Author Topic: Armie Hammer & Timothée Chalamet find love in Call Me By Your Name (2017)  (Read 231210 times)

Offline Aloysius J. Gleek

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https://www.screendaily.com/news/luca-guadagnino-plots-call-me-by-your-name-sequel-exclusive/5123280.article

      NEWS
      EXCUSIVE
      BFI London Film Festival 2017
Director Luca Guadagnino plots
Call Me by Your Name  sequel

by KALEEM AFTAB
13 OCTOBER 2017



“I want to do a sequel because Timothée Chalamet, Armie Hammer, Michael Stuhlbarg, Amira Casar, Esther Garrel--they are all gems."


SOURCE: SONY PICTURES CLASSICS
‘CALL ME BY YOUR NAME’


Director Luca Guadagnino is planning a sequel to Call Me By Your Name, which would be set seven years after the events depicted in his acclaimed adaptation of André Aciman’s 2007 novel.


The film stars Timothee Chalamet and Armie Hammer as 17-year-old Elio and 24-year-old American doctoral student Oliver, who embark on a passionate relationship one summer in the 1980s while both are living at Elio’s parents’ villa in Italy.

“I want to do a sequel because Timothée Chalamet, Armie Hammer, Michael Stuhlbarg, Amira Casar, Esther Garrel – they are all gems,” said Guadagnino during a sit-down at the BFI London Film Festival, where Call Me By Your Name played as a gala. “The texture we built together is very consistent. We created a place in which you believe in the world before them. They are young but they are growing up.”

Guadagnino added that his ideal scenario would be for the second film to be made for a 2020 release. “If I paired the age of Elio in the film with the age of Timothée, in three years’ time Timothée will be 25 as would Elio by the time the second story was set,” said the filmmaker.

Hammer’s character Oliver would be 31 in Guadagnino’s planned sequel – “which will be closer to the age that Hammer will be at the time”. The US actor, who shot Call Me By Your Name  when he was 29, will turn 34 in 2020.

In Aciman’s original book, Elio and Oliver meet up 15 years later in the US, where the latter is now married with a wife and children. Guadagnino didn’t reveal whether he wanted to follow that storyline (albeit in an earlier time frame), but did reveal that Elio would not necessarily be homosexual.

“I don’t think Elio is necessarily going to become a gay man. He hasn’t found his place yet. I can tell you that I believe that he would start an intense relationship with Marzia [Esther Garrel’s character] again,” he said.

Another attraction for Guadagnino is that the time frame would mean that the action in the sequel would take place around 1990: “It is the time of the fall of communism and the start of the new world order and the so-called ’The End of History’ that Francis Fukuyama established then. It would be the beginning of the Berlusconi era in Italy and it would mean dealing with the war of Iraq.”

Looking even further ahead, Guadagnino said that should a second film be successful, he could envisage Elio being his own career Antoine Doinel – the recurring fictional character Francois Truffaut featured in several films throughout his career, starting with his debut The 400 Blows  (1959).

“It would be that the screen and real life could talk to one another and it would be good to see how this evolves, which is what Truffaut did with Antoine Doinel. I think we can go there.”











Luca Guadagnino for Fantastic Man Magazine No. 26


"I think I'll make another film in the future about the characters in Call Me by Your Name.  I'd love to make a cycle of films based on them. How they grow up. Will they meet again? What happens when they meet again?"

Director Luca Guadagnino delivers an interview vérité in the new issue of @ManFantastic ahead of the worldwide release of his spectacularly romantic new movie Call Me by Your Name.


#LucaGuadagnino #CallMeByYourName
#FantasticMan #Cinema #Art #Culture #KarlaOtto


« Last Edit: October 14, 2017, 06:34:08 am by Aloysius J. Gleek »
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Offline Aloysius J. Gleek

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Luca Guadagnino is grateful for the effusive reaction. “I am constantly overwhelmed. We filmmakers can create an emotional bridge in peoples’ lives through the stories we tell and the elements we combine.”




http://observer.com/2017/10/interview-luca-guadagnino-on-why-call-me-by-your-name-makes-people-cry/




Director Luca Guadagnino on Why
Call Me by Your Name
Is Making Everyone Cry
By Stephen Garrett
10/13/17 7:30am



