list http://www.spout.com/ Recent community activity around Before Sunset 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/Before_Sunset/241712/default.aspx Title: Before Sunset
Year: 2004
Director: Richard Linklater
Plot: Richard Linklater directs the romantic drama Before Sunset, a sequel to Before Sunrise (1995). Jesse (Ethan Hawke) and Celine (Julie Delpy) were strangers who spent a loquacious night together in Vienna. Nine years later, Jesse has written a book about the encounter. During his accelerated European book tour, he reunites with Celine in Paris. Before Jesse's flight home, he joins Celine for a picturesque walk around Paris peppered with intimate conversation: at first, about the minutiae of their day-to-day lives and their relationships, and then about their lingering feelings for one another. Before Sunset was nominated for the Golden Bear at the Berlin International Film Festival. ~ Andrea LeVasseur, All Movie Guide
Times Tagged: 34
Number of Lists: 42
Number of blog posts: 73
Number of discussion threads: 6
SpoutRating: 4
]]>Tue, 12 May 2009 02:58:47 GMTBefore Sunset2004Richard Linklater<a href="/players/P____99850/default.aspx" style='text-decoration:underline'>Richard Linklater</a> directs the romantic drama Before Sunset, a sequel to <a href=/films/91402/default.aspx style='text-decoration:underline'>Before Sunrise</a> (1995). Jesse (<a href="/players/P____31094/default.aspx" style='text-decoration:underline'>Ethan Hawke</a>) and Celine (<a href="/players/P____18491/default.aspx" style='text-decoration:underline'>Julie Delpy</a>) were strangers who spent a loquacious night together in Vienna. Nine years later, Jesse has written a book about the encounter. During his accelerated European book tour, he reunites with Celine in Paris. Before Jesse's flight home, he joins Celine for a picturesque walk around Paris peppered with intimate conversation: at first, about the minutiae of their day-to-day lives and their relationships, and then about their lingering feelings for one another. Before Sunset was nominated for the Golden Bear at the Berlin International Film Festival. ~ Andrea LeVasseur, All Movie Guide34Tag Target (>10)427364http://www.spout.com/ProductImages/t49067yhe4n.jpghttp://www.spout.com/films/Before_Sunset/241712/default.aspxFilm http://www.spout.com/groups/Movie_Polls/Re_The_Onion_AV_Club_recently_featured_a_list_of/657/39516/1/ShowPost.aspx Post By: Risselada
Post To: Movie Polls
Post Date: 1/14/2009 10:19:51 AM
Body: Wow, I'm the first one to vote for Before Sunset! I'll tell you why. The article in the paper I picked up didn't define their criteria further than the phrase "unnecessary film sequels that are great anyway" Here's what I think they mean by that. 1. The original film must have been great 2. After finishing watching the first movie you do not necessarily feel like a sequel is warrented or required to fulfill the full movie experience 3. The sequel must be almost equally great So here's my reasoning. First of all, I just have not seen The Texas Chainsaw Massacre 2 so I can't say much about that. I absolutely LOVED Alien. And after watching it you do not feel like a sequel is necessarily required. As for Aliens, it was cool that since it was unnecessary it was in a different genre, more of sort of a straight up action movie than horror / suspence. But I did not like it nearly as much. It is kind of the opposite for me with the Mad Max movies. While I enjoyed the original I did not think it was really THAT great. Also the same as before, the sequel was not necessary and it was in a different genre of sorts. The Road Warrior is really more of a straight up action movie over Mad Max which had a lot more drama. In fact it's maybe my favorite action movie. But since I did not find the original as great, I didn't vote for it. Is that fair? Maybe not. As for the Godfather series, I'd say that both movies are fantastic! But, maybe it's difficult for me to judge on this since as long as I've been alive I've known that there was a sequel, so the first time I watched the original I had that in mind. And so to me the sequel didn't seem that uncessary. I felt like I needed to know more. You may disagree with me. You may disagree with me even more and say that the same is the case with Before Sunrise and Before Sunset, that in that case you also want to know what happens later! Maybe it's because the movie was made so much later with such a different outcome than you would have assumed after watching the first movie that makes me love it. Anyways, I think both of these films are fantastic.
]]>Wed, 14 Jan 2009 15:19:51 GMTRisseladaMovie Polls1/14/2009 10:19:51 AMWow, I'm the first one to vote for Before Sunset! I'll tell you why. The article in the paper I picked up didn't define their criteria further than the phrase "unnecessary film sequels that are great anyway" Here's what I think they mean by that. 1. The original film must have been great 2. After finishing watching the first movie you do not necessarily feel like a sequel is warrented or required to fulfill the full movie experience 3. The sequel must be almost equally great So here's my reasoning. First of all, I just have not seen The Texas Chainsaw Massacre 2 so I can't say much about that. I absolutely LOVED Alien. And after watching it you do not feel like a sequel is necessarily required. As for Aliens, it was cool that since it was unnecessary it was in a different genre, more of sort of a straight up action movie than horror / suspence. But I did not like it nearly as much. It is kind of the opposite for me with the Mad Max movies. While I enjoyed the original I did not think it was really THAT great. Also the same as before, the sequel was not necessary and it was in a different genre of sorts. The Road Warrior is really more of a straight up action movie over Mad Max which had a lot more drama. In fact it's maybe my favorite action movie. But since I did not find the original as great, I didn't vote for it. Is that fair? Maybe not. As for the Godfather series, I'd say that both movies are fantastic! But, maybe it's difficult for me to judge on this since as long as I've been alive I've known that there was a sequel, so the first time I watched the original I had that in mind. And so to me the sequel didn't seem that uncessary. I felt like I needed to know more. You may disagree with me. You may disagree with me even more and say that the same is the case with Before Sunrise and Before Sunset, that in that case you also want to know what happens later! Maybe it's because the movie was made so much later with such a different outcome than you would have assumed after watching the first movie that makes me love it. Anyways, I think both of these films are fantastic. http://www.spout.com/groups/Movie_Polls/Re_The_Onion_AV_Club_recently_featured_a_list_of/657/39502/1/ShowPost.aspx Post By: QFLW
Post To: Movie Polls
Post Date: 1/14/2009 12:14:37 AM
Body: [quote user="Risselada"]AliensTexas Chainsaw Massacre 2Mad Max 2: The Road WarriorBefore SunsetTHe Godfather Part II[/quote] OK, so I haven't seen all of these, either. Another close choice--Road Warrior or Godfather II? Love them both. In the end I went with Road Warrior, mostly because it's better than its predecessor (and certainly better than the following Thunderdome). Better written, better filmed, more sophisticated. But I really wanted to vote for both. Aliens didn't impress as well as the first one did; have no desire to see any of the Chainsaw films ever. Never got around to Sunrise or Sunset.
