April 27, 2024
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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
That there’s a LEGO movie is emblematic of the fact that I think studios REALLY ARE THIS TIME, running out of ideas.
I can’t recall a worse quality quarter than this one. There has been exactly two major wide releases worth paying to see–SIDE EFFECTS and WARM BODIES. Zero by the major studios.
Watching the culmination of the demise of Andrew Niccol (wtf Saoirse Ronan?) this morning was the icing on the shit cake that’s been 2013 so far.
Is Spring Breakers any good? I was going to try to check out a movie this w/e but wasn’t really drawn to anything. I did see and enjoy Side Effects. Wait, also saw The Croods which was a whole lot better than I expected. Running down some of the titles, nothing jumped out at me. And then looking at movies for the summer, I got more depressed than anything.
I know there are plenty of fresh ideas out there. We just need someone with the balls or the dependents to make them.
Ain’t It Cool’s Harry Knowles: The Cash-Strapped King of the Nerds Plots a Comeback
Living firmly in the ancillary world 6 months to a year behind anything current I only recently viewed Argo and am a little torn by its BP win. Its a strong movie, tense, flows quickly, well acted, with the sturdy non-flashy workmanship of his first three efforts Affleck seems to be taking the baton from Eastwood. But while Eastwood won his first oscar for Unforgiven, what I would call an outright masterpiece and one of the greatest movies in the past three decades, Argo feels like more of a programmer. Like if Hollywood was on its game we would have four or five Argo’s a year. It feels similiar to when Gladiator won, loved the movie but its simply what an action movie is supposed to be.
So I am just wondering for the sake of conversation and an aversion to doing work on the project that I am supposed to be doing, what do you think is the most unfairly maligned best picture winner. Wolves? Ordinary People? My personal choice would be how Rocky is often looked down upon when people talk about the embarresment of riches that was nominated along with it that year. It was a fantastic selection of films and any one of them was deserving but I still think they made the right choice.
ROCKY is a good choice (I’d probably put it top two for the year with TAXI DRIVER).
I’d also cite OUT OF AFRICA, DRIVING MISS DAISY, TITANIC, SHAKESPEARE IN LOVE and CHICAGO, though I probably won’t find much agreement here.
HOW GREEN WAS MY VALLEY is a masterpiece, and should not be maligned for winning over CITIZEN KANE (KANE would still have been my #1 choice though).
THE GREATEST SHOW ON EARTH is no masterpiece, but it’s fun, and I’d rank it third of the nominees for 1952, after THE QUIET MAN and HIGH NOON.
I think SPRING BREAKERS is must see cinema on many, many levels. Subtext, performances, sheer entertainment, pure terror, Korine casting his eye on American Grotesque once again….I loved it and was scared badly by it.
As for the Lego movie/studios running out of ideas….I think they are and have been running out of ideas and now with the Veronica Mars kickstarter thing, they are going to find themselves struggling further. They’re kind of taking themselves out of the equation.
I’m very partial to The English Patient, which gets ripped to shreds on boards like this one.
I think The Artist, more than Argo and some of the others, is going to age very, very poorly and deserves to be ripped to shreds.
Well, in the case of MARS, this is literally an example of giving the people what they want, so I wouldn’t include that in the equation. The problem is the studios are largely run by bean-counters who only understand what worked and foolishly believe will work again. And of course my usual plaint about ignoring that demographic that has all the disposable cash and spare time, and actually watches a movie instead of texting during it.
ARGO was just fine. A smart political romanticized version of a fascinating event that resonates with our world today – and I liked seeing an audience of post 50 year olds engaged because they remember. The single most interesting and unintentionally subversive thing about ARGO is revealing the absolute collusion between agencies like the CIA and Hollywood to save Americans is counter to every FOX/right wing myth — and should be troubling to liberals for the obvious reasons. But any film that has JACK KIRBY as a character (and played by Michael Parks) gets my automatic thumbs up.
WOLVES. I know it had been done before and was corny as hell, but it represented a cultural sea change in Hollywood, despite its shortcomings, and was necessary in a way.
