list http://www.spout.com/ Recent community activity around Alien Resurrection on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/Alien_Resurrection/114663/default.aspx Title: Alien Resurrection
Year: 1997
Director: Jean-Pierre Jeunet
Plot: The fourth film in the Alien series, directed by Jean-Pierre Jeunet (Delicatessen, The City of Lost Children) at a cost of 70 million dollars, takes place aboard an immense ship, the Auriga, where General Perez (Dan Hedaya) heads a staff of seven science officers and 42 enlisted, all employed by United Systems Military (replacing the Company of the earlier films). The time is 200 years after the events of Alien 3. Scientists researching the aliens need hosts, and they rely on space mercenaries who make spacecraft raids to acquire bodies. The research requires an Alien Queen specimen, so Ellen Ripley (Sigourney Weaver) has been cloned from preserved blood samples. The scientific team then removes the baby Alien Queen from Ripley's chest. Since the Ripley clone has alien DNA mixed into her genetic structure, she is not totally human. Later, a commercial freighter, the Betty, arrives with a crew of mercenaries -- Elgyn (Michael Wincott), pilot Hillard (Kim Flowers), paralyzed mechanic Vriess (Dominique Pinon), space jock Johner (Ron Perlman), and junior mechanic Annalee Call (Winona Ryder) -- who deliver a load of human hosts with alien eggs. Problems begin when the mercenaries take over the Auriga, and aliens escape to massacre humans. As the aliens attack, Ripley and the mercenaries try to reach the Betty in order to escape. Cinematography by Darius Khondji features the same ENR process he used on Seven, adding silver to the printing process to heighten contrasts, making the dark colors richer. An electric-blue tint was employed during the underwater firefight between the mercenaries and the aliens. For the more physical aspects of her role, Ryder got in shape with six hours of daily workouts. Although all previous films in the series were shot at London's Pinewood Studios, filming of Alien Resurrection took place West Los Angeles soundstages with special effects in California and Paris. ~ Bhob Stewart, All Movie Guide
Times Tagged: 18
Number of Lists: 49
Number of blog posts: 3
Number of discussion threads: 6
SpoutRating: 3
]]>Sun, 23 Aug 2009 21:07:41 GMTAlien Resurrection1997Jean-Pierre JeunetThe fourth film in the <a href=/films/853/default.aspx style='text-decoration:underline'>Alien</a> series, directed by <a href="/players/P___199452/default.aspx" style='text-decoration:underline'>Jean-Pierre Jeunet</a> (<a href=/films/8645/default.aspx style='text-decoration:underline'>Delicatessen</a>, <a href=/films/92071/default.aspx style='text-decoration:underline'>The City of Lost Children</a>) at a cost of 70 million dollars, takes place aboard an immense ship, the <i>Auriga</i>, where General Perez (<a href="/players/P____31477/default.aspx" style='text-decoration:underline'>Dan Hedaya</a>) heads a staff of seven science officers and 42 enlisted, all employed by United Systems Military (replacing the Company of the earlier films). The time is 200 years after the events of <a href=/films/854/default.aspx style='text-decoration:underline'>Alien 3</a>. Scientists researching the aliens need hosts, and they rely on space mercenaries who make spacecraft raids to acquire bodies. The research requires an Alien Queen specimen, so Ellen Ripley (<a href="/players/P____75144/default.aspx" style='text-decoration:underline'>Sigourney Weaver</a>) has been cloned from preserved blood samples. The scientific team then removes the baby Alien Queen from Ripley's chest. Since the Ripley clone has alien DNA mixed into her genetic structure, she is not totally human. Later, a commercial freighter, the <i>Betty</i>, arrives with a crew of mercenaries -- Elgyn (<a href="/players/P____76864/default.aspx" style='text-decoration:underline'>Michael Wincott</a>), pilot Hillard (Kim Flowers), paralyzed mechanic Vriess (<a href="/players/P____56900/default.aspx" style='text-decoration:underline'>Dominique Pinon</a>), space jock Johner (<a href="/players/P____56093/default.aspx" style='text-decoration:underline'>Ron Perlman</a>), and junior mechanic Annalee Call (<a href="/players/P____62446/default.aspx" style='text-decoration:underline'>Winona Ryder</a>) -- who deliver a load of human hosts with alien