April 27, 2024
The Hot Blog
amit on: Review: Frozen 2 (spoiler-free)
movieman on: BYOB Fall Back, Film Forward
Christian on: BYOB Fall Back, Film Forward
movieman on: Review: Marriage Story (spoilers only in the broadest sense)
movieman on: BYOB Fall Back, Film Forward
movieman on: Review: Frozen 2 (spoiler-free)
YancySkancy on: Review: Little Women (no spoilers)
Hcat on: Why You Should Be Afraid Of The End Of The Paramount Decree
movieman on: BYOB Fall Back, Film Forward
movieman on: I Should Be Doing Box Office
Review: Little Women (no spoilers)
Why You Should Be Afraid Of The End Of The Paramount Decree
Review: Frozen 2 (spoiler-free)
Review: Marriage Story (spoilers only in the broadest sense)
see all »
[twitter-widget username="DavidPoland" hiderss="true" hidereplies="true" hidefrom="true" items="3" showts="60" title=" " targetBlank="true"][twitter-widget username="MCNTweets" hiderss="true" hidereplies="true" hidefrom="true" items="3" showts="60" title=" " targetBlank="true"]
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” ā 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 ā 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 ā he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” ā and I’d forgot who he was.
So at my girlfriend Barbara Hershey’s urging ā I was with her at that moment ā 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 namedā” “Yeah, sure ā 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 Iām on the phone with you now, after all thatās 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 didnāt seek to use his position to have sex with anyone. Thereās not a case of that. He wasnāt using his position or status to try to solicit a sexual favor from anyone. If he had ā if that were what the accusation involved ā 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. Iām not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, āYou know, itās not this, itās thatā? Because ā let me go on and speak further to this. If you go back to the L.A. TimesĀ piece, thatās what it lacked. Thatās 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
The inclusion of Isabelle Huppert takes away some of the disappointment in me for Amy Adams. Some. It’s one of her best performances. I’d like to say she should be in there instead of Streep but I haven’t seen that film and I can’t say for sure. I don’t want to see it. Streep IS a goddess but jeez?
Are you saying Streep is an overrated actress Sideshow? š
No, not at all. It’s like with the Patriots every year. I know they’re good but I get tired of them. I know i’m kinda waffling here, trying not be disrespectful to a movie legend while saying Amy Adams should have her spot. Especially when I haven’t seen FFJ.
Hell, I’ll just say it: Amy Adams should have the slot. Belichick…er…..I mean Streep can live without it for one dang year.
Mind you, like Dave, I have a thing for Amy Adams. Love her. So I’m biased. And also like Dave I’m a Miami Dolphins fan. So I’m hanging my head all over the place.
And just to put this to rest, I looked over her list of nominated films. I like the majority of those. Of her three wins, I didn’t like The Iron Lady. Forgot she wasn’t nominated for Silkwood. Should have been for Defending Your Life. It’s hard to make the case that she’s overrated. I would be wrong to say that.
I am amazed that Adams didn’t make the cut while the movie did, doesn’t the movie rest entirely on her shoulders? It would be like Fences getting but Denzel was overlooked. Now I keep hearing the explanation that its likely that her two movies may have split the vote which makes pretty good sense.
As for Streep, 20 nominations means 17 losses, even for as revered as she is thats got to be tough. Going every year and smiling nicely at the jokes at your expense knowing you dont have a very slim chance at winning. Before the third win she was nominated along with actresses who were’t even born when she had her last win. You would think every once in awhile she is relived not to make the cut.
Amy Adams exclusion reminds me of the year James L. Brooks wasn’t nominated as Best Director for As Good As It Gets even though the movie got 7 nods.
I’m also bummed for Annette Bening.
Huppert>>>>>>>>everyone else in the category. And that’s leaving out that she had one of the greatest acting years in history overall with THINGS TO COME and LOUDER THAN BOMBS.
Sideshow Bill – Streep WAS nominated for Silkwood. She lost to Shirley MacLaine in Terms of Endearment.
Ruth Negga was a bit of a surprise.
“Loving” (and everyone involved w/ that film) seemed to have disappeared from the awards conversation over the past month or so.
A real shame about Annete Bening.
Benning and Greta Gerwig both deserved nominations. Might have helped the movie get butts into seats, too. “20th Century Women” seems to be falling into the “once an awards hopeful, now a b.o. leper” trap of movies like “Live by Night,” “The Founder,” “Patriots Day,” “A Monster Calls,” etc.
Speaking of the ageless Huppert, I’m currently watching 1982’s “Coup de Torchon.”
Really enjoying it, and it’s a blast seeing the young Huppert again. She’s looked the same for so many years that I’d forgotten she was legitimately “young” once.
I’m also pretty surprised about Ruth Negga’s nomination because I thought “Loving” just plummeted out of view right after release (much like what happened with “The Founder” and Michael Keaton). Adams seems to have better luck in the Supporting Actress category.
Thanks, Yancy. I must have completely missed it on the list I was looking at.
Negga was a good surprise, and I don’t mean to ignore Portman either…stunning work. This actress crowd is only a step behind three years ago, which featured Blanchett, Bullock, Adams, Streep and Dench–and snubbed Adele Exarchopoulos and Brie Larson (for the time being at least, for Larson).
Haven’t seen “Coup de Torchon!” Will add it to my list š
Another great Huppert film is 1977’s The Lacemaker.
I haven’t seen most of the nominees yet, as has been the case in recent years, but I do wish the following had gotten some traction:
Cafe Society — tech categories (and maybe even Blake Lively for Supporting, if she’d had another scene or two)
Hunt for the Wilderpeople — adapted script
Sing Street — song (“Drive It Like You Stole It”)
The Witch — production design
Yes, Yancy, on Wilderpeople (can also make a case for Sam Neill in supporting but not sure who I’d remove), and for The Witch. The Witch is my favorite film of the year so I’m biased but production design, at least. It was absolutely 100% convincing, to me. Passengers? Bah!
And even though we knew this weeks ago when it didn’t make the shortlist, Elle not competing for Foreign Film sucks.
I’m always struck by how one film can have such an opposite effect on two people. Sideshow, The Witch was most likely the movie I regretted shelling out my hard earned dollars for last year. After the overwhelming critical foaming at the mouth reviews I strapped myself in for layered, creepy, subtle yet discomforting experience. Instead I and my partner sat there waiting for something to happen. And nothing ever really did. And my partner is a huge witch enthusiast and loves related materials. He couldn’t stop watching the second season of Penny Dreadful.
The Witch just left us empty and disappointed. But yes, the atmosphere, dedication to language and production design was well done.
I hear you Bulldog. Most of the people in my life think I’m nuts. My girlfriend at the time hated it even though I knew leaving the theater I loved. I went again the next week and took my teen daughters. They weren’t impressed. I preach it to my friends and family but most have ignored me. I think maybe because the last movie I really pimped like this was Under The Skin and I took a lot of abuse for that one lol
I love it but I understand the response. It’s not for everyone. I’ve tried to looked at the film through the eyes of non-fans but that’s hard. It works for me.
Holy shit Bill, you pitched Under The Skin to civilians? Did any of them finish it?
How did Linklater’s EVERYBODY WANTS SOME!! not get a screenplay nod – one character even uses the word “fuckwithery”
THE WITCH is hanging in my top 5, the only horror movie to ever do so aside from THE BABADOOK, but it is polarizing…in fact, UNDER THE SKIN (which I wouldnt recommend to everyone, but ditto THE WITCH) has had a better track record from personal recommendations, haha.
Likewise, EVERYBODY WANTS SOME!! is in my top 10, and nada.
It’s probably heresy in some quarters, but “Everybody Wants Some!!” is my favorite Linklater movie ever. (Glen Powell for Best Supporting Actor!!)
Yeah, “The Witch” was beyond polarizing. Saw it w/ my partner who’s become quite the buff during our 23+ years together (e.g., he loved “Silence”), and he absolutely LOATHED it. Even said it was the “worst” movie he’d ever seen when we hit the parking lot. I was gobsmacked at the time by his violently negative reaction.
Good call on “The Lacemaker,” Yancy. Is that even available on DVD?
Haven’t seen it since 1977 (when I saw it twice).
“Torchon” is a gem, Ethan: definitely worth checking it. (I don’t think Bertrand Tavernier ever made a movie that I didn’t like.)
The Witch had a nearly full house opening night where I saw it, and most of the audience booed and yelled “bullshit” when it ended. I can’t remember the last time I experienced that.
I’m perplexed by the Everybody Wants Some love. I’m a fan of almost everything Linklater’s made but it bored me silly. I didn’t find any of those guys engaging or interesting or all that funny. Maybe my expectations were unrealistic.
Movieman, Bulldog: I am, frankly, amazed that anyone *hated* “The Witch,” and very, very surprised you both fall into that category. I admit I chuckled at Bulldog’s reference to his partner’s enthusiasm for all-things-witchcraft – really? – but I conclude the partner was looking for something that the movie simply isn’t, and so his/her (sorry, never sure what pronoun to use when people refer to their partners) expectations weren’t met. I understand the movie was marketed as a rather straight-up horror film, so maybe that’s part of the problem. I don’t watch much TV so I never saw any ads for the film, only print materials.
As for howling at the ending (see Stella’s Boy’s comment), that’s hard to fathom. The ending makes the movie!
Back to Movieman: I need to see “Everybody Wants Some!!” once more to confirm, but I, too, am pretty sure it’s my favorite Linklater, displacing the great “Dazed and Confused.”
I guess I should clarify that neither Bulldog nor Movieman said *they* hated “The Witch,” but that they saw it with people who found it disappointing.
Movieman: I don’t know if The Lacemaker has ever made it to DVD, but last I checked it was streaming in full and for free on YouTube.