HURT LOCKER deserves to be maligned. Not a bad film, but resonant only for a very brief period of time, and not significantly better than others of its era.
How anyone can deride How Green was my Valley, no matter what it beat, is unreasonable. My tearducts are welling up just at the mere mention of the title. One of the best films Fox has ever released (Butch/Sundance, Diary of Anne Frank, Gentleman’s Agreement, Die Hard, and Night and the City also making that list).
^^This
Cadavra-
But if studios aren’t willing to give people what they want, why not let the audience decide? I wish Mike White’s ENLIGHTENED would have immediately turned around and crowdfunded a new season that would sell on iTunes but those who donated to it would get the season before anyone else as a perk of what? $50-$75 or more? For a whole season…that’s a good deal.
As a producer/filmmaker you and I both know there’s a real moth to the flame attraction of people who want to be involved in some way. This not only makes them involved but sells direct to the audience. Much like I wish more filmmakers with some traction would 4-walland personally bring their film to audiences (Shane Carruth, I’m looking at you) I wish more filmmakers with “odd” or “offbeat” projects would just circumvent studios and DIY.
Two of my favorite movies of all time are AMADEUS and THE LAST EMPEROR. Not that anyone in particular is maligning them…
By the way, I love putting film titles in caps. Way to start that trend.
Don, even if all of the 200,000 people who watched Enlightened gave $50, they would only raise about 10 mil, which I would think is less than a season costs. And would they then have to purchase the product again on itunes? I know people say its a quality show, but asking people to fund it as well as watch it seems to be going over the top.
I do not get this ‘we can never let our show die’ attitude with fans. Yes Arrested Development was one of the best comedies ever produced, the fact that it got three seasons instead of being canceled after 6 episodes (which was more than warrented) was a gift, but no one seems to view it that way.
Community is in the exact same position, on any other network it wouldn’t have made it to its first Christmas, but NBC stuck with it for YEARS, and when its finally cancelled for not reaching beyond its small but vehement fanbase there will be a ton of teeth gnashing and computer key smashing about it being killed too soon.
Yeah, but some people would give MORE than $50….look at the perks and the claims on them for the VERONICA MARS crowdfund. Pretty shocking, I thought. But die-hard fans of ANYTHING will pay top dollar for collectables.
And the $50 would INCLUDE the season on DVD or something so those who helped get it made could see it first.
with VERONICA MARS – does it matter to the actors that this movie won’t get on tv ? where the big mainstream audience is ? or will they do a deal that after 2 years from release they’ll just stick it on hbo anyways ?
– will there be a new class of reviewers that review only crowdfunded projects –
– where’s the global funded thing thats going to break out ? right now its probably easier for people to show their work through youtube / itunes / netflix …
– wondering if credit card companies will get on this and offer credit cards designed for crowd funding .
if visa had 10000 debit cards with VERONICA MARS on it would people get it … as long as it automatically offered bonus stuff as soon as you entered the code .
the VERONICA MARS kickstarter is at 4 million right now .. lots of real money.
The problem with the VERONICA MARS Kickstarter was the cost of all the bribes, err, incentives to get people to pledge. Yes, they met their $2M goal, but one article estimated the cost of producing and shipping all the goodies at just north of $500K, which means they need to raise even more money which means they have to produce even more goodies….
They raised $4 million….they’re still $1.5 million OVER their goal.
I don’t see the point of all the backlash on this (not pointing at you, Sam) and I don’t see how anyone can think this is a “bad” thing unless you run a studio. Yeah, it seems silly to give $500 so a cast member will leave your outgoing phone message but, who cares?? There were people at SXSW who waited like, 6 hours for a Mondo poster. I’d never do that but who cares what people want to do with their time and money?
It was just the issue of all the folks who wouldn’t pledge unless they got something in return. I’m wondering how much they would’ve raised if getting the movie made was the only “reward” the fans would receive.
how disappointed will fans of Veronica Mars be if the movie sucks ..like the people who paid 1,000 or more vs the guy who gave 25 bucks ..
DP likes interviewing the super rich and powerful – he should dp30 people who gave 5000 bucks or more.
