Festivals Archive for November, 2008

Not Quite Hollywood The Wild, Untold Story of Ozploitation! Directed by Mark Hartley

Not Quite Hollywood may be my favorite talking-heads-and-clips movie ever. (That’s Entertainment is not really a doc, but just a series of great clips from great musicals… different animal.) It is complete, and informative. But mostly, it’s very, very entertaining. From the very beginnings of the Aussie film business to the sexual exploitation and self-mockery…

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Che Directed by Steven Soderbergh

My first reaction to Steven Soderbergh’s Che was absolute shock at the idiocy and arrogance of it all… that is to say, the idiocy and the arrogance of the response from Cannes. This is one reason why I hate seeing a movie “after the fact.” It is a real challenge to all critics – and any one…

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What to Catch the Second Half of AFI Fest

AFI Fest, which kicked off last Thursday, is a different sort of fest than Sundance or Cannes or Toronto. Many of the films on the schedule are what I would consider more mainstream-friendly fare (which is not at all to say they aren’t good films). Much of the schedule here is kind of a “best…

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TEN BURNING QUESTIONS With Sabine El Gemayal (Niloofar)

A young Lebanese girl begins to discover her potential through education when her father delivers his own lesson in how their society judges a girl’s worth by “trading” her to a local sheik for a parcel of land. However, the title character in Niloofar does not go quietly as the genie has already been let out…

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Hunger

Hunger focuses on the Irish prison hunger strike led by Bobby Sands in 1981. The depiction of the squalor these predominantly political prisoners live in and the endless beatings they undergo from jailers is vividly and unflinchingly portrayed. Written and directed by the acclaimed installation artist Steve McQueen, it’s an accomplished first film and, at the same…

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Hurt Locker

The best Iraq movie so far (closely nipping Nick Broomfield’s Battle For Haditha) and the best new American film at TIFF that I have seen this year is Kathryn Bigelow’s Hurt Locker, which really isn’t so much an Iraq War film as it is a war film that happens to be in Iraq. Mark Boal’s screenplay does what so…

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Filmmaker’s Corner With Jared and Brandon Drake (Visioneers)

..AFI Fest Coverage ..MCN Critics Roundup ..MCN Review Vault The majority of us have had a moment (or possibly several of them) where we confront the possibility that our lives are essentially meaningless. That moment is seized upon by the filmmaking brothers Drake – Jared directs and Brandon writes – in their debut film, Visioneers. Office…

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TEN BURNING QUESTIONS With Mark Hartley (Not Quite Hollywood)

At one point in Not Quite Hollywood,Mark Hartley’s primer on the history of Australian exploitation films or Oz-ploitation, Quentin Tarantino states that if you grew up watching some of those films that you would believe that there was a desert everywhere and that those deserts were filled with marauding packs of bullies in cars they could never…

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Festivals

Sunny Kim on: The Daily Buzz Podcast from Sundance

allgemeine kreditversicherung aktiengesellschaft on: Cannes 2014: Opening Day

http://www.abelduarte.com/ on: Cannes 2014: Opening Day

Alex on: Sundance Reviews: Cutie and the Boxer, Fallen City

10 More Clash of Clans Strategies, Tactics, and Tricks ... on: Never Let Me Go actors Carey Mulligan & Andrew Garfield

Stella's Boy on: Wrapping TIFF 2014

David Poland on: Wrapping TIFF 2014

David on: Wrapping TIFF 2014

movieman on: 31 Weeks To Oscar: Telluride, Toronto & New York

PatrickP on: 31 Weeks To Oscar: Telluride, Toronto & New York

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