That is why the film was released without comment from myself or anyone involved. I was trying to help the audience suspend their disbelief. In theaters, as they say, the deceived are the wisest. There was nothing else but the deception. At the Toronto Film Festival someone was walking around to theaters in a beard and wig and glasses and telling journalists he was Joaquin Phoenix. The enterprise was a film, not a "hoax." The idea that Joaquin was really retiring for good and pursuing a rap career in earnest was an act. My aim was to provoke thought and stir emotion. Picasso said, "Art is the lie that tells the truth." In terms of your intentions, this counts as a success, right?Īffleck: I wish people hadn't debated so much the films veracity or authenticity, hadn't asked only and dully, "Is this real?" But that response is better than apathy, I suppose. Nine believed it, and the rest were not sure, had doubts, were cagey, or left themselves wriggle room. My reading of a group of major reviews of "I'm Still Here" linked at Metacritic indicates that only six stated flatly the film was not genuine. Film critics as a group are skilled at judging the authenticity of films. Our exchange was a mutual enterprise of Interview magazine and, and is appearing on both websites.Įbert: You've now said the whole enterprise was a hoax. I sent Affleck questions by email, and his replies appear below. Based on what he said, "I'm Still Here" must be considered a fiction feature, and Phoenix's work in it must be considered eligible for an Academy Award nomination. These are many other revelations emerged as Affleck, director of the film starring his brother-in-law Phoenix, discussed behind the scenes realities in making the most-debated film of the year. Natalie Portman, Stiller's co-presenter on the Oscars, also knew. Ben Stiller was part of the film and his appearance on the Oscars in "Joaquin" makeup was well-meaning and supportive. He would have preferred to remain silent about whether the film was "real" or not, but his distributor urged him to break silence near its opening day.Horrific glimpses of animal slaughter reveal the cruelty man can unleash upon creatures lower on the food-chain, and authentic autopsy footage indulges our morbid curiosities about our final stop on the way to the grave. Gross as our guide, we bear witness to death in its many forms - even visiting a debauched death cult that mixes the ecstasy of sex with the sweet release of that final moment. From airplane crashes to railway disasters, some of us meet a spectacular end while others fall prey to hungry wildlife predators, an assassin's bullet, or - as in the case of some condemned prisoners - get strapped into the electric chair and blasted into the afterlife with over 2000 volts of pure electricity. There's simply no escape from the encroaching darkness, and in this film we're offered a firsthand glimpse at the many ways that life can end. Everybody dies - it's the fate we all face from the moment we're born. Francis Gross (Michael Carr) leads viewers on a guided exploration of that fateful moment when the spark of life is brutally snuffed out. Experience the ultimate in cinematic shock and horror as Dr.
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