Agree with Mike above. I think The English Patient is probably the best BP winner since The Godfather, Part II. The film has been maligned because it was too artsy for the mainstream crowd (see that unfortunate Seinfeld episode), and too Old Hollywood for the arthouse snobs. I’m a huge Coen Bros fan, but Fargo did NOT deserve to win that year. It rightfully got a screenplay award but it’s one of their least-visually interesting films.
First consider that the novel was thought to be unadaptable because of its stream-of-consciousness style. An award-winning playwright takes it on, and has to create most of the dialogue because the book has so little of it. Said writer, with only two small-scale films to his credit as a director, makes a major leap into the epic format. And while the scope of the film is big, it never sacrifices the character work for the spectacle. You have one of the best editors in the business in Walter Murch, flawlessly navigating close to 40 jumps back and forth in time, one of the best scores I’ve ever heard with Gabriel Yared blending classic Hollywood sweep with more delicate Bach-influenced piano work, and of course the photography from John Toll.
Finally, there’s the cast: Ralph Fiennes in a role that should have made him a huge star, half of it acting through impressive prosthetic work, Kristin Scott Thomas at her most beautiful and charming, and Binoche, three years after her cold, bitter tour-de-force in Kieslowski’s Blue playing a character who’s the polar opposite.
It also rewards repeat viewings, growing deeper and richer each time (the opposite of what seeing American Beauty again does). A shame it often shows up on these “worst winner” lists because there’s so much going on in that film, so much artistry behind it.
SPRING BREAKERS and SIDE EFFECTS were both worthwhile, and weirdly enough, not thematically dissimilar now that I think about it. As for worst Oscar winner – I’m going with LIFE IS BEAUTIFUL for now, although it was for Best Foreign Film and not Best Picture. But it was execrable.
BTW, I thought that one possible reading of SPRING BREAKERS was (treading carefully around spoilers) the second half was the nightmare reverie of one of the characters. Everything up to then is far-fetched but barely plausible, after that it seems like it could be a full-on fantasy to me.
The VM kickstarter wasn’t to get the film funded, it was to get it greenlit. WB agreed to hit the button if Thomas/Bell could get $2mil in funds – which they doubled (so far).
The problem, as others have pointed out, that (a) WB decided not to do any matching funds, so what the kickstarter gets is the film’s budget, (b) the rewards are taking a huge chunk out of the lower (majority) donations. The result will be a film with an already-established fanbase with a budget approximately 1/4 the size of “Chronicle” or “Project X”.
If you think that micro-budgeted followups to cult fanbases are the future of the industry, I’m not sure what to tell you. It’s certainly not a model for original material, and asking mainstream cast and crew to regularly work for practically free like their indie buddies is asking for trouble from the unions.
Don: It’s easy to say “circumvent the studios,” but doing it is another thing altogether. Indie funding for anything that isn’t a slasher film or found-footage chiller is practically non-existent. We can’t even find dough for the third installment of a fanatically-beloved cult franchise, so we’re going the Kickstarter route as well, hopefully with better results than I had for my own short (which I ended up paying for myself).
elaine benes and i have the same reaction to THE ENGLISH PATIENT (i’ll be a conformist with the caps)
and goodness knows it’s been said here before but gandhi has had its share of bashing for its bp win, always baffling.
i find ARGO and HURT LOCKER similar in that they’re small, interesting films in their own way which then went on to be overhyped and overblown in the ‘awards season’, probably raising expectations of what they’re supposed to be vs. what they are, really good little movies rather than the second coming of christ.
My favourite Gandhi anecdote.
Lazarus,
The English Patient is a very fine film. It does not always succeed (the third act relegates the characters to metaphors), but I forgive those flaws because the film is for romantics. By which I mean, for people who revel in the symbolic and imaginative. I had no problem with it winning as much as it did. In fact, I think Minghella was very hard done by not to win Best Adapted Screenplay (Sling Blade? Really).
I agree with you on American Beauty. Very uneven and is held together by Conrad Hall’s cinematography. The biggest problem is that the subtext is anything but sub. It is all top, so additional viewings don’t yield that much. For that year, I preferred The Insider.