Rapturous ode to pure passion: Armie Hammer and Timothée Chalamet in Call Me By Your Name



Hollywood’s award-season prognosticators are busy divining the Oscar chances of prestige pictures like Christopher Nolan’s summer box office hit Dunkirk against festival darlings such as Guillermo del Toro’s Venice-winning aquatic interspecies love story The Shape of Water and unseen 800-pound gorillas like Steven Spielberg’s Pentagon Papers exposé The Post. Yet one movie has been quietly but consistently building a steady drumbeat of support: Luca Guadagnino’s Call Me By Your Name.

This swooning romance between 24-year-old grad student Oliver (Armie Hammer) and precocious 17-year-old Elio (Timothée Chalamet) during a hot Italian summer in 1983 won’t open in theaters until November 24, but it first unspooled way back at the Sundance Film Festival last January. And what a debut: festival director John Cooper, who introduced the film at its world premiere, actually started to cry just trying to describe it.

People have been breaking into tears ever since. And for good reason: Guadagnino’s film version of André Aciman’s 2007 novel is a rapturous ode to pure passion, an unfiltered look at love that has moved audiences at film festivals from Berlin to Toronto. Last week at the New York Film Festival, the sold-out crowd at Alice Tully Hall even gave it a 10-minute ovation.

Guadagnino is grateful for the effusive reaction. “I am constantly overwhelmed,” he told Observer during a late-morning chat after the film’s [Berlinale] premiere in the café of Berlin’s posh Hotel Adlon Kempinski. As to where all those tears are coming from, he puts it down to resonance. “We filmmakers can create an emotional bridge in peoples’ lives through the stories we tell and the elements we combine.”

Octogenarian James Ivory, the acclaimed filmmaker of A Room with a View and Howards End, whose 1987 film Maurice was a landmark in gay cinema, was slated to direct Call Me, but he ended up writing the script and co-producing, handing over the reins to Guadagnino mainly as a result of financial pragmatism (Guadagnino refers to his production as “micro-budget”). But the choice of the Italian director was inspired.

One of the tactile pleasures of the period setting is enjoying a defiantly analogue world: no cell phones, no computers, no electronic screens of any kind. “I was watching the movie again,” said Guadagnino. “And, even though I’ve seen it so many times, I noticed that they read so many books, there are so many books in the film.” But the director also pointed out that Elio is not the kind of person who would be fixated on social media anyway. “If we had shot the movie today,” he said, “I don’t think that Elio would use the cell phone to browse online and see if there were any boys around on Grindr.”

Since Oliver is there to study Greco-Roman antiquities under Elio’s professor father (Michael Stuhlbarg) and the focus is on education and intellectual pursuits, the story seems to revel in being immune to any outside current affairs—political, social, cultural—especially since Elio and his worldly parents seem so effortlessly tolerant and open-minded as they shift between speaking French, Italian, and English just as easily as the Lombardian sunlight flickers through the trees.

That polyglot sensibility soon becomes a polyamorous instinct for the virginal Elio, who initially seems more interested in pursuing the local girls until his mutual attraction to Oliver, initially masked, becomes increasingly apparent. In one 12-hour period, Elio finally loses his virginity: first by having sex with a girl, then later with Oliver—and, in the film’s most notorious scene, he even uses a peach to masturbate. “He’s burning with desire!” laughs Guadagnino. “And Timothée vibrates every muscle with desire.”

The most potent characters, unexpectedly, turn out to be Elio’s parents, peripheral players who watch from the sidelines with knowing glances. And by the end, they provide the emotional ballast for their son. His dad even delivers a remarkable father-son speech about true love that has had viewers thanking Guadagnino at post-screening Q&A’s. (It’s also more or less guaranteed Stuhlbarg an Oscar nomination for Best Supporting Actor.)

Although ostensibly a niche story about two gay men falling in love, Call Me has been garnering wider and wider interest. Does it have the traction to go mainstream? Maybe so, especially since Guadagnino’s intent was never sexual politics but simply to explore the nature of desire.

