list http://www.spout.com/ Recent community activity around Jules and Jim 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/Jules_and_Jim/18411/default.aspx Title: Jules and Jim
Year: 1962
Director: François Truffaut
Plot: Acclaimed French director François Truffaut's third and, for many viewers, best film is an adaptation of a semi-autobiographical novel by Henri-Pierre Roché. Set between 1912 and 1933, it stars Oskar Werner as the German Jules and Henri Serre as the Frenchman Jim, kindred spirits who, while on holiday in Greece, fall in love with the smile on the face of a sculpture. Back in Paris, the smile comes to life in the person of Catherine (Jeanne Moreau); the three individuals become constant companions, determined to live their lives to the fullest despite the world war around them. When Jules declares his love for Catherine, Jim agrees to let Jules pursue her, despite his own similar feelings; Jules and Catherine marry and have a child (Sabine Haudepin), but Catherine still loves Jim as well. An influential film that has grown in stature over the decades, Jules et Jim was often viewed by the counterculture of the 1960s as a cinematic proponent of the free-love movement, but in actuality the picture is a statement against such a way of life. Despite the bond shared by Jules, Jim, and Catherine, their ménage à trois is doomed to fail; and Catherine's inability to choose between the two men leads to tragic consequences for all three. ~ Jason Ankeny, All Movie Guide
Times Tagged: 11
Number of Lists: 32
Number of blog posts: 5
Number of discussion threads: 9
SpoutRating: 3
]]>Tue, 14 Jul 2009 01:36:24 GMTJules and Jim1962François TruffautAcclaimed French director <a href="/players/P___114620/default.aspx" style='text-decoration:underline'>François Truffaut</a>'s third and, for many viewers, best film is an adaptation of a semi-autobiographical novel by Henri-Pierre Roché. Set between 1912 and 1933, it stars <a href="/players/P____75563/default.aspx" style='text-decoration:underline'>Oskar Werner</a> as the German Jules and Henri Serre as the Frenchman Jim, kindred spirits who, while on holiday in Greece, fall in love with the smile on the face of a sculpture. Back in Paris, the smile comes to life in the person of Catherine (<a href="/players/P___103455/default.aspx" style='text-decoration:underline'>Jeanne Moreau</a>); the three individuals become constant companions, determined to live their lives to the fullest despite the world war around them. When Jules declares his love for Catherine, Jim agrees to let Jules pursue her, despite his own similar feelings; Jules and Catherine marry and have a child (Sabine Haudepin), but Catherine still loves Jim as well. An influential film that has grown in stature over the decades, Jules et Jim was often viewed by the counterculture of the 1960s as a cinematic proponent of the free-love movement, but in actuality the picture is a statement against such a way of life. Despite the bond shared by Jules, Jim, and Catherine, their <I>ménage à trois</I> is doomed to fail; and Catherine's inability to choose between the two men leads to tragic consequences for all three. ~ Jason Ankeny, All Movie Guide11Tag Target (>10)32593http://www.spout.com/ProductImages/t60890ylzsd.jpghttp://www.spout.com/films/Jules_and_Jim/18411/default.aspxFilm http://www.spout.com/groups/Movie_Polls/Re_Which_of_these_film_movments_have_produced_film/657/40557/1/ShowPost.aspx Post By: Risselada
Post To: Movie Polls
Post Date: 2/19/2009 3:15:26 PM
Body: [quote user="pippin06"] This is out of my league too. I consider myself an average to above average filmgoer/viewer but am not sure if I've seen anything in any category (maybe I have and I didn't know it...but maybe not). Like I said, I saw a lot of French films in college, but who knows if they fall under New Wave or something like that... ...but maybe we could somehow start a discussion somewhere where people schooled in these film schools could make recommendations for beginners. That would be cool, right? Or, maybe it's already somewhere...anyone know? [/quote] Ok, well I'll try to give some insight on what I know about them and any recommendations I may have. Czechoslovakian New Wave may be one of the lesser movements listed here. It kind of started in the 60s. A discription from wikipedia says "Trademarks of the movement contain long unscripted dialogues, dark and absurd humour, and the casting of nonactors." I don't know if I've actually seen any, but some of the more popular ones are available from the Criterion Collection like The Shop on Main Street (which people have mentioned on Spout before), Closely Watched Trains, and lots of Milos Forman's (One Flew Over the Cuckoo's Nest, The Man on the Moon, Amadeus) early work like Loves of a Blonde and The Fireman's Ball. Dogme 95 was an official movement started by Lars Von Trier and a few other Danish filmmakers that had specific rules about it. You could actually submit your film to them to be labeled as an official Dogma 95 film. You can probably find the rules online somewhere, but it involved using only digital film and found locations, props, and costumes. You aren't supposed to add any special effects. The full rules are of course available at good old wikipedia. The most famous of the films would probably The Celebration, The Idiots, and my favorite, Julien Donkey-Boy. The French New Wave is a pretty broad movement usually referring to the iconoclastic filmmakers from France. I think the tail end of the 50s is really when this started to get into full swing. Like Tennenbaums mentioned earlier, Jean Luc-Godard and François Truffaut are often the most identifiable filmmakers with the movement, although there are probably dozens if not more who have been lumped into this movement. SkyPilot mentioned Jean-Pierre Melville's Bob le Flambeur. I have seen that one and was disappointed. I've also seen Godard's Breathless and Truffaut's Jules and Jim both of which I did not enjoy. Truffaut's The 400 Blows I appreciated a bit more, but still not a favorite. Some people throw Éric Rohmer into this category as well, although some argue his style is considerably different and stems from somewhere other than many other of the French New Wave filmmakers. I have enjoyed what little I've seen of his work. Expressionism was a movement in Europe in the early 20th century. It stressed intense emotion conveyed through exaggerated and distorted style and forms. The Germans took this movement and put it in film. I'm sure you recognize famous directors like F. W. Murnau and Fritz Lang. Some of these films had extremely expressionistic and highly unrealistic visuals like The Cabinet of Dr. Caligari. Some like The Last Laugh were just more more distorted versions of reality. With all the Dracula talk that has happend on Spout at times I'm guessing you've also heard of Nosferatu. Some of Lang's works that came a bit later that are well known might also count like M and Metropolis. When I looked into it, I can't really define Iranian New Wave any better than just saying it's basically films that were made in Iran. I guess the most popular filmmaker is Abbas Kiarostami. Look him up and you may recognize a lot of his films. Maybe not. I have seen two films from Majid Majidi and would recommend The Color of Paradise. It's kind of recent though so I don't really know if it's a good representation of the first wave of the Iranian New Wave. Italian neorealism is what it probably sounds like. Italian films that stressed trying to give a realistic depiction of every day working class people. They did this by shootings things on location and often with non-actors. And a lot of the the "boring" action of normal life that might not find