Cut, Print

Author(s): Ben Miller
Location: Texas

“Cut, Print”



Directed by Paul Weitz
Written by Chris Weitz & Paul Weitz
Produced by Rodney M. Liber & Andrew Miano & Paul Weitz

Principal Cast:

Brian Cox as John Owens
Mary-Louise Parker as Sarah Newman
Maura Tierney as Samantha Unger
Geena Davis as Donna Montgomery
Rainn Wilson as Larry Bentman
Mos Def as Re-Dick
Vince Vaughn as Chris Liddy
Ian Holm as Benjamin Louisk

Tagline: “Things are headed in a new direction”

Synopsis: Director John Owens is looking for his long-deserved Oscar after five prior nominations. Film executive Chris Liddy sets him up for an epic biopic based on the life of Rodney King. The script is penned in no time by neurotic writer Larry Bentman. In a few weeks, the movie is set to start. As production begins, the buzz says this could be the film that finally wins John the Oscar, but his adversary, film critic Samantha Unger, doubts Owens’ ability and writes a particularly scathing article about his directing mediocrity. John puts it aside and, with a nudge from Chris, casts rapper Re-Dick, with no acting experience, in the lead role. Actress Sarah Newman, who he cast in the lead female role, seems to be tanking her performance and keeps picking fights with everyone on set. If that weren’t enough, Chris keeps popping up trying to give unwanted advice. After John quells multiple on-fight sets, many minor crew members come up wondering what part they will play in the movie. John finds out his first assistant director Donna Montgomery has an undiagnosed sex addiction and exchanges “favors” with crew members for parts in the film. When John confronts Donna about her philandering, she begins to come on to him in order to do a little acting herself. After dispatching Donna, Larry expresses to John his disproval of the direction of the film. He has many strange complaints, but can’t express what he really wants and continues saying he wants a “new direction.” If things weren’t bad enough, Re-Dick, whose real name is the very un-intimidating Gregory Monroe, begins to live up to his real name. Despite his harsh lyrics and tough persona, he begins to doubt his abilities and cries everyday in his trailer and the only thing that can calm him down in a “visit” from Donna. Samantha catches wind of the chaos and writes yet another column about John and the chaos that has been created. Influenced by Samantha’s articles, studio chief Benjamin Louis doesn’t seem to think John can get the job done anymore. In order to get things under control, John must confront Samantha and stop the bad press. Can he get all the film’s issues in order and be able to pull of another nomination, but this time get a gold statue?

What the press would say:

I called “Cigarette Burns” one of the best and funniest films of the year. I said “Negatives” might top the prior film in quality and laughs. And just when I think it can’t get any better, here comes the Weitz brothers with the conclusion to their brilliant trilogy. While this film bears little plot resemblance to the prior films, I can’t imagine a greater compliment. This time around, Brian Cox portrays director John Owens who just can’t seem to get everything together for his “epic” Rodney King film. Cox, more known for his smaller, character roles, shines as a sarcastic, seemingly-brilliant but most of all, tired director. He brings all his past roles he can to this portrayal. He has his “25th Hour” subtlety, the “Running with Scissors” lunacy and especially the commanding presence of “Adaptation.” As always with this trilogy, the supporting players shine. Vince Vaughn returns to the role of Chris Liddy and is seen from a different point of view, but still retains the likeability. Mary-Louise Parker also reprises her Golden Globe-winning role of Sarah Newman to great ability. New to the series are actresses Geena Davis and Maura Tierney. Davis plays a sex-obsessed assistant director and gets plenty of laughs. Tierney brings her regal touch and better-with-age looks, playing an adversarial film critic to Cox’s character. She may not be on-screen much, but she has a memorable stand-off with Cox as they battle over her press coverage. Rainn Wilson (from TV’s “The Office”) portrays the neurotic screenwriter who has no idea how his words are supposed to translate into film, which definitely don’t help out the director. Besides Cox, maybe the best in show goes to rapper/actor/comedian Mos Def. Playing a hardcore rapper, who is to act as the character of Rodney King, breaks down and cries because of his lack of acting abilities. Cox and Def have surprising chemistry. When Def says to Cox that he doesn’t know what to do, Cox fires back, “All you do is get your ass beat and act like a retard. What’s so hard about that?” Def wastes no time in responding, “My ass is sensitive. And acting like a retard is hard.” These types of exchanges happen throughout the film and it the reason I believe it is the best comedy and yes…the best film of the year. This is the perfect end to a perfect trilogy. I just wish there would be more.

For Your Consideration:

Best Picture, Rodney M. Liber & Andrew Miano & Paul Weitz
Best Director, Paul Weitz
Best Actor, Brian Cox
Best Supporting Actor, Rainn Wilson
Best Supporting Actor, Mos Def
Best Supporting Actress, Maura Tierney
Best Original Screenplay, Chris Weitz & Paul Weitz