]]>Wed, 14 Jan 2009 05:14:37 GMTQFLWMovie Polls1/14/2009 12:14:37 AM[quote user="Risselada"]AliensTexas Chainsaw Massacre 2Mad Max 2: The Road WarriorBefore SunsetTHe Godfather Part II[/quote] OK, so I haven't seen all of these, either. Another close choice--Road Warrior or Godfather II? Love them both. In the end I went with Road Warrior, mostly because it's better than its predecessor (and certainly better than the following Thunderdome). Better written, better filmed, more sophisticated. But I really wanted to vote for both. Aliens didn't impress as well as the first one did; have no desire to see any of the Chainsaw films ever. Never got around to Sunrise or Sunset. http://www.spout.com/groups/Movie_Polls/The_Onion_AV_Club_recently_featured_a_list_of_5_u/657/39496/1/ShowPost.aspx Post By: Risselada
Post To: Movie Polls
Post Date: 1/13/2009 9:40:08 PM
Body: Please reference this thread for the rules of this group. Please vote only once in each poll. Movies referenced in this poll:AliensTexas Chainsaw Massacre 2Mad Max 2: The Road WarriorBefore SunsetTHe Godfather Part II
]]>Wed, 14 Jan 2009 02:40:08 GMTRisseladaMovie Polls1/13/2009 9:40:08 PMPlease reference this thread for the rules of this group. Please vote only once in each poll. Movies referenced in this poll:AliensTexas Chainsaw Massacre 2Mad Max 2: The Road WarriorBefore SunsetTHe Godfather Part II http://www.spout.com/groups/Weekly_Theme/Re_Weekly_Theme_for_October_13_Just_One_Day/625/36297/1/ShowPost.aspx Post By: Risselada
Post To: Weekly Theme
Post Date: 10/14/2008 2:55:59 PM
Body: The Taking of Pelham One Two Three - one of the best action/thriller/comedy movies ever made. A lot of it takes place in almost real time. 12 Angry Men - another one that's almost in real time, so certainly within a day. Magnolia - the EPIC of one day films. Clerks. - he was supposed to have that day off High Noon - also almost real time Kids - I think this was just one day. It feels like it. Rope - real time My Dinner with Andre - real time Most movies based on classical theater will take place within 24 hours since this was one of the ancient restriction of good theatre. Time, space, and subject were all supposed to be remain the same. More Linklater films - Before Sunrise / Before Sunset / Slacker These come up under one night I think Night of the Living Dead Goonies Die Hard Escape from New York Harold & Kumar Go to White Castle
]]>Tue, 14 Oct 2008 18:55:59 GMTRisseladaWeekly Theme10/14/2008 2:55:59 PMThe Taking of Pelham One Two Three - one of the best action/thriller/comedy movies ever made. A lot of it takes place in almost real time. 12 Angry Men - another one that's almost in real time, so certainly within a day. Magnolia - the EPIC of one day films. Clerks. - he was supposed to have that day off High Noon - also almost real time Kids - I think this was just one day. It feels like it. Rope - real time My Dinner with Andre - real time Most movies based on classical theater will take place within 24 hours since this was one of the ancient restriction of good theatre. Time, space, and subject were all supposed to be remain the same. More Linklater films - Before Sunrise / Before Sunset / Slacker These come up under one night I think Night of the Living Dead Goonies Die Hard Escape from New York Harold &amp; Kumar Go to White Castle http://www.spout.com/blogs/spoutblog/archive/2008/9/19/35306.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 9/19/2008 11:00:46 AM
Body: From left to right, Diablo Cody, Dana Fox, and Lorene Scafaria. Or, the “Femmepire” as they call it, a triumvirate of female screenwriters. Lorene Scafaria has been toiling as a screenwriter for awhile, although her first produced film, Nick and Norah’s Infinite Playlist, is actually an adaptation of a novel by the same name. However, it manages to nail the “teen voice” without slapping a message all over it, and it should open up a few more doors for Lorene. Not that she needs them, since she’s already recorded an album of her own music, and has her next project already in the works. Read on to find out how she tried to capture the New York City feeling in this movie, what she’s been doing with best friend and fellow screenwriter Diablo Cody, and what’s in store for her. Good morning. Good morning! Adapting this from the novel, what was that like? Especially since you’re relatively new as a screenwriter. What was the process like for you? Yeah, I’m definitely relatively new as a screenwriter. Unfortunately, Nick and Norah was my ninth script that I had written. [laughter] But, certainly my first adaptation. And I really wanted to be as true to the spirit of the novel as possible. It was fairly daunting at first, just because I loved the characters so much. I loved who they were, I loved the course of the night, I loved the tone of it. But, movies like this haven’t been made in a while, and so it was just a real challenge to kind of bring it back to those movies that I grew up on in the ’80s, John Hughes movies and Cameron Crowe. And then to try to make it a little more cinematic than the novel was itself, actually, which was beautifully written of course. But everything kind of started in this hyper-intense club and then it was sort of Nick and Norah hanging out for the rest of the night. Which is great…I loved Before Sunrise and Before Sunset so I wouldn’t have minded watching Nick and Norah just hang out all night. But, yeah, we certainly had to come up with some devices to just maintain the thrust of that story. So things like Caroline going missing. Things like Where’s Fluffy, being this band that they’re looking for. You know, little things like that that certainly propelled it a little more. Was music a part of the novel? Yeah, it was. Like specific well known songs? Yeah. But it’s strange, because at the time I didn’t even know if it was a period piece, because of things like The Cure and Green Day. So, I didn’t know when I first started reading it what era it was even. Yeah, certainly The Cure was someone who I sort of grew up with, and Green Day too. So it definitely was a part of it, of course, but it wasn’t specific to modern day. Did you put some of the music in the screenplay or make suggestions? I didn’t write it in, but I made a mix CD, but that was four years ago, with the first draft. What was on it? The Black Keys. It was a lot of… it was music I was really into then: Bloc Party, Frou Frou. I don’t even know how to say that, Frou Frou? But, it was definitely more in my mind than trying to capture that kind of hipster, scenester thing that now the movie is really sort of about. Oh, yeah. Sure, I definitely threw in my two cents. But, ultimately I’d say Pete and Myron, the editor, I think they started to really compile lists together. And certainly I’m a fan of Vampire Weekend and Bishop Allen. The fact that they played in the movie was just so, so cool. Local boys, you know. It was great. But, yeah, I would say it sort of rounded out even in the editing process probably. And especially because it’s wall to wall sound. It’s kind of a throwback to what I loved about American Graffiti. It’s really capturing an era, and that’s what this was doing ultimately with all the real modern rock. Hopefully it won’t be played out by the time, you know… [laughs] Hopefully, it’s timeless in that way and isn’t just representative of right now. I wish one or two of my mix CD songs had ended up in there. [laughs] But that’s OK. Yeah. We don’t see any parents, which I think would probably break the spell of this. Are there parents represented in the book? I mean, is there a conscious decision not to have some parent hovering on the outside waiting for like a cell phone call? Yeah, there actually was. And in the book there was. Norah’s father is a great sort of figure, but I believe he calls at some point during the night. I believe there’s some kind of more of a ticking clock with him and Brown and more of decisions like that. And there was a brief scene in the very early draft that I was trying to rip off The Graduate as much as possible. [laughs] And have Norah kind of be hiding up in her room. I wrote an early scene of her father and mother. But, eventually since that was it and we didn’t really require that, it sort of became great that you don’t have that. You don’t have anybody hovering over. You just really get to absorb what it’s like to be young, and you’re not thinking about your parents when you’re out all night. [laughs] So, why should we as an audience be really focused on that? I don’t know. It’s like Peanuts. It’s like this hermetic kind of world that kids live in. Yeah. That would have been great, just so hear, “Wah, wah, wah, wah, wah.” I would have really liked to hear that. [laughter] Did you like how the film turned out? I really, really, really did. I’m very proud. And it’s so rare, I imagine, someone’s first film getting made the writer would be as pleased as punch. I really am, yeah. I think Pete Sollet’s amazing. I loved Raising Victor Vargas. I saw it when it came out. He came on board, I’d say maybe after the first or second draft of the script. And I just knew he was the guy to do it all along. He captured such reality in his first film, and a very specific group of young people in that. It just seemed so appropriate for this. He’s a New York guy, I’m a Jersey girl. We hung out in cafes in the lower East Side and worked on it together. He’s pretty amazing. How do you think it’ll