Paul Giamatti and Rosamund Pike star as husband and wife (for a time) in “Barney’s Version,” the adaptation of Mordecai Richler’s novel about an older man reflecting on his successful but troubled life. The Los Angeles Times caught up with each of them to talk about their new movie, the absence of character movies, changing notions of masculinity and the pros and cons of facial hair.

Q. Why do you think we see so few character-driven films like “Barney’s Version” these days?

Rosamund Pike: “It’s because the smart, intelligent adults who are its audience are not the people who are going to make box-office gold. There’s just not enough of them as there are teenagers who will go and see ‘Twilight.’ I also think people don’t observe people so closely anymore. And we’re not living in the 1970s, that’s the other thing. If we were living in the 1970s, ‘Barney’s’ would be a mainstream studio movie.”

Paul Giamatti: “A movie like ‘Barney’s Version’ doesn’t have a gimmick, which is tricky to pull off these days. It hearkens back to the 1970s movies like (Paul Mazursky’s comedy-drama) ‘An Unmarried Woman.’ I’d like to think there’s more room for things like that. My idea of having a production company is because I’m interested in doing these smaller things. I’d like to think there’s more room for things like that.”

Q. This movie feels like it fits into a larger group of films about men who have the outward trappings of maturity but are really quite scared and childlike inside. What do you think that’s about?

PG: “At one point, Rosamund’s character says to mine, ‘You’re still a child.’ There is a lot of that going on in movies. Certainly the guys in ‘Sideways’ are growing up uncomfortably. Judd Apatow has these child-men. There’s a weird refusal to grow up in movies. I don’t know generationally what that (means).”

RP: “I think the idea of the alpha male has gone out. Although I’m still looking for one.”
(more…)

Rosamund Pike and Paul Giamatti star as husband and wife (for a time) in “Barney’s Version,” the adaptation of Mordecai Richler’s novel about an older man reflecting on his successful but troubled life. The Times caught up with them to talk about their new movie, which opened in L.A. on Friday, the absence of character movies, changing notions of masculinity and the pros and cons of facial hair. A complete video sit-down with Giamatti follows below.

– Steven Zeitchik and Deborah Vankin

Why do you think we see so few character-driven films like “Barney’s Version” these days?

Rosamund Pike: “It’s because the smart intelligent adults who are its audience are not the people who are going to make box-office gold. There’s just not enough of them as there are teenagers who will go and see ‘Twilight.’ I also think people don’t observe people so closely anymore. And we’re not living in the 1970s, that’s the other thing. If we were living in the 1970s, ‘Barney’s’ would be a mainstream studio movie.”

Paul Giamatti: “A movie like ‘Barney’s Version’ doesn’t have a gimmick, which is tricky to pull off these days. It hearkens back to the 1970s movies like [Paul Mazursky's comedy-drama] ‘An Unmarried Woman.’ I’d like to think there’s more room for things like that. My idea of having a production company is because I’m interested in doing these smaller things. I’d like to think there’s more room for things like that.”

This movie feels like it fits into a larger group of films about men who have the outward trappings of maturity but are really quite scared and childlike inside. What do you think that’s about?

PG: “At one point Rosamund’s character says to mine, ‘You’re still a child.’ There is a lot of that going on in movies. Certainly the guys in ‘Sideways’ are growing up uncomfortably. Judd Apatow has these child-men. There’s a weird refusal to grow up in movies. I don’t know generationally what that [means].”
RP: “I think the idea of the alpha male has gone out. Although I’m still looking for one.”
(more…)

Barney’s Version will be released on January 28, 2011 in the UK.

Rowan Atkinson has reportedly fallen sick, postponing production on the follow-up to Johnny English.

The Mr. Bean star was apparently shooting Johnny English Reborn in London when he was struck with an unknown illness.

Production on the project was halted after he fell ill, reports AceShowbiz.

Gillian Anderson, Daniel Kaluuya, Dominic West and Rosamund Pike are starring in Johnny English Reborn, which is scheduled for a 2011 release.

Certain films should just be enjoyed. No, let me put it another way: there are films that only want to be loved. Such is Barney’s Version, an adaptation of Mordechai Richler’s book starring Paul Giamatti. It is a film that desperately wants to loved and attempts just about everything to succeed in the task.

The film revolves around Barney, a TV producer with quite a few personal problems, as his life is chronicled beginning with his first marriage and up to his last days. The plot jumps back and forth in time in a manner reminiscent of 1982′s The World According to Garp. Barney’s Version is a reasonably moving and not unfunny film. It is visually inviting and the actors all do a solid job. Other than its excessive length, there’s no reason why you shouldn’t lay the critical half of your brain to rest, and let Barney and co take you for a safe ride.

Giamatti is impressive as ever, yet those who saw him depict lovable yet damaged character with yet greater brilliance in American Splendor and Sideways will experience déjà vu. Dustin Hoffman provides a number of magic moments as Barney’s father, and Minnie Driver and Scott Speedman make for a strong supporting cast. Yet best of all is Rosamund Pike. Since her wonderful role in An Education last year, I’m craving to see her in a big and meaningful role. Here she gets this opportunity and seizes it with both her hands.

Barney’s Version does a good job within the strictly limited scope it set for itself: a funny, emotional, well-made drama that does not leave a profound impression, but does provide quite a few lovable moments.