My only real disagreement with you is that I think Unforgiven is the best Best Picture winner since The Godfather Part II.
Other opinions: while some people gripe about certain very, very good films (Rocky, Ordinary People, How Green Was My Valley), I don’t think anyone would have blinked an eye back then, or ever since had All the President’s Men, Raging Bull or Citizen Kane had won. Folks would have said, yes, the art won but the warmer film found its audience.
Like when The Last Emperor 9 in 87. As is so often with Bertolucci, intelligent filmmaking but completely lacking in heart. Whereas Moonstruck, which is much warmer and popular (while perhaps lacking Emperor’s elegance) was beat out.
Yeah, the irony of TEP’s giant Oscar haul is that it lost its most deserved award to Sling Blade, which was hardly “adapted” as it was merely a short film before Thornton expanded it. But they had to give something to the Cinderella story.
Cadavra-
I think a mini-franchise like yours is IDEAL for crowdfunding, you’ll do well. I’m producing a short and we went with USA Projects- “donations” through them are tax deductible so that’s an incentive for crowdfunders. Good luck!!
Didn’t Thornton also perform some of the SLING BLADE material in a stage show? I thought I heard that, but a quick Google search didn’t confirm it. At any rate, the fact remains he made the short film first, and since that was “existing material” at the time he made the feature, the script was rightly eligible only for the Adapted Screenplay category. Even if it was a consolation prize for giving Best Actor to Rush instead of Thornton, I’m glad it won. Great movie, great characters, great storytelling.
China is becoming so influential in box office terms (they have a 200 million grosser, and three 100 million grossers this YEAR already) that Marvel is releasing a different version of IRON MAN 3 there to appeal to Chinese audiences.
Yancy: Washington Post, 1996: “The squinched eyes, the jutting jaw, even the bowl haircut stared back at Thornton from the mirror. And Karl started telling him off, his guttural uninflected voice punctuated with gravelly “unnh-huhhs.” Right then and there, he came up with a monologue that he performed as part of a one-man stage show. He later filmed the monologue to raise the $1 million to fund “Sling Blade.” Notably, this article leaves out George Hickenlooper’s 1994 short, “Some Call it A Sling Blade.”
Yeah, the battle to make Billy Bob the sole auteur behind “Sling Blade” began with a concentrated effort to erase George Hickenlooper’s involvement with the short completely from the public record.
Very shitty.
If you’re adapting your film from another medium, then fine. But expanding a short into a feature shouldn’t be classified as an adaptation, I don’t care what the Academy’s rules are.
Lazarus: While a Google search doesn’t turn up proof of the stage version straightaway, if memory serves, Thornton did use it as an acting showcase piece in L.A.
anybody worried about north korea going to war ? bbc news is covering this more than cnn .. north korea might not have the crazy power it thinks it has but all it takes is one simple missile to do some damage. i mean maybe they get lucky and hit some huge electronics factory in south korea and suddenly people can’t get no ipad’s anymore…
i really hope DP has taken the private jet and trying to get a dp30 with the leader – Kim Jong-un …. DP could ask him about the team america movie .
Unless Hickenlooper contributed to the script of the short or had some hand in the feature, I don’t see why he would be considered a co-auteur of the latter. Which of course makes it hard to see why Thornton would want to “erase” any record of his involvement. Wonder if Harvey advised it.
George is due respect, but Thornton’s live performance of Sling Blade was his calling card in Hollywood and was the core building block of his early career. It happened before the web, which explains why there is little trace of it on Google. Lots of stuff that happened right around that time is very poorly accounted for.
The stage version was the driver, much more than the short. Can’t Google it, but I remember it and the chatter around it quite succinctly. (I also remember many people feeling that it was the start of BBT as an ego guy who was skilled at the big hustle.)
Hickenlooper deserves credit for shooting the short. But it was 90%+ Billy Bob, as I understood it at the time.
