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Old 06-29-2006, 05:52 PM   #1
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Default The Science of Sleep - Review Thread

The Science of Sleep - Review Thread



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US Theatrical Trailer http://pdl.warnerbros.com/wip/us/med...lr1_qt_700.mov
French Theatrical Trailer (click Bande-Annonce 2 - Anglais Sous-titrée) http://www.allocine.fr/film/video.html?cfilm=36287

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September 15th, 2006 (LA/NY), September 22nd, 2006 (wide)



The Science of the Human Heart

The Science of Sleep dreams of a wonderful fantasy universe

A Review by Tyler Foster
for The Following Preview


Dreams are curious things. Watching a dream probably would be like watching random thoughts pour out of your brain: things you thought, felt, and experienced over the course of the past day, the past week or even your entire life. What's most striking, however, is when you have a dream so powerful you wake up afterwards and all that's left behind is a jumble of half-understood emotions as the dream itself fades from memory. The Science of Sleep is more coherent than a reel of some random person's brainwaves, but it still recreates the natural but unusual stream of ideas, feelings and concerns and leaves you with a blast of emotions as the film's romance swirls within a whirlwind of consciousness.

Gael Garcia Bernal (of The Motorcycle Diaries) plays an artist named Stéphane who returns to France to take a job his mother (Miou-Miou) has landed for him. The job is horrible and artistically barren, and so Stéphane instead slips in and out of fantastic mental worlds of cotton balls and cardboard tubing (including a room wallpapered in egg cartons called "Stéphane TV", complete with TV cameras, a blue screen, spin art and windows with shades that represent Stéphane's eyelids). His neighbor, Stéphanie (Charlotte Gainsbourg) is intrigued by Stéphane, and so slowly the two of them get to know each other.

The characters are the heart of the movie. Unlike most movie relationships, which coast from point A to point B with only a hiccup in the middle (some silly misunderstanding), Stéphane and Stéphanie are not so simple. Gondry puts us in Stéphane's shoes, as Bernal (goofy but awkward), tries to figure out what makes Stéphanie (rough edged but sweet and understanding) tick. He builds a time machine that can only travel one second in either direction, but warns her that the results are subjective, it's just a machine. He dreams a giant, spidery typewriter crafting a well-written letter to Stéphanie, only to wake up and find that he may have scrawled an unintelligible version of the letter and stuck it under her door.

The Science of Sleep is both written and directed by Michel Gondry, his first project without reknowned head-trip writer Charlie Kaufman. Visually, the movie is stunning, bringing back his quirky, homemade style of stop-motion and cut-and-paste effects that was so prominent in his early music videos. His script, meanwhile (which contains at least three different languages, subtitles were neccesary), is more sympathetic, heartfelt and funny than Kaufman's neurotic, twisted style. Without the visuals, which bring Stéphane's visions to life, it would be hard to believe or care about his character, and writhout the wonderful script, the movie would have simply been an excuse for Gondry to showboat.

The Science of Sleep is dazzling, imaginative, funny and romantic. Romantic comedies are produced every year, but as the studios pump out formulaic, by-the-numbers love stories with happy endings and two-dimensional characters, they become more and more numbing to watch. Michel Gondry has fought back and created a visionary, personal work of art, and you can feel his influence on every frame without intruding into the lives of fully crafted characters. As Stéphane eagerly prepares a recipe for dreams, steam rising from the pot, it's easy to believe that it's really Gondry himself, dreaming of a romance he once had, eager to cook it up and share it with the world.

Stars (out of four): ****

Starring Gael Garcia Bernal, Charlotte Gainsbourg, Alain Chabat and Miou-Miou
Written and Directed by Michel Gondry
Warner Independent Pictures (2006) | 105 Minutes
Rated R for language, some sexual content and nudity
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Old 06-29-2006, 05:54 PM   #2
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An Interview With Director Michel Gondry



Michel Gondry: Hold on, you need to push the microphone, it pops up, somehow...there.

Tyler Foster: Have you been to Seattle before?

MG: Yeah, I been a bunch of times. Let's see, once was for wedding, and I was here for, it was Charlie Kaufman, to promote Eternal Sunshine.

TF: I notice your movies and your music videos all have a circular, mathematical logic to them. Is this something you shoot for?

MG: Yeah, very much so, I like mathematics. Not that I was really good at it, I was good at geometry, I liked the thinking of mathematics, and I like to try to find patterns in nature, and in life and in storytelling as well. I like to find shapes in the storytelling, try to represent the flow, the continuity of the story as a graphic, and actually I always did sort of a map of the movie before I started to shoot.

TF: Was the movie written in all the many languages its' performed in or did that happen when you were shooting?

