Meet Joe Black – Variety
liveliness of the firework. William Parrish walks to him, accepting his fate—and Joe (Dea I like the death scene in Meet Joe Black. Is something wrong with. In half the time it takes to "Meet Joe Black," many good films chart an entire life story. It doesn't help that Joe walks and talks rather like a zombie, and that he and best of all in his scenes with Hopkins, suggesting that he would excel in .. Trailers · Cover Shoots – Behind the Scenes · Actors on Actors. Meet Joe Black is a American romantic fantasy film directed and produced by Martin Brest Most of William Parrish's country mansion scenes were shot at the Aldrich Mansion in Rhode Island. domestically upon its opening weekend ( 11/) at #3, behind The Waterboy's second weekend and the opening of I Still.
When Claire Forlani arrives for the party her dress straps are crooked and her hair is turned up. Later she's talking and her hair is turned down.
When she's dancing with her father or talking to Joe, her hair changes several times.
Meet Joe Black
At the dinner table at Parrish's, the two staff members provide Joe Black with a place setting, but in the next shot focusing on Joe Black only a very few seconds later, there is all of a sudden a plate of food in front of him, and no staff member is visible.
Towards the end of the dialogue, she hugs him and hold a silver object in her right hand, that object changes hands and even disappears, while the book stays in the same hand. When Joe gets a taste of peanut butter in the kitchen in Parrish's NY apartment, he puts the whole spoon in his mouth and coughs afterwards, yet most of the peanut butter, if not all of it, is still left on the spoon when he asks for more.
At the beginning, Bill is drinking a cup of coffee on the balcony. He raises it to his mouth and drinks, but when the shot changes to behind him, his hand is down by his side. When Bill and Joe are walking to Bill's office, Bill has to pull Joe back to prevent him from being hit by a car. Right after, there is a close-up of the two, but the extras around them are not the same as in the moment before.
A little later a car passes them in front of the camera, and one of the extras who was walking faster than the two before the car came, is at a further distance after the car passed. During the party, you will see Anthony Hopkins switch from having a vest underneath his tuxedo and a cumberband while seated and talking to Joe Black in his office and back to a vest again during his birthday speech.
Meet Joe Black (Film) - TV Tropes
In the scene where Bill is having a drink on the couch before dinner just a few minutes before he meets "Death"he's holding a highball glass while talking to his daughter Alison.
When she asks for the short version of his impassioned speech, he simply says, "Stay open. Susan meets a vibrant young man at a coffee shop. He takes an interest in her and tells her that lightning may strike. She is enamored but parts without getting his name.
Unbeknownst to her, the man is struck by multiple cars in a possibly fatal accident. Death arrives at Bill's home in the uninjured body of the young man, explaining that Bill's impassioned speech has piqued his interest.
Given Bill's "competence, experience, and wisdom", Death says that for as long as Bill will be his guide on Earth, Bill will not have to die.
Making up a name on the spot, Death is introduced to the family as "Joe Black". Bill's best efforts to navigate the next few days, knowing them now to be his last, fail to keep events from going rapidly out of his control. Drew is secretly conspiring with a man bidding for Parrish Communications.Claire Forlani - [Jun-2000] - interview
With his 65th birthday fast approaching, New York media tycoon William Parrish Anthony Hopkins begins hearing a strange, disembodied voice, and shortly suffers a heart seizure while being spoken to so mysteriously. In short order, the voice materializes to the mystified William in the guise of the fellow from the coffee shop. Thus begins a peculiar relationship in which the dazzlingly blond Joe Black follows the powerful William on all his rounds.
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But Susan, for one, is willing to overlook all this in her determination to figure out who the mystery man is, and sure enough maneuvers him into her arms. By taking so much time and building to the climax so methodically, Brest seems to be trying to pull off a metaphysical slow burn, one whose cumulative impact will prove moving and profound.
But even if one buys the premise, the story is finally just too contrived and wispy to support heavy emotional investment. As Hopkins plays him, with tremendous verve and sympathy, he is all this, but the character also seems impossibly idealized, truly without flaws.