Yeah, when the writer is also the lead actor, the director is bound to get short shrift, unless it’s also a very visual piece. Quick, who directed MY BIG FAT GREEK WEDDING?
another documentary about Bernard Madoff … super rich fake dude.. cool story and DP has already done a dp30 about this .. this documentary seems easier to explain
all the money stuff going on…
In God We Trust trailer
Just rented RISE OF THE GUARDIANS and was surprised by how disturbing it is. And I don’t mean a Santa Claus who charges around with his sabres drawn or an Easter Bunny who looks like a stunt double from DONNIE DARKO or a Sandman who can’t talk for some unexplained and probably unsettling reason or a Tooth Fairy who looks like the unholy spawn of a peacock, a hummingbird, and a woman of loose enough morals to take both on at the same time. Nor do I mean Pitch, the baddie, because baddies are supposed to be disturbing, and even moreso when they’re Jude Law.
I mean Jack Frost. The happy-go-lucky center of the movie has a backstory that is both unnecessarily disturbing and unnecessarily unresolved. Since the first scene of the movie shows an unnaturally pale, unconscious teenage boy rising through the ice of a pond, I don’t think I’m giving any spoilers away when I admit my first thought was “Okay, the kid’s dead. So how did he die?” It only took the movie another hour to prove I was right and show us why.
And it’s pointlessly disturbing. I guess we’re not expected to believe he’s worthy of becoming a “Guardian” unless we see him do something heroic, like sacrifice his life to save his sister–who will now, thanks to a similarly pointless “300 Years Later” title card, spend the rest of her life feeling responsible for his death. Why 300 years? To make sure his devastated family is long since gone? And are we really supposed to believe there was no such thing as Jack Frost before the 18th century, despite the existence of a “Jokul Frosti” in Viking lore?
Okay, I understand that William Joyce had to deal with the death of his teenage daughter from a brain tumor while this was in production but that’s no excuse for bad storytelling. (And we know Joyce had the producers’ nuts in a vice because the song played over the end credits, dedicated to her, is the most maudlin operatic work you’ll ever hear in a kids’ movie. Thank you, Renée Fleming, for giving me nightmares when I would rather have heard “All Star” instead.)
The youngling and I decided to rewrite the story in our heads. Now, the first scene is the previous Jack Frost being killed by Pitch after discovering his return, then the Man in the Moon selects the newly-drowned boy to become Frost’s replacement and the story continues until the end. Now, when Jack recovers his memories he goes back to visit his family and lets them know everything is, well, better than they thought and his little sister can now stop blaming herself for what happened. Everyone lives happily ever after, The End.
(And yes, I see on the film’s Wiki page that Guillermo del Toro, “present almost from the beginning…was proud that the filmmakers were making parts of the film ‘dark and moody and poetic'”, but I don’t see him using other people’s money to work through his loss issues, not like a gentleman whose next film, the unfortunately titled “Epic”, will star a teenage girl named after his deceased daughter.)
By an odd coincidence, I finally caught Guardians today on a flight to Hong kong. Yes, the death was telegraphed, no I didn’t think it was needlessly disturbing. They made it fairly clear early on that the guardians had lives pre-anthropomorphic personification.
Feeling guilty for someones death isn’t unusual either – hotel Transylvania on the same flight dealt with that subject.
I’m confident enough that kids don’t need closure on every issue touched on in a film.
I was the one who needed closure!
For how much I hated the tacked-on “Daddy” scenes in CHARLIE AND THE CHOCOLATE FACTORY, in this one Frost actually is the central character and his death–the big recovered memory he was hoping to find–becomes pointless without a resolution with his family.
And HOTEL TRANSYLVANIA–ugh. Couldn’t sit through more than five minutes of that one, although I did hear the inclusion of “I’m Sexy and I Know It,” which I thought was a bizarre choice for a kiddie flick, especially since the youngling knows the video is about guys shaking their junk around (…after seeing a pixelated version on cable or somesuch–sorry, but their ain’t a pixellation box big enough to hide what they were doing).
Transylvania was a pretty terrible movie – the two kids are flatter than pancakes (she wants to see the world, he “just rolls”, and we’re supposed to like them because…?), its full of pop culture references that have dated it in the whole year since release, and apparently the characters can watch the sun without being in the sunlight.