translate for people who live out in the Midwest, let’s say, or someplace where they don’t have quite as much access to these all night, all these great haunts? Sure, yeah. I would hope that people would still relate to having one of those all night events. I certainly, growing up in the shadows of New York kind of had that experience a lot. Traveling from Jersey into the city and having those nights. I think it’s such a nostalgic piece. If you are young, and in the Midwest I imagine it would strike a chord. And I imagine if you’re older, hopefully it would just remind you of that time. Of course it’s a New York story and everything, but I think it’s really more about being young and falling in love, really. And sort of shedding all those insecurities you have when you’re a kid and trying to be as brave as possible at a very early age. I should hope it’s relatable, yeah. I would love that. And also I imagine people kind of just seeing what that’s like. I was certainly fascinated by L.A. movies before I showed up there. How much of yourself did you put into Norah? You know, it’s weird. Norah, it was me on the page. It was so scary when I read it the first time. Definitely some. What’s strange is if you see a photo of me at 18, I look an awful lot like Kat Dennings without the lips and the… boobs and stuff. I wasn’t quite as stunning of course, but I was trying to look that way. I think girls at that age are so complex, and I think… What do you mean “at that age”? Well, at any age, right? Especially when they’re still trying to figure out how complex they actually are, and unfortunately dealing with boys that age, who are not quite as complex yet. [laughs] Definitely what I love about Norah is she’s got this great sort of wall up that she’s built herself. And certainly over the course of the night and over the course of data with Michael Cera, it’s starts to drop a bit. And I think she’s a pretty guarded person, which I am. And yet pretty outspoken, which I am. So, yeah, I’ve definitely fallen in love with a few musicians in my day. So, I can relate. Also I have this father who’s larger than life, for me anyway. I can really relate to kind of what that experience is like, to sort of feel like you’re living in these halls with these people and your Friday and Saturday night are so very special when you get out of that and sort of shed your skin a little bit. So, yeah, there’s plenty of me in there. But, I felt it when I read the book so it wasn’t hard. I was immediately attached. When I read it, it was a manuscript, it wasn’t published or anything. And I was just lying in bed and I just like closed it and cried a little bit because I was like, wow, that sums it all up. That’s exactly like what I kind of experienced at a time in my life. So it was already on the page, I think. Michael Cera is coming off of Juno which was written by Diablo Cody, which kind of made her this poster girl for young rock and roll screenwriting women, and she has her column in Entertainment Weekly. Do you identify with her as a writer, or are you sort of…. [laughs] She’s my best friend. Well, there you go. I guess that was easy. There’s three of us. There’s myself and Diablo and Dana Fox, who wrote What Happens in Vegas. We call ourselves the “Femmepire.” [laughter] We’re trying very slowly to take over the world. Diablo certainly set the charge, which was kind of amazing. I love her so much. I loved her before I knew her work. So, the beauty of that was actually getting to see her film after I’d already fallen in love with her and getting to see how much of her was on the page actually and on screen. Yeah, I admire her work tremendously. Obviously there’s going to be so many comparisons to Juno. We’re here, it’s the same day, next year. She came out to support me this year, which is great. She and Dana are both here so it’s really supportive. I think what she brings to the table is kind of what I would hope, which is balancing that great line between comedy and drama. And allowing real people to be seen and not treating teenagers like they’re idiots. There are smart kids out there and they don’t all talk the same. She obviously has a very unique voice. I wish we had known each other when we were both writing these things. That would have been kind of great. Now it’s going to   you’ll hear line hopefully repeated over and over. We all write in the same room together and kind of ask each other, “Is this funny? Is this not funny? Is this too offensive.” Most of the time. I take it as a compliment anytime someone says that, for sure. What advice did she give you as you were embarking on this publicity process? Because she had been through that. Yeah. Well, I don’t have to get asked if this is better than stripping, so that’s kind of nice. [laughter] I never did any of that, so I don’t have any of that to fall back on . She was really just kind of… she said I’m going to be exhausted and to try to enjoy it. Dana, who’s also here, she calls it a “business wedding.” So, they’re my maids of honor and they’re reminding me to eat. That’s sort of the thing. Shoving banana bread into my face. I’ll leave it there for a while before I finally take a bite. They’re doing that kind of thing. She didn’t do the hair and makeup, and I was like, “How could you not have taken advantage of the situation?” [laughter] She was like, “I don’t want all that.” So, yeah, that was about it. Have you ever thought of collaborating? Yeah. We have. The three of us have talked about producing different projects together certainly. I think our styles are all so   I think they would gel really well together. I think we’d probably love to oversee a project together more than even collaborating on the writing itself. She’s working on her television show right now, which is taking up a lot of time with “Spielborg,” I like to call him, because he’s part machine, for short. It would be great, but really getting to produce all together would probably be more of a goal than even writing together. I don’t know how that would be. I had a writing partner for a very brief spell. And that’s not easy, it’s really not. It’s really not. I thought it would be half the work, but it’s really twice the work because you’re going over everything even more specifically. When you look at a character like Norah and Juno for example, and then you compare them to the female roles in the John Hughes movies, what do you think it says about how far teenage girls and young women have progressed in the 20 years since then? It’s sort of Molly Ringwald all over again. Unfortunately I think there was a real gap there in the middle where teenage girls weren’t portrayed in that way. A lot of the teen comedies that came out were sexist, in my opinion. [laughs] And really didn’t   I don’t know, I never found them very relatable, certainly. Hopefully it’s a reemergence of that. I should hope so. I think certainly in my era it was all about popularity. Remember? It was like popularity was the theme of everything. And a little bit of class struggle, and that was kind of it. Nowadays I think it’s so much more about insecurity. I think beauty is such a strange and illusive thing these days. Young girls have all these magazines to look at and feel horrible about themselves. Diet, health, all of that. I think Juno, I think Norah, I think they’re real girls. I think both of these actresses are absolutely gorgeous but they’re not walking out of “Gossip Girl.” Conventional. Yeah, it’s not conventional beauty, obviously. I, for one, really appreciate that. [laughs] I should hope it kind of continues. The unfortunate thing is that women in general don’t get those roles any more. And the fact that it could kind of reach teenage girls is even more special to me. Which is so funny, because now they’re the demographic, right? Now, that’s what everybody’s marketing towards. They’re the ones buying the t shirts. So, maybe out of some sick desire for box office they’ll actually maintain these young girl themes of hopefully confidence building rather than the opposite. What are you working on now? What’s next? I wrote a script called Man and Wife about an immigration officer who interviews married couples to figure out which marriages are shams where he’s sort of living his own sham marriage. Gabriele Muccino, who did The Pursuit of Happyness is attached, so hopefully that’ll get going pretty soon. And I’m going to direct hopefully pretty soon, with a mandate again. I’m doing a project that should hopefully hit the trades pretty soon. And I recorded an album during the writer’s strike. [laughs] What? Yeah. I’m a singer/songwriter. I don’t know why. It’s my little hyphenate I’m trying to build up for myself. Yeah, I recorded an album during the writer’s strike because I just was losing, losing, losing my mind, out of just boredom and panic. And so, yeah, I’m going to try to push that as much as possible. What’s it sound like? I play piano and sing. So it’s piano based. It’s all about the lyrics. [laughs] My voice is trying to catch up to my lyrics, I think. It’s Fiona Apple/Feist. Do you have a title or a label? It’s called “Garden Party.” But I don’t have any label. If anybody out there is listening… Originally posted on:SpoutBlog