it's way into other films is here. Although I sure don't find it boring. The time frame we are looking at is the later forties. The most famous example is Vittorio De Sica's The Bicycle Thief which I would highly recommend, although De Sica's Shoeshine and Umberto D are also amazing. Other big name directors are Luchino Visconti and Roberto Rossellini. The Japanese New Wave like the French New Wave were a bunch of iconoclastic filmmakers that started with works being released around the end of the 50s through the 70s. You could put Seijun Suzuki in this category who is one of my favorite directors. Tokyo Drifter, Fighting Elegy, Branded to Kill, and Youth of the Beast are all fims of his that I love and are available on the Criterion Collection. Hiroshi Teshigahara also has some of his movies released through Criterion, one of which, Woman in the Dunes, I just saw recently and is amazing. Shohei Imamura also has some of his movies available through Criterion (this is basically just a big Criterion ad). Nagisa Oshima is probably the biggest name from this moment in my mind and I'm rather embarassed to say I still haven't seen any of his films. Mumblecore core is the newest term on this list and has gotten a lot of press on Spout, so maybe you've heard of it. I don't know if I've really seen any movies that would fit this category hardcore, but you probably recognize the trend in independent cinema. I think it has a lot to do with young adults living in big cities. Very low budget. Lots of slang and hip music and culture references with a realistic style. Correct me if I'm wrong on this. Joe Swanberg had a short film series on Spout for a while I think. New French Extremity is the other really new term here. I just came across the name recently to refer to a recent wave of confrontational French films ove the past decade or so. You know how we had a group here on spout called "extreme films"? Well a lot of these would probably fit in nice there. They show you the extreme fifth, cruelty, and violence of humanity often in graphic detail. You may recognize a lot of these names. Gaspar Noé's Irreversible is one of the most well known state side I think. It's the one that runs backwards. I've seen his I Stand Alone and let me say it's pretty striking and depression, very confrontational to the dark and depressing side of the human condition. Other examples are some of Claire Denis' and Leos Carax's recent work, Bruno Dumont (The Life of Jesus, Humanité), Catherine Breillat (Fat Girl). Maybe you have also heard of the infamous Baise-moi (Fuck Me). If you listen to a lot of the horror fans we have on the site too you may hear them rave about many of the violent horror films comming out of France recently. These could probably fit in well too. The most well known now being High Tension. As for New German Cinema, you've heard of Werner Herzog right?? He's one of my favorites (check out The Mystery of Kaspar Hauser, Aguirre: The Wrath of God, Stroszek, Fitzcarraldo). Well he and some other German folks such as R. W. Fassbinder (Ali: Fear Eats the Soul, The Marriage of Maria Braun, The Bitter Tears of Petra Von Kant (the guy made well over fourty films in a span of sixteen years including the fifteen hour long Berlin Alexanderplatz)), Wim Wenders (Wings of Desire, Paris, Texas), Volker Schlöndorff (The Tin Drum) and several others started making the first original movies starting in the late 60s since before the rise of the Nazis (Werner Herzog even made a remake of the classic German film Nosferatu). Finally Germany was a force in the world of Cinema making original and revolutionary films again. Anyone have anything to add?
]]>Thu, 19 Feb 2009 20:15:26 GMTRisseladaMovie Polls2/19/2009 3:15:26 PM[quote user="pippin06"] This is out of my league too. I consider myself an average to above average filmgoer/viewer but am not sure if I've seen anything in any category (maybe I have and I didn't know it...but maybe not). Like I said, I saw a lot of French films in college, but who knows if they fall under New Wave or something like that... ...but maybe we could somehow start a discussion somewhere where people schooled in these film schools could make recommendations for beginners. That would be cool, right? Or, maybe it's already somewhere...anyone know? [/quote] Ok, well I'll try to give some insight on what I know about them and any recommendations I may have. Czechoslovakian New Wave may be one of the lesser movements listed here. It kind of started in the 60s. A discription from wikipedia says "Trademarks of the movement contain long unscripted dialogues, dark and absurd humour, and the casting of nonactors." I don't know if I've actually seen any, but some of the more popular ones are available from the Criterion Collection like The Shop on Main Street (which people have mentioned on Spout before), Closely Watched Trains, and lots of Milos Forman's (One Flew Over the Cuckoo's Nest, The Man on the Moon, Amadeus) early work like Loves of a Blonde and The Fireman's Ball. Dogme 95 was an official movement started by Lars Von Trier and a few other Danish filmmakers that had specific rules about it. You could actually submit your film to them to be labeled as an official Dogma 95 film. You can probably find the rules online somewhere, but it involved using only digital film and found locations, props, and costumes. You aren't supposed to add any special effects. The full rules are of course available at good old wikipedia. The most famous of the films would probably The Celebration, The Idiots, and my favorite, Julien Donkey-Boy. The French New Wave is a pretty broad movement usually referring to the iconoclastic filmmakers from France. I think the tail end of the 50s is really when this started to get into full swing. Like Tennenbaums mentioned earlier, Jean Luc-Godard and Fran&ccedil;ois Truffaut are often the most identifiable filmmakers with the movement, although there are probably dozens if not more who have been lumped into this movement. SkyPilot mentioned Jean-Pierre Melville's Bob le Flambeur. I have seen that one and was disappointed. I've also seen Godard's Breathless and Truffaut's Jules and Jim both of which I did not enjoy. Truffaut's The 400 Blows I appreciated a bit more, but still not a favorite. Some people throw &Eacute;ric Rohmer into this category as well, although some argue his style is considerably different and stems from somewhere other than many other of the French New Wave filmmakers. I have enjoyed what little I've seen of his work. Expressionism was a movement in Europe in the early 20th century. It stressed intense emotion conveyed through exaggerated and distorted style and forms. The Germans took this movement and put it in film. I'm sure you recognize famous directors like F. W. Murnau and Fritz Lang. Some of these films had extremely expressionistic and highly unrealistic visuals like The Cabinet of Dr. Caligari. Some like The Last Laugh were just more more distorted versions of reality. With all the Dracula talk that has happend on Spout at times I'm guessing you've also heard of Nosferatu. Some of Lang's works that came a bit later that are well known might also count like M and Metropolis. When I looked into it, I can't really define Iranian New Wave any better than just saying it's basically films that were made in Iran. I guess the most popular filmmaker is Abbas Kiarostami. Look him up and you may recognize a lot of his films. Maybe not. I have seen two films from Majid Majidi and would recommend The Color of Paradise. It's kind of recent though so I don't really know if it's a good representation of the first wave of the Iranian New Wave. Italian neorealism is what it probably sounds like. Italian films that