eggs. Problems begin when the mercenaries take over the <i>Auriga</i>, and aliens escape to massacre humans. As the aliens attack, Ripley and the mercenaries try to reach the <i>Betty</i> in order to escape. Cinematography by <a href="/players/P____97321/default.aspx" style='text-decoration:underline'>Darius Khondji</a> features the same ENR process he used on <a href=/films/93032/default.aspx style='text-decoration:underline'>Seven</a>, adding silver to the printing process to heighten contrasts, making the dark colors richer. An electric-blue tint was employed during the underwater firefight between the mercenaries and the aliens. For the more physical aspects of her role, Ryder got in shape with six hours of daily workouts. Although all previous films in the series were shot at London's Pinewood Studios, filming of Alien Resurrection took place West Los Angeles soundstages with special effects in California and Paris. ~ Bhob Stewart, All Movie Guide18Tag Target (>10)49363http://www.spout.com/ProductImages/t38873rq298.jpghttp://www.spout.com/films/Alien_Resurrection/114663/default.aspxFilm http://www.spout.com/groups/Movie_Polls/What_is_your_favorite_movie_directed_by_Jean_Pierr/657/42333/1/ShowPost.aspx Post By: Risselada
Post To: Movie Polls
Post Date: 5/19/2009 4:05:42 PM
Body: Please reference this thread for the rules of this group. Jean-Pierre Jeunet's got a new one on the horizon. Let's take a look at his current handful of quirky films and see which ones are people's favorites. Please vote only once in each poll. Movies referenced in this poll:Alien: ResurrectionAmélieThe City of Lost ChildrenDelicatessenA Very Long Engagement
]]>Tue, 19 May 2009 20:05:42 GMTRisseladaMovie Polls5/19/2009 4:05:42 PMPlease reference this thread for the rules of this group. Jean-Pierre Jeunet's got a new one on the horizon. Let's take a look at his current handful of quirky films and see which ones are people's favorites. Please vote only once in each poll. Movies referenced in this poll:Alien: ResurrectionAm&eacute;lieThe City of Lost ChildrenDelicatessenA Very Long Engagement http://www.spout.com/blogs/spoutblog/archive/2009/3/3/40806.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 3/3/2009 8:01:06 PM
Body: I have always tried to maintain low expectations for Hollywood product in general. But when it comes to highly anticipated movies, particularly blockbuster sequels to popular sci-fi action franchises, my excitement can get the best of me. Whenever I need to calm down my expectations, though, I simply recall all the disappointments of 1997 (Alien Resurrection, The Lost World, the Star Wars Special Edition), and I can get through the hype pretty safely. Considering I’m one of the few who actually loved both Terminator 3: Rise of the Machines and (yes, even) McG’s Charlie’s Angels movies, it’s hard for me to believe that I’m also one of the few who isn’t now expecting Terminator Salvation to be the second coming of Christ The Terminator after watching the new trailer (embedded below). Sure, Christian Bale could very well be a lucky charm to franchise reboots (though does anyone believe this will be even a tenth as good as Batman Begins?) and T4 could easily be better than rival summer blockbuster Transformers: Revenge of the Fallen (though “easily” is an understatement, because Transformer 2 will suck just as bad as Transformers 1). But with two and a half months left until the movie opens, it’s just too early for us to be going so ga-ga over one piece of marketing. The only thing left to happen now is a backlash, which I guess I’m sort of starting right now? Here’s a sample of the most extreme gushing to hit the blogosphere since the trailer’s premiere last night: Vulture gets credit for both the Batman Begins and the Transformers comparisons: From the looks of this trailer [McG] seems as if he’s on the cusp of delivering one of the best franchise reboots since Chris Nolan decided to take on Bruce Wayne…guaranteed to make Michael Bay seethe with jealousy: huge robots, even huger explosions, and, gasp, realistic-seeming human emotion! Sean at FilmJunk adds to the better-than-Transformers discussion: “Not only does Terminator Salvation have giant robots, explosions and impressive special effects, but it also has acting talent, an interesting story, and a sense of style.” While I’m sure (and hoping) she’s at least