MG: Ah, initially, I wrote it in French, and then in American, in English, and then I did a version with the two languages together.

TF: I mean, say, you cast Gael Garcia Bernal, did his character speaking Spanish come from casting him, or...

MG: Well, yeah, it came from casting him, but I cast him like one year before we started to shoot, so I had time, all this year. I worked on the last draft, having him in mind, and we knew, Miou-Miou, that, we knew she played his mother, we knew she didn't want to speak English, and we said, "Okay, with her, he's going to have to speak French." Sometimes obstacle like that, like, you get an actress you really want to work with but she refuse to speak English, so we have to make it work, but sometimes it's for the best of the project, because it made it good that he has to speak with her in French, it makes it really makes sense for the story. And so, I had to resolve these issues, but I tried to make it believable as possible.

TF: Is this related to why you decided to shoot it in France, because your other two films have been essentially American productions.

MG: Yeah, it's a French production, it's because it's really personal, and I wanted to have the background I knew. Like, for Eternal Sunshine, I did three months of research around New York to find how people live, and to make it real. And this one, I didn't want to spend this time, and I really want to make it from what I had in mind originally. So we actually end up to shoot in the building where I used to live ten years ago, two floors above, and all the streets of the location, I know them, so it saved a lot of time, and as well, I wanted to have this emotional thrill, when you come back to a place you've not been for awhile, and you come back there, and you feel something, and I wanted to take advantage of that.

TF: Again, leading in, is this why you decided to use more of your "homemade", physical effects and prop gags and stop motion instead of CGI, because you used a lot of CGI on Eternal Sunshine.

MG: Well, I suppose...I'm doing a video for Beck now, it's going to be a lot of computer effects, but we have done some effects as well in the camera, and for this, The Science of Sleep, especially since everything like, Stéphane's creation or Stéphanie's creation, I think it makes sense it's all handmade, because I don't want to feel when you watch the film, you think you are going into the world of a crazy art director or director, you're just going into Stéphane's world. If you assume Stéphane is me, then you're going into my world, but before all you're going into Stéphane's world, and the different landscape of the dream could be all different, or contradrictory, [but] they all match, because you feel he made them himself, it was important for me. Even though I was not really aware of this element, it was important that it was his production.

TF: Had you written Charlotte Gainsbourg's part for her?

MG: Ah...the part was written for someone I knew, and I knew by hiring Charlotte, it would bring some humanity, because it could have been a harsh...with some other actress, could have been much harsher, and I didn't want this character to come off as being unfriendly, and I think Charlotte brings so much humanity, and it's interesting, I didn't give her direction in the sense of...I didn't know if Stéphanie is in love or not with Stéphane, and I told her, "I'm not going to tell you, because I don't know it, so I give you the dialogue, and you make the intention you want." Obviously, I gave her some direction, but overall I would not say what was in her mind, and I asked her many times, "Well, do you think she likes him?" Obvious, I was taking it for me, but at the end she says, "Of course she loves him," so I was happy, but I think she was talking more about Stéphane Gael than Stéphane Michel.

TF: Do you know when we'll be seeing an American trailer for the film?

MG: Oh, the first one, it's going to be in the coming weeks. It's coming out very soon. And there's going to be a website, called www.howdoyoudream.com, and we're going to ask people to share their dream, and I'm going to do a journal of my dream, with my videotape, and I'm going to explain them in my own way. And I did interviews with people, I did interview with Beck, and he told me his dream, so it's going to be fun. It's going to be related to the film, but not completely directly, we're trying to create a community website.

TF: Moving onto some of your other projects, how did Dave Chappelle's Block Party get made? Did Dave talk to you, or...

MG: Well, lately we're joking around, we are doing some festival together, and he said, he tried to call Spike Jonze, so then, because he wasn't available, he asked me, so I was not serious and I joke I want to do a documentary with Chris Rock but he wasn't available so I asked him. But we had the same agent, and when he saw my DVD he was a fan, and when I saw his TV show I was a fan, and as much as we are different, we have a lot in common in the creative process, and as well, he, suppose, at an adequate place, he wanted to give back to the people who helped him with the show, because all the musicians came to play on his show when he was nobody. Now he was becoming a big star, he wanted to give something back to them, and I liked his suggestion so I wanted to be part of it.

TF: Speaking of that, what do you think is the most rewarding thing you've gotten out of your relationships with your constant collaborations with Bjork and The White Stripes, and would you ever do a film with them, whether that's a fictional film or a concert film like Block Party?

