1970, Day Ten: Actor

The Best Actor nominees this year were all nominated at the Golden Globes for Best Actor in a Drama. That includes, among the other previously discussed and soon-to-be-discussed films, The Great White Hope, a compelling drama about a black boxer who becomes a target of the US government not just because of his becoming heavyweight champion of the world over all the white competitors, but because of his relationship with a white woman. Thoughtfully written, perfectly cast (in addition to nominees James Earl Jones and Jane Alexander, the ensemble boasts Lou Gilbert, Beah Richards, Marlene Warfield and Hal Holbrook), with an eye for detail and a scale of design on par with most epics.

But there were no Comedy/Musical Globe nominees! Just straight-faced misses. That means the Oscars skipped out on:

• Richard Benjamin for Diary of a Mad Housewife. As the ambitious husband pressuring his wife to help him surpass the Joneses, Benjamin is obnoxious, thoughtless, amusing. He's also supporting Carrie Snodgress, and supporting is where he belongs!
• Albert Finney for Scrooge, a musical adaptation of A Christmas Carol. Finney was in his early 30s when he took the role of 50+ Ebenezer Scrooge. Despite winning the Golden Globe and already being a nominee for Best Actor, he missed out...though he'd eventually return to the Academy's good graces. I'm glad they didn't. He's...miscast.
• Elliott Gould and Donald Sutherland for MASH. As Trapper John, M.D., and Benjamin "Hawkeye" Pierce, respectively, Gould and Sutherland anchor the anarchy. Gould was nominated the year before for Bob & Carol & Ted & Alice; Sutherland is still waiting.
• Jack Lemmon for The Out-of-Towners. Lemmon's everyman routine gets an edge. Visiting NYC for a business meeting that he hoped to parlay into a getaway with his wife, the domino effect of just terrible mishaps that greet them quickly take him from harried businessman to entitled asshole. It is hostile and the best.

Instead, they went for:

Casting Coup Tuesdays: Theatre of Blood

Vincent Price is my favorite actor.

I don't remember when I realized this, exactly, but I know it must have been around middle school. While my fourth grade teacher playing a Vincent Price-hosted clip show of classic horror on Halloween excited me, I was a Chaney, Sr. man then, and a Lugosi faithful by the end of elementary school. Somehow, though, as my adolescence began and my knowledge of film grew past 1941, Price took over.

Do you think it might have been the films? Not to sound unsophisticated or anything, but much as I admire Chaney's silent-era physicality and Lugosi's early-sound histrionics, Price got to ham it up in the colorful 60s and 70s, when bare breasts began bouncing on-screen alongside close-up gore effects and bizarre Hollywood concepts of the drug scene. His movies were campy and dark, funny and violent, sexy and...sexy?

We could talk for ages about his Wm Castle flicks (The Tingler, House on Haunted Hill), his Poe vehicles for Roger Corman (House of Usher, The Tomb of Ligeia), his work in more prestigious fare (The Song of Bernadette, The Private Lives of Elizabeth and Essex), or his contributions to early Tim Burton ("Vincent", Edward Scissorhands). But I think any Price fan worth his or her salt knows that nothing beats his one-two punch of Dr. Anton Phibes and Edward Lionheart, the anti-heroes of 1971's The Abominable Dr. Phibes, 1972's Dr. Phibes Rises Again and 1973's Theatre of Blood. Both men seek to avenge perceived wrongs by murdering those he begrudges in the most creative ways possible. In the first Phibes, it's according to the Plagues of Egypt. In Theatre of Blood, it's the works of William Shakespeare.

It's really quite a phenomenal idea for a film: Vincent Price as a hammy Shakespearean actor who attempts suicide when the Critics' Circle Awards snub him in favor of a young Method actor. Unbeknownst to everyone else, he survives, and he plans his revenge on the nine members of the jury according to the plays he performed in his final theatrical season. And in between killings, he performs scenes from those very plays to a rapt audience of homeless drug addicts who "rescued" him from his botched drowning.

