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Armie Hammer & Timothée Chalamet find love in Call Me By Your Name (2017)
Aloysius J. Gleek:
Luca Guadagnino directing Armie Hammer in his latest film Call Me By Your Name
http://www.independent.co.uk/arts-entertainment/films/features/call-me-by-your-name-luca-guadagnino-armie-hammer-timoth-e-chalamet-tilda-swinton-a-bigger-splash-a8017131.html
--- Quote from: Aloysius J. Gleek on September 11, 2017, 09:16:33 pm ---
Scene/Behind the scene--
(Bike Rides To "B")
https://fuckyeahtimotheechalamet.tumblr.com/post/151884075656/shooting-call-me-by-your-name-source
https://twitter.com/emorybrooklyn
--- End quote ---
--- Quote from: Aloysius J. Gleek on August 26, 2017, 02:13:49 pm ---
http://www.mynewplaidpants.com/2016/06/armie-is-still-taking-italy.html
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Aloysius J. Gleek:
https://twitter.com/GayTimesMag/status/917797174485897216
http://monetsberm.tumblr.com/post/166814315491/laterpeaches-gaytimesmag-in-a-world
http://www.gaytimes.co.uk/culture/89320/call-me-by-your-name-premiere-stars-right-time/
http://laterpeaches.tumblr.com/post/166811085843/gaytimesmag-in-a-world-exclusive-we-met-with
[youtube=580,450]http://www.youtube.com/watch?v=7uKlj8KBB6k[/youtube]
https://www.youtube.com/watch?v=7uKlj8KBB6k
Armie + Timothée:
Call Me By Your Name London premiere
Gay Times
Published on Oct 10, 2017
Armie Hammer and Timothée Chalamet speak to Gay Times
on the red carpet at the BFI London Film Festival for Call Me By Your Name.
http://www.gaytimes.co.uk/culture/89320/call-me-by-your-name-premiere-stars-right-time/
Exclusive:
Call Me By Your Name stars
on why the gay love story is timely
by Lewis Corner
15:44 10th October 2017
Although Andre Aciman’s novel Call Me By Your Name was released 10 years ago now, it feels like its big screen adaptation has come at just the right time.
Directed by Luca Guadagnino, the film is set in 1980s Italy, as 17-year-old Elio (played by Timothée Chalamet) embarks on a summer affair with 24-year-old doctoral student Oliver (Armie Hammer).
It has received critical acclaim ahead of its release, mainly for its powerful portrayal of first love and desire.
Gay Times caught up with the stars of the film – as well as its director – to speak about the impact it could have on generations of LGBT+ people to come.
“To bring voice to any sort of LGBTQ story is very powerful, because these are stories that don’t get voiced enough,” Timothée told us at the European premiere as part of the BFI London Film Festival.
“Certainly not a story like this one where there isn’t some sort of antagoniser or disease, it’s just a love story.”
The 21-year-old American actor added that its release feels timely in a year when LGBT+ rights and equality feels at threat.
“We’re in an era of intense socio-geographic divide, so to have a film that really is just a celebration of love in a boundary-less form, it feels like good timing,” he said.
Watch the video above to hear more from Timothée, as well as insight from Armie Hammer and Luca Guadagnino.
Call Me By Your Name will be released in the UK on 27 October, and in the US on 24 November.
Aloysius J. Gleek:
Sailing delicately between jolting musical transitions and subtle tiptoes toward the forbidden, “Call Me By Your Name” has arrived at just the right time. While nearly every nook and cranny of Western culture is fraught with harshness and judgment, Luca Guadagnino and his cast breezes in, reminding us that love can save the day. What the film accomplishes is nothing short of revelatory, a warm, generous (and long overdue) cradling that steps beyond the LGBT community and high into a universal arena.
https://www.huffingtonpost.com/entry/call-me-by-your-name-quenches-our-thirst-for-compassion_us_59d68c70e4b08ce873a8cc50
Call Me by Your Name
Quenches Our Thirst For Compassion
by Michael Raver
10 Oct 2017 04:29 pm ET
Timothée Chalamet and Armie Hammer in Call Me by Your Name--Whispers of steamy gay sex scenes and piercing performances from the cast.
When it premiered at The Sundance Film Festival earlier this year, Luca Guadagnino’s gorgeous drama, “Call Me By Your Name” sent droves of moviegoers into a ravenous frenzy anticipating its wide release. There were whispers of steamy gay sex scenes and piercing performances from the cast. All of this was proven to be true for audiences at The Berlin Film Festival in February and now the recent screening at the New York Film Festival has excited another wave of titillated new fans.
Based on the acclaimed 2007 novel of the same name by André Aciman, it’s the coming-of-age story of 17-year-old Elio Perlman (Timothée Chalamet), a musical prodigy who spends the summers on his parents’ Italian villa in the 1980s. When his father (Michael Stuhlbarg) welcomes the brilliant and hunky academic, Oliver (Armie Hammer) to stay for the summer to complete his PhD, the two young men form a passionate bond.
Sailing delicately between jolting musical transitions and subtle tiptoes toward the forbidden, “Call Me By Your Name” has arrived at just the right time. While nearly every nook and cranny of Western culture is fraught with harshness and judgment, Guadagnino and his cast breezes in, reminding us that love can save the day. What the film accomplishes is nothing short of revelatory, a warm, generous (and long overdue) cradling that steps beyond the LGBT community and high into a universal arena. Carefully paced against a heavenly Italian country backdrop, the film champions the ferocity of first love, first heartbreak and the longing over what might have been.
In Conversation with André Aciman
Egyptian-born Author André Aciman, who makes a brief but memorable appearance in the film, has been basking in the joy of seeing his masterpiece transition into a new medium, as well as the excitement of the narrative connecting with a new audience. His eight books, including his latest novel, Enigma Variations, have received vibrant praise from critics.
Are there major differences between the book and the film?
André Aciman: Yes. In the novel Elio and Oliver travel to Rome, and from Rome Oliver leaves for the States. They meet over the years. Many years. But one thing I learned from this movie—and from the way movies must necessarily differ from the written page—is that what matters most is that the emotional and the aesthetic impacts remain consistent. So you don’t need to see the passage of time to understand that something profoundly sad has happened to Elio. All you need to see is a boy staring at the camera while people in the background are setting the table. I was not wrong when I told the producers and the director that the end of the film was more powerful—hence better—than the way the novel ended.
Were you involved in the production at all? Did you have input on the script?
AA: I knew how annoying an author can be to a director and script writer. So I refrained from intruding. I had already had my say with the novel. Now it was their time to have their say. I would have said something, however, if I felt that the film was not faithful to the spirit of the book. But the film was incredibly faithful and consistent. I was very gratified to see that some of the key scenes were lifted almost verbatim from the novel itself.
What was it like seeing your characters enacted on screen? Were there any surprises?
AA: It was simply gratifying. I never felt that they were alien to the book. I never felt that “Gee, this is strange, this doesn’t feel like the story I wrote or the characters I wrote about.” Rather what I kept thinking—and maybe this was tickling to my ego—I can’t believe that the pages I struggled over on the Upper West Side of Manhattan during a very hot and humid summer could have generated this amazingly beautiful film filled with so much longing and beautiful characters.
Michael Stuhlbarg’s character, Professor Perlman, contributes hugely to the resolution of the story. What did you think of his take on the role and his handling of that particular scene?
AA: The father’s closing speech is better in the movie—even I was moved—than in my book.
How do you feel now that the film is starting to get awards buzz?
AA: I feel that the film is fantastic. It’s beautiful without being cloy, it’s bold and frank without being blatant or brazen, and it’s real, real about how love happens, how love alters us, how physical love needs to be, and ultimately how love stays sometimes forever. I couldn’t be happier.
In Conversation with Michael Stuhlbarg
As the star of HBO’s Boardwalk Empire as well as blockbuster films like Lincoln, Blue Jasmine and Doctor Strange, actor Michael Stuhlbarg has been making his way up the Hollywood ladder with quiet dignity. He’s an actor’s actor. His sensitive and funny turn as Elio’s father, Professor Perlman has, along with the two leads, garnered early awards buzz. “Call Me By Your Name” might be the project that catapults Stuhlbarg toward the A-list stratosphere.
