Hugh Jackman stopped by the Wall Street Journal’s WSJ Cafe to chat with me about his new movie “Logan.” He told me it will be his last turn as the Wolverine character, but the film is getting such raves reviews (94 percent on Rotten Tomatoes as I write this), he’s going to face lots of pressure to play the role again. Jackman also gave me some details about his coming musical about P.T. Barnum, “The Greatest Showman,” which he’s doing with Benj Pasek and Justin Paul, the composers behind the music for “La La Land” and the hit Broadway musical “Dear Evan Hansen.” Check out the videos:
French actress Isabelle Huppert stopped by the WSJ Cafe to talk about getting a nomination for best actress at the Oscars for her movie “Elle.”
Singer-actress Janelle Monáe and director Ted Melfi stopped by the WSJ Cafe to talk about their new film “Hidden Figures.” Here’s the video:
Monáe also talked about her other film “Moonlight”:
Jeff Bridges, the star of “Hell or High Water,” called into the podcast I host to talk about his new film, which has gotten almost universal critical acclaim and is scoring at the box office as well. Bridges, who has starred in such films as “Iron Man” and “True Grit,” also talked about some of his future projects, and gave his take on a reported spinoff of “The Big Lebowski.” Here’s the Speakeasy podcast:
The Starz TV series “Outlander” took a turn this season when the Scotland-based show suddenly turned up in France. Turns out, though, that the cast and crew filmed many of the Paris-set scenes in Prague and on sound stages…in Scotland. I decided to have the star of the show, Caitriona Balfe, stop by the WSJ Cafe to explain the whole thing to me. She also talked a bit about her coming movie “Money Monster.” Watch the video.
I did a video segment on Hollywood, the Oscars and diversity for the Wall Street Journal. Here’s the video.
Here’s the interview with “The Martian” director Ridley Scott that I did for the Wall Street Journal’s WSJ Cafe. The movie was No.1 at the box office this weekend.
Here’s what Scott had to say about his planned sequels to “Alien” and “Blade Runner”…
For more, please visit the WSJ Cafe and follow me @CJFarley on Twitter.
I haven’t seen the movie, and probably never will.
You see, I am Chris Farley.
Chris Farley–the subject of the new documentary–is white, fat and dead.
Chris Farley–the author of this essay–is black, runs a couple miles a day to avoid obesity, and is very much alive.
This Chris Farley wants his name back.
In the age of social media, names matter. Establishing an identity before someone else grabs it is important. @KanyeWest is a brand name. @KanyeWest73 is just jumping on the bandwagon. You know that line from the theme song of the sitcom “Cheers”? “You want to go where everybody knows your name”? The web is the opposite of “Cheers”–nobody knows anybody’s name, not for certain. Nobody knows if the person they’re communicating with is really who they say they are, or if they really know what they’re talking about. When you have a name that people recognize and respect and can verify, it elevates you above all the folks who are Tweeting and Instagramming and Facebooking, because it gives your opinions some credibility.
As a journalist, novelist and film producer I’ve spent a lot of time building up my name–only to see it taken away by someone I never met.
I knew I was going to have trouble with the other Chris Farley the first time I went to meet Chris Rock back in the early 1990s. Both of them were serving as cast members at “Saturday Night Live,” and I was working across the street at Time magazine and had to see Rock for work. The security guard at the desk downstairs at 30 Rock didn’t believe me when I gave him my name and things quickly devolved into a “Who’s on First” routine. “You’re not Chris Farley,” the guard declared to me.
Not long after that, I accidentally got a script in the mail for a big-screen version of the “SNL” sketch “Coneheads.” Someone had been trying to send it to the other Chris Farley and it wound up at my apartment instead. The script was terrible, so I figured I was doing the other Farley a favor by not passing it on. Not that I had his address. He was already so famous, it was unlisted.
But when the other Chris Farley died of drug overdose in 1997 at the age of 33 part of me died too. The jokes I used to get from office receptionists and switchboard operators and reservation takers at restaurants–”You don’t look like Chris Farley!” “Isn’t Chris Farley white?” “Isn’t Chris Farley dead?”–began to fade away with his memory.
You know what? Maybe I will see “I Am Chris Farley” after all. I used to feel threatened by the other Chris Farley. We all have the feeling that no matter how hard we’re working, we’re not doing as much as we could with our lives. When somebody who shares our names becomes more famous, it feels like proof that we’ve failed do as much we could have with what we were given. If someone with the same name managed to make it big, what’s my excuse?
The other Chris Farley has been dead for almost 20 years now, and maybe, with this new movie, it’s time to let go of this weird competitive feeling I’ve always had with him, and to be thankful for the things that have gone right in my life. If I had shared a name with another celebrity comedian, one who was a little less white and a little more alive, things might have been even more confusing.
I’m sure glad my name is Chris Farley and not Chris Rock.
UFC fighter Ronda Rousey has a surprisingly big part in the new “Entourage” movie that just came out. Here’s what she told me in a recent interview I had with her along with sportswriter Jason Gay at the WSJ Cafe, an arts and culture showcase that I run at the Wall Street Journal.
Check out my new fantasy novel for kids, “Game World.” I’ll be reading from the book on Sat., June 6, around 1:30pm at BookCourt in the Cobble Hill section of Brooklyn (163 Court St.). Hope you can make it!
It’s Martin Luther King, Jr. Day, and “American Sniper” is topping “Selma” to be the No.1 movie in America. Yes, there’s irony there, but it’s also a good time to talk a bit about pop culture and the philosophy of nonviolence.
Gawker has a great article reprinting a long 1965 interview King once gave to Playboy and Alex Haley (who would go on to write “Roots” and “The Autobiography of Malcolm X”). King’s comments on music leaped out at me. I’m gearing up to read from my novel “Game World” at various schools for African American history month, so King’s words about the power of culture have fresh resonance.
“In a sense, songs are the soul of a movement,” King says in the article. He adds “Since slavery, the Negro has sung throughout his struggle in America. Steal Away and Go Down, Moses were the songs of faith and inspiration which were sung on the plantations. For the same reasons the slaves sang, Negroes today sing freedom songs, for we, too, are in bondage. We sing out our determination that ‘We shall overcome, black and white together, we shall overcome someday.'”
“Selma,” which tells the story of King and the 1965 march he led from Selma to Montgomery, was mostly shut out at this year’s Oscar nominations. All twenty of this year’s Oscar acting nominees are white, and there are no women nominated for writing or directing (“Selma” director Ava DuVernay, who had been widely expected to become the first African-American woman to be in the running for best director, was shut out). “Selma” notched just two Oscar nominations, one for best picture–and another for best song.
This weekend, “American Sniper” pulled in an estimated $89.5 million, while “Selma” took in $8.8 million according to the tracking website Box Office Mojo. Perhaps the best way for people to celebrate the rest of MLK day would be to actually go see “Selma.”
Here I am talking about the “Selma” snub on MSNBC: