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Pictured: Johnny Solo as Gino and Ryan O'Callaghan as Jack Anderson in 79 Parts: Director's Cut - Photo Credit: Ari Taub Pictured: Johnny Solo as Gino and Ryan O'Callaghan as Jack Anderson in 79 Parts: Director's Cut - Photo Credit: Ari Taub

Film

Why you should watch Johnny Solo as Gino in ’79 Parts: Director’s Cut’

Photo Credit: Ari Taub

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Actor Johnny Solo gave a breakout performance as horse track race swindling, easy livin’ Gino in new comedy film, 79 Parts: Director’s Cut.

The following article contains minor spoilers for 79 Parts: Director’s Cut.

Every once in a while an actor catches your attention by playing a character that feels so true to life, it’s like a person you’ve already met. Johnny Solo’s performance in 79 Parts: Director’s Cut harkens back to raw, old school humor, the type you’d see in a 70s-era Israeli Bourekas film or even Jackie Chan’s 1978 picture, Drunken Master. The lovable, sort of lazy, creative hustler always looking to pull a quick ‘combina’ (fast one) instead of working. It’s a universal formula, we all know someone like this at some point of our lives… Yet, we can’t help but befriend them. For all his trouble, Gino spells excitement and opportunity in lead character Jack Anderson’s [Ryan O’Callaghan] life.

Sure Gino’s methods are gray area, usually less on the legal side but his confidence throughout the film is infectious. Simply put, you want to believe, and sometimes the quarter comes up Tails in life like he promised. Early on in the film, Gino’s pal Jack lets it slip that the race Gino bet on (and won) was fixed, leading to a viewer comforting chase scene by the other gamblers.

Pictured: Johnny Solo as Gino and Ryan O’Callaghan as Jack Anderson in 79 Parts: Director’s Cut – Photo Credit: Ari Taub

Comfortable in the sense that you can just turn your mind off and enjoy, no lengthy metaphors and allegories to ponder. The late night comfort food of cinema if you will. The appetizing chase instantly attracts curious onlookers, gazing over what you’re watching on the tube. The type to ask for just one fry but end up staying for the whole movie.

Johnny Solo’s character is defined by his body language and physicality. Mildly reminiscent of Seinfeld’s Kramer in the way he physically embraces those closest to him, arm on the shoulder and such… And has absolutely zero inhibition! He goes to the track with an obvious fake beard in tow, has no qualms about wearing risqué, silly clothing, or pilfering a stand for it. Gino is as gritty as can be and direct about his ‘me first’, often self-centered behavior.

Pictured: Johnny Solo as Gino in 79 Parts: Director's Cut - Photo Credit: Ari Taub

Pictured: Johnny Solo as Gino in 79 Parts: Director’s Cut – Photo Credit: Ari Taub

When Gino tells Jack he’s got another horse tip after Jack just got a very shady, risky loan from his uncle, he informs him, ‘It’ll help me… Okay, we’ll split it you’ll get something too.’ The selfish nonchalance of it all is what makes Gino a fun character. At the same time, you can tell he has the best of intentions for his friend, as long as it benefits him in some way first.

Even when Gino discovers his best buddy just got married to a girl named Anna, his first thought is why he finds out the info last. He’s relentless in trying to figure out if pal Jack has business with his uncle that he’s cutting him out of the loop from. During all of this, Gino is fully aware that he ‘kind of screwed’ Jack over prior but can’t help putting himself first.

Pictured: Johnny Solo as Gino and Daniela Mastropietro as Anna in 79 Parts: Director's Cut - Photo Credit: Ari Taub

Pictured: Johnny Solo as Gino and Daniela Mastropietro as Anna in 79 Parts: Director’s Cut – Photo Credit: Ari Taub

[Spoiler Warning:]

The delightful Italian accent of Anna played by another film standout in Daniela Mastropietro, perfectly compliments Gino’s vagabond roughness later on. Gino attempts to pull another fast one with a doctored wedding album to help his friend’s sham marriage out. However, Anna is not a fan, immediately sensing they’ll be caught and presenting a drawing Jack made instead. The smile on Gino’s face when giving the doctored photo album to immigration says it all. A total comedic contrast to Anna’s worry that she’ll be sent of the country. It’s what makes each scene Gino is in fun and wholly unpredictable.

[End Spoiler]

Likewise, Gino’s relationship with his uncle Dennis [Aidan Redmond] is what complete’s his arch. Despite Jack seemingly looking up to Gino, uncle Dennis sees him for what he is. Always reluctant to help him out and trying to figure out what his nephew’s angle is. One of the best parts of the film is when Dennis sends his nephew to dig randomly, without informing him what he’s digging from. Gino shovels aimlessly as punishment, unknowingly looking for a lost wedding ring. A wedding ring that Dennis’ wife Vera [Lisa Regina] demands be found, no excuses.