This is my favorite Vincent Price film, and I've always loved that it was his, too. Of course, it was here that he met his third wife Coral Browne, and realized his dream of performing Shakespeare on film. I am not lying or exaggerating when I say that I always just heard Hamlet's soliliquoy in legitimate film versions of the Bard's work; only with Price's recitation after losing the coveted prize did I fully "get" the import of the words, and the beauty of the writing.



Lionheart goes from a darkly comic villain to a tragic hero, a man who only wants to be recognized for his hard work and dedication, to be celebrated for pursuing his dream with such single-mindedness...and they laugh at him. These people who dare not try their hand at performing, who make their living scoffing at struggling performers and eviscerating the efforts of hard-working craftsmen, these butchers (as Edwina puts it) laugh at him. Perhaps Lionheart puts it best:



And if those two scenes aren't enough to convince you of this movie's greatness:

So awesome.

But Price isn't the only one with a great part. The critics are a colorful ensemble of pompous prigs, the policemen are the right balance of competent and befuddled, and Lionheart has a beautiful daughter (played by Diana Rigg) who may or may not be working with him. It's a film ripe with character parts, which is why I'm a little surprised no one's tried to remake it. There was a stage version a few years back, with Jim Broadbent and Rigg's daughter Rachael Stirling as the Lionhearts, but otherwise, no one else dares to touch the film. Is it the daunting task of even equaling Price's performance? The difficult tone? The logistics of rounding up an ensemble not only willing to do a slasher flick but giving said flick an air of legitimacy and class?

Perhaps. But this is Casting Coup Tuesday. We gotta try. But let's at least do it after the jump:

Casting Coup Tuesdays: The Exorcist

I remember seeing The Exorcist in the middle of the afternoon with my family in high school. All I could think about afterward was that face and the line, "Fuck me Jesus." My parents weren't strict, but there were certain films we were not allowed to see at certain ages, so imagine my surprise when such a scene was considered appropriate viewing for my fourteen-year-old self. (Then again, Mom and Dad were always willing to break their own rules if they felt it was a quality film -- thus Ed Wood in elementary school and Rocky Horror in middle school). There was much of the movie I forgot over the years, but those graphic images of Regan masturbating with the cross never left. It was weird. It was scary. It was horrifying. So, of course, it had to be one of the greatest horror flicks of all time.

As it turns out, it's considered more than just one of the greatest horror flicks, but one of the greatest films all around. Winner of two of its ten nominations at the Academy Awards, number two at the box office, considered for placement among AFI's 100 Greatest Films (both the original and the anniversary), and still rated in the Top 250 by IMDb Users, the film's got legs. Almost forty years later, it still has the potential to shock and amaze. How did they do that? one wonders, usually followed by a Oh my God oh my God what's happening aaaaaccccckkkk!!!!

Last year, The Exorcist returned to select screens for a one night engagement. My best friend/roommate and I were only two of the twelve people in the theater. It was even better this time around. I finally appreciated the sound design, the cinematography, the writing, the performances. Jason Miller in particular startled me as Father Damien Karras, the priest-psychologist dealing with the death of his mother, his loss of faith, and a possessed 12-year-old -- it just hurts so much to watch him. Meanwhile, we brought a friend with us who had never seen it before. Needless to say, she was clutching the armrests, covering her eyes, and I think I heard her praying. That's fine: so was I.

The film is lightning in a bottle, often imitated, never duplicated. Yet here we are, doing a Casting Coup for a film that is already pretty perfect. Why?

Because we can!!!

SHARON SPENCER

Who is She: Chris's assistant. Keeps the MacNeils' life in order and cares for Regan while Chris is on set. Understandably upset when things take a turn for the demonic, she nevertheless remains.

Originally played by:

Kitty Winn (The Panic in Needle Park, The Exorcist II: The Heretic)

My Choice:

Stella Maeve (Transamerica, The Runaways)

Oddly magnetic presence in The Runaways, with a natural, modest performance that sometimes stole the show away from some the more mannered co-stars. Not on purpose, she just seems so natural and chill. I appreciate comfort like that, especially in assistants and babysitters.

FATHER JOSEPH DYER

Who is He: A Georgetown priest, he counsels Karras after the death of his mother. He remains good friends with Karras, and quite an entertainer besides: he plays piano at one of Chris's parties, as he's helping out on the set of her film.

