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Ray Pride

By Ray Pride Pride@moviecitynews.com

The Canadian behind The Danish Poet

Norwegian-born Montrealer Torill Kove, winner of the best short animation Oscar for The Danish Poet talks hand-drawn animation with the Globe & Mail. “I thought maybe if I was half my age, I would be tempted to uproot and try to live out here. But I’m rooted in Montreal . . . and I’m happy to continue what I do there, although my husband and tall_hair.jpgI did discuss very briefly today the idea of coming here for his next sabbatical. But you never know,” she said… The Danish Poet traces a complicated story told as simply as possible about chance encounters in Norway and Denmark leading to love… Given the film’s comparatively simple animation and yet complex plot (all narrated by the Norwegian actress Liv Ullmann), could Kove’s win be viewed just as much as a reaction against the busy computer-generated animation in some of the other nominated films? “The [other] films nominated for the Oscar were not necessarily representative of what is going on in the international animation community, because there is quite a lot of handmade animation going on… It’s starting to look to me like there’s room for everybody. Of course when any of these big studios are going to put out a film, it’s going to have high production values, and in all likelihood computer-animated. But I don’t think it’s indicative of any trend. Handmade animation is alive and well.” [Excerpt here.]

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon