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DP/30: Rango, director Gore Verbinski

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3 Responses to “DP/30: Rango, director Gore Verbinski”

  1. EthanG says:

    Great interview….Rango is looking like it might actually remain the co-favorite favorite for the Oscar in the most wide open race since 2002 (with Tintin) since “Happy Feet Two’s” reviews (and box office tracking) looking to be off significantly from the first film, Pixar likely to miss a nomination for the first time when they’ve submitted a movie for consideration, and Dreamworks submitting two moderately well-liked but slightly under-performing candidates. Of course, the indie candidates I have no idea about, though “Chico and Rita” looks fantastic.

    Right now I’d go a five of:

    Rango (lock)
    Tintin (lock)
    Arthur Christmas
    Chico & Rita (or another indie)
    Puss, Pooh, Rio, Panda or Gnomeo in that order of likliness(Oscar has never nominated two indie animations and I won’t believe they will until it happens.)

    Any thoughts?

  2. hcat says:

    Like Verbinski more and more, finally caught up with Weather Man due to the love its gotten from others on this site and really enjoyed it.

    I also watched On Stranger Tides last night and saw just how anemic the material can be without the right director. Might have to go back and rewatch Verbinski’s trilogy just to see the correct way that anarchy should be filmed.

  3. Ella says:

    Verbinski is truly impressive. RANGO was one of my favorites of the year, let alone animated films. It’ really brilliant — great interview.

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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