half-joking, Best Week Ever’s Michelle Collins nicknames the director “McGenius” and believes the trailer is great enough to now ensure people will be lining up days in advance. Note to Warner Bros.: you apparently needn’t spend money on further marketing materials. You’re good. Neil Miller at FIlmSchoolRejects is overly dramatic and overly excited: Even Christian Bale, master of all things badass — a man who has saved Gotham City twice from disaster — cannot stop the elimination in McG’s soon to be awesome Terminator Salvation. Am I being dramatic? Yes. Is this movie going to rock you to your core? Absolutely, yes. Alex Billington at FirstShowing.net, on the other hand, still prefers to hate on the director in spite of all his excitement: “Watching this makes me forget that McG is even directing this and makes me believe that we may actually see an awesome Terminator movie. This year’s summer movie season is looking better and better with every new day!” Rob at Topless Robot at least seems to understand the relativity that’s affecting his fanboy salivation: “Am I the only one excirted because my expectations for a McG-directed Terminator were so abyssmally low?” Todd Brown at Twitch nominates the spot as the “Best Trailer of The Year” and claims it’s better than any of the trailers for either of the James Cameron installments: To him, it “comes as near to perfection as I’ve seen in a long, long time.” Meredith Woerner at io9 pumps up the fanboys with screenshots, including some resembling parts of Star Wars and Firefly. Empire (and also Topless Robot) also sees some Battlestar Galactica resemblance. Oh, TMZ, you’re still on the Bale tirade story? Don’t you know today’s a day for positive T4 news? Okay, there is at least one blogger with lower expectations than I have: Rod at ThePlaylist. Originally posted on:SpoutBlog
]]>Wed, 04 Mar 2009 01:01:06 GMTSpoutBlogSpoutBlog on spout.com3/3/2009 8:01:06 PMI have always tried to maintain low expectations for Hollywood product in general. But when it comes to highly anticipated movies, particularly blockbuster sequels to popular sci-fi action franchises, my excitement can get the best of me. Whenever I need to calm down my expectations, though, I simply recall all the disappointments of 1997 (Alien Resurrection, The Lost World, the Star Wars Special Edition), and I can get through the hype pretty safely. Considering I’m one of the few who actually loved both Terminator 3: Rise of the Machines and (yes, even) McG’s Charlie’s Angels movies, it’s hard for me to believe that I’m also one of the few who isn’t now expecting Terminator Salvation to be the second coming of Christ The Terminator after watching the new trailer (embedded below). Sure, Christian Bale could very well be a lucky charm to franchise reboots (though does anyone believe this will be even a tenth as good as Batman Begins?) and T4 could easily be better than rival summer blockbuster Transformers: Revenge of the Fallen (though “easily” is an understatement, because Transformer 2 will suck just as bad as Transformers 1). But with two and a half months left until the movie opens, it’s just too early for us to be going so ga-ga over one piece of marketing. The only thing left to happen now is a backlash, which I guess I’m sort of starting right now? Here’s a sample of the most extreme gushing to hit the blogosphere since the trailer’s premiere last night: Vulture gets credit for both the Batman Begins and the Transformers comparisons: From the looks of this trailer [McG] seems as if he’s on the cusp of delivering one of the best franchise reboots since Chris Nolan decided to take on Bruce Wayne…guaranteed to make Michael Bay seethe with jealousy: huge robots, even huger explosions, and, gasp, realistic-seeming human emotion! Sean at FilmJunk adds to the better-than-Transformers discussion: “Not only does Terminator Salvation have giant robots, explosions and impressive special effects, but it also has acting talent, an interesting story, and a sense of style.” While I’m sure (and hoping) she’s at least half-joking, Best Week Ever’s Michelle Collins nicknames the director “McGenius” and believes the trailer is great enough to now ensure people will be lining up days in advance. Note to Warner Bros.: you apparently needn’t spend money on further marketing materials. You’re good. Neil Miller at FIlmSchoolRejects