]]>Fri, 19 Sep 2008 15:00:46 GMTSpoutBlogSpoutBlog on spout.com9/19/2008 11:00:46 AM From left to right, Diablo Cody, Dana Fox, and Lorene Scafaria. Or, the “Femmepire” as they call it, a triumvirate of female screenwriters. Lorene Scafaria has been toiling as a screenwriter for awhile, although her first produced film, Nick and Norah’s Infinite Playlist, is actually an adaptation of a novel by the same name. However, it manages to nail the “teen voice” without slapping a message all over it, and it should open up a few more doors for Lorene. Not that she needs them, since she’s already recorded an album of her own music, and has her next project already in the works. Read on to find out how she tried to capture the New York City feeling in this movie, what she’s been doing with best friend and fellow screenwriter Diablo Cody, and what’s in store for her. Good morning. Good morning! Adapting this from the novel, what was that like? Especially since you’re relatively new as a screenwriter. What was the process like for you? Yeah, I’m definitely relatively new as a screenwriter. Unfortunately, Nick and Norah was my ninth script that I had written. [laughter] But, certainly my first adaptation. And I really wanted to be as true to the spirit of the novel as possible. It was fairly daunting at first, just because I loved the characters so much. I loved who they were, I loved the course of the night, I loved the tone of it. But, movies like this haven’t been made in a while, and so it was just a real challenge to kind of bring it back to those movies that I grew up on in the ’80s, John Hughes movies and Cameron Crowe. And then to try to make it a little more cinematic than the novel was itself, actually, which was beautifully written of course. But everything kind of started in this hyper-intense club and then it was sort of Nick and Norah hanging out for the rest of the night. Which is great…I loved Before Sunrise and Before Sunset so I wouldn’t have minded watching Nick and Norah just hang out all night. But, yeah, we certainly had to come up with some devices to just maintain the thrust of that story. So things like Caroline going missing. Things like Where’s Fluffy, being this band that they’re looking for. You know, little things like that that certainly propelled it a little more. Was music a part of the novel? Yeah, it was. Like specific well known songs? Yeah. But it’s strange, because at the time I didn’t even know if it was a period piece, because of things like The Cure and Green Day. So, I didn’t know when I first started reading it what era it was even. Yeah, certainly The Cure was someone who I sort of grew up with, and Green Day too. So it definitely was a part of it, of course, but it wasn’t specific to modern day. Did you put some of the music in the screenplay or make suggestions? I didn’t write it in, but I made a mix CD, but that was four years ago, with the first draft. What was on it? The Black Keys. It was a lot of… it was music I was really into then: Bloc Party, Frou Frou. I don’t even know how to say that, Frou Frou? But, it was definitely more in my mind than trying to capture that kind of hipster, scenester thing that now the movie is really sort of about. Oh, yeah. Sure, I definitely threw in my two cents. But, ultimately I’d say Pete and Myron, the editor, I think they started to really compile lists together. And certainly I’m a fan of Vampire Weekend and Bishop Allen. The fact that they played in the movie was just so, so cool. Local boys, you know. It was great. But, yeah, I would say it sort of rounded out even in the editing process probably. And especially because it’s wall to wall sound. It’s kind of a throwback to what I loved about American Graffiti. It’s really capturing an era, and that’s what this was doing ultimately with all the real modern rock. Hopefully it won’t be played out by the time, you know… [laughs] Hopefully, it’s timeless in that way and isn’t just representative of right now. I wish one or two of my mix CD songs had ended up in there. [laughs] But that’s OK. Yeah. We don’t see any parents, which I think would probably break the spell of this. Are there parents represented in the book? I mean, is there a conscious decision not to have some parent hovering on the outside waiting for like a cell phone call? Yeah, there actually was. And in the book there was. Norah’s father is a great sort of figure, but I believe he calls at some point during the night. I believe there’s some kind of more of a ticking clock with him and Brown and more of decisions like that. And there was a brief scene in the very early draft that I was trying to rip off The Graduate as much as possible. [laughs] And have Norah kind of be hiding up in her room. I wrote an early scene of her father and mother. But, eventually since that was it and we didn’t really require that, it sort of became great that you don’t have that. You don’t have anybody hovering over. You just really get to absorb what it’s like to be young, and you’re not thinking about your parents when you’re out all night. [laughs] So, why should we as an audience be really focused on that? I don’t know. It’s like Peanuts. It’s like this hermetic kind of world that kids live in. Yeah. That would have been great, just so hear, “Wah, wah, wah, wah, wah.” I would have really liked to hear that. [laughter] Did you like how the film turned out? I really, really, really did. I’m very proud. And it’s so rare, I imagine, someone’s first film getting made the writer would be as pleased as punch. I really am, yeah. I think Pete Sollet’s amazing. I loved Raising Victor Vargas. I saw it when it came out. He came on board, I’d say maybe after the first or second draft of the script. And I just knew he was the guy to do it all along. He captured such reality in his first film, and a very specific group of young people in that. It just seemed so appropriate for this. He’s a New York guy, I’m a Jersey girl. We hung out in cafes in the lower East Side and worked on it together. He’s pretty amazing. How do you think it’ll translate for people who live out in the Midwest, let’s say, or someplace where they don’t have quite as much access to these all night, all these great haunts? Sure, yeah. I would hope that people would still relate to having one of those all night events. I certainly, growing up in the shadows of New York kind of had that experience a lot. Traveling from Jersey into the city and having those nights. I think it’s such a nostalgic piece. If you are young, and in the Midwest I imagine it would strike a chord. And I imagine if you’re older, hopefully it would just remind you of that time. Of course it’s a New York story and everything, but I think it’s really more about being young and falling in love, really. And sort of shedding all those insecurities you have when you’re a kid and trying to be as brave as possible at a very early age. I should hope it’s relatable, yeah. I would love that. And also I imagine people kind of just seeing what that’s like. I was certainly fascinated by L.A. movies before I showed up there. How much of yourself did you put into Norah? You know, it’s weird. Norah, it was me on the page. It was so scary when I read it the first time. Definitely some. What’s strange is if you see a photo of me at 18, I look an awful lot like Kat Dennings without the lips and the… boobs and stuff. I wasn’t quite as stunning of course, but I was trying to look that way. I think girls at that age are so complex, and I think… What do you mean “at that age”? Well, at any age, right? Especially when they’re still trying to figure out how complex they actually are, and unfortunately dealing with boys that age, who are not quite as complex yet. [laughs] Definitely what I love about Norah is she’s got this great sort of wall up that she’s built herself. And certainly over the course of the night and over the course of data with Michael Cera, it’s starts to drop a bit. And I think she’s a pretty guarded person, which I am. And yet pretty outspoken, which I am. So, yeah, I’ve definitely fallen in love with a few musicians in my day. So, I can relate. Also I have this father who’s larger than life, for me anyway. I can really relate to kind of what that experience is like, to sort of feel like you’re living in these halls with these people and your Friday and Saturday night are so very special when you get out of that and sort of shed your skin a little bit. So, yeah, there’s plenty of me in there. But, I felt it when I read the book so it wasn’t hard. I was immediately attached. When I read it, it was a manuscript, it wasn’t published or anything. And I was just lying in bed and I just like closed it and cried a little bit because I was like, wow, that sums it all up. That’s exactly like what I kind of experienced at a time in my life. So it was already on the page, I think. Michael Cera is coming off of Juno which was written by Diablo Cody, which kind of made her this poster girl for young rock and roll screenwriting women, and she has her column in Entertainment Weekly. Do you identify with her as a writer, or are you sort of…. [laughs] She’s my best friend. Well, there you go. I guess that was easy. There’s three of us. There’s myself and Diablo and Dana Fox, who wrote What Happens in Vegas. We call ourselves the “Femmepire.” [laughter] We’re trying very slowly to take over the world. Diablo certainly set the charge, which was kind of amazing. I love her so much. I loved her before I knew her work. So, the beauty of that was actually getting to see her film after I’d already fallen in love with her and getting to see how much of her was on the