Johnny Solo’s character Gino is one you’d like to see again in a sequel or on a weekly TV sitcom. The kind of character where you’re curious what shenanigans they’re up to this week. That’s not easy to craft in any performance, comedic or not. Selling believability is an acting skillset not to be taken lightly.

79 Parts: Director’s Cut Film Trailer and Info

79 Parts: Director’s Cut is available now on Amazon, iTunes, Google Play, and YouTube.

Visit the 79 Parts: Director’s Cut official website for more information about the film which features Oscar nominated actor Eric Roberts and a landlord guest role by Sandra Bernhard. 79 Parts: Director’s Cut is a Safier Entertainment and Factory Film Studios film by Hit and Run Productions. The film was directed by Ari Taub with the screenplay / characters being penned by Mario Radosta along with Chuck McMahon and John Ramaine.

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Film

Carole Brana talks Sci-Fi film ‘On/Off’ and using vulnerability as inspiration

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On/Off star Carole Brana (Meredith) - Photo Credit: Florie Berger
Photo Credit: Florie Berger

The Natural Aristocrat spoke with ‘On/Off’ star Carole Brana (Meredith) about vulnerability as a source of acting inspiration in the silent void of space.

At the heart of every human fear is the beating truth of real possibility, just as actress Carole Brana’s Meredith discovers in On/Off. The Sci-Fi French short took film festivals by storm, amassing over 16 awards, and recently seeing its first public debut through DUST. The film’s easy attraction of maximum calamity and catastrophe in the helplessness of space, the new wild west, speaking to genre fans.

Then a timely film twist left them wondering about the future of technological depravity. How advanced civilization is doomed to search for a connection to the humanity they intentionally left behind. Meredith’s imprint of an aged voice message throughout the picture embodying the concept. A subconscious human need to cling desperately to an idea without even remembering its true origins.

Actress Carole Brana told The Natural Aristocrat it was through the power of vulnerability that she found inspiration to play the title’s lead, Meredith… Who watches her very spacecraft disintegrate before her eyes.

Interview with Carole Brana on Sci-Fi film short, On/Off

The Natural Aristocrat [Nir Regev]: As Meredith, you portray the ultimate vulnerability of space. Despite being fully shielded in your exterior, even minor objects flying toward you like a screw could spell the end. What do you look to as an actress to connect with this concept? Do you utilize sense memory and emotionally recall a particular point in your life where you felt similar vulnerability?

As an actress I need to use vulnerability as a source of inspiration. Vulnerability is often considered in real life as a weakness unfortunately. To play Meredith, I needed to mute the daily mental brainstorming and let things emerge organically. This is not about memory or recall, but about finding the limits inside myself, the failure to catch the light.

In the film, Meredith asks for the music to be turned off despite her plunging serotonin levels. Was she truly irritated by the music or did she want ‘the headache’ to continue in order to access the voice message memory in your opinion?

Excellent question! This moment is interesting because you have the choice. You, and only you can decide Meredith’s mood! So, I won’t tell you what I think and but I’ll let you choose which decision speaks more to you.

What went through your mind when you visualized the spacecraft disintegrating? The last refuge evaporating before your eyes…

This scene was very intense, I remember the vertigo of the soul. Something broke forever inside Meredith and I needed to make a step and jump in it.

What did it mean to you to be nominated for a Maverick Movie Award for On/Off for Best Actress in a film short in 2014?

I was very proud and very honoured to be nominated for the Best Actress Maverick Movie Award. It means a lot to me. I’m passionate about my job and to receive a nomination is a gift. I’m very proud that On/Off won the VFX Maverick Movie Award on 2014…

I’m very grateful to (Director) Thierry Lorenzi who gave me this opportunity, and very grateful to the technical crew. I hope to see this movie have a long life.

[Spoiler Warning]

Should it someday be possible to live on like Meredith as an android of sorts, would you just choose that for yourself?

I don’t know. Today I believe that life is a continuum of states and we haven’t explored all of the possibilities. But being an android is not really one of my goals!

Were you inspired by the replicas of Blade Runner 2049, HBO’s Westworld, Ex Machina, A.I. Artificial Intelligence or any other Sci-Fi work for the revelation that you’re a robot?

I’ve been interested in the Sci-Fi world since a very young age, so I’ve been watching a lot of movies, I’ve read a lot of books and I think I’m somewhat created by this culture. To play Meredith I decided to act like a computer. I used my body as machine with uploads, updates, bugs etc… So I proposed a machine reload more than a conscious revelation.

