list http://www.spout.com/ Recent community activity around Married Life 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/Married_Life/294672/default.aspx Title: Married Life
Year: 2008
Director: Ira Sachs
Plot: After entering into a passionate affair with a much younger woman, an unhappily married man resorts to murder as a means of sparing his frigid wife the humiliation of divorce in director Ira Sachs' suspenseful film noir. Set in the 1940s, Marriage tells the tale of Harry (Chris Cooper) -- a man whose faithful but emotionally distant wife (Patricia Clarkson) has become all but impossible to love. Smitten by the beautiful Kay (Rachel McAdams) but ultra-sensitive to the shame associated with divorce, Harry opts to poison his wife as a means of allowing the marriage to end with her pride still intact. Harry's scheme soon goes horribly awry, however, when after revealing the plan to his best friend, Richard (Pierce Brosnan), Richard too falls in love with the ethereal young beauty and sets into motion a cunning plan all his own. A serpentine tale of murderous deception, Marriage was co-scripted by director Sachs and screenwriter Oren Moverman. ~ Jason Buchanan, All Movie Guide
Times Tagged: 3
Number of Lists: 2
Number of blog posts: 5
SpoutRating: 3
]]>Mon, 09 Mar 2009 17:01:09 GMTMarried Life2008Ira SachsAfter entering into a passionate affair with a much younger woman, an unhappily married man resorts to murder as a means of sparing his frigid wife the humiliation of divorce in director Ira Sachs' suspenseful film noir. Set in the 1940s, <a href="http://www.spout.com/films/66036/detail.aspx" style='text-decoration:underline'>Marriage</a> tells the tale of Harry (<a href="http://www.spout.com/players/P____14803/default.aspx" style='text-decoration:underline'>Chris Cooper</a>) -- a man whose faithful but emotionally distant wife (<a href="http://www.spout.com/players/P____13504/default.aspx" style='text-decoration:underline'>Patricia Clarkson</a>) has become all but impossible to love. Smitten by the beautiful Kay (<a href="http://www.spout.com/players/P___334531/default.aspx" style='text-decoration:underline'>Rachel McAdams</a>) but ultra-sensitive to the shame associated with divorce, Harry opts to poison his wife as a means of allowing the marriage to end with her pride still intact. Harry's scheme soon goes horribly awry, however, when after revealing the plan to his best friend, Richard (<a href="http://www.spout.com/players/P_____8836/default.aspx" style='text-decoration:underline'>Pierce Brosnan</a>), Richard too falls in love with the ethereal young beauty and sets into motion a cunning plan all his own. A serpentine tale of murderous deception, <a href="http://www.spout.com/films/66036/detail.aspx" style='text-decoration:underline'>Marriage</a> was co-scripted by director Sachs and screenwriter Oren Moverman. ~ Jason Buchanan, All Movie Guide3Slightly Tagged (1-5)253http://www.spout.com/ProductImages/s294672.jpghttp://www.spout.com/films/Married_Life/294672/default.aspxFilm http://www.spout.com/blogs/thefilmpanelnotetaker/archive/2009/3/9/40901.aspx Post By: thefilmpanelnotetaker
Post To: thefilmpanelnotetaker Blog
Post Date: 3/9/2009 1:01:09 PM
Body: IFP’s Script to Screen ConferenceWriters in CollaborationMarch 7, 2009New York, NYWriter/Director Ira Sachs (Forty Shades of Blue, Married Life) moderated a discussion on the collaborative writing process. He started the conversation by saying that everything he does is about how well he works with other people. “There’s almost nothing that isn’t about trying to negotiate between your own instincts and what you share and look for from others…This panel is about how you work communally, but still have a vision.” Below are highlights from the discussion with writers who collaborate with either a partner or a team for film and/or television.(Photo by Brian Geldin)Moderator:Ira Sachs, Writer/Director, Married LifePanelists:Ryan Fleck, Writer/Director, Sugar & Half NelsonTodd A. Kessler, Co-Creator, “Damages”Daniel Zelman, Co-Creator, “Damages”Sachs: How did you start working collaborators?Fleck: (Anna Boden and I) started working together in film school…I started helping her with her projects, she started helping me with mine, giving me notes on the scripts that I was working on…I directed Half Nelson, but she was always there, very much involved with that. On Sugar, we co-directed that together.Kessler: Daniel, Glenn and I, Glenn’s my brother so I’ve known him for a long time. Daniel had been a friend of ours since college…Basically, we’re writing and producing television. That’s something an individual can’t do alone…We do 13 episodes a season so that’s 13 scripts. Sometimes scripts are written in a week…one person can’t write that much…The core of our collaboration was that we wanted to work together and not have to bring in other people. If anyone has seen Damages, you’re aware that there’s a lot of betrayal and manipulation