is overly dramatic and overly excited: Even Christian Bale, master of all things badass — a man who has saved Gotham City twice from disaster — cannot stop the elimination in McG’s soon to be awesome Terminator Salvation. Am I being dramatic? Yes. Is this movie going to rock you to your core? Absolutely, yes. Alex Billington at FirstShowing.net, on the other hand, still prefers to hate on the director in spite of all his excitement: “Watching this makes me forget that McG is even directing this and makes me believe that we may actually see an awesome Terminator movie. This year’s summer movie season is looking better and better with every new day!” Rob at Topless Robot at least seems to understand the relativity that’s affecting his fanboy salivation: “Am I the only one excirted because my expectations for a McG-directed Terminator were so abyssmally low?” Todd Brown at Twitch nominates the spot as the “Best Trailer of The Year” and claims it’s better than any of the trailers for either of the James Cameron installments: To him, it “comes as near to perfection as I’ve seen in a long, long time.” Meredith Woerner at io9 pumps up the fanboys with screenshots, including some resembling parts of Star Wars and Firefly. Empire (and also Topless Robot) also sees some Battlestar Galactica resemblance. Oh, TMZ, you’re still on the Bale tirade story? Don’t you know today’s a day for positive T4 news? Okay, there is at least one blogger with lower expectations than I have: Rod at ThePlaylist. Originally posted on:SpoutBlog http://www.spout.com/groups/Filmgaming/Re_Best_Movie_Lists_DVD_giveaway/563/39342/1/ShowPost.aspx Post By: myrdynn
Post To: Filmgaming
Post Date: 1/10/2009 8:29:43 AM
Body: Horror Movies for the Horror Challenged 28 Days Later 30 Days of Night Alien Resurrection Blood & Donuts Invasion of the Body Snatchers Night of the Living Dead Shaun of the Dead The Day the Earth Stood Still Salem's Lot
]]>Sat, 10 Jan 2009 13:29:43 GMTmyrdynnFilmgaming1/10/2009 8:29:43 AMHorror Movies for the Horror Challenged 28 Days Later 30 Days of Night Alien Resurrection Blood &amp; Donuts Invasion of the Body Snatchers Night of the Living Dead Shaun of the Dead The Day the Earth Stood Still Salem's Lot http://www.spout.com/groups/Weekly_Theme/Re_Weekly_Theme_for_November_24_Cyborgs_Androids/625/38089/1/ShowPost.aspx Post By: Risselada
Post To: Weekly Theme
Post Date: 12/8/2008 5:14:05 PM
Body: [quote user="Ravie13"] Bishop is, of course, a classic. But my vote is for Winona Ryder as Call in Alien Resurrection. Also a shocker when she turns out to be an android since she's the only sympathetic character in her crew of vagabonds and pirates... then Ripley joins them but then she's a hybrid-alien herself... so there aren't any REAL females. Plus they made her into an action figure! [/quote] SPOILERS!!!!!
]]>Mon, 08 Dec 2008 22:14:05 GMTRisseladaWeekly Theme12/8/2008 5:14:05 PM[quote user="Ravie13"] Bishop is, of course, a classic. But my vote is for Winona Ryder as Call in Alien Resurrection. Also a shocker when she turns out to be an android since she's the only sympathetic character in her crew of vagabonds and pirates... then Ripley joins them but then she's a hybrid-alien herself... so there aren't any REAL females. Plus they made her into an action figure! [/quote] SPOILERS!!!!! http://www.spout.com/groups/Weekly_Theme/Re_Weekly_Theme_for_November_24_Cyborgs_Androids/625/37891/1/ShowPost.aspx Post By: leeroy711
Post To: Weekly Theme
Post Date: 12/3/2008 1:25:47 PM
Body: I also would like to give a shout out to Winona Rider in coveralls in that Alien movie. She was a super-hawt robot.
]]>Wed, 03 Dec 2008 18:25:47 GMTleeroy711Weekly Theme12/3/2008 1:25:47 PMI also would like to give a shout out to Winona Rider in coveralls in that Alien movie. She was a super-hawt robot. http://www.spout.com/groups/Weekly_Theme/Re_Weekly_Theme_for_November_24_Cyborgs_Androids/625/37773/1/ShowPost.aspx Post By: Ravie13
Post To: Weekly Theme
Post Date: 12/1/2008 1:56:59 AM
Body: Bishop is, of course, a classic. But my vote is for Winona Ryder as Call in Alien Resurrection. Also a shocker when she turns out to be an android since she's the only sympathetic character in her crew of vagabonds and pirates... then Ripley joins them but then she's a hybrid-alien herself... so there aren't any REAL females. Plus they made her into an action figure!