Armie Hammer spoke to this point during the New York Film Festival. “This film deals with locating, isolating, figuring out that thing inside of you and what it is,” he said at a panel discussion about the film. “And are you repressing it? Are you being healthy and integrating it into your life as a whole? Desire is a really powerful human emotion. And you see the fruition of how beautiful it can be in this situation. But I know that, if you take that desire and you don’t handle it properly, it can eat you alive.”

Guadagnino is equally interested in Elio’s journey of self-discovery. “I don’t know if he’s going to end up having a gay life or a straight life,” he said. “I think he’s going to be a man who is always going to be in wonderment of the unexpected delights that life and desire will bring to him. I really believe in that.”




Stephen Garrett is the former film editor of Time Out New York, whose articles on the movie industry have also appeared in Slate, Esquire, and Rolling Stone, among other outlets. He is also the owner of Jump Cut, a marketing company that specializes in making trailers and posters for independent, foreign-language, and documentary cinema.



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Cowboy Curtis (Laurence Fishburne)
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Offline Aloysius J. Gleek

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The film is on the side of disclosure, surrender and surviving the consequences. Elio’s father advises his son not to “make yourself feel nothing so as not to feel anything”. It never preaches control. Armie Hammer says quietly, as if it settled every argument: “The heart wants what the heart wants.”








https://www.theguardian.com/film/2017/oct/15/armie-hammer-timothee-chalamet-call-me-by-your-name-interview



The Observer
Hammer & Chalamet
Call Me by Your Name's
Oscar-tipped double act on their summer of love
Film critics are raving about the new gay romance. Armie Hammer and Timothée Chalamet
talk about filming in Italy, fathers – and their relationship on and off set


by Kate Kellaway
Sunday 15 October 2017 03.00 EDT



Side by side, looking relaxed, receptive, en rapport: Armie Hammer and Timothée Chalamet in Call Me by Your Name



When a film is as extraordinary as director Luca Guadagnino's Call Me by Your Name, you suspend disbelief. It becomes impossible not to imagine that its characters, 24-year-old Oliver (Armie Hammer), a doctoral student working for a professor of Greco culture in northern Italy, and 17-year-old Elio (Timothée Chalamet), the professor’s son, are not out in the world somewhere. You picture them now the film is over, continuing to live their lives and picking up the pieces after the devastating love affair that brought them together in 1983. For although we have arrived at a moment in cinema history where – at last – there are more remarkable cinematic accounts of homosexual love than ever before (Barry Jenkins’s Moonlight, Francis Lee’s God’s Own Country, John Trengove’s The Wound), this film occupies a subtle category of its own. It is an adaptation, by James Ivory and Walter Fasano, of André Aciman's 2007 celebrated novel, described by the New York Times  as “hot” and “a coming-of-age story, a coming-out story, a Proustian meditation on time and desire”.

On an ordinary, autumnal afternoon, it seems far-fetched that Hammer and Chalamet should be at Claridge’s in London, that they should be available for comment or that they should, after all, turn out to be actors. As the door opens on their hotel suite, it is Oliver and Elio I search for in their faces. Hammer, known for his performance as the Winklevoss twins in David Fincher’s The Social Network, is so good looking it is almost laughable – blond, sportily built, with perfect American teeth. What makes his performance stirring is the sense he gives of beauty as a trap. There is a restlessness about Oliver, subtle hints of unhappiness, as if he needed to disrupt his own veneer.

Chalamet looks like a streetwise romantic poet in big, black, lace-up boots, white shirt, burgundy velvet jacket. As Elio, he is bolshie, vulnerable, infatuated – no dandy. This is his breakthrough role and he is rightly being talked about as an Oscar contender (although Hammer is too). Chalamet, who has previously appeared in Homeland and Christopher Nolan’s Interstellar, is in Call Me by Your Name as intense as a Modigliani portrait – a dark, gangly, Jewish youth, a mix of inexperience, volatility and precocity. He can speak English, French and Italian. He plays the piano. He wins intellectual arguments. But he does not know how to cure a broken heart.