The crowd I saw it with was mostly young, like 20 and under, and I think they were expecting something entirely different from what The Witch actually is.
“The Witch had a nearly full house opening night where I saw it, and most of the audience booed and yelled ābullshitā when it ended. I canāt remember the last time I experienced that.”
The last time I experienced this, for a movie that wasn’t in fact total crap at least, was THE MIST, the ending of which made me cackle with glee but apparently alienated most everyone else. I was also very nervous seeing IT FOLLOWS, DRIVE, THE AMERICAN and EX MACHINA in a multiplex, but they avoided catcalls.
In the reverse, MISS SLOANE provoked a reaction I didn’t expect this year…my half full audience clapped at the jaw-droppingly preposterous, albeit deliriously entertaining wish-fulfillment ending. Seeing a movie about lobbying in downtown DC, I didn’t expect total absurdism to resonate and left shaking my head.
That’s a funny story movieman, and thanks again for the reccommend!
Yes I did pitch Under The Skin to civilians. I mostly got “WTF?” reactions, but a few people appreciated it’s weirdness.
My screenings of The Witch were mostly dead silent, although there was one woman who gasped at the crow scene. I can’t remember seeing a movie that got boos. I’ve silently booed many times.
I’ve heard many cheers and applause but I don’t put much stock in those since the biggest applause I’ve heard at a film was for Ghostrider. Blech
I think Everybody Wants Some!! is terrific and super-underrated, but to me calling it Linklater’s best is crazy talk. Dazed is still miles better and feels more more effortless and lived-in, while some of the male cameraderie stuff in EWS feels forced, like a 50-year-old guy trying to recapture his college glory years even though he’s obviously grown past them. I was happy to see it recognized on some 10-best lists and not considered “minor” compared to stuff like Boyhood (which to me is a slightly better movie), but to me it probably goes in the second tier, or at least Tier 1A, of his overall output.
For the record both my partner and I came away disappointed. I thought that was clear in my post. It wasn’t hatred however, but I’;d never watch it again.
Saw Silence at an advanced screening so the crowd is normally a bit more positive and I, and the crowd, walked away thinking that that was five hours of our lives we will never get back. You could feel the room breathe a collective sigh that it was finally over and the only reason we sat through the whole thing was out of respect for Scorsese.
Thanks, Yancy. I’ll have to check it out on Youtube.
Have always wanted to see it again.
At the time, I thought it compared very favorably w/ Truffaut’s “Adele H.” which is a movie that I flat-out adore.
“L’amour fou” has always been a favorite genre of mine, lol.
P.S.= I just realized that “The Lacemaker” isn’t even listed in Maltin’s movie guide. It definitely doesn’t deserve that sort of obscurity.
Claude Goretta was an arthouse/film festival darling back in the late ’70s. Still haven’t seen his earlier “Wonderful Crook” w/ Gerard Depardieu, but it seems to have vanished into the ether. Sad.
Movieman: The only other Goretta I’ve seen is The Invitation, which got a Best Foreign Language Film Oscar nod for 1973 and a couple of prizes at Cannes. It’s another great one.
The Witch was my #1 movie as well, but both times I saw it I think I was the only one in the theater who enjoyed it.
I bought the DVD the day it came out, and the cashier gushed about how he loved it.
Same, Pete B. I saw it 3 times. The last time there was just one other person. I enjoyed it most that time. Bought the Blu Ray and watched twice, maybe. Haven’t listened to the commentary yet.
Yancy- Yes, “The Invitation” is another Goretta goodie. Sadly, Netflix isn’t even familiar w/ his name.
It would be nice if Criterion would help rehabilitate Goretta’s stateside rep by releasing several of his ’70s gems.
Makes more sense than simply (re)releasing titles (“His Girl Friday,” “Mildred Pierce,” “Stagecoach,” etc.) already widely available in multiple formats.
Man, I LOVED “Silence.” Movies about personal faith are always difficult to objectively judge though. The two that hit me last year–the other being “Indignation,” couldn’t be more different. My best friend, who is a huge fan of “Ida” and “Lourdes,” hated “Silence.”
Sideshow, I haven’t listened to the commentary either. Eggers next project is a remake of Nosferatu, so that could be interesting.
Don’t know if you’re a geek like me, but Red Bubble has a tee shirt called ‘Evil Trio’ with the crow, the rabbit, and (of course) Black Phillip on it, with the immortal line “Wouldst Thou Like To Live Deliciously?”
Yea, I’m a geek. I have Cthulhu t-shirts for goodness sake. I’ve seen those shirts and intend to get one. I’ve also searched far and wide for a Black Phillip plush figure, speaking of actors who were robbed š
LET ASGHAR FARHADI IN OUR COUNTRY!!!
Movieman: Yes, if Criterion is still doing their Eclipse series, Goretta’s work would be a natural for it. They need more Claude Sautet films too. Maybe they just have something against directors named Claude.