]]>Mon, 01 Dec 2008 06:56:59 GMTRavie13Weekly Theme12/1/2008 1:56:59 AMBishop is, of course, a classic. But my vote is for Winona Ryder as Call in Alien Resurrection. Also a shocker when she turns out to be an android since she's the only sympathetic character in her crew of vagabonds and pirates... then Ripley joins them but then she's a hybrid-alien herself... so there aren't any REAL females. Plus they made her into an action figure! http://www.spout.com/blogs/spoutblog/archive/2008/11/25/37652.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 11/25/2008 7:01:15 PM
Body: Catherine Hardwicke hit one out of the park for female directors this past weekend, but she had a lot of help. Not only was she working with a pre-sold property, she also had a very manageable budget of $37 million. Quite different from the $2 million she had to work with on Thirteen a few years back. Of course, she had similar budgets on Lords of Dogtown ($25 million) and The Nativity Story ($35 million), and both were box office disappointments. Still, she’s going to keep on being trusted with more money — if Summit is smart they’ll keep her on for at least the first Twilight sequel, which will surely come with a higher price tag — and as long as she continues with genre films, she’s sure to remain a profitable director. Not every talented filmmaker does well with more money. Danny Boyle, for instance, typically bombs with bigger budgets. And a lot of foreign auteurs strike out when handed costly studio-produced genre or franchise pics (Jeunet’s Alien Resurrection is a favorite example). But there’s the occasional filmmaker who, like Steven Soderbergh or Christopher Nolan, can make something worthwhile out of any budget they’re allotted. And then there are the many indie filmmakers who quickly find themselves at home with modestly priced broad comedies, such as the case with Seth Gordon easily transitioning from the Slamdance doc The King of Kong to the star-studded Hollywood holiday pic Four Christmases, out this week. Who will be the next small-scale filmmaker to successfully rise up and prove him or herself worthy of bigger budgets? SpoutBlog has selected five directors we’d like to see given an economic boost, each because he or she would likely deliver something more interesting and popular than the usual Hollywood product. James Marsh (Man on Wire; The King) He recently gave us one of the most entertaining documentaries of all time (Man on Wire), and it’s likely that he could also give us an equally entertaining blockbuster of some kind. His best gateway would be a big deal crime caper, along the lines of Soderbergh’s Ocean’s series or even the more modestly priced The Bank Job. He pretty much already showed he could shoot a riveting heist film with his re-enactment scenes in Man on Wire. Maybe he can also hold on to the French angle by helming one of those Melville or Dassin films that are always being announced and never actually being made. Marsh’s follow-up to Man on Wire will be a relatively small British crime drama (one-third of Channel 4’s series of David Peace adaptations), but afterward he needs to be heavily wooed by the American studios. Larry Fessenden (Wendigo; The Last Winter) He makes some of the most interesting “horror” films around (people sometimes call them “art horror”), but they’d be even better with a little extra cash to spend on special effects. His last two films kind of lose their heat in their third acts, when the cheaply constructed monsters and ghosts appear. But had The Last Winter cost $5 million instead of $50,000, it might have grossed $33 million domestically rather than $33,000. And its not like Hollywood wouldn’t be into Fessenden’s pro-nature plots. If they can give Roland Emmerich more than a hundred million for The Day After Tomorrow, they can give a guy like Fessenden less than $10 and actually get a smarter, more entertaining genre flick. Shane Carruth (Primer) He gave us one of the biggest mindf*cks in the history of cinema with his 2004 Sundance-winning sci-fi film Primer, but he hasn’t really been heard from since. According to Wikipedia, he’s been planning his follow-up for the past two years and is ready to start on the financing, so here’s an idea: Hollywood should get on that. If this former engineer has spent that long working out the details of his next project, it’s likely to be smarter than most of the speedily scripted science fiction released by the studios. And it’s certainly time for an intelligent blockbuster dealing with time travel or space travel or something else in that vein. Sure, Darren