This film stays with you long after you leave the cinema, like a high-tide mark. It has already had ecstatic five star reviews from festivals, the sort most directors can only dream of, and has been described in Sight and Sound as a ‘ravishing evocation of romance’. (** http://www.bfi.org.uk/news-opinion/sight-sound-magazine/november-2017-issue ) The easy explanation would be to say it speaks to everyone who has been in – and thrown out – of love. But there is more to it. Guadagnino, who directed I Am Love  (2009)  and A Bigger Splash  (2015), sees it as the conclusion of a trilogy, although its links with its predecessors are tenuous: the first film involved a wild affair, the second a charged summer in an Italian villa, and Tilda Swinton, who starred in both, helped cast the third. Guadagnino calls the film a “homage to fathers”. He dedicates Call Me by Your Name  to “my own father and my cinematic ones: Renoir, Rivette, Rohmer, Bertolucci” and this is because Elio’s tolerant father, brilliantly played by Michael Stuhlbarg, offers his son a sentimental education in a single speech – the film’s trump card.

The actors sit in armchairs, side by side, looking relaxed, receptive, en rapport. Hammer, evenly tanned, has his feet up on a coffee table. His hands hang off the armrests like floppy paws. Chalamet is more contained. The film was shot in the summer of 2016 over four months, in the medieval town of Crema, Lombardy, where Guadagnino has an apartment in a crumbling palazzo, not far from where they were shooting. When Oliver turns up at the professor’s villa, he asks: “What does one do around here?” Elio replies languidly: “Wait for the summer to end. Read books, transcribe music, swim in the river.”

It is on the subject of summer romance that our conversation begins. Living in L.A., Hammer says, can feel like an endless summer holiday. “In that sense, all my romances have been holiday romances,” he laughs, but adds that his summer holidays were untidily defined because: “I dropped out of academia.” It is almost the first thing he volunteers – and it is impossible to miss his disarming insecurity, even though he is, on the face of it, as you would expect, more assured than his companion.

Hammer is married to TV journalist and former model Elizabeth Chambers with whom he has two children – a three-year-old daughter and baby son – and he has never been shy of talking about his wooing style. He simply told his wife-to-be to drop her then boyfriend. He explained that she was made for him, he for her. He tells me now: “My wife is four years older than I am – I’m sure she thinks I am an immature child.” Child or no, the man is direct – he has bounce. His approach to Chambers could not be more different from the film’s glancing courtship.

Chalamet has claimed to be working too hard for dalliance but when he was 17, the same age as Elio, he was gossiped about in connection with Madonna’s daughter Lourdes. With a little flash of a smile, he stresses that he has never had a summer of an intensity to rival the one in the film. Hammer interjects to admit that he has experienced heartbreak and then turns to Chalamet, who, at 21, is 10 years his junior, with a big-brother smile as if to egg him on to confession.











Chalamet sighs, leans forward, clasps his hands: “I have experienced heartbreak but not in a classical sense.” He feels nervously for the top button of his white shirt. “I have this sense of independent heartbreak, of annulling romances before they get their feet off the ground… with one girl in particular…” And then there is a long pause that might be the start of a story but turns into an emergency stop.

The film is set in the 80s, when coming out was harder, and Sayombhu Mukdeeprom’s seductive camera work is deliberately dated: a holiday snapshot, bleached and sultry. The casual corner-of-the-eye shots enhance naturalness, as if the cameraman were dreaming. There are no golden syrupy moments. This is to be a summer of love without fakery. Hammer has been repeatedly asked in interviews how the film compares with Brokeback Mountain  (still seen as a gay landmark more than 10 years on) and replies that there is no comparison. He makes it clear that gay love stories on screen are no longer the sensational exception and emphasises that Call Me By Your Name  is about desire in a universal sense.

It is the way in which desire between Oliver and Elio is choreographed that is the film’s greatest achievement. It is, in its way, as erotic as Blue Is the Warmest Colour – though less explicit (with the exception of the scene, singled out on the internet, involving a peach – forbidden fruit). But the film is at its most charged before anything happens, without words, before touch, with everything in the balance. How was that tension achieved?