MG: Yeah, I think so, I have a project I wrote for The White Stripes, and then it was put on the side, and it was a biographic project, and basically, I was really happy with the project, and I hope it's going to happen someday. I wanted to interview them, with a stage, with some people re-enacting what they're saying, and we would bring more and more props, and I would have two actors to play Jack and Meg, and Meg and Jack would be there to play their music to illustrate what...I think the idea was that, I would play them their music, and they would tell me, listening to their music, what they had in mind when they wrote the song. Then, we would illustrate these moments with two actors, one for Jack and one for Meg, while they are doing the same music. So it would build up like that. Each time we would have some interview or voice over, and we see people re-enacting as they were playing the next song, and it would build up like that. And Bjork, at some point, maybe it was Bjork, it would be a different medium, maybe we would do a big exhibition together, maybe we would do it next year. I don't think she wants to be an actress, ah...

TF: Yeah, that's what she said after Dancer in the Dark.

MG: Well, yeah. She did with her boyfriend, but that is different, she was just being herself. Working from A to B, and she was not having to pour emotionally. I'll do anything they want me to do, basically. And it's great to have met those people, I mean it's, it's like you wish for any director, with my background, coming from being a video director, doing music directing, that you get on board on a project that's taking off. You never know, you get on board many projects, whether it's a band or artist, and a lot of them are going down, and you don't know it, and you jump on one that's going *boom*, to the sky, and it happened to me with Bjork and the White Stripes, it's your best luck, because you travel with them and they help you...you help them and they help you at the same time. Like The White Stripes at some point, they consider me a third member of the band. It's very flattering, and they have never been disappointed by anything I did for them. And when you work again, again with the same artist, you have an enormous pressure, which is to make it better than before, not disappoint them, and it's really a pressure you put to yourself, but it's a good one; when some other artists are...give you...make your life difficult, then you have a pressure that makes it not as good.

TF: Do you think you'd ever collaborate on a single project, like a movie where you co-directed, with Spike Jonze?

MG: We did some stuff together, we did like a Kadavasky's little film. We are like, hanging out with one of those fast cameras with a little screen, so it was starting a story, and we would carry on after another, and we didn't know what was going on, because we just see the last frame. I don't know, maybe, but I don't know, maybe we are too close, and I think he's more willing than me to collaborate and stuff, I'm more individualist, I fear too much to lose my individuality, I feel my personality is maybe not so strong, so I really want to establish myself. And maybe selfish.

TF: Well, then, do you know when, if ever, you'll be doing another installment of the Director's Works Series you did with him?

MG: Yeah, I want to do another, but Palm Pictures, they didn't pay me yet, so I'm a little...[laughs] I mean it, this thing was the best thing that happened to me, to put out this DVD, because after that people started to think of me as a creator, as before they said, "Oh yeah, he's a video director, so he's just like the visuals, doesn't care for the story," but once they look at that, they, people from the movie business, who are a little bit close-minded, started to open to me. And they say, "Oh, you can do good videos, actually, he did some good ones, so, maybe these are not so bad," And that helped with a large amount of Eternal Sunshine, so I'm really pleased on the way it turned out, with the book, and all the menus, everything was exactly the way I wanted, and it was very nice, and I wish it was always the case. The only thing is, we sold like two or three hundred thousand copies, but it's okay, I'm [trying with] the next one to have more right on it, and get some...I have already, like, 15 to 20 videos lined up to do it, and I'm doing a subject on my auntie this summer, who has been a schoolteacher all her life in countryside, little town, and my son, the documentary will be called Paul Gondry, he's my son, and it's going to be about his painting, and he's grown up a lot since the DVD.

TF: The DVDs showcase a lot of your animations. Have you ever considered doing an animated film?

MG: I'm not sure I would want to do all animated...I was thinking, like today, I would like to do an animation, that I would do every day, would do five seconds, for one year, then see where it goes, but completely improvised. I just did a video for this guy where I just did like, an animated doodle. It's very satisfactory, it's like, just very relaxing, doing your little drawing and then it comes to life. So maybe I will do something, like, the other day I was interviewed for TV, and I took a notebook, and as I was doing the interview, I did the figure, and then the one, and then the one, and I said, "Okay, you have to take all the shots, and cut one frame on each, or two frames and it's going to be animated, and I did this guy with a small foot and a big foot, and he's trying to walk, boom, boom, boom, boom." (mimics the character walking in a circle) And I said, "ah, I should do something like that in a bigger size."

TF: Just as a curiosity, did you get offered Hitchhiker's Guide to the Galaxy?

MG: I don't know, I think Spike had it, I didn't remember, I think I was probably working.

TF: Do you have plans to do a science fiction film?