stressed trying to give a realistic depiction of every day working class people. They did this by shootings things on location and often with non-actors. And a lot of the the "boring" action of normal life that might not find it's way into other films is here. Although I sure don't find it boring. The time frame we are looking at is the later forties. The most famous example is Vittorio De Sica's The Bicycle Thief which I would highly recommend, although De Sica's Shoeshine and Umberto D are also amazing. Other big name directors are Luchino Visconti and Roberto Rossellini. The Japanese New Wave like the French New Wave were a bunch of iconoclastic filmmakers that started with works being released around the end of the 50s through the 70s. You could put Seijun Suzuki in this category who is one of my favorite directors. Tokyo Drifter, Fighting Elegy, Branded to Kill, and Youth of the Beast are all fims of his that I love and are available on the Criterion Collection. Hiroshi Teshigahara also has some of his movies released through Criterion, one of which, Woman in the Dunes, I just saw recently and is amazing. Shohei Imamura also has some of his movies available through Criterion (this is basically just a big Criterion ad). Nagisa Oshima is probably the biggest name from this moment in my mind and I'm rather embarassed to say I still haven't seen any of his films. Mumblecore core is the newest term on this list and has gotten a lot of press on Spout, so maybe you've heard of it. I don't know if I've really seen any movies that would fit this category hardcore, but you probably recognize the trend in independent cinema. I think it has a lot to do with young adults living in big cities. Very low budget. Lots of slang and hip music and culture references with a realistic style. Correct me if I'm wrong on this. Joe Swanberg had a short film series on Spout for a while I think. New French Extremity is the other really new term here. I just came across the name recently to refer to a recent wave of confrontational French films ove the past decade or so. You know how we had a group here on spout called "extreme films"? Well a lot of these would probably fit in nice there. They show you the extreme fifth, cruelty, and violence of humanity often in graphic detail. You may recognize a lot of these names. Gaspar No&eacute;'s Irreversible is one of the most well known state side I think. It's the one that runs backwards. I've seen his I Stand Alone and let me say it's pretty striking and depression, very confrontational to the dark and depressing side of the human condition. Other examples are some of Claire Denis' and Leos Carax's recent work, Bruno Dumont (The Life of Jesus, Humanit&eacute;), Catherine Breillat (Fat Girl). Maybe you have also heard of the infamous Baise-moi (Fuck Me). If you listen to a lot of the horror fans we have on the site too you may hear them rave about many of the violent horror films comming out of France recently. These could probably fit in well too. The most well known now being High Tension. As for New German Cinema, you've heard of Werner Herzog right?? He's one of my favorites (check out The Mystery of Kaspar Hauser, Aguirre: The Wrath of God, Stroszek, Fitzcarraldo). Well he and some other German folks such as R. W. Fassbinder (Ali: Fear Eats the Soul, The Marriage of Maria Braun, The Bitter Tears of Petra Von Kant (the guy made well over fourty films in a span of sixteen years including the fifteen hour long Berlin Alexanderplatz)), Wim Wenders (Wings of Desire, Paris, Texas), Volker Schl&ouml;ndorff (The Tin Drum) and several others started making the first original movies starting in the late 60s since before the rise of the Nazis (Werner Herzog even made a remake of the classic German film Nosferatu). Finally Germany was a force in the world of Cinema making original and revolutionary films again. Anyone have anything to add? http://www.spout.com/blogs/karina/archive/2009/1/15/39556.aspx Post By: Karina
Post To: Karina on SpoutBlog
Post Date: 1/15/2009 10:01:24 AM
Body: The Vicious Kind, a love triangle drama starring Adam Scott and Brittany Snow, directed by Lee Toland Krieger and executive produced by Neil LaBute, is described in the always remarkable Sundance catalogue as “a glimpse into the soul of a damaged man whose obstinate defense mechanisms are laid bare by his fractured relationships.” We subjected Krieger to the 4 Questions We Ask Everyone, and he divulged about his unusual choice of film stock and taking cues from Cassavetes, and twice implied seething hatred for Paris Hilton. Tell us about your movie: who did you work with, what did you shoot on, why did you make it? Give us the reductive, 25-word or less, “It’s like [pop culture reference a] meets [pop culture reference b]!” pitch, then explain what the quick and dirty sell leaves out. My film is called The Vicious Kind and it stars Adam Scott, Brittany Snow, Alex Frost and JK Simmons. We shot the film on 35mm—Kodak’s Vision 1, specifically.  It’s something I very proud of.  Maybe the first film on Vision 1 since the eighties. In part, I wanted to make The Vicious Kind because I’ve long been a fan of the transgressive qualities in John Cassavetes’ films, and I wanted to make a film that felt somewhat reckless.  I liked the idea of a story and characters that didn’t necessarily fall under the “indiewood” category, and didn’t pull any punches.  Similar to Cassavetes’ approach in “Faces,” I wanted to make a film that would provide a setting where my lead actors could run a bit wild. I like to sell The Vicious Kind as The Squid & The Whale meets In the Company of Men. What that description doesn’t tell you is that the film is a redemption tale in which the lead, Caleb, played by Adam Scott, is a recluse and somewhat of a misanthrope.  Anyone who’s seen Step Brothers knows Adam can play “the asshole you love to hate” perfectly.   I think for people that see my film they’re going to discover Adam is an phenomenally sophisticated actor who can texture a performance in such a way that he’s menacing and perverse, and at the same time vulnerable and endearing. If you funded your film through a “day job” or through working on projects that were not your own, tell us about that. If not, tell us a story from your past work life, before you became a professional filmmaker. I’ve been lucky to not have too many “real jobs”.  I interned a lot during film school at various production companies.  I spent my time there reading scripts and answering phones, but I was terrible because I was constantly trying to either work on my own material or stealing production books in an effort to educate myself.  I’ve also spent time creating original content for MySpace.  Low points included doing shows on both the Hilton and Kardashian sisters.  Those were days where you go home and try to figure out how to apply to law school. Have you been to Sundance before? If so, tell us your best moment (or worst, which ever is funnier). If you haven’t, what are you most (or least) looking forward to based on your impressions of the festival? I’ve never been to Sundance, and, based on impressions I’ve been given, I’m most looking forward to freezing my ass off as I try to get into screenings/dinners/parties (even my own) and totally striking out.  Then, just as I’m about to give up, Paris Hilton strolls by (through the snow) in a skirt and five-inch stilettos and walks right in without any credentials whatsoever.  At which point I can tell whoever is next to me, “I didn’t need to leave LA to watch Paris Hilton pass the line I’m standing in.” Let’s get hypothetical: You’re on death row. The night of your execution, you’re allowed to watch any two films of your choice. What would you pick for your last-night-on-Earth double feature? This is a brutal question.  The two that come to mind now would be Jules et Jim and then Rushmore—in that order.  Both films are romantic in their own quirky way, and they both make me feel wonderful.  I like the idea of feeling the way those films make me feel before I depart. Originally posted on:SpoutBlog » Karina Longworth