“We had the luxury of three weeks together in advance of filming,” says Chalamet, “so were able to build this chemistry naturally. Sometimes, when you act with someone in an intimate capacity, you have to ask vulnerable questions to speed up intimacy – but that’s artificial.” Did you ask each other questions? “Yes, slightly,” Hammer interjects. “Yes, no, no…,” Chalamet laughs. “The point is there was no time constraint. I felt I knew Armie so well.” Hammer continues: “The film, unusually, was shot almost entirely chronologically and, with every scene, the intimacy built. It was like foreplay, where you know the excitement is coming and build slowly, slowly, slowly.” Non-verbal signals, he agrees, are the most powerful: “Ninety-eight per cent of all human communication is non-verbal.”

But this was also a film in which Chalamet had to speak English, French and Italian. He is bilingual because of a French father, but had to learn Italian and perfect piano pieces, every day for a month and a half, with teacher/composer Roberto Solci. But once the homework was done, before filming started, the actors were almost on holiday. They revel in the memory of Italian restaurants and Hammer puts in a plug for Via Vai, in Bolzone, outside Crema: “That it does not have three Michelin stars is a crime against the culinary world. It is the only restaurant where I’ve had an eight-hour lunch.” He wants “chef Stefano” to take a bow and renders himself speechless remembering the tripe, caviar and all. Chalamet confesses himself unable to compete, nominates Speranza, an alternative eatery, and apologises: “Armie has tremendous food culture. I just don’t have that.”











Chalamet comes from a showbiz family. His mother was a Broadway dancer (of half Russian-Jewish, half Austrian-Jewish extraction), his sister, Pauline, is an actress living in Paris, his aunt is the television producer and writer Amy Lippman and his grandfather the screenwriter Harold Flender. At LaGuardia, a stage high school, he learned to be “an open book when acting, to wear my emotions on my sleeve”. He sees acting as a “permission to feel”, but suggests it comes with “a sense of hyperbole”. He wonders why life refuses to imitate art: “In regular life, you might be looking for peaks and climaxes that don’t exist. The other day someone told me, ‘Just be patient!’ I loved that. I am only 21, figuring this stuff out.”

“I was an idiot at 21,” says Hammer and looks fondly at Chalamet, whom he regards as far more mature than he was at the same age. “When you are young you are unencumbered by any sense of knowing other people or yourself – you are free. But being young is confusing because you don’t have a barometer. There was a long period in my life of getting to know myself well.” He was a wild teenager. Did he really set fire to the school lawn by writing his initials in lighter fuel? He pulls a face, looks sheepish. Why was it he and school never got on? “I didn’t like the idea you went there to learn, but that if you asked questions it was thought disrespectful and wrong.” It is no secret his father almost disowned him when he left college to act, it has found its way on to his Wikipedia page. I tell them I want to know about their relationship with their dads.

Hammer blushes. “Timmy, do you want to start? I have to think about this.” Chalamet steps in obligingly: “I grew up in New York [Hell’s Kitchen, Manhattan]. I’m tremendously close to my father, he is a role model, one of the most generous people I know. He worked for Unicef. In a showbiz family, he is my rock. He reminds me of what is important: family and homeostasis.” Slipping a word such as homeostasis into the conversation is typical of this boy – he shares his character’s tormented articulacy. One of his favourite books, he reveals, is The Perks of Being a Wallflower  by Stephen Chbosky, “capturing the voice of a young person in a way that felt relatable”. He gave up a place at Columbia [University] after only a year to act. Did his parents disapprove? He hesitates: “My parents were not supportive.” Could he imagine having a conversation like the one Elio has in the film – unusually tolerant, intimate and insightful on the subject of falling in love – with his father? “Yes,” he says loyally.

Armie Hammer is named after his great-grandfather, chairman of the oil company Occidental Petroleum. Born in L.A., he grew up in a “half Jewish” family in the Cayman Islands. His father he describes as an “entrepreneur/businessman”. But being part of a mega-rich petroleum dynasty is not necessarily plain sailing. Was his relationship with his father testing? “Our relationship is great now. What my father impressed upon us is enjoyment of life. He is one of the most charming bastards you’ve ever met in your entire life. He is funny, gregarious, the life of every party, capable of breaking anybody’s outer shell. He loves adventure, free-spiritedness. He is a very big kid.” And there is a difficult side to that? “Sure – a flipside to every coin.” Could he imagine having a conversation like the one in the film with his father? “No,” he says, “no...”, like someone reversing out of a room at top speed.