and narcissism…all the things that we experienced working with other people. So we wanted to limit some of that and the three of us got together.Sachs: How do you work in the writing stage?Zelman: There are two different phases. There’s the writing that begins prior to the season’s beginning…the first season was the pilot…The three of us sit in a room and just talk a lot and discuss what we’re interested in. It really begins with a character. Damages began with the character played by Glenn Close (Patty Hewes)…We began by discussing her and what it was we wanted to explore through her. It really just becomes a brainstorming session…Once the season is up and running, that’s the second phase…We divide up the script and we all write pieces of that script and then we pass our pages back and forth…There’s a lot of re-writing of other people’s materials. We kind of create a factory mill where every scene goes through every writer. We feel that by the time it goes through that process, it’s better than it would be than with any one of us.Sachs: How are each of the collaborations you’ve worked on different? What’s worked best for you?Kessler: On The Sopranos (for which Kessler wrote during seasons 2 and 3), David Chase is the creator of the show and was kind of infamous for having very long stretches of time between each season…The more time you have, the better off you are because you have more time to think about the stories and the characters. Because you had to generate so much material so quickly, you’re able to read books and live lives and see what’s going on in the world that you can bring to the work…We would start with David coming back. He’d have these long sheets of paper, episodes 1-13…He would have these mileposts in the season, the second season for example, the character of Big Pussy, would die by the end…There were these long arcs and it was our job as writers to help fill in those spaces. That’s something we’ve put to use on Damages, what we call tent pole scenes.Sachs: One of the things I realized collaborating with co-writers on screenplays is you get systems into place. How can those systems be helpful and how can they also inhibit creativity? How did you work together with Anna?Fleck: When we started writing Sugar, we needed to get out of the city. It was really distracting. The McDowell Colony (where they went) is a great place to go…If you don’t have the luxury of going away somewhere, just start writing…When Anna and I worked together, there was no science, no pattern…We typically separate…We come up with an outline…come up with the main beats and then we’ll separate and start writing the scenes…We’re usually not writing together until we’re re-writing.Audience Question: How do you avoid legal problems amongst collaborators? What degree of trust do you need to have?Fleck: I think when you’re first starting, there’s a degree of mistrust…I think that’s healthy to have…You don’t need a lawyer to get everything worked out on paper. Ultimately, that’s not going to matter…unless there’s millions of dollars at stake, you’re not really going to go sue them.Zelman: I totally agree with what you’re saying that at the end of the day, a lawyer for contracts are not going to protect what most needs to be protected…It’s almost like a spiritual question…There is so much time and energy put into doing these projects, that it’s like a marriage. If you just don’t feel a fundamental trust with the people you’re collaborating with creatively, it’s a leap of faith…You just have to be committed to each other and understand that you’re going to splice through those moments. If you don’t have that faith, it’s a very dangerous place to be.Audience Question: How did you work with your co-writer on Forty Shades of Blue?Sachs: I worked with a co-writer named Michael Rohatyn, who was not the co-writer on my next film (Married Life) who was Oren Moverman. The process for me is generally I have an idea for something that I’m interested in. I often take a good stab at a first draft myself just to try to get as much of the instinctual things that are personal. The more autobiographical stuff tends to come out alone. I think that’s true for my co-writers as well. I send them off to go write at certain times…For me it’s very important as an artist and I project this as well for my co-writer, that they have the space at a certain time where they are just playing with their own memories and ideas and that they don’t need to verbalize everything to me for it to become something that I want to see on the page…One of the biggest challenges of collaboration is, and it’s the same with an actor, I try to talk very little to the actors, except when I need to…I want to see what they’re going to bring me. That’s a very good part of collaboration, trying to tap into what that person has that you don’t have. Originally posted on:The Film Panel Notetaker - Miss a panel discussion? Don't worry! We took notes for you.
]]>Mon, 09 Mar 2009 17:01:09 GMTthefilmpanelnotetakerthefilmpanelnotetaker Blog3/9/2009 1:01:09 PMIFP’s Script to Screen ConferenceWriters in CollaborationMarch 7, 2009New York, NYWriter/Director Ira Sachs (Forty Shades of Blue, Married Life) moderated a discussion on the collaborative writing process. He started the conversation by saying that everything he does is about how well he works with other people. “There’s almost nothing that isn’t about trying to negotiate between your own instincts and what you share and look for from others…This panel is about how you work communally, but still have a vision.” Below are highlights from the discussion with writers who collaborate with either a partner or a team for film and/or television.(Photo by Brian Geldin)Moderator:Ira Sachs, Writer/Director, Married LifePanelists:Ryan Fleck, Writer/Director, Sugar & Half NelsonTodd A. Kessler, Co-Creator, “Damages”Daniel Zelman, Co-Creator, “Damages”Sachs: How did you start working collaborators?Fleck: (Anna Boden and I) started working together in film school…I started helping her with her projects, she started helping me with mine, giving me notes on the scripts that I was working on…I directed Half Nelson, but she was always there, very much involved with that. On Sugar, we co-directed that together.Kessler: Daniel, Glenn and I, Glenn’s my brother so I’ve known him for a long time. Daniel had been a friend of ours since college…Basically, we’re writing and producing television. That’s something an individual can’t do alone…We do 13 episodes a season so that’s 13 scripts. Sometimes scripts are written in a week…one person can’t write that much…The core of our collaboration was that we wanted to work together and not have to bring in other people. If anyone has seen Damages, you’re aware that there’s a lot of betrayal and manipulation and narcissism…all the things that we experienced working with other people. So we wanted to limit some of that and the three of us got together.Sachs: How do you work in the writing stage?Zelman: There are two different phases. There’s the writing that begins prior to the season’s beginning…the first season was the pilot…The three of us sit in a room and just talk a lot and discuss what we’re interested in. It really begins with a character. Damages began with the character played by Glenn Close (Patty Hewes)…We began by discussing her and what it was we wanted to explore through her. It really just becomes a brainstorming session…Once the season is up and running, that’s the second phase…We divide up the script and we all write pieces of that script and then we pass our pages back and forth…There’s a lot of re-writing of other people’s materials. We kind of create a factory mill where every scene goes through every writer. We feel that by the time it goes through that process, it’s better than it would be than with any one of us.Sachs: How are each of the collaborations you’ve worked on different? What’s worked best for you?Kessler: On The Sopranos (for which Kessler wrote during seasons 2 and 3), David Chase is the creator of the show and was kind of infamous for having very long stretches of time between each season…The more time you have, the better off you are because you have more time to think about the stories and the characters. Because you had to generate so much material so quickly, you’re able to read books and live lives and see what’s going on in the world that you can bring to the work…We would start with David coming back. He’d have these long sheets of paper, episodes 1-13…He would have