Edward Norton, who has made his directing debut on Keeping The Faith, and is now set to direct Motherless Brooklyn.
Deadline has learned that Edward Norton (‘The Grand Budapest Hotel,’ ‘The Bourne Legacy’) is set star in and direct ‘Motherless Brooklyn,’ a 1950s drama inspired by Jonathan Lethem’s contemporary novel of the same name.
Adapted by Norton, the drama follows Lionel Essrog, “a lonely private detective afflicted with Tourette’s syndrome, who tries to solve the murder of his mentor and only friend. Armed only with few clues and an obsessive mind, Lionel slowly unravels closely guarded secrets that have major ramifications. It leads him through Harlem jazz clubs, Brooklyn slums and sets him against thugs and Gotham power brokers to honour his friend and save a woman who might his own salvation.”
The film, a passion project for Norton, is expected to shoot later this year in New York.
Full article here.
“Edward’s script has melded elements of Jonathan Lethem’s terrific novel with an original story that at once feels classic and entirely fresh,” said Ratner, who directed Norton in the 2002 adaptation of the Thomas Harris novel Red Dragon. “And with Edward playing Lionel Essrog, the brilliant private detective with Tourette’s Syndrome, this will be a tour de force performance.”
Edward Norton attended The Grand Budapest Hotel Premiere and opening ceremony during the 64th Berlinale International Film Festival at Berlinale Palast on February 6, 2014 in Berlin, Germany. I added over 70 HQ images from the event to the gallery.
- Public Appearances > 2014 > ‘The Grand Budapest Hotel’ Premiere (x34)
- Public Appearances > 2014 > ‘The Grand Budapest Hotel’ Photo Call (x27)
- Public Appearances > 2014 > ‘The Grand Budapest Hotel’ Press Conference (x13)
My apologizes for not adding these any sooner. Lately I’ve been very busy with my personal life, but now I finally have some free time, so I can work on the site again.
I added five HQ photos of Edward Norton and his wife Shauna Robertson attending Diane Von Furstenberg’s Journey of A Dress exhibition opening celebration on January 10, 2014 in Los Angeles, California.
- Public Appearances > 2014 > Journey of a Dress Opening Party (x5)
On of Edward’s futute projects, Salinger, is going to air on PBS from what we learnt today.
PBS stations air the critically acclaimed documentary Salinger, about elusive Catcher in the Rye author J.D. Salinger. The film includes interviews with Martin Sheen, Edward Norton, Philip Seymour Hoffman, John Cusack and Gore Vidal.
In other public broadcasting news, you’ll have to wait until 2018 for prolific documentary director Ken Burns’ planned look at the history of country music. The film is currently being called I Can’t Stop Loving You and will span from the early Grand Ole Opry greats to today’s modern crossovers. Among the legends to be featured are Hank Williams, Loretta Lynn, Johnny Cash, Willie Nelson, Garth Brooks and others.
The Yahoo Philippines has a new interview with Edward, where he talks his work with Wes Anderson, environmental issues and more.
Q: How did you first become involved with Wes Anderson?
NORTON: I wrote him a letter after I saw Rushmore and then several years later while I was doing a play in New York with Catherine Keener he happened to see it and wrote me a very lovely letter. Our relationship blossomed from there although it wasn’t until Moonrise Kingdom that he asked me whether I would be interested in working with him. I’m a huge fan of his films and I’m very happy to have had these opportunities to work with him. He also knows that I would work with him at any time.
Q: What have you learnt from having done two films almost back-to-back with Anderson?
NORTON: It’s interesting to work with a director who has a very precise idea of what he wants to do and whose screenplays are extremely well-written and don’t need any fixing or last-minute rewrites.
He also creates characters who are fervently serious in what they’re doing and feeling. There’s no irony to his characters and the humour comes from how audiences respond to their heightened sense of sincerity. It doesn’t actually affect how you play a character in his films, but you have to maintain that level of earnest naïveté. That’s why we love his films – there’s this heartfelt and romantic and maybe nostalgic kind of earnestness to his characters and how they go about their lives. There’s a simple beauty to that.
Q: What is it that sets apart a Wes Anderson film set from others you’ve worked on?
NORTON: It’s a very familial environment. It’s a much smaller crew than on most films. You generally do your own hair and makeup, you get into costume at your hotel, and then you show up and Wes plans the day for you together with the other actors. On Moonrise Kingdom, where I was playing a scout master, he was more like a camp counsellor himself.
Q: You seem to enjoy playing a wide variety characters from one film to another rather than trying to play typical leading man roles?
NORTON: One of my gifts as an actor is to be able to interpret roles that are very different from each other and create completely distinct characters. The things that I enjoy most about the process of acting is the education you derive from each experience, the way of working with the other actors and the director. You’re involved in a creative process that is very, very challenging and interesting and enjoyable…
I don’t care particularly if I get to play the lead or not as long as the script is well-written and my character allows me the possibility of being inventive and engaged in the process. I want to feel that I’m able to bring something interesting to the table.
Q: You’re notoriously tight-lipped about your private life. Why is that?
NORTON: Every single thing that an audience knows about you personally creates an obstacle between your ability to reach them with your acting and their ability to dissociate that creation from your own identity. As an actor, I want to sustain that suspension of disbelief that comes when an audience watches you perform. I don’t want anything to interfere or otherwise muddy the ability of people to react to my work. I would rather nobody know anything about me.
Q: You attended Yale and come from a distinguished family background. How did this impact your decision to become an actor and your aspirations in the film industry?
NORTON: University was a fascinating experience for me. There were a lot of talented people at Yale and I think that makes you want to achieve even more than you think you’re capable of. I was interested in many different things, but acting gave me the most pleasure.
My grandfather always taught me to be fluid in life, to follow paths which interest me rather than careers which simply offer financial security. As it turns out, acting has also brought me a measure of financial freedom so my granddad’s advice proved very useful.
Q: Given your academic and family background, do you ever question the validity of your life as an actor?
NORTON: As long as I am finding some artistic value to my work, I will continue doing it. I never want to feel that I am going through the motions or repeating myself. I’ve gone through periods where I’ve asked myself, “What am I doing?” And that’s very troubling.
I also like to strike a balance between the intellectual aspect of being an artist and the kind of impulsive creativity that is part of the kind of joy you feel in being inspired and spontaneous when you’re playing a scene. You need to rely on both elements of the process but ultimately you want to have fun.
You do these things and you realise that films mean so many different things to so many different people. It’s wild. I mean, after making the Hulk, I started getting letters from kids. Like, real kids. Having my friend take their kids to it and having those kids be excited for a film that’s kind of made for them, that’s fun.
Q: What got you into acting in the first place?
NORTON: It’s mainly because I loved theatre and film. I’ve always enjoyed the aspect of storytelling and being part of the process of exploring characters and how they make their way in the world… Every time you do a film you’re investigating some new world and new constellation of relationships between people. It’s an endless source of fascination for me.
Q: You’ve worked with so many outstanding actors in the course of your career. Does anyone stand out in particular?
NORTON: Marlon Brando left a great impression on me…I don’t know if I got to know him that well, but there was a beauty and aura to the man. He had accomplished so much in his life as an actor early on so that the whole game wasn’t important to him anymore. Brando had figured out how he wanted to live his life – without any bullshit. That’s a tough act to pull off.