I suggest to Hammer that what is wonderful about his performance is its restless depth. Oliver at times seems like a clown who has not settled in his own skin. He has a slightly baffling social bumptiousness. Chalamet nods enthusiastically and pitches in: “There’s so much going on with Oliver, particularly when I am sleeping and he is standing at the window – my favourite scene.” Hammer concedes that Oliver does “a lot of masking. Ostensibly, he is the bold one but it is Elio who is brave and who acknowledges what he feels.”











They admire Aciman’s novel but Hammer admits that it was, for him, not a straightforward guide because its subjective, first-person narrative belongs to Elio. He had to find a more objective, less “emotionally tumultuous” version of Oliver. Both men rave about James Ivory’s script. Ivory is, after all, a pioneer of homosexual love on screen – think back to his exquisite 1987 film based on EM Forster’s Maurice. But this script is altogether different – it has a daringly improvised feel. Hammer explains they were allowed to make small adjustments to it wherever necessary. He then volunteers – not in answer to any question – that his approach to line learning is obsessively diligent. If I have understood him correctly, he comes close to learning the script backwards. Through acting, it seems, he becomes the student he never was. The slightest struggle to remember compromises the freedom he needs to act. “I over-analyse every scene a thousand times,” he says. And only then he is ready to do the most important thing: “Let go.”

Chalamet meanwhile touches on the importance of doing the opposite: holding back, not squandering your best performance in unfilmed rehearsals (they tended to rehearse in the drawing room of Guadagnino’s palazzo). At this point, I can’t resist asking why they each gave up education for a profession of such insecurity? Chalamet replies, quick as a knife: “It is because of Heath Ledger in The Dark Knight,  Philip Seymour Hoffman in Death of a Salesman, Adam Sandler in Punch-Drunk Love, Denzel Washington in Fences  on Broadway…” So seeing other people act was the spur? “I saw The Dark Knight  when I was 12. I realised: I can’t not act.”

Hammer says: “I also knew what I wanted to do by 12/13 and was obsessed with film. Home Alone  made me think: making movies looks like so much fun. I’m a junkie when it comes to acting. When you make a movie, you get to do what you love, you get your fix.”

In the aftermath of this film, it seems certain neither actor is going to be deprived of a fix. Call Me By Your Name  should be as much a breakthrough film for Hammer as for Chalamet. He has been in Guy Ritchie’s The Man From Uncle  and performed with Julia Roberts in Mirror, Mirror, but not as yet become the A-lister he is cut out to be. He is about to play a “sociopathic CEO” in Sorry to Bother You, and is in On the Basis of Sex – “less salacious than the title would imply, about Ruth Bader Ginsburg, the US supreme court justice”. But there will be bigger roles to come. And it seems there is no stopping Chalamet. He is in Lady Bird, Greta Gerwig’s semi-autobiographical directorial debut, playing one of the boyfriends. The film is already getting standing ovations at film festivals and is out next year. He is also starring alongside Steve Carell in Beautiful Boy, based on David Sheff’s 2008 book about his son Nic’s methamphetamine addiction, and is shooting in New York with Woody Allen in an as-yet-to-be-named movie.

Now, as if to chime in on Hammer’s description of acting as an addiction, Chalamet explains that after acting in John Patrick Shanley’s Prodigal Son  in New York for four months and filming Call Me By Your Name  for three, he needed a month to “detox”. What does that mean in practice? “I try to stay away from industry-related websites and films. I have to pull myself together,” he says. “You have to reacclimatise,” Hammer concurs.

Do they mourn the end of their Italian summer? “Yes,” they chorus. They acknowledge there will never be another film like it. “It has been overwhelming,” Chalamet says. “It seems to have challenged people to be honest about what they are feeling,” Hammer says and then adds, visibly moved, that he received an email from someone who told him: “I saw Call Me By Your Name  and went home and came out to my parents.”

In the film, Elio’s mother reads a fairytale with the moral that it is imperative to speak out in life. But is that always true? “Yes, I think so,” says Hammer. “No, it depends,” says Chalamet. “It is tough. I’d look at motivation: are you speaking for yourself or because you couldn’t lead your life without the other person hearing what you have to say?”