these mileposts in the season, the second season for example, the character of Big Pussy, would die by the end…There were these long arcs and it was our job as writers to help fill in those spaces. That’s something we’ve put to use on Damages, what we call tent pole scenes.Sachs: One of the things I realized collaborating with co-writers on screenplays is you get systems into place. How can those systems be helpful and how can they also inhibit creativity? How did you work together with Anna?Fleck: When we started writing Sugar, we needed to get out of the city. It was really distracting. The McDowell Colony (where they went) is a great place to go…If you don’t have the luxury of going away somewhere, just start writing…When Anna and I worked together, there was no science, no pattern…We typically separate…We come up with an outline…come up with the main beats and then we’ll separate and start writing the scenes…We’re usually not writing together until we’re re-writing.Audience Question: How do you avoid legal problems amongst collaborators? What degree of trust do you need to have?Fleck: I think when you’re first starting, there’s a degree of mistrust…I think that’s healthy to have…You don’t need a lawyer to get everything worked out on paper. Ultimately, that’s not going to matter…unless there’s millions of dollars at stake, you’re not really going to go sue them.Zelman: I totally agree with what you’re saying that at the end of the day, a lawyer for contracts are not going to protect what most needs to be protected…It’s almost like a spiritual question…There is so much time and energy put into doing these projects, that it’s like a marriage. If you just don’t feel a fundamental trust with the people you’re collaborating with creatively, it’s a leap of faith…You just have to be committed to each other and understand that you’re going to splice through those moments. If you don’t have that faith, it’s a very dangerous place to be.Audience Question: How did you work with your co-writer on Forty Shades of Blue?Sachs: I worked with a co-writer named Michael Rohatyn, who was not the co-writer on my next film (Married Life) who was Oren Moverman. The process for me is generally I have an idea for something that I’m interested in. I often take a good stab at a first draft myself just to try to get as much of the instinctual things that are personal. The more autobiographical stuff tends to come out alone. I think that’s true for my co-writers as well. I send them off to go write at certain times…For me it’s very important as an artist and I project this as well for my co-writer, that they have the space at a certain time where they are just playing with their own memories and ideas and that they don’t need to verbalize everything to me for it to become something that I want to see on the page…One of the biggest challenges of collaboration is, and it’s the same with an actor, I try to talk very little to the actors, except when I need to…I want to see what they’re going to bring me. That’s a very good part of collaboration, trying to tap into what that person has that you don’t have. Originally posted on:The Film Panel Notetaker - Miss a panel discussion? Don't worry! We took notes for you. http://www.spout.com/blogs/tenenbaums/archive/2008/10/8/36033.aspx Post By: Tenenbaums
Post To: Tenenbaums Blog
Post Date: 10/8/2008 12:19:19 PM
Body: A nice little character study. All of the acting is excellent and the events would work well as a play. Suspenseful and pleasant at the same time, more films should be made like this one.