How did this project come to you?
Michael Stuhlbarg: I was sent the script through my agent—and Luca, I was told, was curious to see if I might be interested in the project. I knew of, and was dazzled by his film, I Am Love, had always been a huge fan of James Ivory. I was unfamiliar with André Aciman’s novel, but was immediately drawn into the story—particularly so after learning how Luca wanted to shoot it.
What was the biggest challenge about the role?
MS: I think absorbing all of his given circumstances—a Professor of Latin and Greek scholarship with a passion for Art History and Archaeology, fluent in Italian, suggestions of a regretful past, a doting liberal loving father, generous, playful, who sees his son falling in love for perhaps the first time, a responsible concerned parent who wishes to maintain a respectful presence in his son’s life.
His perception of the relationship between Oliver and Elio is very tender. Why do you feel this is valuable for both the LGBT community (particularly young people) and the world at large to see this kind of parenting in the film?
MS: Perhaps Mr Perlman’s tenderness offers a loving voice of reason and compassion at a time when tenderness, reason, and compassion can be hard to come by. I find him a pure advocate of the human experience, whatever that experience may be for each of us.
Call Me By Your Name will arrive in theaters on November 24th.
Aloysius J. Gleek:
As for his own career, Luca Guadagnino makes the strange assertion that he has not had success: “I’m 46 and I don’t know if I’ve ever had success. I’ve had recognition which is a balm, it’s nice, you know when you feel sick and you drink something and it makes you feel better, but success, I don’t know. Success has made a failure of our home, it’s a great song, I’m always wary of that song and I always hear that song playing in my ear.” And he starts to sing a line from the song as if it is playing right at that moment as we are chatting.
http://www.independent.co.uk/arts-entertainment/films/features/call-me-by-your-name-luca-guadagnino-armie-hammer-timoth-e-chalamet-tilda-swinton-a-bigger-splash-a8017131.html
Call Me by Your Name
Director Luca Guadagnino on the film
everyone is talking about
Tipped as one of the favourites to win Best Picture Oscar, the Italian director’s new film stars
Armie Hammer and Timothée Chalamet, as two boys who fall in love in Italy over the summer
By Kaleem Aftab
@aftabamon
26 October 2017
Armie Hammer as Oliver (left) and Timothée Chalamet as Elio in Luca Guadagnino’s film Call Me By Your Name
Sometimes you never know where the voice of dissent will come from. Call Me By Your Name has been receiving rave reviews since it debuted at the Sundance Film Festival and is now one of the favourites to win the Best Picture Oscar.
So it was somewhat of a surprise when on the day before I meet with director Luca Guadagnino that James Ivory of Merchant and Ivory fame, and the scriptwriter of Call Me By Your Name, questioned why the Italian director didn’t show male genitalia in his adaptation of American author André Aciman’s novel about the sexual awakening of a 17-year-old in 1980s Italy.
It’s a position that has left Guadagnino baffled. “I am the least prudish director you can meet,” argues the 46-year-old. “I’ve been very precise in using the female and male body on screen to convey all kind of emotions. I thought that the display of nudity in this specific movie was absolutely irrelevant and I understand that for James it would have been relevant but that is his vision, what is clear is that we had no limitations on what we wanted to do.”
When Guadagnino asks, “Did you miss penises in this movie?”, the preposterousness of the whole debate is brought home. Ivory’s problem seems a hangover from the long production history of the film, that saw Ivory attached as director, then co-director with Guadagnino, who was first brought on as a locations manager before eventually taking on the director’s chair, as otherwise the film would not have been made.
But Guadagnino wants to make clear that it’s not the criticism of his film that bothers him, just the argument raised by the critic; “I’m happy to hear any kind of criticism if it comes from a place of intelligence and listening.”
Guadagnino is much happier when conversation reverts to the breakout performance of Timothée Chalamet as Elio, or how Armie Hammer, playing an American student who comes to Italy for a summer, delivers the performance that finally cements the promise he showed in The Social Network playing both Winklevoss twins, or Michael Stuhlbarg's beguiling turn as an academic.