Aronofsky went from math-nerd sci-fi (Pi) to a big-budget disappointment (The Fountain), but now he’s coming back strong with The Wrestler and is set to helm a RoboCop remake next. Carruth could have a similar career without the bomb in the middle if one studio hands him just a fraction of what they gave Aronofsky. Anything’s going to be an increase over Primer’s $7,000 budget. Gregg Araki (The Doom Generation; Mysterious Skin; Smiley Face) His most recent movie, the stoner comedy Smiley Face, should have been given the same size push as The Pineapple Express, which interestingly enough proved that indie darling David Gordon Green could be trusted with bigger budgets. Unfortunately, Araki continues to be a mere cult favorite. But he’s not necessarily a Hal Hartley or John Waters; he can break out if given the chance to. The world is just waiting for him to become the missing link between Judd Apatow and Gus Van Sant. Or is a bisexual filmmaker not the most perfect person to handle the ever-increasing-in-popularity bromantic comedies? Helen Hunt (Then She Found Me) This actress-turned-filmmaker could be the 21st century Nora Ephron if only Hollywood believed that women could want something a little less cheesy than Sleepless in Seattle. Too bad movies like Sex and the City and Twilight are showing us female audiences actually prefer things even cheesier. But even a slight increase on Then She Found Me’s $3.5 million budget could give Hunt the ability to deliver a thoughtful cross between romantic comedy and Hallmark melodrama that might just elevate the tastes of moviegoers, or at least attract more intelligent women to the multiplex. Originally posted on:SpoutBlog
]]>Wed, 26 Nov 2008 00:01:15 GMTSpoutBlogSpoutBlog on spout.com11/25/2008 7:01:15 PMCatherine Hardwicke hit one out of the park for female directors this past weekend, but she had a lot of help. Not only was she working with a pre-sold property, she also had a very manageable budget of $37 million. Quite different from the $2 million she had to work with on Thirteen a few years back. Of course, she had similar budgets on Lords of Dogtown ($25 million) and The Nativity Story ($35 million), and both were box office disappointments. Still, she’s going to keep on being trusted with more money — if Summit is smart they’ll keep her on for at least the first Twilight sequel, which will surely come with a higher price tag — and as long as she continues with genre films, she’s sure to remain a profitable director. Not every talented filmmaker does well with more money. Danny Boyle, for instance, typically bombs with bigger budgets. And a lot of foreign auteurs strike out when handed costly studio-produced genre or franchise pics (Jeunet’s Alien Resurrection is a favorite example). But there’s the occasional filmmaker who, like Steven Soderbergh or Christopher Nolan, can make something worthwhile out of any budget they’re allotted. And then there are the many indie filmmakers who quickly find themselves at home with modestly priced broad comedies, such as the case with Seth Gordon easily transitioning from the Slamdance doc The King of Kong to the star-studded Hollywood holiday pic Four Christmases, out this week. Who will be the next small-scale filmmaker to successfully rise up and prove him or herself worthy of bigger budgets? SpoutBlog has selected five directors we’d like to see given an economic boost, each because he or she would likely deliver something more interesting and popular than the usual Hollywood product. James Marsh (Man on Wire; The King) He recently gave us one of the most entertaining documentaries of all time (Man on Wire), and it’s likely that he could also give us an equally entertaining blockbuster of some kind. His best gateway would be a big deal crime caper, along the lines of Soderbergh’s Ocean’s series or even the more modestly priced The Bank Job. He pretty much already showed he could shoot a riveting heist film with his re-enactment scenes in Man on Wire. Maybe he can also hold on to the French angle by helming one of those Melville or Dassin films that are always being announced and never actually being made. Marsh’s follow-up to Man on Wire will be a relatively small British crime drama (one-third of Channel 4’s series of David Peace adaptations), but afterward he needs to be heavily wooed by the American studios. Larry Fessenden (Wendigo; The Last Winter) He makes some of the most interesting “horror” films around (people sometimes call them “art horror”), but they’d be even better with a little extra cash to spend on special effects. His last two