Could Chris Rock and Melissa McCarthy end up together?

Chris Rock has had some notable on-screen romantic partners over the years. He engaged in an affair with a slinky Kerry Washington ("I Think I Love My Wife") and was dumped by Robin Givens ("Head of State"). Last week at Sundance, he tried to co-parent with Julie Delpy amid a chaotic visit by her family in "Two Days in New York," the actress-director's sequel to her 2007 indie hit "Two Days in Paris."

But none of those colorful characters compare to the woman Rock next hopes to make his on-screen wife: Melissa McCarthy.

"I'm trying to romance her," Rock said, taking a break last week at a Park City, Utah. The comedian is writing a new untitled script, he said, in which he envisions the "Bridesmaids" breakout playing his wife as the pair indulge in some boisterous dysfunction -- a "Jerry Springer couple," as Rock put it. He said he hopes to persuade the comedic actress to come aboard, and has made some inroads.

It's one of several projects Rock said he is working on as a writer, including new material for a stand-up tour as well as a screenplay in which he'd play, well, a stand-up comedian.

Rock has a small part in this May's "What to Expect when You're Expecting" and will be heard but not seen a few weeks later in "Madagascar 3," the talking-animal toon in which the gang runs amok in Europe. He's also get his moment as a lead in  "Two Days," which Magnolia bought at Sundance and probably will release this year.

The film has Rock trying to make things work with his partner, stepping into the Delpy boyfriend role that Adam Goldberg played in "Two Days in Paris." Rock stars as Mingus, an intellectual radio host who often plays the straight man to the loopiness around him (which includes plenty of misunderstanding with Delpy's on screen father, played by real life dad Albert).

"I probably stole a little Nelson George meets Elvis Mitchell," Rock said of his character. "But they're not married and I am, so I combined it with elements of my life, all the relatives coming over, and dealing with the kids."

Perhaps Rock's most high-profile turn at Sundance may have come in a movie he had nothing to do with,  Spike Lee's provocative "Red Hook Summer." Rock was sitting in the audience during its premiere and asked the question that prompted the infamous rant from Lee that the studios "know nothing about black people."

Rock said he saw Lee afterward but came away as puzzled as everyone else about why the director went in that direction.  "Maybe the altitude got to him," he said, shrugging perplexedly.

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--Steven Zeitchik

twitter.com/ZeitchikLAT

Photo: Chris Rock at the Sundance Film Festival last week. Credit: Chris Pizzello/Associated Press

Lizzy Caplan: The restless mind of a Sundance star

As life problems go, you could find yourself in worse pickles than deciding which Sundance house to stay in while you premiere a pair of movies at the country’s preeminent film gathering.

But don't douse the comedic actress Lizzy Caplan in too much hater-ade -- not even as she describes how she was forced to choose between the Park City, Utah, condo hosting the group from the grown-sibling dramedy "Save the Date," in which she plays a commitment-phobe sister, and the crash pad for the raunchy femme romp "Bachelorette," in which she plays a coke-fried bridesmaid opposite Kirsten Dunst and Isla Fisher.

"I spent one night [with the 'Save the Date' crew] and then realized it was too much to go back and forth, so I stayed with the 'Bachelorette' [people]'" Caplan said at the festival last week, describing her temporary housing situation.

At 29, after years of promising but false starts on sputtering television shows, the occasional part in a hit such as "Cloverfield" and very small roles in critically acclaimed movies (quick, who did she play in "127 Hours"?), the Los Angeles-raised actress is again on the cusp of wider fame. Needless to say, it's a position she's found herself in before.

"I did a show called 'The Class' where they took us on a private plane, the creators of the show and Jimmy Burrows, the epic sitcom director," Caplan recalled. "They brought us to Vegas and took us to dinner and took us gambling and gave us a big speech that it's the last time we're going to be able to go out in public. And everybody was like 'Oh my God.' So I said to Jimmy, 'Well, what's your batting average?'" And he said he was right almost every time. He was wrong only one time." She paused. "I was kind of honored to be the second time."