]]>Thu, 15 Jan 2009 15:01:24 GMTKarinaKarina on SpoutBlog1/15/2009 10:01:24 AM The Vicious Kind, a love triangle drama starring Adam Scott and Brittany Snow, directed by Lee Toland Krieger and executive produced by Neil LaBute, is described in the always remarkable Sundance catalogue as “a glimpse into the soul of a damaged man whose obstinate defense mechanisms are laid bare by his fractured relationships.” We subjected Krieger to the 4 Questions We Ask Everyone, and he divulged about his unusual choice of film stock and taking cues from Cassavetes, and twice implied seething hatred for Paris Hilton. Tell us about your movie: who did you work with, what did you shoot on, why did you make it? Give us the reductive, 25-word or less, “It’s like [pop culture reference a] meets [pop culture reference b]!” pitch, then explain what the quick and dirty sell leaves out. My film is called The Vicious Kind and it stars Adam Scott, Brittany Snow, Alex Frost and JK Simmons. We shot the film on 35mm—Kodak’s Vision 1, specifically.  It’s something I very proud of.  Maybe the first film on Vision 1 since the eighties. In part, I wanted to make The Vicious Kind because I’ve long been a fan of the transgressive qualities in John Cassavetes’ films, and I wanted to make a film that felt somewhat reckless.  I liked the idea of a story and characters that didn’t necessarily fall under the “indiewood” category, and didn’t pull any punches.  Similar to Cassavetes’ approach in “Faces,” I wanted to make a film that would provide a setting where my lead actors could run a bit wild. I like to sell The Vicious Kind as The Squid & The Whale meets In the Company of Men. What that description doesn’t tell you is that the film is a redemption tale in which the lead, Caleb, played by Adam Scott, is a recluse and somewhat of a misanthrope.  Anyone who’s seen Step Brothers knows Adam can play “the asshole you love to hate” perfectly.   I think for people that see my film they’re going to discover Adam is an phenomenally sophisticated actor who can texture a performance in such a way that he’s menacing and perverse, and at the same time vulnerable and endearing. If you funded your film through a “day job” or through working on projects that were not your own, tell us about that. If not, tell us a story from your past work life, before you became a professional filmmaker. I’ve been lucky to not have too many “real jobs”.  I interned a lot during film school at various production companies.  I spent my time there reading scripts and answering phones, but I was terrible because I was constantly trying to either work on my own material or stealing production books in an effort to educate myself.  I’ve also spent time creating original content for MySpace.  Low points included doing shows on both the Hilton and Kardashian sisters.  Those were days where you go home and try to figure out how to apply to law school. Have you been to Sundance before? If so, tell us your best moment (or worst, which ever is funnier). If you haven’t, what are you most (or least) looking forward to based on your impressions of the festival? I’ve never been to Sundance, and, based on impressions I’ve been given, I’m most looking forward to freezing my ass off as I try to get into screenings/dinners/parties (even my own) and totally striking out.  Then, just as I’m about to give up, Paris Hilton strolls by (through the snow) in a skirt and five-inch stilettos and walks right in without any credentials whatsoever.  At which point I can tell whoever is next to me, “I didn’t need to leave LA to watch Paris Hilton pass the line I’m standing in.” Let’s get hypothetical: You’re on death row. The night of your execution, you’re allowed to watch any two films of your choice. What would you pick for your last-night-on-Earth double feature? This is a brutal question.  The two that come to mind now would be Jules et Jim and then Rushmore—in that order.  Both films are romantic in their own quirky way, and they both make me feel wonderful.  I like the idea of feeling the way those films make me feel before I depart. Originally posted on:SpoutBlog » Karina Longworth http://www.spout.com/blogs/spoutblog/archive/2009/1/15/39555.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 1/15/2009 10:01:12 AM
Body: The Vicious Kind, a love triangle drama starring Adam Scott and Brittany Snow, directed by Lee Toland Krieger and executive produced by Neil LaBute, is described in the always remarkable Sundance catalogue as “a glimpse into the soul of a damaged man whose obstinate defense mechanisms are laid bare by his fractured relationships.” We subjected Krieger to the 4 Questions We Ask Everyone, and he divulged about his unusual choice of film stock and taking cues from Cassavetes, and twice implied seething hatred for Paris Hilton. Tell us about your movie: who did you work with, what did you shoot on, why did you make it? Give us the reductive, 25-word or less, “It’s like [pop culture reference a] meets [pop culture reference b]!” pitch, then explain what the quick and dirty sell leaves out. My film is called The Vicious Kind and it stars Adam Scott, Brittany Snow, Alex Frost and JK Simmons. We shot the film on 35mm—Kodak’s Vision 1, specifically.  It’s something I very proud of.  Maybe the first film on Vision 1 since the eighties. In part, I wanted to make The Vicious Kind because I’ve long been a fan of the transgressive qualities in John Cassavetes’ films, and I wanted to make a film that felt somewhat reckless.  I liked the idea of a story and characters that didn’t necessarily fall under the “indiewood” category, and didn’t pull any punches.  Similar to Cassavetes’ approach in “Faces,” I wanted to make a film that would provide a setting where my lead actors could run a bit wild. I like to sell The Vicious Kind as The Squid & The Whale meets In the Company of Men. What that description doesn’t tell you is that the film is a redemption tale in which the lead, Caleb, played by Adam Scott, is a recluse and somewhat of a misanthrope.  Anyone who’s seen Step Brothers knows Adam can play “the asshole you love to hate” perfectly.   I think for people that see my film they’re going to discover Adam is an phenomenally sophisticated actor who can texture a performance in such a way that he’s menacing and perverse, and at the same time vulnerable and endearing. If you funded your film through a “day job” or through working on projects that were not your own, tell us about that. If not, tell us a story from your past work life, before you became a professional filmmaker. I’ve been lucky to not have too many “real jobs”.  I interned a lot during film school at various production companies.  I spent my time there reading scripts and answering phones, but I was terrible because I was constantly trying to either work on my own material or stealing production books in an effort to educate myself.  I’ve also spent time creating original content for MySpace.  Low points included doing shows on both the Hilton and Kardashian sisters.  Those were days where you go home and try to figure out how to apply to law school. Have you been to Sundance before? If so, tell us your best moment (or worst, which ever is funnier). If you haven’t, what are you most (or least) looking forward to based on your impressions of the festival? I’ve never been to Sundance, and, based on impressions I’ve been given, I’m most looking forward to freezing my ass off as I try to get into screenings/dinners/parties (even my own) and totally striking out.  Then, just as I’m about to give up, Paris Hilton strolls by (through the snow) in a skirt and five-inch stilettos and walks right in without any credentials whatsoever.  At which point I can tell whoever is next to me, “I didn’t need to leave LA to watch Paris Hilton pass the line I’m standing in.” Let’s get hypothetical: You’re on death row. The night of your execution, you’re allowed to watch any two films of your choice. What would you pick for your last-night-on-Earth double feature? This is a brutal question.  The two that come to mind now would be Jules et Jim and then Rushmore—in that order.  Both films are romantic in their own quirky way, and they both make me feel wonderful.  I like the idea of feeling the way those films make me feel before I depart. Originally posted on:SpoutBlog