The film is on the side of disclosure, surrender and surviving the consequences. Elio’s father advises his son not to “make yourself feel nothing so as not to feel anything”. It never preaches control. Hammer says quietly, as if it settled every argument: “The heart wants what the heart wants.”



Call Me By Your Name is released in the UK on 27 October












Photos added to this text taken from:





** http://www.bfi.org.uk/news-opinion/sight-sound-magazine/november-2017-issue


....But it’s far from all anxiety-ridden in the new issue, as we also speak to Italian director Luca Guadagnino about his exquisite coming-of-age love story Call Me by Your Name, about a passionate summer affair between two young men, played by Timothée Chalamet and Armie Hammer. Guadagnino tells Pamela Hutchinson why the film is a homage to the cinema he loves, and also discusses his great debt to his idol Bernardo Bertolucci.
« Last Edit: October 18, 2017, 05:41:59 pm by Aloysius J. Gleek »
"Tu doives entendre je t'aime."
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Cowboy Curtis (Laurence Fishburne)
and Pee-wee in the 1990 episode
"Camping Out"

Offline Aloysius J. Gleek

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ALSO FYI:


https://en.wikipedia.org/wiki/Festival_du_nouveau_cin%C3%A9ma

The Festival du nouveau cinéma (FNC) is an annual independent film festival held in Montreal and features independent films from around the world. Over 160,000 people make their way to Montreal to attend the prestigious festival each year. The festival is an Academy Award qualifying festival for short films. Founded in 1971 by Claude Chamberlan and Dimitri Eipidès as Festival international du cinéma en 16mm de Montréal (Montreal International 16mm Film Festival), the festival went through several name changes before adopting its current name in 2004.
"Tu doives entendre je t'aime."
(and you know who I am...)


Cowboy Curtis (Laurence Fishburne)
and Pee-wee in the 1990 episode
"Camping Out"

Offline Aloysius J. Gleek

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CALLMEBYYOURNAMEFANART
http://camikoz.tumblr.com/


by blue night



ZWISCHEN IMMER UND NIE
BETWEEN ALWAYS AND NEVER
L A T E R



CALLMEBYYOURNAMEFANART by blue night
http://camikoz.tumblr.com/




10/17/17 AT 9:05PM   241 Notes

Fan Art / Painting / blue night
#CMBYN   #CallMeByYourName   #cmbyn trailer   #cmbyn discourse
#elio  #elio perlman  #oliver  #ulliva  #peach  #laterpeaches 🍑
#timothée chalamet  #armie hammer  #andré aciman  #luca guadagnino
#book   #novel   #film  #movie  #gay movie  #sonyclassics   #lgbt
#art  #my art #artwork #artist #fanart










Obviously from:





« Last Edit: November 06, 2017, 03:29:35 pm by Aloysius J. Gleek »
"Tu doives entendre je t'aime."
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Cowboy Curtis (Laurence Fishburne)
and Pee-wee in the 1990 episode
"Camping Out"

Offline Aloysius J. Gleek

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"Tu doives entendre je t'aime."
(and you know who I am...)


Cowboy Curtis (Laurence Fishburne)
and Pee-wee in the 1990 episode
"Camping Out"

Offline Aloysius J. Gleek

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by blue night


CALLMEBYYOURNAMEFANART by blue night
http://camikoz.tumblr.com/



10/17/17 AT 9:05PM   241 Notes











by finny-red.tumblr.com











by @mellowbeat__















by zarubina.art
                       @fleurypower












by Keoning











by electra sinclair











                                     welcome to my place
by anqua.tumblr.com





« Last Edit: November 06, 2017, 03:23:28 pm by Aloysius J. Gleek »
"Tu doives entendre je t'aime."
(and you know who I am...)


Cowboy Curtis (Laurence Fishburne)
and Pee-wee in the 1990 episode
"Camping Out"

Offline Aloysius J. Gleek

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CALLMEBYYOURNAMEFANART
https://twitter.com/mellowbeat__


by @mellowbeat__

He had, it took me a while to realize, four personalities depending on which bathing suit he was wearing. [....] Yellow: sprightly, buoyant, funny, not without barbs--don't give in too easily; might turn to Red in no time. Green, which he seldom wore: acquiescent, eager to learn, eager to speak, sunny--why wasn't he always like this?