Ebullient and unguarded, Caplan, who is perhaps best known for the cult Starz television comedy "Party Down," has no shortage of fears about fame -- and few compunctions about revealing them. In an era when most actors put on a stoic front about how lucky they feel, Caplan is surprisingly open about the drawbacks and insecurities of a life in front of the camera.

Sundance 2012: An Occupy movement (sort of) takes hold

On a snowy day last week in Park City, Utah, about 10 activists outfitted in costumes such as the Statue of Liberty and a Boston Patriot materialized in the parking lot of a Wells Fargo outside the city's Old Town. The Sundance Film Festival was taking place, and there was no better place for Occupy-style activists to deliver their message to the 1%.

The flash mob burst into a waiting area on the bank's ground-floor offices and began chanting "Pay your taxes, Wells Fargo" and "We are the 99%," marching in a small circle before reading a list of Occupy tenets.
 
The scene went on for about five minutes as employees and customers looked on. Then a branch manager came out of his office and asked them to leave. They agreed, and the protest moved to the corner of a busy intersection where snow was driving pretty hard. A policeman used tape to cordon off an area, keeping a stoic face as one of the protesters tried to give him a quick primer on the prison-industrial complex. 

The protesters started up the chants again. Cars passed by — some drivers honking in solidarity, others waving their middle fingers.

"We feel that way about you too," activist Justin Kramer yelled back when given the bird. Then he turned to a reporter and said, "That doesn't seem like a good way to go about it. At Marmot [a clothing and equipment store on the city's Main Street] they put out a sign that said, 'Hey Occupy people, we're hiring.' His voice took on a rueful tone. "It's nice when they at least try to be creative."

Though filled with glitz and celebrity, the Sundance Film Festival, which wraps Sunday, has been a minor bed of activism over the past 10 days. In addition to the protests — several others were held on Main Street during the festival — director Jonathan Demme came to the Slamdance Film Festival (held in Park City concurrent with Sundance) and screened a short he shot at the Occupy Wall Street protests in October.

The effect of these events was to create an unusual contrast: inside the city's high-end restaurants, fine food and wine were being consumed by some of the entertainment world's richest and most influential people. On streets and screens, however, were persistent reminders of the economically disadvantaged, a juxtaposition we explore in this Times story. (Other films included the documentary "Detropia" and the corporate-tax investigation "We're Not Broke," the latter of which some of the Wells Fargo protesters were affiliated with.)

The activists explained why Sundance was an ideal forum for their message. “What were trying to do is reach the 1%, and there’s no better place to do that in Park City during Sundance,” said Kramer, 28, a Salt Lake City resident who has been active in the local Occupy movement.
 
The protesters said they had chosen Wells Fargo, they said, because of the low taxes the company paid, and generally thought Park City was a good choice because of the concentration of high-end brands “There are so many corporate sponsors here during the film festival,” said Kira Elliott, 29, an activist from Chicago. “We’d be crazy to be anywhere else.”

Demme's short, "Hyptnotic Fierce Drum Circle," was shot Oct. 15, and the title sums it up well: It captures dozens of percussionists — black, white, asian, male, female, young, old — plus people playing horns, whistles, guitars and cymbals. Without a conductor, they somehow improvise a melodic cacophony.

In an interview the day after the screening, Demme, who lives in New York, said initially intended to go check out the Occupy Wall Street protest for about an hour. "I was obliged to go down there," he recalled. "I've been complaining for years about the lack of a protest generation." 

He stayed for an hour and then another, and then another, and then when he started to leave, a march started coming his way, so he stayed longer.

After his first visit, he and collaborator Shane Bissett, 25, returned a dozen times and shot footage at Zucotti Park and of other Occupy-related activities. They estimate they've collected more than 40 hours of footage, including some one-one-one interviews with individual protesters.

Their primary interest has been putting footage on the Internet, Demme said. "The premise is that if more people know what Occupy was really about — how positive it is — more poeple would join. So we've been supporting that as outsiders."

But they are also intending to go back and shoot more footage focusing on the stories of individual protesters. Ultimately, Demme said, they may cut together a couple of hours into a longer film (though he's also busy now trying to get two long-gestating projects, the animated "Zeitoun" and the adaptation of the Stephen King novel "11/22/63"). "People of my generation, the hippie generation," he said, "have been waiting for this."

You can check out another of Demme's Occupy shorts below:

 

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Photo: Occupy protesters outside a Wells Fargo in Park City, Utah. Credit: Steven Zeitchik.

 

— Steven Zeitchik and Julie Makinen

Sundance 2012: 'Beasts,' drug war doc win grand jury prizes

The Sundance Film Festival wrapped up Saturday night in Park City, Utah, with "Beasts of the Southern Wild," directed by Benh Zeitlin, taking the grand jury prize in the U.S. dramatic competition. 
"The House I Live In,"  a look at the war against drugs and the American penal system directed by Eugene Jarecki, was awarded the grand jury prize for U.S. documentary.

"Beasts" had been the clear favorite in the dramatic category throughout the festival. The film is an expressionistic, uplifting fable of a little girl (Quvenzhane Wallis) and her father (Dwight Henry) struggling to survive on the Southern Delta in the face of poverty and flooding.

As the cast and crew took to the stage to accept the prize, Zeitlin  declared, "I hope this film is just like a flag that goes up" in inspiration to other filmmakers.

"Violeta Went to Heaven," directed by Andres Wood, a film about singer Violeta Parra, won the World Cinematic Dramatic Jury prize. The jury prize for World Cinema Documentary went to Ra'anan Alexandrowicz for "The Law in These Parts," about the legal system in Israel and the  Palestinian territories.

The audience prizes went to Ben Lewin's "The Surrogate" in the U.S. dramatic category and Kirby Dick's "The Invisible War," about rape in the military, for U.S. documentary. "Valley of Saints" won with audiences in the world cinema dramatic category and "Searching for Sugar Man" won in the  world cinema documentary contest. "Sleepwalk With Me," written, directed by and starring Mike Birbiglia, won the Best of NEXT audience award.

PHOTOS: The scene at Sundance 2012

Other winners in the U.S. dramatic category were Ava DuVernay for directing "Middle of Nowhere" and Ben Richardson with "Beasts of the Southern Wild" for cinematography.  The Waldo Salt Screenwriting Award went to Derek Connolly for "Safety Not Guaranteed."

A special jury prize went to producers Jonathan Schwartz and Andrea Sperling who had both "Smashed" and "Nobody Walks" in the competiton. A special jury prize also went to the ensemble cast of "The Surrogate," which includes John Hawkes, Helen Hunt and William H. Macy. 

In the U.S. documentary category, Lauren Greenfield won for directing "The Queen of Versailles," Enat Sidi won for editing on "Detropia," and Jeff Orlowski with "Chasing Ice" for cinematography.

There were two special jury prizes, for "Love Free Or Die" and "Ai Weiwei: Never Sorry." 

The awards ceremony was to be have been hosted by long-time Sundance favorite Parker Posey, but at the opening of the show John Cooper, director of the festival, announced that Posey had taken ill and was unable to attend. "This is real," he said to the crowd who assumed it was some kind of comedy bit.

Rather, he brought up actress and filmmaker Katie Aselton, at the festival with her film "Black Rock," to serve as co-host.

The evening also included a tribute to Bingham Ray, the veteran film executive, stalwart festival presence and leading champion of independent film who died this week after suffering a stroke at the festival.

Cooper took pause and choked up as he read a statement which noted Ray's was "a career that almost perfectly paralleled the rise of independent film in America." 

Full list of winners:

Sundance 2012: Seth Rogen's phone-sex moment

 

Of the many things you might expect when you walk into a Sundance movie, a cameo from a member of the Judd Apatow crew isn't at the top of the list.

But there was one of those insiders, Seth Rogen, materializing on-screen during the risqué comedy "For a Good Time, Call…" As a phone-sex call is made to protagonists Katie and Lauren (played by Ari Graynor and the film’s co-writer, Lauren Anne Miller), two economically desperate twentysomething women who've started a phone-sex line in their New York apartment, Rogen pops up on screen, wearing a pilot’s uniform and engaging in a solitary sexual act in an airport bathroom as he banters dirtily with the women.