[End Spoiler Warning]

On/Off Film Premiere Trailer and Synopsis

Obsessed by a mysterious voice message, astronaut Meredith will face its paradoxical condition in order to stay connected to her humanity.

* For English Speakers: The film has English subtitles with French being the spoken language of the picture.

Be sure to follow actress Carole Brana on Instagram @carole_brana, Vimeo, and on her official website! Check out DUST on YouTube, Twitter, Facebook, and Instagram.

Visit the official DUST website to watch On/Off (no subscription needed) and other intriguing, curated, independent Sci-Fi films. Take a tour of the official On/Off website for more information about the short film by Director Thierry Lorenzi.

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Fear the Walking Dead

Fear the Walking Dead’s Frank Dillane to play role in upcoming film ‘How to Build a Girl’

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Fear the Walking Dead - Alicia Clark (Alycia Debnam-Carey) and Nick Clark (Frank Dillane) in Season 1 - Photo Credit: Frank Ockenfels 3/AMC
Photo Credit: Frank Ockenfels 3 / AMC

Fear the Walking Dead alumni Frank Dillane (Nick Clark) is set for a role in the upcoming film adaption of ‘How to Build a Girl’ by novelist Caitlin Moran.

Nick Clark may have departed Fear the Walking Dead fans early into the series’ much anticipated crossover event but Frank Dillane’s acting career marches on. The FTWD favorite is confirmed for a role in Director Coky Giedroyc’s [Harlots] movie adaption of semi-autobiographical, best-selling novel, How to Build a Girl.

Though Dillane’s exact character in the picture is currently unknown, the Protagonist Films comedy is set for release sometime in 2019 and in post-production. The script was penned by the original English novelist herself, Caitlin Moran, with Beanie Feldstein [Lady Bird] starring as lead character Johanna Morrigan.

Frank Dillane mentioned being “homesick” during a Fear season 4 exit interview with Entertainment Weekly, so it’s only natural his latest project would be an English-born feature! The Fear star’s last two films include Astral and Viena and the Fantomes, which featured a silver screen crossover with The Walking Dead’s Jon Bernthal!

‘Nick Clark’ is perhaps most well known to American cinema-goers as Tom Riddle (at 16) in the Harry Potter franchise and most recently as Henry Coffin in 2015’s In the Heart of the Sea.

How to Build a Girl Synopsis:

It’s 1993, and there’s only one way for a fat, bright, funny, working-class sixteen year old (Beanie Feldstein) to break out of her tiny, crowded house in Wolverhampton, and go on the somehow noble sex-quest she desires – to reinvent herself as swashbuckling, top-hat-wearing rock critic Dolly Wilde, and explode all over London.

The only question is – was Dolly Wilde the right girl to build?

How to Build a Girl features Alfie Allen [Game of Thrones] as John Kite, Emma Thompson [Saving Mr. Banks] as Amanda, Paddy Considine [Peaky Blinders], Sarah Solemani [Bridget Jones’s Baby], Sue Perkins [The Great British Baking Show] as Emily Bronte, Tadhg Murphy [Vikings] as Andy Rock, Laurie Kynaston [Cradle to Grave] as Krissi Morrigan, Chris O’Dowd [Bridesmaids], Joanna Scanlan [Girl with a Pearl Earring], and Bobby Schofield [Knightfall] as Pricey, among its cast.

Screenwriter Caitlin Moran has already released a sequel to How to Build a Girl’s novel last July with How to Be Famous, which also follows Johanna Morrigan but at 19-years old. If the film adaption of How to Build a Girl is a success, Frank Dillane might potentially reprise his upcoming role… One step at a time.

Check out what The Walking Dead’s Jadis/Anne has been up to with our exclusive Pollyanna McIntosh interview on Darlin’ at the NYC premiere during the What the Fest?! film festival.

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Stanley Kubrick

Barry Lyndon week: Handel’s ‘Sarabande’ duel music demands satisfaction

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Barry Lyndon - Directed by Stanley Kubrick - Lord-Bullingdon's Duel Challenge - Pictured (From left to right) Leon Vitali and Ryan O'Neal - Photo Credit: Warner Bros. Entertainment Inc.

Barry Lyndon’s iconic duel adaption of George Frideric Handel’s “Sarabande” by the National Philharmonic Orchestra is Kubrick artistry at its purist form.