"We wasted so many days--so many weeks."

"Wasted? I don't know. Perhaps we just needed
time to figure out if this is we wanted."


The next morning we went swimming together.
It was scarcely past six o'clock.

"How are you?" I asked, mimicking his question
to me yesterday morning.

"You should know."






Call Me By Your Name  by André Aciman
Recited/Narrated by Armie Hammer




CALLMEBYYOURNAMEFANART by @mellowbeat__

https://twitter.com/mellowbeat__


6:52 AM October 6 2017 56 Likes

#CMBYN   #CallMeByYourName   #Elio #Oliver  #laterpeaches  #🍑
#elio perlman  #oliver  #ulliva
#andré aciman  #armie hammer  #timothée chalamet  #luca guadagnino  
#book   #novel   #film  #movie  #sonyclassics   #lgbt
#art #artwork #artist #illustration











by @mellowbeat__










my thoughts only
going nowhere

by @erkinaken











The next morning we went swimming together. It was scarcely past six o'clock. [....] Later, as he performed his own version of the dead-man's float, I wanted to hold him, as swimming instructors do when they hold your body so lightly that they seem to keep you afloat with barely a touch of their fingers. Why did I feel older than he was at that moment? I wanted to protect him from everything this morning, from the rocks, from the jellyfish, now that jellyfish season was upon us--




















The Semiotics of the Bathing Suit
https://en.wikipedia.org/wiki/Semiotics











by @CuZn34



He had, it took me a while to realize, four personalities depending on which bathing suit he was wearing. Knowing which to expect gave me the illusion of a slight advantage. Red: bold, set in his ways, very grown up, almost gruff and ill-tempered--stay away. Yellow: sprightly, buoyant, funny, not without barbs--don't give in too easily; might turn to Red in no time. Green, which he seldom wore: acquiescent, eager to learn, eager to speak, sunny--why wasn't he always like this? Blue: the afternoon he stepped into my room from the balcony, the day he massaged my shoulder, or when he picked up my glass and placed it right next to me.


Today was Red: he was hasty, determined, snappy.

« Last Edit: February 20, 2018, 08:01:27 am by Aloysius J. Gleek »
"Tu doives entendre je t'aime."
(and you know who I am...)


Cowboy Curtis (Laurence Fishburne)
and Pee-wee in the 1990 episode
"Camping Out"

Offline Aloysius J. Gleek

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[youtube=750,450]http://www.youtube.com/watch?v=f-cndgrgE9k[/youtube]
https://www.youtube.com/watch?v=f-cndgrgE9k
Although quite short at 30 sec.
I think the new UK  trailer seems
much more adult than the
earlier trailers shown previously--

Call Me By Your Name
At UK Cinemas October 27


Sony Pictures Releasing UK
Uploaded on Oct 17, 2017









https://laterpeaches.tumblr.com/post/166541710078/bowie28-call-me-by-your-name-uk-trailer
http://bowie28.tumblr.com/post/166541404810
"Tu doives entendre je t'aime."
(and you know who I am...)


Cowboy Curtis (Laurence Fishburne)
and Pee-wee in the 1990 episode
"Camping Out"

Offline Aloysius J. Gleek

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The Gotham Independent Film Awards are American film awards, presented annually to the makers of independent films at a ceremony in New York City, the city first nicknamed "Gotham" by native son Washington Irving, in an issue of Salmagundi, published on November 11, 1807. Part of the Independent Filmmaker Project (IFP), "the largest membership organization in the United States dedicated to independent film" (founded in 1979), the awards were inaugurated in 1991 as a means of showcasing and honoring films made primarily in the northeastern region of the United States.



https://gotham.ifp.org/







Nominations Announced
Thursday, October 19

Awards
Monday, November 27

Watch The IFP
Gotham Awards Online

Monday, November 27, 8pm

Exclusive Red Carpet Show
Begins 6:15pm




"Tu doives entendre je t'aime."
(and you know who I am...)


Cowboy Curtis (Laurence Fishburne)
and Pee-wee in the 1990 episode
"Camping Out"