The sight of the actor prompted a peal of laughter at the movie’s premiere at Sundance earlier this week. As the back-and-forth unfolds, Rogen rips off one of the best lines of the film when, as things heat up on the phone, he calls out to a crew member in the next stall to “Delay the flight.”

There’s a reason the comic actor wound up in the movie: Miller is his wife.
 
"I remember Seth and I were brushing our teeth one night and I said 'Wouldn't it be great if we got some comedians to do cameos as some of the callers,' " Miller recounted to 24 Frames. "And then I said, 'Wait, would you do it?' And he said 'Totally.' "

Though he has no formal role on the picture outside of the cameo, Rogen advised Miller and visited the set. “I would be silly not to listen to the person who is extremely successful at doing what I’m trying to do,” Miller said.

Rogen isn't the only raunch-comedy mainstay to have an unexpected moment in the film -- witness Kevin Smith as a cab driver who rings up the phone-sex line while a passenger waits in the backseat.

With its raunchy story of female friendship, "Good Time" has evoked the inevitable comparisons to the Apatow-godfathered “Bridesmaids.” Miller said she showed the movie to several people in the filmmaker's posse but not yet the director himself, who has been working on a new movie.

Filmgoers will get a chance to see the movie and Rogen’s surprise spot -- Focus Features acquired the comedy and will release it domestically. “I feel like that women who watch movies have been subconsciously wanting this,” Miller said. "I hope this is only the beginning of real stories about real women.”

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-- Steven Zeitchik in Park City, Utah

Twitter.com/ZeitchikLAT

Photo: Seth Rogen. Credit: Chris Helcermanas-Benge / Summit Entertainment

Sundance 2012: IFC Midnight buys 'The Pact'

IFC Midnight on Thursday acquired the North American distribution rights to "The Pact," a horror film written and directed by Nicholas McCarthy that premiered this week at the Sundance Film Festival.

IFC Midnight paid in the high six figures for the rights, according to a source familiar with the negotiations who added that the company plans both a video-on-demand release and a theatrical run in several cities.

The deal marks a milestone for McCarthy, who was featured in a Times story last week. After years of struggling in Hollywood, he is offering up "The Pact" as his first feature film. “My whole life I have wanted to make movies that people will see and now that is going to happen,” McCarthy said shortly after the deal was completed. “Now I know it is going to be seen by thousands and thousands of people after this festival. It’s a great vote of confidence.”

PHOTOS: The scene at Sundance

Based on a short McCarthy film that played at Sundance in 2011, "The Pact" stars Caity Lotz and Casper Van Dien. It focuses on a woman struggling to deal with the tangled aftermath of her mother’s death while discovering terrifying truths about her family’s past and the house she grew up in. 

The film’s distribution rights to the Japanese, British and Australian markets have also been sold at this week’s festival, according to Ross Dinerstein, who produced "The Pact. "

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Photo: A scene from 'The Pact.' Credit: Sundance Film Festival

Slamdance 2012: 'Buffalo Girls' director fought for Thai boxing doc

 

The first time filmmaker Todd Kellstein saw Thai children boxing — two 8-year-old girls with gloves on in the ring in a rural corner of Thailand — “I thought it was horrible child abuse. I wanted to make a film that would create awareness and make it end.”

 

Now, after spending three years on a project he thought would take him 10 months, Kellstein, whose unexpected and fascinating documentary “Buffalo Girls” had its debut at the Slamdance Film Festival, sees things differently.

“It’s really not our business to say what people in other cultures should or shouldn’t do,” he says now. “In the U.S., people are adamant that it has to stop, but that’s not really the point. I tried to make a film that found a balance.”

PHOTOS: The scene at Sundance

“Buffalo Girls” took as long as it did to make partially because it took a full six months for Kellstein to gain the trust of Pet and Stam, the two girls who are the center of the film, as well as their families. “Pet’s dad thought I was working for the other side, spying on her training methods,” he says. “They didn’t understand why people would want to watch them in a film."