page actually and on screen. Yeah, I admire her work tremendously. Obviously there’s going to be so many comparisons to Juno. We’re here, it’s the same day, next year. She came out to support me this year, which is great. She and Dana are both here so it’s really supportive. I think what she brings to the table is kind of what I would hope, which is balancing that great line between comedy and drama. And allowing real people to be seen and not treating teenagers like they’re idiots. There are smart kids out there and they don’t all talk the same. She obviously has a very unique voice. I wish we had known each other when we were both writing these things. That would have been kind of great. Now it’s going to   you’ll hear line hopefully repeated over and over. We all write in the same room together and kind of ask each other, “Is this funny? Is this not funny? Is this too offensive.” Most of the time. I take it as a compliment anytime someone says that, for sure. What advice did she give you as you were embarking on this publicity process? Because she had been through that. Yeah. Well, I don’t have to get asked if this is better than stripping, so that’s kind of nice. [laughter] I never did any of that, so I don’t have any of that to fall back on . She was really just kind of… she said I’m going to be exhausted and to try to enjoy it. Dana, who’s also here, she calls it a “business wedding.” So, they’re my maids of honor and they’re reminding me to eat. That’s sort of the thing. Shoving banana bread into my face. I’ll leave it there for a while before I finally take a bite. They’re doing that kind of thing. She didn’t do the hair and makeup, and I was like, “How could you not have taken advantage of the situation?” [laughter] She was like, “I don’t want all that.” So, yeah, that was about it. Have you ever thought of collaborating? Yeah. We have. The three of us have talked about producing different projects together certainly. I think our styles are all so   I think they would gel really well together. I think we’d probably love to oversee a project together more than even collaborating on the writing itself. She’s working on her television show right now, which is taking up a lot of time with “Spielborg,” I like to call him, because he’s part machine, for short. It would be great, but really getting to produce all together would probably be more of a goal than even writing together. I don’t know how that would be. I had a writing partner for a very brief spell. And that’s not easy, it’s really not. It’s really not. I thought it would be half the work, but it’s really twice the work because you’re going over everything even more specifically. When you look at a character like Norah and Juno for example, and then you compare them to the female roles in the John Hughes movies, what do you think it says about how far teenage girls and young women have progressed in the 20 years since then? It’s sort of Molly Ringwald all over again. Unfortunately I think there was a real gap there in the middle where teenage girls weren’t portrayed in that way. A lot of the teen comedies that came out were sexist, in my opinion. [laughs] And really didn’t   I don’t know, I never found them very relatable, certainly. Hopefully it’s a reemergence of that. I should hope so. I think certainly in my era it was all about popularity. Remember? It was like popularity was the theme of everything. And a little bit of class struggle, and that was kind of it. Nowadays I think it’s so much more about insecurity. I think beauty is such a strange and illusive thing these days. Young girls have all these magazines to look at and feel horrible about themselves. Diet, health, all of that. I think Juno, I think Norah, I think they’re real girls. I think both of these actresses are absolutely gorgeous but they’re not walking out of “Gossip Girl.” Conventional. Yeah, it’s not conventional beauty, obviously. I, for one, really appreciate that. [laughs] I should hope it kind of continues. The unfortunate thing is that women in general don’t get those roles any more. And the fact that it could kind of reach teenage girls is even more special to me. Which is so funny, because now they’re the demographic, right? Now, that’s what everybody’s marketing towards. They’re the ones buying the t shirts. So, maybe out of some sick desire for box office they’ll actually maintain these young girl themes of hopefully confidence building rather than the opposite. What are you working on now? What’s next? I wrote a script called Man and Wife about an immigration officer who interviews married couples to figure out which marriages are shams where he’s sort of living his own sham marriage. Gabriele Muccino, who did The Pursuit of Happyness is attached, so hopefully that’ll get going pretty soon. And I’m going to direct hopefully pretty soon, with a mandate again. I’m doing a project that should hopefully hit the trades pretty soon. And I recorded an album during the writer’s strike. [laughs] What? Yeah. I’m a singer/songwriter. I don’t know why. It’s my little hyphenate I’m trying to build up for myself. Yeah, I recorded an album during the writer’s strike because I just was losing, losing, losing my mind, out of just boredom and panic. And so, yeah, I’m going to try to push that as much as possible. What’s it sound like? I play piano and sing. So it’s piano based. It’s all about the lyrics. [laughs] My voice is trying to catch up to my lyrics, I think. It’s Fiona Apple/Feist. Do you have a title or a label? It’s called “Garden Party.” But I don’t have any label. If anybody out there is listening… Originally posted on:SpoutBlog http://www.spout.com/blogs/minerwerks/archive/2007/8/29/19136.aspx Post By: minerwerks
Post To: minerwerks Blog
Post Date: 8/29/2007 11:36:00 PM
Body: In its function as documentary on legendary rocker Roger "Roky" Erickson, 'You're Gonna Miss Me' features testimonials from rock notables like Patti Smith and Sonic Youth's Thurston Moore, as well as ubiquitous MTV talking head Kurt Loder. Interestingly enough, before we see any of them, and even before we see Roky himself, the first faces shown in this documentary are Roky's brother Sumner and his mother Evelyn. The typical modus operandi for documentaries on rock 'n' roll legends is to go heavy on exceedingly positive interviews about the history and significance of the subject. In the case of Roky Erickson, we do get a sense that his work with the 13th Floor Elevators in the mid '60s was seminal and worthy of recognition. Roky's songs heard throughout the film are uniformly strong and attention-grabbing. Even in a disheveled, hesitant state, Roky still slips into a performance effortlessly and beautifully. Surprisingly, though, the majority of interviews concentrate on Roky's relationships. Ex-wives, friends and relatives get more screen time - by far - than critics or rock stars. It all adds up to a striking and singular portrait of a creative yet troubled soul.In a sense, 'You're Gonna Miss Me' is the intrusion of a family drama on a rock documentary, with very compelling results. Intercutting keeps both narratives alive, though slowly, a shift occurs. The talking heads and text identifiers subside, leaving us to fully concentrate on Roky's present-day state (suffering from schizophrenia and unchecked physical health), as well as the conflicting points of view of what is best for his future well-being.The subtext of the family drama here is the difficulties that often go hand in hand with extreme creativity. The portrait of mother Evelyn is particularly striking, as we are exposed to a wide array of projects that some might consider strange. She scrapbooks her life story on giant cardboard panels with text pages that look as if they were written by children. We see a video made by the mother featuring herself as a Queen and Roky as "King of the Beasts."About an hour into 'You're Gonna Miss Me,' we get deeper into this family's story, starting with the background on Evelyn's experiences as a mother and wife, followed up with Sumner's tale of his break from the family home. Like a great fictional drama, all the pieces are in place for the showdown between these factions, and for that, you must see the film yourself.Former newspaper editor and first-time director Keven McAlester does a skillful job interweaving these stories that appear to tell themselves. He is assisted adeptly by cinematographer Lee Daniel, who has worked on Richard Linklater's naturalistic, documentary-like films. Normally you don't think of how a cinematographer contributes to a documentary, but in this case, Daniel captures the almost surreal nature of the surroundings of the film's three principals and provides a sense of place. McAlester, Daniel and editor Victor Livingston all bring a very cinematic touch to the documentary form, using archive footage in very dramatic and complex ways.Though not exceedingly harrowing or grotesque, 'You're Gonna Miss Me' might still be a difficult film to watch. Roky and Evelyn's lives are shown without compromise or judgement, including some tendencies that may be mildly disturbing. It's not as focused or streamlined as might be possible, but the film is still quite worthy of attention for the subtle and unique ways it plays with the conventions of a rock documentary. In the end, it comes down to being a dramatic story - not the one you might have expected about a rock star, but about a family.
