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Kim Voynar

By Kim Voynar

True Grit Teaser. Yum.

I just finished watching the teaser trailer for True Grit for the third fourth fifth time, and I am hooked.

The shots in the trailer certainly have that Coen stamp all over them, but the thing I found most interesting was the choice to laud the Oscar wins of Jeff Bridges and Matt Damon and the Oscar nom of Josh Brolin as much as the film itself.

Even the mention of directors Ethan Coen and Joel Coen is appended by “Academy Award winning directors of No Country for Old Men.”

That’s a lot of Oscar mention in a one-minute clip. If you didn’t think the Coens and Paramount were gunning for the Oscar race before now, you can’t help but have “True Grit” and “Oscars” married in your mind after watching it.

The allusion to No Country for Old Men interested me as much as the Oscar-pimping, though … referencing that particular Coens’ film tells you a lot about what to expect tonally of their take on True Grit. I don’t know about you, but I can’t wait to see it.

Oh, and that song? Sublime. More, please.

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5 Responses to “True Grit Teaser. Yum.”

  1. Hopscotch says:

    The song is Where no one stands alone, sung by the Peasall Sisters…who provided vocals as the Wharvey Gals in O Brother, Where art thou?

    Nothing this Fall / Winter comes close as far as Must Sees. It’s this one.

  2. Alex says:

    TRON Legacy does.

  3. hcat says:

    Shhhhhh The adults are talking.

  4. Kim Voynar says:

    David has a link on Hot Blog to the Peasall sisters performing Where No One Stands Alone. Beautiful.

    And TRON Legacy? Seriously? I mean, not that I wouldn’t see it for a fun popcorn date, but it’s hardly on my list of anticipated fall films. Like, not even on the top 10 for fall.

    But the Coens? Hell yeah. This one and Social Network, which I’m catching (late, but at least catching) on Thursday are tops for me.

  5. Tron Legacy had a great, moody, character-driven teaser that sold the film like a piece of film noir. But the more eye candy-ish trailer turned me off, suggesting that the film won’t be much more than a 3D light show inspired by a 30 year old video game. We’ll see…

    Alas, since my wife wants to see it, I’ll have to wait until Sunday for The Social Network.

Quote Unquotesee all »

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