Festivals Archive for May, 2012

“Lee Daniels Explains Why Nicole Kidman Pees on Zac Efron in Paperboy”

“Lee Daniels Explains Why Nicole Kidman Pees on Zac Efron in Paperboy“

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IFC Midnight Savoring Taste Of Money In North America

IFC Midnight Savoring Taste Of Money In North America

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Nigel Andrews, Giddy At Cannes

“Movies, and the shoals they move in, are like dreams. They make no sense – and simultaneously they make so much sense you cannot possibly audit all their messages.” Nigel Andrews, Giddy At Cannes 

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Lim On Holy Motors’ “Shape-Shifter,” Denis Levant

Lim On Holy Motors’ “Shape-Shifter,” Denis Levant

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M. Phillips On The Travails Of Navigating Cannes

M. Phillips On The Travails Of Navigating Cannes

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Oui To No In Cannes’ Directors Fortnight

Oui To No In Cannes’ Directors Fortnight; Produced By Participant, Distrib By SPC

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Cannes Competition review: Cosmopolis

Packer travels by stretch limousine, an inconvenient method of transportation in a busy metropolis like Manhattan, but it symbolizes power and importance in a way no other vehicle can. It’s a status thing. When his day is upended by riots in a city filled with economic unrest, the rest of his adventure becomes an odyssey that is better left seen than described.

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Sundance Selects Bottles Loach’s Latest From Cannes

Sundance Selects Bottles Loach’s Latest From Cannes

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Ken Loach Calls British Censors Hypocritical

“We were allowed seven c—s… but only two of them could be aggressive c—s.” Ken Loach Calls British Censors Hypocritical

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“A risibly overheated, not unenjoyable slab of late-’60s Southern pulp trash, marked by a sticky, sweaty atmosphere of delirium and sexual frustration that only partly excuses the woozy ineptitude of the filmmaking.”

“A risibly overheated, not unenjoyable slab of late-’60s Southern pulp trash, marked by a sticky, sweaty atmosphere of delirium and sexual frustration that only partly excuses the woozy ineptitude of the filmmaking.”

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Clipping On The Road: Kirsten Dances; Kristen Drives

Clipping On The Road: Kirsten Dances; Kristen Drives And – The Sexual Remaking of Kristen Stewart at Cannes

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Salles On The Road On On The Road

Salles On The Road On On The Road

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“Bertolucci explores the strange, subterranean realm of these enfants terribles with characteristic visual flair: décor, costumes, colour and camera movements combine to create a faintly feverish atmosphere.”

“Bertolucci explores the strange, subterranean realm of these enfants terribles with characteristic visual flair: décor, costumes, colour and camera movements combine to create a faintly feverish atmosphere.”

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Mr. Pitt Opines At Cannes

“We live in such a violent world. I grew up hunting, which is a very violent act. If you ever had a hamburger, have you seen how they butcher a cow? It’s barbaric. it’s horrendous. This is the world we live in. I don’t see a world without violence.” Mr. Pitt Opines At Cannes

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Cannes Reviews: The Hunt, Room 237

“The Hunt” is narratively similar to “Festen” in its theme of child molestation. Whereas “Festen”’s was all too real, “The Hunt”’s pedophilia is entirely fabricated: the child abuse is a lie propagated by 5-year-old Klara, who doesn’t understand the power of her words. … “Room 237″’s main theme is authorial intent, because the film is informed by people (read: fans) who have read into Stanley Kubrick’s directorial mind to see what they want to see in “The Shining.”

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IFC Films Picks Up Wheatley’s Sightseers From Director’s Fortnight

IFC Films Picks Up Wheatley’s Sightseers From Director’s Fortnight

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Chang On Cannes’ Tumultuous Response To Holy Motors: “You Ain’t Seen Nothin’ Yet”

Chang On Cannes’ Tumultuous Response To Holy Motors: “You Ain’t Seen Nothin’ Yet”

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“Bill Murray’s Camera At Cannes Is Awesome”

“Bill Murray’s Camera At Cannes Is Awesome”

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Zeitchik Calls Killing Them Softly “Anti-Capitalist Screed”

Zeitchik Calls Killing Them Softly “Anti-Capitalist Screed”

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9 Images, Trailer, Video, Press Kit Extracts From Cannes’ Sudden Smash Sensaysh, Leos Carax’s Holy Motors

Nine Images, Video, Press Kit Extracts From Cannes’ Sudden Smash Sensaysh, Leos Carax’s Holy Motors

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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