]]>Thu, 15 Jan 2009 15:01:12 GMTSpoutBlogSpoutBlog on spout.com1/15/2009 10:01:12 AM The Vicious Kind, a love triangle drama starring Adam Scott and Brittany Snow, directed by Lee Toland Krieger and executive produced by Neil LaBute, is described in the always remarkable Sundance catalogue as “a glimpse into the soul of a damaged man whose obstinate defense mechanisms are laid bare by his fractured relationships.” We subjected Krieger to the 4 Questions We Ask Everyone, and he divulged about his unusual choice of film stock and taking cues from Cassavetes, and twice implied seething hatred for Paris Hilton. Tell us about your movie: who did you work with, what did you shoot on, why did you make it? Give us the reductive, 25-word or less, “It’s like [pop culture reference a] meets [pop culture reference b]!” pitch, then explain what the quick and dirty sell leaves out. My film is called The Vicious Kind and it stars Adam Scott, Brittany Snow, Alex Frost and JK Simmons. We shot the film on 35mm—Kodak’s Vision 1, specifically.  It’s something I very proud of.  Maybe the first film on Vision 1 since the eighties. In part, I wanted to make The Vicious Kind because I’ve long been a fan of the transgressive qualities in John Cassavetes’ films, and I wanted to make a film that felt somewhat reckless.  I liked the idea of a story and characters that didn’t necessarily fall under the “indiewood” category, and didn’t pull any punches.  Similar to Cassavetes’ approach in “Faces,” I wanted to make a film that would provide a setting where my lead actors could run a bit wild. I like to sell The Vicious Kind as The Squid & The Whale meets In the Company of Men. What that description doesn’t tell you is that the film is a redemption tale in which the lead, Caleb, played by Adam Scott, is a recluse and somewhat of a misanthrope.  Anyone who’s seen Step Brothers knows Adam can play “the asshole you love to hate” perfectly.   I think for people that see my film they’re going to discover Adam is an phenomenally sophisticated actor who can texture a performance in such a way that he’s menacing and perverse, and at the same time vulnerable and endearing. If you funded your film through a “day job” or through working on projects that were not your own, tell us about that. If not, tell us a story from your past work life, before you became a professional filmmaker. I’ve been lucky to not have too many “real jobs”.  I interned a lot during film school at various production companies.  I spent my time there reading scripts and answering phones, but I was terrible because I was constantly trying to either work on my own material or stealing production books in an effort to educate myself.  I’ve also spent time creating original content for MySpace.  Low points included doing shows on both the Hilton and Kardashian sisters.  Those were days where you go home and try to figure out how to apply to law school. Have you been to Sundance before? If so, tell us your best moment (or worst, which ever is funnier). If you haven’t, what are you most (or least) looking forward to based on your impressions of the festival? I’ve never been to Sundance, and, based on impressions I’ve been given, I’m most looking forward to freezing my ass off as I try to get into screenings/dinners/parties (even my own) and totally striking out.  Then, just as I’m about to give up, Paris Hilton strolls by (through the snow) in a skirt and five-inch stilettos and walks right in without any credentials whatsoever.  At which point I can tell whoever is next to me, “I didn’t need to leave LA to watch Paris Hilton pass the line I’m standing in.” Let’s get hypothetical: You’re on death row. The night of your execution, you’re allowed to watch any two films of your choice. What would you pick for your last-night-on-Earth double feature? This is a brutal question.  The two that come to mind now would be Jules et Jim and then Rushmore—in that order.  Both films are romantic in their own quirky way, and they both make me feel wonderful.  I like the idea of feeling the way those films make me feel before I depart. Originally posted on:SpoutBlog http://www.spout.com/blogs/dibot/archive/2008/10/2/35832.aspx Post By: dibot
Post To: dibot Blog
Post Date: 10/2/2008 1:30:21 PM
Body: Righteous Kill reunites two acting greats, Al Pacino ("Ocean's Thirteen") and Robert De Niro ("Stardust"). I was intrigued enough to get to the theater, but really the film is just a glorified made-for-TV cop drama. It's very predictable. Neither De Niro or Pacino really bring anything new to their roles of cops tracking a serial killer who is probably one of their own. I did enjoy seeing De Niro play the more angry role. Just wait for this to come on cable.With funnywomen Tina Fey ("30 Rock") and Amy Poehler ("Saturday Night Live") in the leads, Baby Mama should have been a big basket of funny. But, alas, it was not. Fey wants a baby, but is unable to conceive, so she hires Poehler to be her surrogate. Poehler is white-trash. Fey is upscale business. I guess writer/director Michael McCullers ("Thunderbirds," Baby Mama is his directorial debut) thought hijinks would ensue. However, the only funny bits were Poehler peeing in the sink and everything involving the doorman, Romany Malco ("The Love Guru"), who I couldn't get enough of. Also, Fey and love interest Greg Kinnear ("Ghost Town") have zero chemistry. Just skip it.The Getaway stars the ever cool Steve McQueen ("The Hunter") as a thief just released from jail. His wife, Ali MacGraw ("Glam"), has to do some shady stuff to get him an early release, and McQueen must pull off a heist for the corrupt warden once he's on the outside. The film is directed by Sam Peckinpah ("The Osterman Weekend") so there's loads of violence, slow motion and female issues. It also takes it's time getting where it's going. But McQueen is awesome, the shots are amazing. It's worth the time.Jules and Jim is a famous French movie from director Francios Truffaut ("Confidentially Yours"). Jules and Jim are great friends who fall for the same woman. Then there's lots of voiceover and ridiculous philosophizing. The girl will do anything to get attention and the men will put up with her shenanigans. I didn't really care for it. I couldn't get behind any of the characters. In fact, most of the time they made me really mad. And this distracted me from any other goodness the film may hold. Maybe I was in the wrong mood, but I didn't get why this is so great.Usually, with my love of bad horror movies, I can find something good to say about them, but I'm at a loss with Return to House on Haunted Hill. Even the ghosts weren't very creepy. Someone was drawn and quartered, so that was kind of neat. But bad acting, dialogue and plot just wiped that all out.