]]>Thu, 30 Aug 2007 03:36:00 GMTminerwerksminerwerks Blog8/29/2007 11:36:00 PMIn its function as documentary on legendary rocker Roger "Roky" Erickson, &#39;You&#39;re Gonna Miss Me&#39; features testimonials from rock notables like Patti Smith and Sonic Youth&#39;s Thurston Moore, as well as ubiquitous MTV talking head Kurt Loder. Interestingly enough, before we see any of them, and even before we see Roky himself, the first faces shown in this documentary are Roky&#39;s brother Sumner and his mother Evelyn. The typical modus operandi for documentaries on rock &#39;n&#39; roll legends is to go heavy on exceedingly positive interviews about the history and significance of the subject. In the case of Roky Erickson, we do get a sense that his work with the 13th Floor Elevators in the mid &#39;60s was seminal and worthy of recognition. Roky&#39;s songs heard throughout the film are uniformly strong and attention-grabbing. Even in a disheveled, hesitant state, Roky still slips into a performance effortlessly and beautifully. Surprisingly, though, the majority of interviews concentrate on Roky&#39;s relationships. Ex-wives, friends and relatives get more screen time - by far - than critics or rock stars. It all adds up to a striking and singular portrait of a creative yet troubled soul.In a sense, &#39;You&#39;re Gonna Miss Me&#39; is the intrusion of a family drama on a rock documentary, with very compelling results. Intercutting keeps both narratives alive, though slowly, a shift occurs. The talking heads and text identifiers subside, leaving us to fully concentrate on Roky&#39;s present-day state (suffering from schizophrenia and unchecked physical health), as well as the conflicting points of view of what is best for his future well-being.The subtext of the family drama here is the difficulties that often go hand in hand with extreme creativity. The portrait of mother Evelyn is particularly striking, as we are exposed to a wide array of projects that some might consider strange. She scrapbooks her life story on giant cardboard panels with text pages that look as if they were written by children. We see a video made by the mother featuring herself as a Queen and Roky as "King of the Beasts."About an hour into &#39;You&#39;re Gonna Miss Me,&#39; we get deeper into this family&#39;s story, starting with the background on Evelyn&#39;s experiences as a mother and wife, followed up with Sumner&#39;s tale of his break from the family home. Like a great fictional drama, all the pieces are in place for the showdown between these factions, and for that, you must see the film yourself.Former newspaper editor and first-time director Keven McAlester does a skillful job interweaving these stories that appear to tell themselves. He is assisted adeptly by cinematographer Lee Daniel, who has worked on Richard Linklater&#39;s naturalistic, documentary-like films. Normally you don&#39;t think of how a cinematographer contributes to a documentary, but in this case, Daniel captures the almost surreal nature of the surroundings of the film&#39;s three principals and provides a sense of place. McAlester, Daniel and editor Victor Livingston all bring a very cinematic touch to the documentary form, using archive footage in very dramatic and complex ways.Though not exceedingly harrowing or grotesque, &#39;You&#39;re Gonna Miss Me&#39; might still be a difficult film to watch. Roky and Evelyn&#39;s lives are shown without compromise or judgement, including some tendencies that may be mildly disturbing. It&#39;s not as focused or streamlined as might be possible, but the film is still quite worthy of attention for the subtle and unique ways it plays with the conventions of a rock documentary. In the end, it comes down to being a dramatic story - not the one you might have expected about a rock star, but about a family. http://www.spout.com/blogs/spoutblog/archive/2007/8/6/17448.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 8/6/2007 5:01:03 PM
Body: I’ve just returned from a screening of 2 Days in Paris, a comedy written, directed, starring and edited by Julie Delpy of Before Sunrise/Before Sunset fame. Delpy has been very vocal about how her involvement in those Richard Linklater films helped her get funding for Paris. But I wonder if Delpy’s candor isn’t doing her new film a disservice. Earlier today, I read a review of Paris in L Magazine (via GreenCine Daily) which seems to exemplify the general critical reaction to the picture. “The movie suffers terribly of course from the inevitable comparisons to Before Sunrise/Sunset,” writes Benjamin Strong “But in all fairness to Delpy, show me a film that wouldn’t.” With that in mind, I came home from the Paris screening and watched several clips of Sunset on YouTube (cough cough the whole movie’s there in eight parts cough cough), and I think the comparison actually made 2 Days in Paris stand out to me as a more original film. It’s fair to make comparisons. 2 Days in Paris, like Before Sunset, is a snap shot of relationship between a French woman and an American man, which plays out over the course of a temporary stay Paris. Both films even end with images of Delpy dancing. But whereas the last scene of Sunset (in which Delpy’s Celine channels the spirit of Nina Simone while Ethan Hawke’s Jesse looks on, boggled by her beauty and her shaking booty) typifies that film’s idealization of that relationship, Paris has little use for such golden-hued fantasies of romantic love. Linklater’s film is a verite-style portrait of a relationship at its most magical (and least sustainable); Delpy’s is an almost Brechtian analysis of what happens to a relationship after that magic hour. It’s far from a perfect film, and in fact at times it feels rather schizophrenic. But somehow, in between fits of broad comedy and Godardian self-referentiality (the first shot of the film even offers a wink at Godard’s “girl and a gun”), Delpy manages to pull off a spot-on portrayal of what it feels like to be in an adult relationship on the brink. It’s certainly messier than Linklater’s tightly-orchestrated symphony of long shots, but to me, the fact you can all but see Delpy’s fingerprints on the screen is extremely appealing. It’s also fascinating to watch Delpy directly allude to Sunset, as she seems to be doing in the final of scene of Paris, but recast the mood and the situation to fit her own point of view. In Sunset, Linklater draws attention to Delpy’s pale, etheral beauty and sylph-like thinness by putting the actress in a gauzy, backless black blouse, and shooting her slinky dance for Jesse in wide-angle. Celine is clearly performing, but with her body perpendicular to Jesse’s, so that we get the sense that he’s almost spying on her in plain sight. This is classic female objectification–there’s even something slightly creepy about the second-to-last shot of the film, when Hawke, right before breaking into laughter, seems to shift his gaze into a leer. The final shots of 2 Days in Paris have an entirely different feel. I guess it would be a spoiler to go into it here in great detail, but suffice it to say that Delpy (seen here on screen clearly slightly heavier and slightly older, but no less beautiful) takes the opportunity to move away from the fantasy and towards the real. Above: that final shot of Celine dancing in Before Sunset. You can also watch a brief clip from Paris here, courtesy of indieWIRE. Originally posted on:Spoutblog