Having said that, its fairly open about death and survivors guilt. Which was a nice touch and didn’t get resolved (Dracula agrees to let his daughter date a human, but never directly deals with the loss of his wife).
Terribad movie, but relevant in that its another film that touches on death and guilt without closure. (which isnt one of the things that makes it bad)
the hollywood hype machine seems to be broken – cause actors don’t seem to be doing any new interviews with DP… DP i know hitfix is like your enemy and stuff
but they seem to pump out new videos … so merge the dp30 factory with hitfix and create a mega factory that makes videos every single day . DP how’d you miss Emma Stone for the croods and Kristen Dunst for upside down . i’m hoping that Michael Bay comes by for a dp30.. DP get on that before hitfix does.
also DP – you have to hand out free dp30 coupons out to actors – they might use them and do more interviews.
if coupons work for retail outlets they’ll work for actors.
print some out .
v-cause – found this channel totally by random – very cool science type stuff – most videos are about 10 minutes…
v-sauce
v-sacue
youtube has contest for the best video – 2 people reading the titles of videos for 12 hours .
just skip to random parts of this video …
i’m not sure who these 2 people reading are but they are now famous …just for reading.
12 hour video
Sam – your pan of RotG has actually piqued my interest. It sounds far more interesting now than before. Ill take disturbing over pat any day.
watched Olympus Has Fallen 2013 – straight up 90’s action picture … i asked for a dp30 with Antoine Fuqua ..but
Aaron Eckhart would have been good .. i did like the dp30’s they’ve done and would be great for update…i would have really liked the computer special effect team dp30 .. this movie is still new and fresh so i’ll give DP 30 days – may 2013 – to get any interview for this movie ..then i’ll give up.
time is also running out for any burt wonderstone dp30’s .. 6 writers – 3 big actors . nobody is rushing down and telling DP any magic tricks.
for the great gatsby – i totally expect DP to get Carey Mulligan and Joel Edgerton dp30’s – but the interview will be good but predictable … probably in some hotel room with bad lighting… i’m not at all expecting Leo to do an interview. he’s rich and famous.
if more people requested interviews – DP might actually get some .. even if he totally hates the movie.
also Gerard Butler really needed this movie to be a decent hit compared to his last movies just on the critical side of things – but Colin Farrell or Jeremy Renner could have easily taken these roles .
also if the Kardashians tried to get a dp30 – i’m sure
DP would throw some old VHS tapes at them and tell them to go away.. they are like the evil witches in the oz movies .
Oh man, I misspelled “vise” in my review…I feel like such a tool.
And Storymark, I was intending to just pop the DVD in and walk away while the mindless japery unspooled, but the opening scene made me go “What the hell?” and I sat down to watch more than I intended. You don’t see too many kid flicks whose opening brings SUNSET BOULEVARD to mind.
I was also waiting for someone to challenge me for asserting that death and divorce are the only ways to become a single parent, but in every other case the circumstances are usually so complex that they distract from the story and turn it into a character piece instead. (Would TEMPLE OF DOOM still feel like the same movie if Jones briefly mentions that Short Round was a love child dumped on his doorstep one morning?)
new dp30 – brass teapot – alright interview ..but the audio from Angarno sucked . DP fire the audio guy.
Juno keeping it real – she totally needs to do podcasts ..
favorite part of the interview is from 26 minutes to 29 minutes. Juno is funny.
worst part – DP didn’t ask Juno about Kay Panabaker because Juno brought up friends and they seem to really be friends from that dp30 of little birds … DP also didn’t ask Juno about future movie projects.
i give this 7/10 – DP didn’t ask enough interesting movie questions …. DP knows a lot about the history of these actors doesn’t do anything with it … but if its some super old director DP asks questions from movies that are 20 years old. just a bit strange.
still Juno Temple interview is way better than Ellen Page and Brie Larson dp30 .
this is also interesting .
Kristen Stewart’s Ex Michael Angarano Dating Juno Temple
Sanj, HUGE Juno Temple fan.
Michael Angarano is one of the luckiest dudes ever