]]>Thu, 02 Oct 2008 17:30:21 GMTdibotdibot Blog10/2/2008 1:30:21 PMRighteous Kill reunites two acting greats, Al Pacino ("Ocean's Thirteen") and Robert De Niro ("Stardust"). I was intrigued enough to get to the theater, but really the film is just a glorified made-for-TV cop drama. It's very predictable. Neither De Niro or Pacino really bring anything new to their roles of cops tracking a serial killer who is probably one of their own. I did enjoy seeing De Niro play the more angry role. Just wait for this to come on cable.With funnywomen Tina Fey ("30 Rock") and Amy Poehler ("Saturday Night Live") in the leads, Baby Mama should have been a big basket of funny. But, alas, it was not. Fey wants a baby, but is unable to conceive, so she hires Poehler to be her surrogate. Poehler is white-trash. Fey is upscale business. I guess writer/director Michael McCullers ("Thunderbirds," Baby Mama is his directorial debut) thought hijinks would ensue. However, the only funny bits were Poehler peeing in the sink and everything involving the doorman, Romany Malco ("The Love Guru"), who I couldn't get enough of. Also, Fey and love interest Greg Kinnear ("Ghost Town") have zero chemistry. Just skip it.The Getaway stars the ever cool Steve McQueen ("The Hunter") as a thief just released from jail. His wife, Ali MacGraw ("Glam"), has to do some shady stuff to get him an early release, and McQueen must pull off a heist for the corrupt warden once he's on the outside. The film is directed by Sam Peckinpah ("The Osterman Weekend") so there's loads of violence, slow motion and female issues. It also takes it's time getting where it's going. But McQueen is awesome, the shots are amazing. It's worth the time.Jules and Jim is a famous French movie from director Francios Truffaut ("Confidentially Yours"). Jules and Jim are great friends who fall for the same woman. Then there's lots of voiceover and ridiculous philosophizing. The girl will do anything to get attention and the men will put up with her shenanigans. I didn't really care for it. I couldn't get behind any of the characters. In fact, most of the time they made me really mad. And this distracted me from any other goodness the film may hold. Maybe I was in the wrong mood, but I didn't get why this is so great.Usually, with my love of bad horror movies, I can find something good to say about them, but I'm at a loss with Return to House on Haunted Hill. Even the ghosts weren't very creepy. Someone was drawn and quartered, so that was kind of neat. But bad acting, dialogue and plot just wiped that all out. http://www.spout.com/groups/Filmgaming/Re_TOP_5_MOVIES_TO_TEACH_AN_ALIEN_ABOUT_EARTH/563/31576/1/ShowPost.aspx Post By: Proteus
Post To: Filmgaming
Post Date: 6/23/2008 9:43:00 PM
Body: Hey, stranger. How's tricks? Here's a brief overview of life on earth, in 5 or so languages: 5. Akira Kurosawa's Dreams: An overview of human foibles and achievements, presented with unflinching sympathy and penetrating understanding. 4. The Maltese Falcon: Honor and integrity and everything (drugs, money, sex, etc.) combatting it in a fast-paced, but tightly focused character study. Has the double virtue of leaving Casablanca to be seen at some other point down the road. 3. Jules & Jim: Love and Romance, and the importance of knowing the difference. How life feels to the young, and how decisions can be made without regard for consequences, based on intuition, principle, and ambiguity. 2. The Tin Drum: The follies of youth in competition with the absurdity of life and the misery of war - a firm lesson on the harsh realities of life, and the redemptive power of imagination and individuality. 1. My Life as a Dog - a second helping of the lessons of The Tin Drum, this masterpiece provides a thorough and detailed example of what is is to grow up human. Bonus pick: Not really a movie, One Giant Leap is a fantastic musical and philosophical experiment - with a wealth of voices talking about big stuff, but almost never preaching or lecturing. Almost all the subjects covered are significant, and the perspective is attractive and unique.
]]>Tue, 24 Jun 2008 01:43:00 GMTProteusFilmgaming6/23/2008 9:43:00 PMHey, stranger. How's tricks? Here's a brief overview of life on earth, in 5 or so languages: 5. Akira Kurosawa's Dreams: An overview of human foibles and achievements, presented with unflinching sympathy and penetrating understanding. 4. The Maltese Falcon: Honor and integrity and everything (drugs, money, sex, etc.) combatting it in a fast-paced, but tightly focused character study. Has the double virtue of leaving Casablanca to be seen at some other point down the road. 3. Jules &amp; Jim: Love and Romance, and the importance of knowing the difference. How life feels to the young, and how decisions can be made without regard for consequences, based on intuition, principle, and ambiguity. 2. The Tin Drum: The follies of youth in competition with the absurdity of life and the misery of war - a firm lesson on the harsh realities of life, and the redemptive power of imagination and individuality. 1. My Life as a Dog - a second helping of the lessons of The Tin Drum, this masterpiece provides a thorough and detailed example of what is is to grow up human. Bonus pick: Not really a movie, One Giant Leap is a fantastic musical and philosophical experiment - with a wealth of voices talking about big stuff, but almost never preaching or lecturing. Almost all the subjects covered are significant, and the perspective is attractive and unique. http://www.spout.com/blogs/vettel/archive/2007/10/18/20951.aspx Post By: Vettel
Post To: Vettel Blog
Post Date: 10/18/2007 4:30:42 PM
Body: Believe me, I like alot Francois Truffaut's work, but this is one film I find highly overrated. I saw Shoot the Piano Player, not expecting much, and enjoyed it much more than repeated viewings of Jules and Jim.