MG: I don't know, I mean, I'm trying to do science fiction, I'm working on Rudy Rucker's book [Master of Space and Time], with Dan Clowes, but it's complicated, because we like all the quirkiness of the book, and the producers, they like, they try to make it more mainstream, to be able to raise the money, so it's complicated, science fiction, and I think it's why, except maybe for, Philip K. Dick, it has been very hard to adapt, because he's had history about being paranoid, maniac, and messy, disorganized, and this is not a quality that allows you to make money for a movie, and you need a lot of money for a science fiction movie, because you have to reconstitute the whole world, but...so, I don't know how to make a science fiction movie that excites me, it certainly would not be like Matrix or Ridley Scott, but I think...Blade Runner is a masterpiece, but I...it's been in France, shown for too many years now, and I don't know where movies can go. I mean, I think, Verhoeven has done new stuff of science fiction with RoboCop or Starship Troopers, really great movies, but you need a lot of money to do a science fiction movie, and sometime, like Starship Troopers or Mars Attacks, truly great science fiction movies, they are not so accepted by the audience because they are too, too edgy.

TF: Well, in here [Gondry's Director's Works DVD booklet], you mention Back to the Future.

MG: Yeah, it's quirky, and it is some darkness in it, but it's not slick.

TF: Well, it's just not a space movie, I think too many people think space when they think science fiction.

MG: Ah, yeah. But I think in a space movie you could do something quirky. I mean I guess, Galaxy...Guide, Hitchhiker's Guide to the Galaxy was like that, but there was something, I don't know what it is, too...mainstream and clique. I don't know, it's hard, I don't want to judge other person's film.

TF: Finally, on your highly publicized next project, do you think Be Kind, Rewind will be stylistically more like Science of Sleep or Eternal Sunshine?

MG: I don't know, I'm going to try to shoot a wider format, anamorphic, the letterbox, and it would be a contrast with the way we shoot the movies, which is video, and completely crappy, and the way the film is going to look, which is going to be a little more slick, so we'll see. I put myself in a different situation, like, the last film I did, the two last films I did, it was all handheld camera, and this one I think I will put my camera on a tripod, or crane.
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Old 06-29-2006, 07:03 PM   #3
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I hate that you get to do all these interviews droid

And that was quite a long interview as well.

Didnt hear about this movie before now though, but your review got me interesterd. Gonna download the trailer and see how it looks.
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Old 07-04-2006, 08:41 PM   #4
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New link to the great English trailer.
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Old 07-04-2006, 09:23 PM   #5
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Looks good. Met Gael was they were filming The King down here. real cool guy. real down to Earth. Have you seen The King?
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Old 07-05-2006, 01:54 AM   #6
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Quote:
Originally Posted by FilmJerk
Looks good. Met Gael was they were filming The King down here. real cool guy. real down to Earth. Have you seen The King?
Nope. I read in EW that it was bad. Maybe on DVD.
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Old 07-05-2006, 02:45 AM   #7
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I read my review and I was unhappy with it, so I have rewritten it.
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Old 07-06-2006, 03:57 AM   #8
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Quote:
Originally Posted by droidguy1119
Nope. I read in EW that it was bad. Maybe on DVD.
No no no, EW was wrong on that one, The King was excellent. ***1/2
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Old 09-21-2006, 04:42 AM   #9
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Bump, movie is out in LA and NY now and goes wider tomorrow.
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Old 09-21-2006, 05:15 AM   #10
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A friend of mine was saying he really wanted to go see this but we couldn't find it in the cinema or the Arty cinema but after the trailer I wish we could've
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Old 09-24-2006, 08:01 PM   #11
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Quote:
Originally Posted by Alien
A friend of mine was saying he really wanted to go see this but we couldn't find it in the cinema or the Arty cinema but after the trailer I wish we could've
Sounds like it's expanding again next weekend. Box office was good.
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Old 09-26-2006, 08:54 AM   #12
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We have to wait till November and hope that it comes to the arty cinema near us. I read somewhere that it's coming out in November in the UK.
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Old 09-26-2006, 04:54 PM   #13
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trailer looked pretty cool
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Old 09-26-2006, 07:35 PM   #14
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i'll be seeing this soon. it came to my local art theater, and i realllllly want to see it.
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Old 10-04-2006, 11:28 PM   #15
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I went to see this on Tuesday and boy was it good. I went in expecting to see a film kinda like etsotsm, but it was very different although it has some similarities. It has alot of offscreen dialogue like eternal but more so in this movie. I'm not going to get deep into a review but if you like different artsy dreamlike, sorta confusing movies, then you're going to love The Science Of Sleep. 8/10
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Old 10-05-2006, 09:46 AM   #16
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So people who've seen it, how much of the movie is in French? I'm not a good reader and can't keep up with subtiles very well.
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Old 10-05-2006, 10:24 AM   #17
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They played with the languages, most of the movie is in english but they have fun with the french. Stephane's French isn't that good and there is a time when stephanie calls him and her friend says talk to him in french and he gets all confused.
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