Originally played by:

Father William O'Malley (real priest, but he also wrote the song "Twinkle Twinkle Little Me", one of the great Christmas songs; great actor, too)

My Choice:

Bryan Cranston (Little Miss Sunshine, Drive)

Truly would not have thought of this if it hadn't been for my two viewings of Drive, but damn Cranston is impressive. So why such a small role? Because it's an important one, and Cranston is a phenomenal character actor. Also, I don't know any real priests off the top of my head.

BURKE DENNINGS

Who is He: Chris's director and friend, an eccentric little Englishman who likes to loosen up with a drink. Things take a turn for the weird when, while staying at the MacNeils' to look after Regan, his body is found at the bottom of the steps outside her window. Almost like he was hurled out of her room...

Originally played by:

Jack MacGowran (Cul-de-sac, Age of Consent)

My Choice:

Eddie Izzard (The Cat's Meow, Valkyrie)

LT. WILLIAM KINDERMAN

Who is He: Aging policeman investigating Burke's death. Understands that there's a connection between a weird girl, a dead director, and a desecrated church. Kindly and wise.

Originally played by: Academy Award Nominee for Best Supporting Actor (On the Waterfront, The Brothers Karamazov), Golden Globe Nominee for Best Supporting Actor (12 Angry Men, Come Blow Your Horn)

Lee J. Cobb (Exodus, How the West Was Won)

My Choice: Academy Award Winner for Best Actor (Scent of a Woman), BAFTA Award Winner for Best Actor (Dog Day Afternoon/The Godfather: Part II), DGA Award Winner for Best Director - Documentary (Looking for Richard), Golden Globe Winner for Best Actor - Drama (Serpico, Scent of a Woman)

Al Pacino (The Godfather, Cruising)

Pacino still gets to play lawmen, so I figure this might be a good way to retire that. It's an interesting role that would give him a chance to underplay. He's so great at that.

REGAN MACNEIL

Who is She: Chris's daughter, a nice twelve-year-old girl who becomes possessed by a demon named Pazuzu.

Originally played by: Academy Award Nominee/Golden Globe Winner for Best Supporting Actress (The Exorcist)

Linda Blair (Hell Night, Repossessed)

My Choice:

Kiernan Shipka (Carriers, "Mad Men")

Well, she's already dealt with some very adult themes on "Mad Men". Just add a cross! Ok, tasteless joke aside, she really does have a natural presence, and she looks like she could have come from my Chris MacNeil. Speaking of...

CHRIS MACNEIL

Who is She: Regan's mother, a divorced actress living in the Georgetown area so she can shoot a new picture. While not a religious woman, Chris has no fucking clue what else to do, especially since the doctors and medicos have no idea what's up with Regan.

Originally played by: Academy Award/BAFTA Award Winner for Best Actress (Alice Doesn't Live Here Anymore), Golden Globe Winner for Best Actress - Musical/Comedy (Same Time, Next Year), Indie Spirit Winner for Best Actress (Requiem for a Dream), SAG Award Nominee for Best Actress (Requiem for a Dream) and Best Ensemble (How to Make an American Quilt), Hollmann Award Nominee for Best Actress (Alice Doesn't Live Here Anymore)

Ellen Burstyn (Resurrection, Lovely, Still)

My Choice: Academy Award/Golden Globe/Indie Spirit/SAG Award Winner for Best Actress [Drama] (Monster), BAFTA Award Nominee for Best Actress (Monster, North Country), Indie Spirit Winner for Best First Feature (Monster)

Charlize Theron (The Astronaut's Wife, Young Adult)

Never thought of anyone else for this role. Actually thought while watching The Exorcist: "Damn. Charlize would be great in this."

FATHER LANKESTER MERRIN

Who is He: Priest, archeologist, exorcist. He's dealt with the demon Pazuzu before, most notably while in Iraq, and so is fully aware of the dangerous power he's facing. Merrin charges forward, even with a mouthful of green vomit. Merrin is so awesome.