films kind of lose their heat in their third acts, when the cheaply constructed monsters and ghosts appear. But had The Last Winter cost $5 million instead of $50,000, it might have grossed $33 million domestically rather than $33,000. And its not like Hollywood wouldn’t be into Fessenden’s pro-nature plots. If they can give Roland Emmerich more than a hundred million for The Day After Tomorrow, they can give a guy like Fessenden less than $10 and actually get a smarter, more entertaining genre flick. Shane Carruth (Primer) He gave us one of the biggest mindf*cks in the history of cinema with his 2004 Sundance-winning sci-fi film Primer, but he hasn’t really been heard from since. According to Wikipedia, he’s been planning his follow-up for the past two years and is ready to start on the financing, so here’s an idea: Hollywood should get on that. If this former engineer has spent that long working out the details of his next project, it’s likely to be smarter than most of the speedily scripted science fiction released by the studios. And it’s certainly time for an intelligent blockbuster dealing with time travel or space travel or something else in that vein. Sure, Darren Aronofsky went from math-nerd sci-fi (Pi) to a big-budget disappointment (The Fountain), but now he’s coming back strong with The Wrestler and is set to helm a RoboCop remake next. Carruth could have a similar career without the bomb in the middle if one studio hands him just a fraction of what they gave Aronofsky. Anything’s going to be an increase over Primer’s $7,000 budget. Gregg Araki (The Doom Generation; Mysterious Skin; Smiley Face) His most recent movie, the stoner comedy Smiley Face, should have been given the same size push as The Pineapple Express, which interestingly enough proved that indie darling David Gordon Green could be trusted with bigger budgets. Unfortunately, Araki continues to be a mere cult favorite. But he’s not necessarily a Hal Hartley or John Waters; he can break out if given the chance to. The world is just waiting for him to become the missing link between Judd Apatow and Gus Van Sant. Or is a bisexual filmmaker not the most perfect person to handle the ever-increasing-in-popularity bromantic comedies? Helen Hunt (Then She Found Me) This actress-turned-filmmaker could be the 21st century Nora Ephron if only Hollywood believed that women could want something a little less cheesy than Sleepless in Seattle. Too bad movies like Sex and the City and Twilight are showing us female audiences actually prefer things even cheesier. But even a slight increase on Then She Found Me’s $3.5 million budget could give Hunt the ability to deliver a thoughtful cross between romantic comedy and Hallmark melodrama that might just elevate the tastes of moviegoers, or at least attract more intelligent women to the multiplex. Originally posted on:SpoutBlog http://www.spout.com/blogs/spoutblog/archive/2008/3/24/26570.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 3/24/2008 4:00:57 PM
Body: On Saturday, Karina and I were discussing the upcoming Judd Apatow-produced comedy Pineapple Express, which I think is a waste of David Gordon Green’s directorial talent. Even more, I think it’s a waste of his writing talent, as it’s his first film where he’s not (credited as) one of the screenwriters. But, as Karina argued, a guy has to earn a paycheck now and again, and if him making this stoner comedy means I get to see more beautiful little films from Green in the future, then I should be happy for him and thankful to Apatow and Columbia Pictures. After all, great actors do this sort of thing all the time, so why shouldn’t it be okay for directors? However, all too often a sellout film can leave a really bad taste in our mouths. Sometimes that one really commercial movie will harm a filmmaker’s career for a long time, whether because it’s a box office flop or because it ends up only being the first in a new, more-mainstream direction for the filmmaker (see John Woo, sort of). Hopefully Pineapple Express won’t be as bad as any of these famous disasters by otherwise great directors: Alien Resurrection (1997) - It kind of seemed a dream come true that Jean-Pierre Jeunet (The City of Lost Children) would be wooed by Hollywood, especially for something as high-profile as the fourth Alien installment. But like many great foreign filmmakers, Jeunet was not nearly as great with an English-language script (nor is, apparently, Wong Kar-Wai). The movie looked really good, as had Jeunet’s French films, but overall the film was quite disappointing. It wasn’t necessarily Jeunet’s fault, but because he wasn’t fluent in English, it was likely difficult for him to communicate well with the actors and to see the faults of Joss Whedon’s script. Fortunately, Jeunet went on to make Amelie and has hopefully ignored the call of Hollywood ever since. (more…) Originally posted on:SpoutBlog