The thumping beat of Barry Lyndon’s “Sarabande” duel music drapes over every part of the soul as your body tenses for challenge instinctively. There’s no fight or flight option to be found in the brick-by-brick tension of the theme, just fight. No placing the car on reverse, no hightailing to safer ground to better plan another day, no exit door. Barry Lyndon’s duel iteration of “Sarabande” represents one’s baser impulses when push comes to shove, inspiring focus and precision on the rival at hand. A situation without diplomatic resolution but demanding satisfaction.

“Sarabande” shares parallels with Edgar Allen Poe’s short story, The Tell-Tale Heart, in physically latching onto intangible, animalistic senses without touch. Except unlike Poe’s The Tell-Tale Heart driving its protagonist mad with guilt, Redmond Barry’s mind could not hold more clarity in the moment “Sarabande” plays. The film’s audience on the other side of the telly or in 1975’s debut on the silver screen merging with the protagonist as one. The nurturing buildup of a crescendo spelling demise for the fallen and greatness for the victor.

“Sarabande” Duel #1: Redmond Barry vs. John Quin

Barry Lyndon - Directed by Stanley Kubrick - Redmond Barry's Duel with John Quin - Pictured Ryan O'Neal - Photo Credit: Warner Bros. Entertainment Inc.

Stanley Kubrick’s Barry Lyndon – Redmond Barry’s Duel with John Quin – Pictured Ryan O’Neal – Photo Credit: Warner Bros. Entertainment Inc.

An instinctual wave of urgency envelops the viewer universally the first time Handel’s “Sarabande” plays in a slow burn. A duel on the horizon as universally relatable young upstart Redmond Barry challenges elder British army captain John Quin over his pilfering of Nora Brady’s hand in romance. The apple of Redmond Barry’s eye being taken by a higher status, richer male of the pack as he’s asked by family and friends to keep his protest under wraps. Yet, the dissent only grows until viewers arrive at the stage of no return for Redmond.

Surreally enough, the thought crosses your mind Redmond might actually meet his maker at the conclusion of the duel. Despite the fact the scene occurs fairly into the onset of Barry Lyndon… The plausibility of the scenario rains before your eyes. George Frideric Handel and the National Philharmonic Orchestra’s auditory wonder keeping you channeled into the moment. Fully immersed in what’s unfolding in front of you, on the edge of your seat. A Stanley Kubrick masterpiece.

“Sarabande” Duel #2: Barry Lyndon vs. Lord Bullingdon

Barry Lyndon - Directed by Stanley Kubrick - Redmond Barry Lyndon's Duel with Lord Bullingdon - Pictured Ryan O'Neal - Photo Credit: Warner Bros. Entertainment Inc.

Ryan O'Neal as Barry Lyndon – Photo Credit: WB Entertainment Inc.

The modern Shakespeare-like tragedy comes full circle when Barry’s step-son Lord Bullingdon arrives back on his mother’s estate demanding satisfaction. When Lord Bullingdon descends on the Lyndon estate and spots a disheveled half-asleep, presumably drunk Barry post-death of son Bryan Patrick Lyndon. “Sarabande” duel edition ominously plays as the true heir walks toward his rival. Lord Bullingdon prods Lyndon awake with an aristocratic cane, and speaks of the great shame no gentlemen experienced during Barry’s tyranny of his mother’s estate. The two soon become players in a duel standoff akin to a Ennio Morricone composed western.

Barry subtly finds himself in Quin’s position as the elder but when Bullingdon makes a hasty mistake with his first shot, he takes mercy on him. Shooting his pistol to the side, intentionally missing his step-son. Perhaps, expecting humbled respect in return or being unable to hurt Lady Lyndon further emotionally after countless acts of infidelity. Instead, Lord Bullingdon takes the second shot, forever crippling Barry and soon seeing him off the Lyndon estate. From riches back to the destitute streets he once emerged from.

Barry Lyndon - Directed by Stanley Kubrick - Lord-Bullingdon Duel - Pictured (From left to right) Leon Vitali and Ryan O'Neal - Photo Credit: Warner Bros. Entertainment Inc.

Lord Bullingdon vs. Barry Lyndon – Screenshot Attribution: Warner Bros. Entertainment

All through the thumping, imminent danger and challenge of “Sarabande” and its conclusive Harpsichord themed irrevocable sorrow. The natural order reasserting itself despite all of Redmond Barry’s perseverance, chapter after chapter. No escape. The man known as Barry Lyndon, a flirtation of a life of eternal fortune… Gone. Only Redmond remaining in Lyndon’s place.

The Barry Lyndon official soundtrack is available for purchase on Amazon. Track #11, “Sarabande-Duel – National Philharmonic Orchestra” is the George Frideric Handel adapted track featured in this article.

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