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By DP30

My Mail Order Wife – Film Review

Online you can watch my mail order wife documentary, though it is not on Netflix yet. The challenge is that you will need to be a member.

Mail Order Wife is a five part, movie-series. The first part is available for the free viewing online. You can find a link to the film online, but the link you are looking for is not there.

I wrote the screenplay for this film myself, but instead of turning it to a movie, I made it. Each part has its own director and a cast. This film is a story about a couple who meet in a bar, then fall in love and choose to get married.

As far as production was concerned, this Mail Order Wife documentary started off as a five-minute film. It was shot over 3 months’ course. We decided vietnamese mail order bride to produce the whole picture around three pictures.

So what we did was then and start with mailorder Wife proceeded in to Book Two in to the Woods. We tried to select the film one measure at a time. By emphasizing one character at a time, we could show the development of the union to hate to love.

Than we now have shown in the two movies, in our mailorder Wife documentary, we have put more attention on the emotional distress for that couple. Some moments were cut because of time limits.

The edit is going bride search to be more than the edition. We will cut out parts which do not get the job done, interviews, and scenes.

If you can help, please consider donating to Mail Order Wife. The picture had a short lifetime, but it had been worth the effort. Please look at this a once in a lifetime opportunity to encourage independent film makers.

The other Film we did with this mailorder Wife documentary was Book Two, Into the Woods. This movie has been seen by many others and it’s set for quite a hit.

Novel Two had moment and it was first filmed in three continents. We had to be in any way times in order in the front of a camera to catch each scene.

A number of the scenes from Mail Order Wife that we couldn’t use for Book Two were also cut away. These scenes still exist.

Hopefully you like both pictures and we wish you the best of luck with your mailorder Wife documentary. Go right ahead and email us.

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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