Luca Guadagnino directing Armie Hammer in his latest film Call Me By Your Name
When I say Stuhlbarg reminded me of a Robin Williams character, the Palermo-born director chips in, “That’s lovely. Dead Poet’s Society.” Guadagnino says he wasn’t thinking about Williams when making Call Me By Your Name, but that “it clearly worked its way in”. He argues that this type of unknowing homage is the secret to his movies; “I think that movies are made from the unconscious of the filmmakers, not out of their ego. A good movie comes unconsciously to me.”
The film is shot in Crema, a city 40 minutes from Milan where Guadagnino works out of a 17th-century palazzo. And he says that as he made the film, he came to realise that he chose the location because unconsciously it fed into memories he had as a young man in the Sicilian capital: “It was like the echo from my dreaming of becoming an individual that was independent from the oppressiveness I felt in Sicily.”
But when I ask if there are elements of his own biography in Call Me By Your Name, he insists that there is not, everything is from the book. “I grew up in Ethiopia for a bit, and when we came back to Sicily I lived in an apartment in the centre of town, I never had a garden. I didn’t have the life you see in the film.”
His unconscious is clearly full of imagination. The Italian has made his mark in cinema, opera and fashion. As a filmmaker he garnered international acclaim for his extraordinary depiction of a bourgeois Milanese family in Io Sono Amore (I Am Love), made in 2009, starring his muse, the Scottish actress Tilda Swinton. She also starred as a voiceless rock star in A Bigger Splash (2015). In the high-end fashion world, he has been celebrated for his work making fashion films to go with collections in the luxury sector, starting with Fendi in 2005. Always looking to surprise, and reinvent himself, in December 2011 he made his debut as an opera director with Falstaff at the Teatro Filarmonico in Verona.
He has a motto for his work: ‘You always have to dare yourself, to do things that can sound impossible’. “I say this to all the young filmmakers that want to start their career: otherwise you are not going to hit the mark that you set yourself. Also greatness, it’s not just because of fame, and recognition, it’s greatness of soul. Tilda is a great person because she is open, she listens and she is curious.”
Another big influence on his career and work is Italian director Bernardo Bertolucci. Gaudagnino co-directed a documentary, Bertolucci on Bertolucci, in 2013 and he says that 1900 (1976) was a big influence on Call Me By Your Name. The five-hour-plus movie also features an unlikely and at times sexual relationship between two men, played by Gerard Depardieu and Robert De Niro, but it’s the scenes of the characters as children growing up in fascist Italy that particularly enamoured Guadagnino. The two directors have a strong friendship and when Guadagnino is editing a film, he always sends an early cut of the work to Bertolucci – who he describes as a hard taskmaster – to make comments on.
As for his own career, Guadagnino makes the strange assertion that he has not had success: “I’m 46 and I don’t know if I’ve ever had success. I’ve had recognition which is a balm, it’s nice, you know when you feel sick and you drink something and it makes you feel better, but success, I don’t know. ‘Success has made a failure of our home’, it’s a great song, I’m always wary of that song and I always hear that song playing in my ear.” And he starts to sing a line from the song as if it is playing right at that moment as we are chatting.
He’s wary also of being overpraised. A student of cinema, he says that he knows that the career of a director is a seesaw, sometimes up and other times down. He doesn’t want to make his decisions through a desire to get glory, rather to make films that would be fun, so that he can say something. He also wants “complete control over my work”.
So that seems to rule out the chances of him making a movie in Hollywood, but he adds: “If Toby Emmerich of Warner Bros would call me and say, ‘Luca, we want you to make a DC character movie and you can do whatever you want, you would have complete control’ – then of course I would be responsible and share ideas with them, but I would need complete control of what is made because then I can perform better.”
His next film, a remake of Dario Argento’s Suspiria, will see him reunite with Swinton for the sixth time, and her A Bigger Splash co-star Dakota Fanning. When he made Call Me By Your Name, he said he was thinking about how French auteurs like Jacques Rivette, Eric Rohmer and Maurice Pialat, would make the movie, but for Suspiria he is diving off the deep end, “I was thinking how would Rainer Fassbinder make Suspiria...?”
