October 23, 2016
        Hollywood Contenders: New Oscar Predictions for October                Nicole Kidman, Hugh Grant, Naomie Harris, Lily Collins get Honors at 20th Annual Hollywood Film Awards                "Manchester by the Sea" leads the Gotham Award nominations                Tom Ford, Marc Platt and Kenneth Lonergan to be Honored at 20th Annual Hollywood Film Awards                Tom Cruise is in his action hero comfort zone with "Jack Reacher: Never Go Back"                "Moonlight" could be A24's big Oscar horse this year                Ewan McGregor steps behind the camera with "American Pastoral"                Hollywood Contenders: A second crack at Golden Globe predictions for 2016                "The Accountant" seeks to help give Ben Affleck another blockbuster                85 countries will be competing for Best Foreign Language Feature nominations at the Oscars                Tom Hanks to receive Hollywood Actor Award for "Sully" @ Hollywood Film Awards                "Certain Women" showcases Laura Dern, Kristen Stewart, and Michelle Williams                Ben Affleck is perhaps Hollywood's biggest and most diverse superstar                "The Birth of a Nation" looks to survive controversy and contend for awards                "The Girl on the Train" hopes to transport Emily Blunt to the Oscar race        

Bloom sings, Ruffalo directs in “Sympathy for Delicious”

PARK CITY, Utah–Orlando Bloom wants to make one thing perfectly clear: he will not be cutting an album even thumbs-up reviews for his pipes as the charismatic front man The Stain in director Mark Ruffalo’s edgy rock music-infused film “Sympathy for Delicious” premiering here at the Sundance Film Festival.

“I don’t think I’m going to be doing an album any time soon,” Bloom said Monday during a Q & A with the press at the Bing Bar on Main Street. “But I really enjoyed it. I really enjoyed wailing around, having a lot of fun.”

Bloom’s performance is only one element in the film’s appeal. The indie movie–actor Ruffalo’s first foray in directing–revolves around a script by Thornton, who based the story on his own life. Crippled in a motorcycle accident and left paralyzed in a wheelchair, Thornton sought out faith healers until he had to come to terms with his own humanity.

The film stars Thornton as Dean O’Dwyer, also known as “Delicious D,” an up-and-coming DJ on L.A.’s underground music scene. When he is crippled, he feels that his once-promising career is over. He ends up living out of his car, fighting depression, until he meets Father Joe Roselli (Ruffalo), who introduces him to the world of faith healing. While he discovers that he has he power to heal other people, Dean, through an odd twist of fate, can’t heal himself.

Using his newfound gift, he seeks fame and fortune by joining a rock band. Bloom is the charismatic leader of the band, Juliette Lewis plays bassist Ariel, and the manager is played by Laura Linney and Noah Emmerich.

Ruffalo said directing a film gave him an entirely different perspective than he has had acting in them.

“Those days were incredibly difficult,” Ruffalo said. “My experience in acting is totally the opposite head space than directing. In acting, you are totally focused on your character, what you want, where you’re headed in your story-line. As a director, you’re looking at the whole thing, how every little piece works. The acting is very myopic. Directing is a much greater scope, a vision that you’re attending to. AS an actor, I don’t know exactly how it changed me, but i do know that I put acting aside for awhile and would really like to focus on a career directing if I can cobble one together if anyone will let me do it….Acting to me is like being in love with a very beautiful woman who doesn’t really love you back.”

Lewis added: “I just want to say one thing about Mark, which was a discovery for me. I’ve worked with a few actors-turned-directors and he is so visual. It was so visually inspiring. That’s what makes him a revelation as a new director. There’s such a visual style of this movie that helps tell the story, as well as the characters and the dialogue. When you do low-budget movies–we were what, 23 days (shooting)–so you together make decisions on the fly….”

“…Cutting scenes, cutting pages,” Ruffalo interjected.

“…Yeah, and maybe not shoot it the way you intended.”

“…Move it to another location–I’m sick of this location, let’s move it around the corner.”

“…And we did this car scene and Mark would be all lit up and I loved it because half the screen is out of focus—you know, I’m out of focus and Chris is in focus. Do you know what I mean? Sort of breaking all these rules visually that you’re not supposed to do…I just love that kind of rule breaking in cinema.”

About Robert W. Welkos

Executive Editor: Robert W. Welkos is an award-winning journalist who covered the entertainment industry for 15 years as a staff writer for the Los Angeles Times. During this span, he wrote extensively about the movie industry from turmoil in the executive suites, the Academy Awards and Golden Globes, and box office hits and bombs to visits to movie sets as well as profiles of top stars and A-list directors, cutting edge features on the newest indie films and visits to famous film festivals like Sundance and Cannes. Prior to entertainment, Welkos worked as a reporter and assistant city editor in The Times’ Metro section where he undertook major investigations for the paper as well as covering breaking news and writing in-depth features. Before joining The Times, he worked for the Associated Press in Reno, Nevada, and City News Service in Los Angeles.

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