]]>Mon, 06 Aug 2007 21:01:03 GMTSpoutBlogSpoutBlog on spout.com8/6/2007 5:01:03 PM I’ve just returned from a screening of 2 Days in Paris, a comedy written, directed, starring and edited by Julie Delpy of Before Sunrise/Before Sunset fame. Delpy has been very vocal about how her involvement in those Richard Linklater films helped her get funding for Paris. But I wonder if Delpy’s candor isn’t doing her new film a disservice. Earlier today, I read a review of Paris in L Magazine (via GreenCine Daily) which seems to exemplify the general critical reaction to the picture. “The movie suffers terribly of course from the inevitable comparisons to Before Sunrise/Sunset,” writes Benjamin Strong “But in all fairness to Delpy, show me a film that wouldn’t.” With that in mind, I came home from the Paris screening and watched several clips of Sunset on YouTube (cough cough the whole movie’s there in eight parts cough cough), and I think the comparison actually made 2 Days in Paris stand out to me as a more original film. It’s fair to make comparisons. 2 Days in Paris, like Before Sunset, is a snap shot of relationship between a French woman and an American man, which plays out over the course of a temporary stay Paris. Both films even end with images of Delpy dancing. But whereas the last scene of Sunset (in which Delpy’s Celine channels the spirit of Nina Simone while Ethan Hawke’s Jesse looks on, boggled by her beauty and her shaking booty) typifies that film’s idealization of that relationship, Paris has little use for such golden-hued fantasies of romantic love. Linklater’s film is a verite-style portrait of a relationship at its most magical (and least sustainable); Delpy’s is an almost Brechtian analysis of what happens to a relationship after that magic hour. It’s far from a perfect film, and in fact at times it feels rather schizophrenic. But somehow, in between fits of broad comedy and Godardian self-referentiality (the first shot of the film even offers a wink at Godard’s “girl and a gun”), Delpy manages to pull off a spot-on portrayal of what it feels like to be in an adult relationship on the brink. It’s certainly messier than Linklater’s tightly-orchestrated symphony of long shots, but to me, the fact you can all but see Delpy’s fingerprints on the screen is extremely appealing. It’s also fascinating to watch Delpy directly allude to Sunset, as she seems to be doing in the final of scene of Paris, but recast the mood and the situation to fit her own point of view. In Sunset, Linklater draws attention to Delpy’s pale, etheral beauty and sylph-like thinness by putting the actress in a gauzy, backless black blouse, and shooting her slinky dance for Jesse in wide-angle. Celine is clearly performing, but with her body perpendicular to Jesse’s, so that we get the sense that he’s almost spying on her in plain sight. This is classic female objectification–there’s even something slightly creepy about the second-to-last shot of the film, when Hawke, right before breaking into laughter, seems to shift his gaze into a leer. The final shots of 2 Days in Paris have an entirely different feel. I guess it would be a spoiler to go into it here in great detail, but suffice it to say that Delpy (seen here on screen clearly slightly heavier and slightly older, but no less beautiful) takes the opportunity to move away from the fantasy and towards the real. Above: that final shot of Celine dancing in Before Sunset. You can also watch a brief clip from Paris here, courtesy of indieWIRE. Originally posted on:Spoutblog http://www.spout.com/blogs/kibrika/archive/2007/7/25/16146.aspx Post By: kibrika
Post To: kibrika Blog
Post Date: 7/25/2007 2:54:00 PM
Body: I was just (yesterday) introduced to spout.com by Four Eyed Monsters (at foureyedmonsters.com) and I am enjoying it greatly. I love the fact that the makers of the film get some credit for sending me to this lovely place. What more can a person who love lists and has always (actually only for a few years now) wished to begin recounting all the movies she has seen, give them some description and have a list of them! (Well, originally I wished that for books, but films too.) Thank You creaters of this place and makers of Four Eyed Monsters.As to the film - it was mostly impressing. It is as tasteful as the website suggests, it is romantic, beautiful, original and I loved the story. I hope to watch podcasts and other stuff the authors have to offer as well as get the quality download at some point in my life (probably when I start earning something).Somehow I have always wanted to be different, to have something other than everyone else has. Even though I know that in this world where everything has been before (at least in some sense) it is not really possible, I still hope for something different than the majority. That also (maybe even espetially) applies to relationships. That's what I love a lot about films like Four Eyed Monsters, Amelie, and Before Sunrise and Before Sunset - unregular relationships (well at least the beginning or some aspect). I hope my enthusiasm doesn't die down! And I wish everyone a happy... And I wish everyone was as happy as I at the moment.
]]>Wed, 25 Jul 2007 18:54:00 GMTkibrikakibrika Blog7/25/2007 2:54:00 PMI was just (yesterday) introduced to spout.com by Four Eyed Monsters (at foureyedmonsters.com) and I am enjoying it greatly. I love the fact that the makers of the film get some credit for sending me to this lovely place. What more can a person who love lists and has always (actually only for a few years now) wished to begin recounting all the movies she has seen, give them some description and have a list of them! (Well, originally I wished that for books, but films too.) Thank You creaters of this place and makers of Four Eyed Monsters.As to the film - it was mostly impressing. It is as tasteful as the website suggests, it is romantic, beautiful, original and I loved the story. I hope to watch podcasts and other stuff the authors have to offer as well as get the quality download at some point in my life (probably when I start earning something).Somehow I have always wanted to be different, to have something other than everyone else has. Even though I know that in this world where everything has been before (at least in some sense) it is not really possible, I still hope for something different than the majority. That also (maybe even espetially) applies to relationships. That&#39;s what I love a lot about films like Four Eyed Monsters, Amelie, and Before Sunrise and Before Sunset - unregular relationships (well at least the beginning or some aspect). I hope my enthusiasm doesn&#39;t die down! And I wish everyone a happy... And I wish everyone was as happy as I at the moment. http://www.spout.com/blogs/spoutblog/archive/2007/7/11/13688.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 7/11/2007 7:00:42 PM
Body: I stumbled across this story via the FILMMAKER Mag blog: in a lengthy story for the Contra Costa Times, Mary F. Pols talks to a number of female filmmakers, from super-indie to mega-Hollywood, about working in a business that is still overwhelmingly run by dudes. There's a lot of good stuff in the piece, but an anecdote from actress/director Julie Delpy particularly caught my eye. Delpy's second feature film as writer/director, 2 Days in Paris, opens in the U.S. next month. Festival buzz has generally been positive, but no one who's seen the thing can overlook the similarities between it and the film that marks Delpy's greatest triumph as an actress, Richard Linklater's Before Sunset. Well, turns out, there's a reason for that. After working for some of world cinema's greatest directors and attending NYU film school, Delpy "had a drawer full of scripts that reflected her love of science fiction and other nongirlie topics"--none of which she could find financing for. Then, as Pols tells it, [A] friend suggested she write a script that bore some similarity to Before Sunset, the successful 2004 film Delpy had starred in and co-written. She had shared an Oscar nomination for the screenplay, and her friend's supposition was that financiers would feel "safe" with a project that seemed like Before Sunset. The trick paid off. Delpy wrote 40 pages of a relationship farce set in Paris, which she then shopped around. She found financing for it in Germany. The result is 2 Days in Paris. [...] "This is why my first film is a romantic comedy," said Delpy, now 37, with evident exasperation. "It is only because it is the first time people will give me money to make a film. People will trust a woman to do something with a relationship more than they will to do something with a war story or science fiction." Delpy goes on explain that she'd "sell out to direct a big action movie" in a heartbeat. Her lifelong dream, she says, is to make a film like Blade Runner. "But you need money to make Blade Runner." Ignoring, for a moment, that Delpy probably shouldn't be whining about how the big boys won't give her money to make a summer tentpole before her first real feature is even released, I'd be fascinated to see what kinds of scripts are lying dormant in other filmmakers' drawers. Does Harmony Korine have a high school comedy that no one wants to pay for? Does Sofia Coppola secretly want to remake Raging Bull? And considering how many relatively nameless, style-less directors are handed "big action movies" these days, does demonstrable competence in a specific genre actually hurt more than it helps? Originally posted on:SpoutBlog