‘Call Me By Your Name’ is out 27 October
Aloysius J. Gleek:
http://www.telegraph.co.uk/films/0/luca-guadagnino-call-name-didnt-need-nudity-sexy/
Film
Luca Guadagnino on why
Call Me By Your Name
didn't need nudity to be sexy
Robbie Collin, film critic
21 OCTOBER 2017 • 7:00AM
“My theory about Italy,” says the Italian filmmaker Luca Guadagnino sunnily, “is that it’s intrinsically fascist.” He’s by the sideboard in his Claridges hotel room, preparing a cup of Earl Grey, riffing amicably while the tea leaves stew.
“We were the first in Europe to introduce fascism in the 20th century, the first to enforce racial discrimination by law in 1938, and the first to bring to power a billionaire oligarch – would you like a cup? – a billionaire oligarch who controlled the media.”
As the director of A Bigger Splash, the glittering Mediterranean sex thriller with Tilda Swinton and Ralph Fiennes, Guadagnino knows a thing or two about sinister undercurrents, and and he retires to the sofa, frowning quizzically, cup in hand. “Then later, of course, you have the Polish, the Hungarians, and now the American people with Trump. But we Italians have always been very successful in leading the worst."
Fascism makes an ironic cameo in Call Me By Your Name, Guadagnino's otherwise blissed-out new film, in which Oliver and Elio, a young Jewish-American academic and the 17-year-old son of his mentor and host, conduct a summer-long love affair across northern Italy. When the 46-year-old director was scouting for locations in Lombardy, he spied a glowering portrait of Mussolini in a courtyard. Recalling Jean Renoir's advice to Bernardo Bertolucci – "always leave a door open on set to let reality in" – he rented the place as-was, and wrote into the script an eyebrow-raising encounter of Il Duce.
"There is a strong Italian attraction to the idea that a man of order will save us," Guadagnino suggests, shifting in his seat. He's tall and rangy, with a professorial frizz of hair. "But Oliver and Elio are anything but men of order. They are boys of discovery. So for these two Jewish boys to bump into Mussolini in the height of there love affair, in a place close to where many people were killed" – Lombardy is home to Salò, once Mussolini's seat of government – "felt a bittersweet 'hello' from reality."
If you ever find yourself in a position to confuse real life with a Guadagnino film, count yourself lucky. I Am Love (2009), his international breakthrough, married Tilda Swinton into a Milanese textile dynasty, then had her beguiled by a hunky chef and his knee-trembling crudiité di gamberi. Next came A Bigger Splash (2016), which cast Swinton as a recuperating rock star on an island in the Med, with a young lover (Matthias Schoenaerts) in her bed and an old flame (Fiennes) and his Lolita-ish daughter (Dakota Johnson) in the wings.
A silvery thread of unease often runs through the glamour of his films, but Call Me By Your Name – an adaptation of an André Aciman novel – is Guadagnino's warmest, best, most open-hearted film yet. For years, though, it wasn't his to direct. He became involved when some American producers who "didn't know how to make a movie in Italy" got in touch. The great James Ivory, of Merchant Ivory, had adapted Aciman's book into a screenplay that he was to direct himself. Guadagnino's interest was picqued. "I was so adament to see a James Ivory movie from this book, because it would have been the movie of a great director in his 80's," he explains, before swerving into an impromptu analysis of his pleasures of "late-period" films. (Guadagnino is a ravenous cinephile, and was a film critic for Il Manifesto before crossing the poacher-gamekeeper divide.) But when it came to scraping together a budget for Ivory's lengthy shoot, "we couldn't do it," he says.
So Guadagnino, who was used to working quickly, took the helm with Ivory's blessing. After casting the young American actor Timothée Chalamet as Elio, he invited him to stay for a month-and-a-half to get the lie of the land around Crema, where Guadagnino lives in an apartment in a 17th-century palazzo with his partner of 10 years, Ferdinando [Cito Filomarino]. Ten days before filming, Armie Hammer, who plays Oliver, joined them.
https://www.yourcelebritymagazines.com/products/telegraph-review-21-october-2017-karl-ove-knausgaard-luca-guadagnino-niall-horan
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