Originally played by: Academy Award Nominee for Best Actor (Pelle the Conqueror), Golden Globe Nominee for Best Actor - Drama (Hawaii) and Best Supporting Actor (The Exorcist)

Max Von Sydow (Minority Report, The Diving Bell and the Butterfly)

My Choice: Academy Award Nominee for Best Actor (The Great White Hope), Golden Globe Nominee for Best Actor - Drama and Musical/Comedy (The Great White Hope, Claudine), Indie Spirit Nominee for Best Supporting Actor (Matewan), SAG Award Nominee for Best Actor (Cry, the Beloved Country)

James Earl Jones (Star Wars, The Lion King)
I wound up with a copy of the original screenplay, and while reading it, I kept picturing just Max Von Sydow, now old enough to take on the role without makeup. But that would be silly, I thought. Is there another elderly actor who I would believe as a scholar, a savior, an exorcist with a voice that could cast out the Devil? Of course, the answer is yes.

FATHER DAMIEN KARRAS

Who is He: The real protagonist of the film. Having just lost his mother, who he feels he neglected, Father Karras begins to doubt his vocation and his faith. How can he be the psychiatrist of the congregation if he himself is plagued with such doubts? Well, he winds up meeting Chris, and assists Father Merrin in the exorcism of Regan MacNeil.

Originally played by: Academy Award Nominee for Best Supporting [?] Actor (The Exorcist)

Jason Miller (The Ninth Configuration, Finding Home)

My Choice: Academy Award Nominee for Best Supporting Actor (Revolutionary Road), Hollmann Award Winner for Best Supporting Actor (The Runaways)

Michael Shannon (Bug, My Son My Son What Have Ye Done?)
Shannon is actually just as magnificent when he dials down the crazy, as in Take Shelter (for the most part, anyway).  Like Charlize, his was an automatic no-brainer. If anyone was to take the reins from the magnificent Mr. Miller, it has to Shannon.

Casting Coup Month: The Ten Commandments

NOMINATIONS

Best Picture

Best Cinematography, Color - Loyal Griggs

Best Editing - Anne Bauchens

Best Costume Design, Color - Edith Head/Ralph Jester/John Jensen/Dorothy Jeakins/Arnold Friberg

Best Art Direction-Set Decoration, Color - Hal Pereira/Walter H. Tyler/Albert Nozaki/Sam Comer/Ray Moyer

Best Sound, Recording - Loren L. Ryder

Best Effects, Special Effects - John P. Fulton (WON)

I imagine I had more patience when I was a child. I've been putting off seeing Ben-Hur because I have no idea when I'll have four hours to kill. When I was a wee one, though, not only did I make time every Passover to watch The Ten Commandments, I would rent it to watch on my own time. I would spend 10 hours* of my year between the ages of five and nine watching Charlton Heston set his people the hell free. Now? I only have patience for the two-hour "Making Of" documentary on Disc Two of the 2004 DVD release.

Now that I think about it, that might not be so bad. As a recent graduate of the film school (toot. toot.), I am equally interested in both the film itself and the behind-the-scenes fun! And truly, is there anything more beautiful than the inspiring dedication and zeal of producer/director Cecil B. DeMille? When I saw Sunset Boulevard, I knew why Norma Desmond would want to work with the master. DeMille may have taken some creative liberties with chronologies, and some critics may claim that his work is bloated and sappy, somewhat cheesy. But can you doubt his sincerity? Can you doubt his dedication? Can you doubt his ability to actually get a large cast and crew and finances together to make his enormous vision come to be? I'm pretty sure you can't.

It was only a matter of time before this movie showed up here. Its significance in my life combined with my dream of making Biblical epics made its presence an inevitability. It's been some time since I've seen it, but I did take an Old Testament course last semester that made me reread the story of Moses in its entirety (that's a high five moment). Let's take a journey on the Casting Coup Couch, shall we?:

Casting Coup Tuesdays: The Phantom Tollbooth

When I was in fifth grade, we did a unit on The Phantom Tollbooth that seemed to last the whole year. We read the book, analyzed the book, made dioramas, dressed as the characters, and even had a huge feast in which we brought in foods that related to our assigned parts. As I recall, I was part of the King's Cabinet of Dictionopolis, where language ruled, so I brought in "Synonym" Toast Crunch. I can't help but grin even now at my cleverness. God, I was smart! Though I can't for the life of me remember what I was doing the day they showed the movie, because I still haven't seen it.