]]>Mon, 24 Mar 2008 20:00:57 GMTSpoutBlogSpoutBlog on spout.com3/24/2008 4:00:57 PM On Saturday, Karina and I were discussing the upcoming Judd Apatow-produced comedy Pineapple Express, which I think is a waste of David Gordon Green’s directorial talent. Even more, I think it’s a waste of his writing talent, as it’s his first film where he’s not (credited as) one of the screenwriters. But, as Karina argued, a guy has to earn a paycheck now and again, and if him making this stoner comedy means I get to see more beautiful little films from Green in the future, then I should be happy for him and thankful to Apatow and Columbia Pictures. After all, great actors do this sort of thing all the time, so why shouldn’t it be okay for directors? However, all too often a sellout film can leave a really bad taste in our mouths. Sometimes that one really commercial movie will harm a filmmaker’s career for a long time, whether because it’s a box office flop or because it ends up only being the first in a new, more-mainstream direction for the filmmaker (see John Woo, sort of). Hopefully Pineapple Express won’t be as bad as any of these famous disasters by otherwise great directors: Alien Resurrection (1997) - It kind of seemed a dream come true that Jean-Pierre Jeunet (The City of Lost Children) would be wooed by Hollywood, especially for something as high-profile as the fourth Alien installment. But like many great foreign filmmakers, Jeunet was not nearly as great with an English-language script (nor is, apparently, Wong Kar-Wai). The movie looked really good, as had Jeunet’s French films, but overall the film was quite disappointing. It wasn’t necessarily Jeunet’s fault, but because he wasn’t fluent in English, it was likely difficult for him to communicate well with the actors and to see the faults of Joss Whedon’s script. Fortunately, Jeunet went on to make Amelie and has hopefully ignored the call of Hollywood ever since. (more…) Originally posted on:SpoutBlog http://www.spout.com/groups/FilmCouch/Re_Last_Film_Couch/302/8423/1/ShowPost.aspx Post By: Puhnner
Post To: FilmCouch
Post Date: 5/8/2007 3:06:27 PM
Body: An interesting concept. I, however subscribe to only one caveat being required of a villain, Free Choice. .. A Villain quite simply must have 'free choice' and have chosen to act a certain way, proceed in a certain direction, and that direction is one or more that is/are contrary to 'Life'. Unless that is present they are no more a villian than a tidal wave is.In my view then Aliens are not villains, for Aliens do not, that is, they do not seem to have free choice, because their motives seem biologically driven, at least the reproductive ones. Although in the Alien 3 and Alien Resurrection Ripley was not killed because she was with 'alien' and was one of them...so they do seem to have choice in somethings.I guess we can now go on to just what in the hell 'free' or 'free choice' means...see A Clockwork Orange...although from what I am reading these days, free choice or our actions, may well be just another illusion; see some of my other posts in other groups.
]]>Tue, 08 May 2007 19:06:27 GMTPuhnnerFilmCouch5/8/2007 3:06:27 PMAn interesting concept. I, however subscribe to only one caveat being required of a villain, Free Choice. .. A Villain quite simply must have &#39;free choice&#39; and have chosen to act a certain way, proceed in a certain direction, and that direction is one or more that is/are contrary to &#39;Life&#39;. Unless that is present they are no more a villian than a tidal wave is.In my view then Aliens are not villains, for Aliens do not, that is, they do not seem to have free choice, because their motives seem biologically driven, at least the reproductive ones. Although in the Alien 3 and Alien Resurrection Ripley was not killed because she was with &#39;alien&#39; and was one of them...so they do seem to have choice in somethings.I guess we can now go on to just what in the hell &#39;free&#39; or &#39;free choice&#39; means...see A Clockwork Orange...although from what I am reading these days, free choice or our actions, may well be just another illusion; see some of my other posts in other groups. http://www.spout.com/members/0/tags/sci-fi/MemberTagFilms.aspxsci-fi
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