STOP THE PRESS: THERE’S MOVIE-MAKING IN HOLLYWOOD
The prima ballerina used as a dance double for Natalie Portman in the movie ‘Black Swan’ is upset and wants the world to know that she did most of the legwork.
So Sarah Lane, a soloist with the American Ballet Theater, went on ABC’s 20/20 Friday night to expose that she was told to keep her mouth shut, that producers were trying to make it seem as if Portman became a ballerina within a year.
“They’re trying to create this image – this facade really – that Natalie had done something extraordinary, something that’s pretty much impossible,” she said in the interview.
It seems she became inflamed when director Darren Aronofsky said publicly that Portman did about 80 percent of the dance shots in the movie.
“I had my editor count shots. There are 139 dance shots in the film. 111 are Natalie Portman untouched. 28 are her dance double Sarah Lane. If you do the math that’s 80 percent Natalie Portman,” he said in a statement released by Fox Searchlight Studios.
Lane has now blown the lid on Hollywood special effects technology. OMG: do you think that’s how they might get away with using stuntmen in action movies? Next, you’re going to tell me Geoffrey Rush and Adrien Brody didn’t play the piano in every shot in their Oscar-winning roles Shine and The Pianist.
Lane said Portman deserves the Oscar and did an amazing job acting in the film. How nice.
“I’m speaking because [the filmmakers] are completely lying about the amount of dancing Natalie did in the movie,” Lane said. When those incorrect things are coming out, and they threaten the entire principle of ballet, then I feel like I need to say something.”
I have tremendous respect, and appreciation for Ms. Lane’s dancing and for the greater art of ballet. But please stop playing the Oscar-whining prima ballerina and let the rest of us enjoy the film without deconstructing it. It’s like dining at the finest restaurant and having to listen to how they make the sausage.
SEXISM IN HOLLYWOOD: NOT AN ILLUSION
It pains me that the biggest body-double controversies in modern cinema have been sparked by women who want credit. In 1983 Marine Jahane, a French actress, made sure the world knew she was Jennifer Beales’ body double in Flashdance after neither her name nor her role appeared in the credits. At the time, producers claimed Paramount Pictures had, whoops, shortened the closing credits.
In 1980, so much attention was given the use of a stand-in for Angie Dickinson in the opening shower scene of Dressed to Kill, that director Brian De Palma was inspired to make his next thriller, Body Double.
I wonder: is the sexism because women have larger egos or because they are still fighting for every inch in a male-dominated industry? Or is this simply an anomaly.
BORROW A PAGE FROM THE GREAT RICKY JAY
The New York Times has called him the greatest living magician. He has dazzled audiences around the world on stage, in film and on tv. He has taken his sleight-of-hand performances even to Broadway.
It is fair to say Ricky Jay has a healthy ego. So it might also surprise you to learn that he has probably passed up at least a few opportunities for Oscar consideration for his secret work in films.
Yes, he takes credit for his acting roles. You may have seen him perform in House of Games (1987), Boogie Nights (1997), Tomorrow Never Dies (1997), Magnolia (1999), Heist (2001), The Prestige (2006). Or you might know him from HBO’s Deadwood (2004) where he also wrote episode 11, “This Jewel Boot’s Made For Walkin.”
But you’ll never see Ricky Jay as anything more than discrete “consultant” for the illusions he brings to films through his firm, Deceptive Practices. I only know because a member of my own family does business with him.
If you follow films, I’m sure you’ve heard of Rick Baker who won an Oscar this year his special make-up effects in The Wolfman. He’s got six others at home for his other films (except for Planet of the Apes, in my opinion, one of the greatest illusions ever in film.)
You certainly know about all the spectacular effects produced by George Lucas and James Cameron, many of which revolutionized the film industry. But I bet you’ve never heard a word of what Ricky Jay does behind the scenes or how. You’ll never see a “making of,” “behind the scenes” or any publicity surrounding his secret role in any of his films. And that’s the way he likes it.
We’ll never tell, either. We still believe in magic.
7 comments
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April 17, 2011 at 5:43 pm
Jennifer
I like a good Bare-assed defense of…anything…
Bravo!
Choose Happiness & Success!
Jennifer
April 17, 2011 at 9:20 pm
Ed S.
Fascinating piece about the self-efacing Ricky Jay and his behind-the scenes wizardry.
Sounds as if there is movie potential in the story of his hidden movie magic.
I remember hearing years ago about a similar behind-the-scenes genuius who Rodney Dangerfield, Lenny Bruce and other top comics thought was the funniest guy on the planet, a fellow named Joe Ancis who cracked them all up — but was too shy to go in stage.
Who knows how many shy Shakespeares and Mozarts are dutifully toiling behind the scenes. Think about that the next time you enjoy a really clever commercial or great viral video.
Sometimes the masters wait in the wings.
April 17, 2011 at 9:29 pm
Shelley Ross dailyXpress
Ed: that could be said about you!
April 17, 2011 at 9:35 pm
John
I’ve never seen Black Swan but I’ve seen Sarah Lane’s interview on 20/20. She obviously want some recognition but in the first place, why did she agree to do the film with a knowledge that she may not get the credits. But she’s really good at what she does.
Oh I know Ricky Jay Ms. Shelley. He’s on one of my favorite films – Heartbreakers with Jennifer Love Hewitt as the auction guy. Also I read in one magazine with Hewitt on on the cover that Jay actually thought her how to do the card tricks on the film. Amazing!
April 17, 2011 at 11:41 pm
Gerri
It’s hard to get paid off, even if you agree to it because when you’ve worked hard at something, you still want to get credit for it. I used to take ballet and let me tell you…you can’t just do ballet with a few months of training…BTW, Marine was in jazz dance class with me back in the day….she was amazing and everyone loved to watch her (I was no where near her level and stayed in the back of the class). Anyway, I recall Jennifer Beales saying in an interview, “that’s not my body,” a comment I always applauded her for saying.
But, Shelley, you make a good point about it’s just how the business works as in”Singing in the Rain’ and many other examples; and our need to watch the magic unfold.
April 18, 2011 at 12:00 am
Shelley Ross dailyXpress
Gerri,
Yes, we agree movies are about magic and illusion. I think it would have been great for Sarah Lane to let her secret filter out organically… that she was the dance double for the film, an Oscar-winner at that. (Most dance and stunt doubles– especially for the lead actors — are masterful.) If I managed her pr, I would have a couple granted local interviews in Philly where she dances. Talk about the film with pride, and without counting scenes and shot and spoiling that magic. And finally, I’d tell her to resist trying to make it about preserving the integrity of the entire insitution of ballet. That’s a big stretch to me. That film did more to expose mass audiences to ballet than anything since Turning Point.
April 18, 2011 at 10:57 am
Gerri
Good comparison with Turning Point; I’d forgotten what that film did for ballet.