]]>Wed, 08 Oct 2008 16:19:19 GMTTenenbaumsTenenbaums Blog10/8/2008 12:19:19 PMA nice little character study. All of the acting is excellent and the events would work well as a play. Suspenseful and pleasant at the same time, more films should be made like this one. http://www.spout.com/blogs/joem18b/archive/2008/8/26/34386.aspx Post By: joem18b
Post To: joem18b Blog
Post Date: 8/26/2008 2:13:26 AM
Body: Any movie that puts a human face on Iran and the Iranian people is a good thing. Plus, my dentist is Iranian. So is my congressperson, come to think of it. Persepolis covers the history of the country from the fall of the Shah up to a while ago. They don't make movies like Married Life anymore; only, this time, they did. The thing I like about Scorpian King 2 is that the hero carries his sword in a leather scabbard on his back and every time that he draws it, it makes a metallic rasping sound - forget the leather - followed by a ringing twang! I'll probably never take the time to write about The Life Before Her Eyes (2008), but I see 500 movies a year and maybe one out of the 500 affects me like this one did. A story that gets it just right, for me. Watched The Darwin Awards (2006) again. Was entertained all the way through, same as the first time. I wonder if this film is developing a following; it deserves one. Winona and Fiennes have some chemistry. My Canadian friend Matt the Movie Watcher assigned me Mon Oncle Antoine (1971) over on the Filmspotting Boards. The Criterion version that I watched is immaculate. Set in the 1940s, this naturalistic (till the director starts riffing) film of country life in Quebec is fresh enough to have been made yesterday. The Canadian National Film Board helped with its production; correct me if I'm wrong, but I think that this might have been the first major example of Quebecois film. The NFB has funded quite a few works that feature drama in lesser-known areas of Canada and without it, film in Quebec might never have got off the ground. I grew up in a small rural town in the late 40s and early 50s and instantly related to the setting and characters in this movie. It was filmed in Black Lake City and at the Thetford asbestos mines in Québec.Mon Oncle Antoine is a milestone film, most highly thought of. Be interesting to see if it's mentioned on the Filmspotting top-Canadian-film lists this week.I can recommend the movie without reservation to anyone interested in a quiet, closely-observed visit to a small town in the country in the 40s, featuring a variety of interesting characters making a hard life seem a little easier that it probably is - especially since the town is dominated by an open-pit asbestos mine that coats everything, including the lungs of the residents, with carcinogenic dust.Having said that, it strikes me that the director, Claude Jutra, who here adapted a short story for the screen and directed the movie, turned his back on the possibility of making a classic film, ending up with a very good movie instead. I've just posted a review elsewhere of "Mother of Mine," and I had the same thought about the director of that film, Klaus Härö. In both cases, the director seems not to trust the tremendous power of the basic story that he is dealing with and instead tacks on an unnecessary melodramatic narrative that entertains us in the moment but can't stand up to scrutiny later, relegating both films to the category of rural picaresque. Jutra might well have worked from a checklist here that includes a teenager breathing his last, a journey over unpaved roads with a hard-to-manage coffin (when "As I Lay Dying" was published, this trope should have been moved to the Pantheon and left alone there), a teen's first look at the adult female rack and I'm not talking about Bambi's mother here, so forth. A documentary about Jutra is included and it's as interesting as the film itself. A life of struggle to make movies by a gifted man with money woes. Puts me in mind of Orson Welles.I also seem to be developing an aversion to characters who stare straight ahead without speaking, leaving us to divine their thoughts and relieving the author of the responsibility of writing intelligent and original dialog for them. Jacques Gagnon, who plays a young man whose final sudden coming of age is compressed into the confines of a day or so, underacts in a way that perhaps mimics the frozen silent wastes of those great northern forests up there, which will probably be filling up with refugee polar bears any day now.And Bravo! to Olivette Thibault, who gets her ashes hauled here at the age of 57 by a youngish Jutra himself.Mon Oncle Antoine is filled with interesting characters and interesting moments, entertains in its every frame, and is a gem indeed. Thanks to Matt for choosing it for me!