]]>Thu, 18 Oct 2007 20:30:42 GMTVettelVettel Blog10/18/2007 4:30:42 PMBelieve me, I like alot Francois Truffaut&#39;s work, but this is one film I find highly overrated. I saw Shoot the Piano Player, not expecting much, and enjoyed it much more than repeated viewings of Jules and Jim. http://www.spout.com/groups/Top_5/Re_Top_5_Everybody_Seems_To_Love_But_I_Hate/190/16050/1/ShowPost.aspx Post By: Risselada
Post To: Top 5
Post Date: 7/25/2007 10:35:03 AM
Body: 1. Shrek - Yeah this and all those other family oriented, 3-D CGI Dreamworks/Pixar kind of deals. I actually haven't seen most of these types of movies in their entirety. Gave up after the first generation of them, but they only seem to be the same crap. Maybe I'm hardhearted, but this stuff just isn't funny to me. The movies are the most annoying of all the huge corporate francises. I have to see these characters in every kind of sick ad for products I would have never even wanted to hear about in the first place. The messages they deliver are trite platitudes. And most of them are just big music videos for annoying bands like Smashmouth doing remakes of The Monkees. Uuuugh. And it's all this politically correct new-age shit. Let's not speak of that anymore.2. Crash / Million Dollar Baby - two recent Oscar winners both written by that hack Paul Haggis. These movies are manipulative in the worst way. I call these movies where I can feel the writer's pen on the paper. Every character and development is impletemented to make you feel an exact emotion. I guess that doesn't have to be a bad thing, but when it's such an issue concious movie and you can really SEE what the filmmakers are doing, it really puts me off. Especially when people talk about how important these movies are.3. Jules and Jim / Breathless / Chungking Express - I'm naming these movies because they seem to have something in common. The first two are from the French New Wave, and the latter is obviously inspired by the French New Wave, specifically Breathless. What can I say other than I just don't relate to these characters. I don't find them amusing either. In fact the generally bore me or get on my nerves. I won't try to argue too much with anyone who does like it, but it's just not for me apparently.4. High Fidelity - Maybe the characters are too close to me. I like making lists too. HOLY SHIT, I'm making a top 5 list right now! But just something about his past relationships and his attitudes towards them, even when his attitudes change, it's just something that irks me. You can throw in Empire Records as another movie about record shop employees that people seem to love but annoys the hell out of me. I can't deal with the mainstream I guess.5. Eternal Sunshine of the Spotless Mind and The Graduate. They don't really go together in anyway, and also I don't really hate either of them. But I don't love them. And I think other people love them too much and I get sick of it.Maybe I just don't know how to love.
]]>Wed, 25 Jul 2007 14:35:03 GMTRisseladaTop 57/25/2007 10:35:03 AM1. Shrek - Yeah this and all those other family oriented, 3-D CGI Dreamworks/Pixar kind of deals. I actually haven&#39;t seen most of these types of movies in their entirety. Gave up after the first generation of them, but they only seem to be the same crap. Maybe I&#39;m hardhearted, but this stuff just isn&#39;t funny to me. The movies are the most annoying of all the huge corporate francises. I have to see these characters in every kind of sick ad for products I would have never even wanted to hear about in the first place. The messages they deliver are trite platitudes. And most of them are just big music videos for annoying bands like Smashmouth doing remakes of The Monkees. Uuuugh. And it&#39;s all this politically correct new-age shit. Let&#39;s not speak of that anymore.2. Crash / Million Dollar Baby - two recent Oscar winners both written by that hack Paul Haggis. These movies are manipulative in the worst way. I call these movies where I can feel the writer&#39;s pen on the paper. Every character and development is impletemented to make you feel an exact emotion. I guess that doesn&#39;t have to be a bad thing, but when it&#39;s such an issue concious movie and you can really SEE what the filmmakers are doing, it really puts me off. Especially when people talk about how important these movies are.3. Jules and Jim / Breathless / Chungking Express - I&#39;m naming these movies because they seem to have something in common. The first two are from the French New Wave, and the latter is obviously inspired by the French New Wave, specifically Breathless. What can I say other than I just don&#39;t relate to these characters. I don&#39;t find them amusing either. In fact the generally bore me or get on my nerves. I won&#39;t try to argue too much with anyone who does like it, but it&#39;s just not for me apparently.4. High Fidelity - Maybe the characters are too close to me. I like making lists too. HOLY SHIT, I&#39;m making a top 5 list right now! But just something about his past relationships and his attitudes towards them, even when his attitudes change, it&#39;s just something that irks me. You can throw in Empire Records as another movie about record shop employees that people seem to love but annoys the hell out of me. I can&#39;t deal with the mainstream I guess.5. Eternal Sunshine of the Spotless Mind and The Graduate. They don&#39;t really go together in anyway, and also I don&#39;t really hate either of them. But I don&#39;t love them. And I think other people love them too much and I get sick of it.Maybe I just don&#39;t know how to love. http://www.spout.com/groups/Viewing_with_a_purpose/Re_Recommended_movies_that_you_hate_hate_hate/288/7126/1/ShowPost.aspx Post By: Risselada
Post To: Viewing with a purpose
Post Date: 4/15/2007 11:30:36 PM
Body: I've mentioned this in some other forums, but I've only seen a few movies from the French New Wave, supposedly some of the first staples of the genre and didn't enjoy them much at all. Specifically Breathless and Jules and Jim.I actually haven't seen any other movies by Godard because this movie put me off enough to avoid any effort to seeing any more of his stuff. I dunno, does anyone who feels they have come to know my tastes well enough to suggest anything else by Godard I may want to check out?