I bought the book for class in fifth grade. Then I re-read it in seventh grade. Then I read it again in high school. It's one of the few books I've read over and over again, along with Moonraker and And Then There Were None. It was a Shakespearian-trained actor who once spoke to me about how children's literature often offers more depth and satisfaction than that of the grown-ups. In this case, I agree. The importance of language, of logic (math), of imagination - such lessons that book gave! The apathy of the youth is often cited as one of the significant traits of my generation. (That must have been a problem in the early 1960s as well, for where else would Norton Juster get the idea for the bored Milo?) How disappointing this is when one considers that most of my generation had to read The Phantom Tollbooth! How did they not learn the most important of lessons, that life is just fucking awesome when you realize just how fucking awesome it is? Also, Rhyme and Reason are really important.

As you all should know (and if you don't, you're probably one of the apathetic youth), the protagonist of the tale is Milo. Milo is bored by everything around him. He looks down when he walks because nothing is interesting enough to catch his attention. Learning and schoolwork are all, like, whatever, man. And then one day he comes home to find a box in his living room. It turns out to be a Tollbooth, and he drives a toy car through it...and is suddenly transported to The Lands Beyond, where he meets a number of interesting characters, rescues princesses, befriend a talking dog and a Humbug, and learns Life Lessons. It's suuuuch a great book! Anna Quindlen of The New York Times once wrote, "I read [The Phantom Tollbooth] first when I was 10. I still have the book report I wrote, which began 'This is the best book ever.'"

One of my dreams is to make a film version of this great book. Not a cartoon, like the Chuck Jones original, but a live-action one. We've got one of Alice in Wonderland (hm...bad example), and it isn't time we actually see an all-star cast in these legendary roles? And, if this story at Cinema Blend is to be believed, I may be beaten to it by Gary Ross. That talented son of a bitch.

Either way, I have a dream. And that dream is to see the following in such a movie:

CHROMA
Who is He: The conductor of the color orchestra. An old man with ka-razy hair, he makes sure the colors of the day are all seen properly and according to the sheet music. When he stops to take a rest at night, Milo gets hold of the baton...

My Choice: Academy Award Nominee/BAFTA Award Winner for Best Actor (The Elephant Man) and Best Supporting Actor (Midnight Cowboy), Golden Globe Winner for Best Supporting Actor (Midnight Cowboy)

John Hurt (V for Vendetta, Indiana Jones and the Kingdom of the Crystal Skull)
Sometimes, you cast because you love a certain actor and feel like, hey, I haven't seen him in a while.


DISCHORD & DYNNE
Who are They: Dr. Kakofonous Dischord and the smoke beast known as the Awful DYNNE are keepers of noise in the Valley of Sound. They believe the sounds are beautiful, but everyone else just hears a bunch of terrible noise.

My Choice: Well, one of them is a Golden Globe Nominee for Best Actor in a Musical/Comedy (The School of Rock)

Tenacious D (Tenacious D in The Pick of Destiny, Cradle Will Rock)
A good team needs to be played by a good team. Jack Black, the more famous face, could play Dr. Dischord, while Kyle Gass could play the Awful DYNNE. Their chemistry and ear for noise-making would be put to good use here.


THE DODECAHEDRON
Who is He: The first thing Milo & Friends meet at Digitopolis. He has twelve different faces for twelve different emotions. He leads them through the Number Mines into the city, and often confuses Milo with the varying emotions and faces.

My Choice: BAFTA Award Nominee for Best Actor (Eternal Sunshine of the Spotless Mind), Golden Globe Winner for Best Actor in a Drama (The Truman Show) and in a Musical/Comedy (Man on the Moon), SAG Award Nominee for Best Actor (Man on the Moon)

Jim Carrey (The Mask, A Christmas Carol)
He of the varied voices and rubber face.