]]>Wed, 11 Jul 2007 23:00:42 GMTSpoutBlogSpoutBlog on spout.com7/11/2007 7:00:42 PM I stumbled across this story via the FILMMAKER Mag blog: in a lengthy story for the Contra Costa Times, Mary F. Pols talks to a number of female filmmakers, from super-indie to mega-Hollywood, about working in a business that is still overwhelmingly run by dudes. There's a lot of good stuff in the piece, but an anecdote from actress/director Julie Delpy particularly caught my eye. Delpy's second feature film as writer/director, 2 Days in Paris, opens in the U.S. next month. Festival buzz has generally been positive, but no one who's seen the thing can overlook the similarities between it and the film that marks Delpy's greatest triumph as an actress, Richard Linklater's Before Sunset. Well, turns out, there's a reason for that. After working for some of world cinema's greatest directors and attending NYU film school, Delpy "had a drawer full of scripts that reflected her love of science fiction and other nongirlie topics"--none of which she could find financing for. Then, as Pols tells it, [A] friend suggested she write a script that bore some similarity to Before Sunset, the successful 2004 film Delpy had starred in and co-written. She had shared an Oscar nomination for the screenplay, and her friend's supposition was that financiers would feel "safe" with a project that seemed like Before Sunset. The trick paid off. Delpy wrote 40 pages of a relationship farce set in Paris, which she then shopped around. She found financing for it in Germany. The result is 2 Days in Paris. [...] "This is why my first film is a romantic comedy," said Delpy, now 37, with evident exasperation. "It is only because it is the first time people will give me money to make a film. People will trust a woman to do something with a relationship more than they will to do something with a war story or science fiction." Delpy goes on explain that she'd "sell out to direct a big action movie" in a heartbeat. Her lifelong dream, she says, is to make a film like Blade Runner. "But you need money to make Blade Runner." Ignoring, for a moment, that Delpy probably shouldn't be whining about how the big boys won't give her money to make a summer tentpole before her first real feature is even released, I'd be fascinated to see what kinds of scripts are lying dormant in other filmmakers' drawers. Does Harmony Korine have a high school comedy that no one wants to pay for? Does Sofia Coppola secretly want to remake Raging Bull? And considering how many relatively nameless, style-less directors are handed "big action movies" these days, does demonstrable competence in a specific genre actually hurt more than it helps? Originally posted on:SpoutBlog http://www.spout.com/blogs/spoutblog/archive/2007/7/11/13684.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 7/11/2007 6:00:35 PM
Body: I stumbled across this story via the FILMMAKER Mag blog: in a lengthy story for the Contra Costa Times, Mary F. Pols talks to a number of female filmmakers, from super-indie to mega-Hollywood, about working in a business that is still overwhelmingly run by dudes. There's a lot of good stuff in the piece, but an anecdote from actress/director Julie Delpy particularly caught my eye. Delpy's second feature film as writer/director, 2 Days in Paris, opens in the U.S. next month. Festival buzz has generally been positive, but no one who's seen the thing can overlook the similarities between it and the film that marks Delpy's greatest triumph as an actress, Richard Linklater's Before Sunset/em>. Well, turns out, there's a reason for that. After working for some of world cinema's greatest directors and attending NYU film school, Delpy "had a drawer full of scripts that reflected her love of science fiction and other nongirlie topics"--none of which she could find financing for. Then, as Pols tells it, [A] friend suggested she write a script that bore some similarity to Before Sunset, the successful 2004 film Delpy had starred in and co-written. She had shared an Oscar nomination for the screenplay, and her friend's supposition was that financiers would feel "safe" with a project that seemed like Before Sunset. The trick paid off. Delpy wrote 40 pages of a relationship farce set in Paris, which she then shopped around. She found financing for it in Germany. The result is 2 Days in Paris. [...] "This is why my first film is a romantic comedy," said Delpy, now 37, with evident exasperation. "It is only because it is the first time people will give me money to make a film. People will trust a woman to do something with a relationship more than they will to do something with a war story or science fiction." Delpy goes on explain that she'd "sell out to direct a big action movie" in a heartbeat. Her lifelong dream, she says, is to make a film like Blade Runner. "But you need money to make Blade Runner." Ignoring, for a moment, that Delpy probably shouldn't be whining about how the big boys won't give her money to make a summer tentpole before her first real feature is even released, I'd be fascinated to see what kinds of scripts are lying dormant in other filmmakers' drawers. Does Harmony Korine have a high school comedy that no one wants to pay for? Does Sofia Coppola secretly want to remake Raging Bull? And considering how many relatively nameless, style-less directors are handed "big action movies" these days, does demonstrable competence in a specific genre actually hurt more than it helps? Originally posted on:SpoutBlog
]]>Wed, 11 Jul 2007 22:00:35 GMTSpoutBlogSpoutBlog on spout.com7/11/2007 6:00:35 PM I stumbled across this story via the FILMMAKER Mag blog: in a lengthy story for the Contra Costa Times, Mary F. Pols talks to a number of female filmmakers, from super-indie to mega-Hollywood, about working in a business that is still overwhelmingly run by dudes. There's a lot of good stuff in the piece, but an anecdote from actress/director Julie Delpy particularly caught my eye. Delpy's second feature film as writer/director, 2 Days in Paris, opens in the U.S. next month. Festival buzz has generally been positive, but no one who's seen the thing can overlook the similarities between it and the film that marks Delpy's greatest triumph as an actress, Richard Linklater's Before Sunset/em>. Well, turns out, there's a reason for that. After working for some of world cinema's greatest directors and attending NYU film school, Delpy "had a drawer full of scripts that reflected her love of science fiction and other nongirlie topics"--none of which she could find financing for. Then, as Pols tells it, [A] friend suggested she write a script that bore some similarity to Before Sunset, the successful 2004 film Delpy had starred in and co-written. She had shared an Oscar nomination for the screenplay, and her friend's supposition was that financiers would feel "safe" with a project that seemed like Before Sunset. The trick paid off. Delpy wrote 40 pages of a relationship farce set in Paris, which she then shopped around. She found financing for it in Germany. The result is 2 Days in Paris. [...] "This is why my first film is a romantic comedy," said Delpy, now 37, with evident exasperation. "It is only because it is the first time people will give me money to make a film. People will trust a woman to do something with a relationship more than they will to do something with a war story or science fiction." Delpy goes on explain that she'd "sell out to direct a big action movie" in a heartbeat. Her lifelong dream, she says, is to make a film like Blade Runner. "But you need money to make Blade Runner." Ignoring, for a moment, that Delpy probably shouldn't be whining about how the big boys won't give her money to make a summer tentpole before her first real feature is even released, I'd be fascinated to see what kinds of scripts are lying dormant in other filmmakers' drawers. Does Harmony Korine have a high school comedy that no one wants to pay for? Does Sofia Coppola secretly want to remake Raging Bull? And considering how many relatively nameless, style-less directors are handed "big action movies" these days, does demonstrable competence in a specific genre actually hurt more than it helps? Originally posted on:SpoutBlog http://www.spout.com/members/0/tags/love/MemberTagFilms.aspxlove
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