]]>Mon, 16 Apr 2007 03:30:36 GMTRisseladaViewing with a purpose4/15/2007 11:30:36 PMI&#39;ve mentioned this in some other forums, but I&#39;ve only seen a few movies from the French New Wave, supposedly some of the first staples of the genre and didn&#39;t enjoy them much at all. Specifically Breathless and Jules and Jim.I actually haven&#39;t seen any other movies by Godard because this movie put me off enough to avoid any effort to seeing any more of his stuff. I dunno, does anyone who feels they have come to know my tastes well enough to suggest anything else by Godard I may want to check out? http://www.spout.com/groups/Totally_Over_rated/Re_Your_overrated_list/170/5545/1/ShowPost.aspx Post By: Risselada
Post To: Totally Over-rated
Post Date: 2/16/2007 2:44:08 PM
Body: [quote user="JScott"] Fair enough. I get what you are saying.I haven't seen Rohmer's films yet, but I'll make a point to check them out and see what they are about.[/quote]Cool.And I certainly don't deny that films like these affect other people more profoundly. I can certainly recognize art and innovation in certain movies that don't appeal to me. I'll be interested to read your review of Jules and Jim.Yeah Rohmer is so interesting. I have yet to see any of his longer works. But the films I saw seem like there is both nothing to them and everything that is important in them at the same time.
]]>Fri, 16 Feb 2007 19:44:08 GMTRisseladaTotally Over-rated2/16/2007 2:44:08 PM[quote user="JScott"] Fair enough. I get what you are saying.I haven&#39;t seen Rohmer&#39;s films yet, but I&#39;ll make a point to check them out and see what they are about.[/quote]Cool.And I certainly don&#39;t deny that films like these affect other people more profoundly. I can certainly recognize art and innovation in certain movies that don&#39;t appeal to me. I&#39;ll be interested to read your review of Jules and Jim.Yeah Rohmer is so interesting. I have yet to see any of his longer works. But the films I saw seem like there is both nothing to them and everything that is important in them at the same time. http://www.spout.com/groups/Totally_Over_rated/Re_Your_overrated_list/170/5520/1/ShowPost.aspx Post By: JScott
Post To: Totally Over-rated
Post Date: 2/15/2007 5:43:20 PM
Body: [quote user="Risselada"][quote user="JScott"] Jules et Jim? Breathless? I simply cannot agree. While Breathless might be difficult viewing for some (those who watch and love Nick Cage movies), I think the jump cuts alone make it a great film for people seeking to expand cinematic interpretation. While I do admire La Nouvelle Vague I am not in-love with Godard or anything. I just think it is a film worthy of its status. And Jules et Jim is a great film. The love triangle, the power of the female, the friendship, and so much else works very well. In fact for the "review contest" I am planning on a Jules et Jim entry, so look for that. I just think Truffaut is great. His films focus on the left over member of the triangle (or the outcast, the marginal) and Jules et Jim is as poignant as The 400 Blows.[/quote]It's certainly not the jump cuts or the style of filming really that don't admire. Seeing a clip of the unusual jump cuts from Breathless was actually what made me want to see the entire film. Its just the fact that in that movie and in Jules and Jim the characters were all so completely self-absorbed and unsympathetic to me personally that I was consistently annoyed. When I think about it, I'm not even sure that every movie needs sympathetic characters depending on the stance of the movie. But in this case it seemed as though there was no worthwhile way of looking at this movie or these characters.I just saw Eric Rohmer's first two "moral tales", The Girl at the Monceau Bakery and Suzanne's Career. Although he seems to get lumped in the French New Wave with Godard and Truffaut, and there are some thematic similarities, his approach is so much more satisfyingly different to me. Well they are moral tales, and there does seem to be some kind of morality there.[/quote]Fair enough. I get what you are saying.I haven't seen Rohmer's films yet, but I'll make a point to check them out and see what they are about.
]]>Thu, 15 Feb 2007 22:43:20 GMTJScottTotally Over-rated2/15/2007 5:43:20 PM[quote user="Risselada"][quote user="JScott"] Jules et Jim? Breathless? I simply cannot agree. While Breathless might be difficult viewing for some (those who watch and love Nick Cage movies), I think the jump cuts alone make it a great film for people seeking to expand cinematic interpretation. While I do admire La Nouvelle Vague I am not in-love with Godard or anything. I just think it is a film worthy of its status. And Jules et Jim is a great film. The love triangle, the power of the female, the friendship, and so much else works very well. In fact for the "review contest" I am planning on a Jules et Jim entry, so look for that. I just think Truffaut is great. His films focus on the left over member of the triangle (or the outcast, the marginal) and Jules et Jim is as poignant as The 400 Blows.[/quote]It&#39;s certainly not the jump cuts or the style of filming really that don&#39;t admire. Seeing a clip of the unusual jump cuts from Breathless was actually what made me want to see the entire film. Its just the fact that in that movie and in Jules and Jim the characters were all so completely self-absorbed and unsympathetic to me personally that I was consistently annoyed. When I think about it, I&#39;m not even sure that every movie needs sympathetic characters depending on the stance of the movie. But in this case it seemed as though there was no worthwhile way of looking at this movie or these characters.I just saw Eric Rohmer&#39;s first two "moral tales", The Girl at the Monceau Bakery and Suzanne&#39;s Career. Although he seems to get lumped in the French New Wave with Godard and Truffaut, and there are some thematic similarities, his approach is so much more satisfyingly different to me. Well they are moral tales, and there does seem to be some kind of morality there.[/quote]Fair enough. I get what you are saying.I haven&#39;t seen Rohmer&#39;s films yet, but I&#39;ll make a point to check them out and see what they are about. http://www.spout.com/members/0/tags/Classic/MemberTagFilms.aspxClassic
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]]>Sat, 26 Jul 2008 15:22:02 GMT10510Tag http://www.spout.com/members/0/tags/parisian/MemberTagFilms.aspxparisian
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]]>Thu, 06 Nov 2008 14:01:24 GMT10744Tag http://www.spout.com/members/0/tags/crazywoman/MemberTagFilms.aspxcrazywoman
Number of films tagged: 1

Number of people who tagged: 1

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]]>Thu, 02 Oct 2008 17:34:08 GMT111Tag http://www.spout.com/members/0/tags/tragiclove/MemberTagFilms.aspxtragiclove
Number of films tagged: 451

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]]>Thu, 15 Jan 2009 14:01:52 GMT45111Tag