Kellstein’s film background was in music videos, working with acts such as Bon Jovi, but he was looking for something else here. “I wanted this to be not slick, to be on the ground, me alone, with no crew,” he explains. “If I landed in these small villages with a soundman and a crew, it would have been like a Martian landing. I intentionally used the smallest, cheapest digital video camera I could find."

Right from the get-go, Kellstein started to learn the dynamics driving young girls and boys, estimated at 30,000 total, to engage not in classic American boxing, but in muay Thai, a mixed martial arts discipline that is said to be 700 years old.

"I asked a little girl, through a translator, ‘Oh my God, what are you doing, why are you doing this?’” he reports, “and she looked up at me like the biggest idiot on the planet and said, ‘Money.’”

For in a terribly poor country, where the sex trade is an option often taken to escape grinding poverty, boxing, the filmmaker says, is an opportunity to earn essential money.

“These kids are so happy, so full of joy, and they’re full of pride at doing something that contributes to the family, that can help them buy a house,” Kellstein says. The director acknowledges that the long-term physical effects of these fights are not known, but insists that having girls involved is “a huge gender coup. Thai women are very submissive, very quiet. This is unheard of in Thai culture.”

When Kellstein returned from Thailand and told his producers about his thinking, they were aghast. “They said, ‘You can’t say its OK.’ I got into a real argument with the guy who designed our poster; this was really chancey, dangerous material to get into.”

Gradually, a film that presents both sides of the issue and asks the viewer to decide took shape.

Interested in Buddhism before his time spent in Thailand, Kellstein has a quote from the celebrated teacher Milarepa tattooed near his right hand, a quote that seems in some way to speak to the film he’s made:

“Whatever is experienced will fade to a memory. Everything that is seen will not be seen again.”

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Photo: A scene from "Buffalo Girls." Credit: Courtesy of Todd Kellstein

Sundance 2012: Spike Lee's co-writer joins the race conversation

Spike Lee caused a stir at the Sundance Film Festival this week when he said Hollywood studios "know nothing about black people." Now, James McBride, the co-writer  and co-producer on his latest film "Red Hook Summer," is adding his voice to the discussion.

In an open letter posted Thursday on Lee's 40 Acres & a Mule Filmworks website, McBride draws a line from President Obama's State of the Union address, to the Oscar nominations for African Americans Viola Davis and Octavia Spencer (playing maids in "The Help"), and back to Lee's comments.

He concludes: "Nothing in this world happens unless white folks says it happens. And therein lies the problem of being a professional black storyteller, writer, musician, filmmaker. Being black is like serving as Hoke, the driver in 'Driving Miss Daisy,' except it’s a kind of TV series lasts the rest of your life: You get to drive the well-meaning boss to and fro, you love that boss, your lives are stitched together, but only when the boss decides your story intersects with his or her life is your story valid. Because you’re a kind of cultural maid."

PHOTOS: Spike Lee's controversial quotes

The full letter is below. Tell us what you think in the comments section.

Sundance 2012: Mark Webber's unsuspecting castmate

When a Sundance audience learned after a Wednesday screening of "The End of Love" that director-writer-star Mark Webber had cast his own 2-year-old son Isaac in the film, a collective "awww" went up in the theater.

The crowd seemed both surprised and impressed that Webber was the father of the precocious child, who figures heavily in the film and its story of a single father's grieving the death of his wife. What most in the audience probably didn't know, however, was that Isaac's real-life mom -- the actress Frankie Shaw -- is still very much alive. In fact, Shaw and Webber reportedly recently broke up, with the split inspiring the filmmaker to write the movie.

Indeed, the drama often straddles the line between truth and fiction. Webber's character -- named Mark -- is a struggling actor, and he goes on auditions and talks about landing roles that one imagines Webber might actually seek in real life. (Webber, best known for supporting roles in "Storytelling" and "Scott Pilgrim vs. the World," is currently starring in two other films at Sundance -- "For a Good Time, Call..." and "Save the Date.")

