BEST Interviews The Day After
by Rainer-Atlas Faustbinder
“Art. What is it? I fink it has somfing
to do wif da gays,” so boldly stated Ali G. True? I am not sure.
If not though, what is art? Tolstoy once posed this question. His
answer? A book. But he had no cinema. I mean, hell, it would have
been a much longer book had he. Nonetheless, does the cinema of
today fall into the category of art? Is it only good for escapism,
as my colleague stated in his capsule review of Fog of War? Is it here, as art, to remind you that you are better
than other people similar to the way we feel someone looking down
at us, the movie going public, from behind his nose? Has art a true
voice? These are all very good questions, and with the help of a
brilliant director, I will attempt to answer them.
Emmerich—does it ring a bell? If not, it should. He is the personification
of an artist using celluloid as his canvas. In light of his newest
film The Day After Tomorrow—which I must say looks
invigoratingly CGI’d—I thought that he would be the perfect person
to add to this issue of The BEST, as we here at The BEST love Hollywood
and the cinema it has been producing these past few years—especially
these past few months. He and his film will be holding the top spot
this coming Monday, after it opens this Friday. Have I seen it?
No. I just know these things. People can’t pass up a gem from the
mind that wrote and directed Independence
Day. Or, as I like to call it, ID4.
The trailer is the most exciting I’ve seen in years! Blizzards…fires…tornados...TIDAL
His previous film starred Christ. I mean God, the
guy who directed Christ. It was a little film with a meager box
office draw called The Patriot. Heard of it? Yeah that’s right.
Who else has he directed? Will Smith. Pow. Who else? Have you seen
a little gem called Universal
Soldier? That’s right. Dolph and Jean-Claude, action stars supreme.
Add Michael Pare to the list from Emmerich’s 1990 film—you may have
caught this one on Cinemax one night after two in the AM—Moon
I recently sat down with Mr. Emmerich and asked
him a few questions:
Me: Why do you think that you are so unknown
as a director?
Him (he’s from Germany—so try to read in
his accent): The public isn’t interested in that—or me. They just
want action. And who better to give them this than I? Would you
like some action?
Me: What? I just want to know why you are
Him: Well, it isn’t as if people—or even
I—subscribe to—or even believe in—the Auteur Theory or anything.
Film isn’t to make one think, and if you know who I am, then you’re
thinking too hard and my films aren’t for you.
Me: Neat. Do you consider yourself an artist?
Him: I just said no.
Him: In so many words.
Me: I didn’t hear you.
Him: Are you taping this?
Him: Rewind then.
Me: Can you just refresh me? Please…
Him: I suppose. I guess it’s that…that film
is for escapism, not art; you shouldn’t be forced to think at the
cinema. Why should you?
Me: Hey, I’m asking the questions.
Him: Carry on my young friend.
Me: Thanks. What so interests you about
the end of the world and men trying to save it?
Him: I think that mankind is amazing, and
men themselves make me hot.
Me: Interesting. What was it like working
Me: You know, Mel.
Him: Fantastic. He is terrific and sexy.
Almost as talented as Michael Pare.
Me: I hear that.
Him: I hope so.
Me: What’s next for Roland Emmerich?
Him: Well, I’ve had a film written by some
young men for me to direct on the pharaoh Tutankhamen. I may make
some changes though, as it is just a biopic film at this stage in
Me: What changes?
Him: Well, I’m thinking that Tut could come
back from his grave and try to recapture his former empire—which,
of course, no longer exists—so he decides that the free world (America)
is the best place to lay his piping. Think Mummy meets ID4.
Sound cool? I know. Check out the website, in any
of 15 languages (that’s how brilliant this guy is), for The Day After Tomorrow, and tune into the next BEST for my review.
I CAN”T WAIT!