for the news about the soundtrack...it would be great to listen his voice singing in my mp4...
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  #623  
Old April 23rd, 2011, 09:42 PM
shenanyginz shenanyginz is offline
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=( broken???
Well he seems to be doing well for himself now!
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  #624  
Old April 24th, 2011, 02:15 AM
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citygirl citygirl is offline
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Thanks IC and Oleaf !

It broke my heart when I read this. Poor little thing ... I'm happy since that everything just seem to go so well for him. I want to see that movie a lot more ! His acting should be fabulous.
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  #625  
Old April 25th, 2011, 04:05 PM
northstar
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Mark Ruffalo (Sympathy For Delicious), Jamie Oliver (Jamie Oliver's Food Revolution), Latest Dancing with the Stars castoff on Jimmy Kimmel on the 26th of April.
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