Meanwhile, we see Mark interact with his crowd of L.A. acting buddies -- he tries out for a film with Amanda Seyfried, borrows money from Jason Ritter and attends a party at Michael Cera's house. In a way, the film has a lot in common with Cera's 2009 Sundance premiere "Paper Heart," a similarly could-this-be-real movie about the development of a romantic relationship between the actor and Charlene Yi, who were also dating off-screen at the time.

Webber said making a film that felt true to life was important for him, saying repeatedly in a question-and-answer session after the screening that he is "obsessed with realism."

"Being an actor, more than half of your job is to pretend that a P.A. didn't just take you from your trailer to a set with lights. It's been hard for me," the 31-year-old said.

Accordingly, Webber said he never told Isaac what to say in the film. Instead, he spent a month "rehearsing" with his son and a cinematographer using a discreet camera. He informed Isaac that a friend would be taking pictures and videos of them for a while, so the child never knew he was actually taking part in a feature film.

"When you're making a film that's improvised, there's a tendency to think it's somehow easier -- but it's not. We had to be very prepared, Webber said. "There was a meticulous outline with plot points and emotional beats. But I was living in character and guiding him with the power of suggestion and knowing his moods. So anything he did would pretty much be right."

How long will Webber wait to tell Isaac that he's made his film debut?

"I can't wait to show him -- when he's 7," Webber said. "I think that's the appropriate age."

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Photo: Mark Webber's 2-year-old son, Isaac. Credit: Sundance Film Festival

Sundance 2012: An Irish spin on 'Tinker Tailor'

"Tinker Tailor Soldier Spy" showed us that there's room in the modern world for a slow-burn spy movie, and one set in period to boot.

On Tuesday at the Sundance Film Festival, the director James Marsh (most acclaimed for his 2008 documentary "Man on Wire") tested the theory when he premiered "Shadow Dancer," his new movie about cerebral intelligence agents operating during a charged period in Northern Island.

Set five years before 1998’s historic Good Friday Agreement, the film centers on an MI5 agent (Clive Owen) who recruits a young Northern Irish woman (Andrea Riseborough) to spy on her own activist IRA family, and the crosses and double-crosses that ensue as attacks are carried out.

But more conspicuous than the plot is the mood: the film is restrained in a way that mirrors "Tinker Tailor" (and can at times make even that movie seem like "The Bourne Identity").  There’s an occasional burst of violence, but characters move slowly, often under gray skies, and there's a hushed feeling about the whole enterprise. The second scene of the film, about an attempted bombing in a London subway station, unfolds for five minutes without anyone speaking a word.

Marsh, who has toggled between documentaries and features--the Oscar winner's two most recent films were the primate-research documentary "Project Nim" and a crime feature in Britain's "Red Riding" trilogy--said he thought the low pitch worked to his advantage.  "I wanted the film to gather weight as it went along," Marsh told 24 Frames at a reception for the film, which is based on a novel by the thriller author Tom Bradby.

Marsh smiled a little at the "Tinker Tailor" comparison" but noted wryly that the Gary Oldman film cost a lot more to make than his low-budget independent. Still, the period details, and the brown and gray tones that Tomas Alfredson used in painting “Tinker Tailor,” are very much on the palette here.

No one’s yet bought the movie, which is hunting for distribution at the festival. The nearly $20 million in box office for “Tinker Tailor” may suggest a sizable audience, though John Le Carre’s name goes a lot further than Bradby’s.

More than “Tinker Tailor,” this movie weaves a lot of politics into its fabric—there’s a showdown between British police and IRA members at the funeral of an IRA member, for instance—but Marsh, who like Riseborough is English, said at a post-screening Q&A session that he was concerned primarily with a “universal human politics.”

Still, Riseborough added that the desperate situation of the Northern Irish shouldn’t be overlooked. “They were so angry,” she said. There was “pain and unemployment. It's almost too much for words.”

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--Steven Zeitchik

twitter.com/ZeitchikLAT

Photo: Andrea Riseborough in "Shadow Dancer." Credit: Sundance Film Festival