FAINTLY MACABRE
Who is She: The not-so-wicked Which. Faintly was in charge of selecting words, until she went power-mad and hoarded them all. Now imprisoned, it is she who tells Milo of the disappearance of the princesses. Indeed, it is she who prompts him to speak to Azaz about it, thus inspiring them to action.

My Choice: Academy Award/SAG Award Nominee for Best Supporting Actress (American Gangster)

Ruby Dee (The Jackie Robinson Story, Jungle Fever)
Faintly is a gentle, grandmotherly type, and I've always felt there was something reassuring about Ruby Dee's eyes and smile. Lord I love this actress. How was she not nominated for A Raisin in the Sun? Or Do the Right Thing?


THE KING'S CABINET
Who Are They: A quintet of identical men who constantly repeat each other using synonyms. They are confusing and infuriating, so of course they were my favorite characters. They are: the Duke of Definition, the Earl of Essence, the Count of Connotation, the Minister of Meaning and the Undersecretary of Understanding.

My Choice: Academy Award/Indie Spirit/SAG Award Nominee for Best Actor (The Visitor), Indie Spirit Nominee for Best Supporting Actor (Flirting with Disaster)

Richard Jenkins (The Kingdom, Dear John)
Looks great in a suit, and playing five characters gives him a chance to display his comic chops, which are intimidating.


OFFICER SHORT SHRIFT
Who is He: The lawman in Dictionopolis. He is judge, jury, cop, and attorney. He believes everyone to be guilty, and despite his small stature, he is just unpleasant to be around.

My Choice:

Warwick Davis (Return of the Jedi, Leprechaun N Da Hood)
Look at that tiny bugger! Tee-hee!


THE SENSES TAKER
Who is He: At the base of the Castle in the Sky, he asks trivial questions that delay our heroes from rescuing the princesses as the Demons of Ignorance get closer. A withered old man stained with ink.

My Choice: Golden Globe Nominee for Best Supporting Actor (Baby Doll), Hollmann Award Nominee for Best Supporting Actor (The Holiday)

Eli Wallach (The Good, the Bad, and the Ugly, The Godfather: Part III)


THE SOUNDKEEPER
Who is She: The ruler of the Valley of Sound. Like Faintly Macabre, she went mad with power and hoards the sounds to herself. Unlike Faintly Macabre, she has no regrets about her decision, and is quite mad.

My Choice: Academy Award Winner/BAFTA Award/Golden Globe Nominee for Best Supporting Actress (Prizzi's Honor), BAFTA Award Nominee for Best Supporting Actress (Crimes and Misdemeanors, Manhattan Murder Mystery), Golden Globe Nominee for Best Actress in a Drama (The Grifters), Best Actress in a Musical/Comedy (The Addams Family, Addams Family Values) and Best Supporting Actress (The Crossing Guard), Indie Spirit Winner for Best Actress (The Grifters) and Best Supporting Actress (The Dead), SAG Award Nominee for Best Supporting Actress (The Crossing Guard)

Anjelica Huston (The Royal Tenenbaums, Choke)
Truthfully, part of this is because she looks like the illustration. But of course, the other part has to do with her formidable talent. Haven't we all seen her go from zero to crazy at one point or another?


THE TERRIBLE TRIVIUM
Who is He: A faceless demon that distracts our heroes by getting them to complete pointless, impossible tasks. He wishes to keep them from rescuing Rhyme and Reason; that is, common sense.

My Choice:

Doug Jones (Pan's Labyrinth, Legion)
So, this is basically a matter of just covering his face. Which he is apparently totally down with. His build would be menacing enough with just a suit and bowler hat. Creepy.


THE WHETHER MAN
Who is He: A repetitive little man, Milo meets him at the Land of Expectations. He kind of just stays there, due to his preoccupation of what may be and how.

My Choice:

David Cross (Eternal Sunshine of the Spotless Mind, I'm Not There)
Because he is a hilarious actor with great comic timing.


RHYME & REASON
Who are They: Sweet Rhyme and Pure Reason are mysterious orphans adopted by the Mathemagician and King Azaz. Without them, there can be no harmony in world. They find letters and numbers to be equally important, so of course they are banished. The saving of them drives the plot of the entire book.

My Choices: One is an Academy Award/BAFTA Award Nominee/Golden Globe Winner for Best Supporting Actress (Closer); the other is an Academy Award/Golden Globe Nominee for Best Actress [in a Musical/Comedy] (Pride & Prejudice), BAFTA Award/Golden Globe Nominee for Best Actress [in a Drama] (Atonement)

Natalie Portman as Sweet Rhyme
Keira Knightley as Pure Reason
I think Natalie comes off as more Sweet than Pure, even though Keira is less shy about showing off her body. But those cheekbones, quite honestly, are more of purity than of sweetness, and Natalie's smile is more sweet than pure. And as the princesses of common sense, you couldn't have a better pair. They resemble each other, they're beautiful, and they're known for their intelligence.


THE MATHEMAGICIAN
Who is He: The Ruler of Digitopolis, the Mathemagician is a man with a regal bearing and wizard's robes. He and his brother fight over whether letters or numbers are more important, and for failing to pick one over the other, Rhyme and Reason are banished. The Mathemagician is not so sure that their return is a good idea.

My Choice: Academy Award/SAG Award Winner for Best Supporting Actor (Million Dollar Baby), Golden Globe Winner for Best Actor in a Musical/Comedy (Driving Miss Daisy), Indie Spirit Winner for Best Supporting Actor (Street Smart)

Morgan Freeman (Bruce Almighty, The Big Bounce)
Obviously, his voice is the voice of a ruler. I find the Mathemagician to be less easily sympathetic than Azaz, which would be a nice switch for Freeman. And the idea of him in wizard's robes is too cool.


KING AZAZ
Who is He: The Ruler of Dictionopolis, Azaz is as large as a dictionary (ha!) with a booming voice to match. He regrets banishing Rhyme and Reason, and sends Milo and his cohorts on a mission ot rescue them.

My Choice: Academy Award Nominee for Best Actor (The Great White Hope), Indie Spirit Nominee for Best Supporting Actor (Matewan), SAG Award Nominee for Best Actor (Cry, the Beloved Country)

James Earl Jones (Coming to America, Welcome Home, Roscoe Jenkins)
A large, imposing man with a commanding voice, his take on complicated characters would do well with Azaz. For Azaz is a proud yet ashamed man, a complexity which an actor of Jones's brilliance could masterfully portray.


HUMBUG
Who is He: The humbug is a beetle with very little knowledge, though that doesn't stop him from trying to be the expert on the latest subject. He is a constant brown-noser, though his flattery is what leads to Azaz putting him on the Adventure in the first place. At heart, the Humbug is a coward and a braggart, but Lord he's a lot of fun.

My Choice: Academy Award Nominee/BAFTA Award/Golden Globe Winner for Best Actor [in a Drama] (Mona Lisa), SAG Award Nominee for Best Ensemble (Nixon)

Bob Hoskins (Mrs Henderson Presents, Doomsday)
He has the build, and he has the voice. I wonder if this would be a voice-over, a mo-cap, or a heavily-made-up-by-the-team-from-District 9 type of performance. Thoughts?


TOCK
Who is He: A watchdog. Literally: his body is a ticking clock, but he has the head and limbs of a dog. Tock saves Milo from the Doldrums (the town, that is), and the two form a best friendship. Tock is smart, fast (time flies, after all), and loyal. He is a great comfort to Milo and is willing to stay 'til the end.

My Choice: Obviously, some sort of CG would have to employed, but the voice actor would be a Golden Globe Nominee for Best Supporting Actor (Barton Fink)

John Goodman (The Big Lebowski, Speed Racer)
Because his voice is so reassuring and soft, and he is a great voice actor. This is a man who knows the delicate balance between seriousness and funny.


MILO
Who is He: Our hero, of course! Milo is a bored little boy who finds the tollbooth in his living room. He uses it to find adventure and imagination!

My Choice:

Nicholas Elia (White Noise, Speed Racer)
When first I saw him in Speed Racer, I thought, "There's a kid who gets it." He got the power of imagination, and how awesome kids can be. He'd have to play the bored part of course, but that's hardly a challenge, I think. The kid clearly has some great chops, and he deserves a lead like this.