]]>Tue, 26 Aug 2008 06:13:26 GMTjoem18bjoem18b Blog8/26/2008 2:13:26 AMAny movie that puts a human face on Iran and the Iranian people is a good thing. Plus, my dentist is Iranian. So is my congressperson, come to think of it. Persepolis covers the history of the country from the fall of the Shah up to a while ago. They don't make movies like Married Life anymore; only, this time, they did. The thing I like about Scorpian King 2 is that the hero carries his sword in a leather scabbard on his back and every time that he draws it, it makes a metallic rasping sound - forget the leather - followed by a ringing twang! I'll probably never take the time to write about The Life Before Her Eyes (2008), but I see 500 movies a year and maybe one out of the 500 affects me like this one did. A story that gets it just right, for me. Watched The Darwin Awards (2006) again. Was entertained all the way through, same as the first time. I wonder if this film is developing a following; it deserves one. Winona and Fiennes have some chemistry. My Canadian friend Matt the Movie Watcher assigned me Mon Oncle Antoine (1971) over on the Filmspotting Boards. The Criterion version that I watched is immaculate. Set in the 1940s, this naturalistic (till the director starts riffing) film of country life in Quebec is fresh enough to have been made yesterday. The Canadian National Film Board helped with its production; correct me if I'm wrong, but I think that this might have been the first major example of Quebecois film. The NFB has funded quite a few works that feature drama in lesser-known areas of Canada and without it, film in Quebec might never have got off the ground. I grew up in a small rural town in the late 40s and early 50s and instantly related to the setting and characters in this movie. It was filmed in Black Lake City and at the Thetford asbestos mines in Qu&eacute;bec.Mon Oncle Antoine is a milestone film, most highly thought of. Be interesting to see if it's mentioned on the Filmspotting top-Canadian-film lists this week.I can recommend the movie without reservation to anyone interested in a quiet, closely-observed visit to a small town in the country in the 40s, featuring a variety of interesting characters making a hard life seem a little easier that it probably is - especially since the town is dominated by an open-pit asbestos mine that coats everything, including the lungs of the residents, with carcinogenic dust.Having said that, it strikes me that the director, Claude Jutra, who here adapted a short story for the screen and directed the movie, turned his back on the possibility of making a classic film, ending up with a very good movie instead. I've just posted a review elsewhere of "Mother of Mine," and I had the same thought about the director of that film, Klaus H&auml;r&ouml;. In both cases, the director seems not to trust the tremendous power of the basic story that he is dealing with and instead tacks on an unnecessary melodramatic narrative that entertains us in the moment but can't stand up to scrutiny later, relegating both films to the category of rural picaresque. Jutra might well have worked from a checklist here that includes a teenager breathing his last, a journey over unpaved roads with a hard-to-manage coffin (when "As I Lay Dying" was published, this trope should have been moved to the Pantheon and left alone there), a teen's first look at the adult female rack and I'm not talking about Bambi's mother here, so forth. A documentary about Jutra is included and it's as interesting as the film itself. A life of struggle to make movies by a gifted man with money woes. Puts me in mind of Orson Welles.I also seem to be developing an aversion to characters who stare straight ahead without speaking, leaving us to divine their thoughts and relieving the author of the responsibility of writing intelligent and original dialog for them. Jacques Gagnon, who plays a young man whose final sudden coming of age is compressed into the confines of a day or so, underacts in a way that perhaps mimics the frozen silent wastes of those great northern forests up there, which will probably be filling up with refugee polar bears any day now.And Bravo! to Olivette Thibault, who gets her ashes hauled here at the age of 57 by a youngish Jutra himself.Mon Oncle Antoine is filled with interesting characters and interesting moments, entertains in its every frame, and is a gem indeed. Thanks to Matt for choosing it for me! http://www.spout.com/blogs/karina/archive/2008/3/5/25894.aspx Post By: Karina
Post To: Karina on SpoutBlog
Post Date: 3/5/2008 2:01:15 PM
Body: Married Life, Paranoid Park, and Snow Angels: three independently produced American films, all being released this weekend by indie arms of major corporations, and three films that, according to Anthony Kaufman, are surprisingly serious about the “notion that we must come to terms with our complicity in other people’s pain, as well as our own.” In this piece at Filmcatcher, Kaufman wonders what prompted filmmakers Ira Sachs, Gus Van Sant and David Gordon Green to tackle similar themes in very different ways. “Could it be some long-gestating post-9/11 reflection, or a reaction to the Iraq war and its horrendous collateral damages, from Abu Ghraib and Haditha? Or is it a newfound understanding of globalization, that we are all interconnected and responsible for each other?” I haven’t seen Snow Angels. I saw Married Life months ago, but I really didn’t care for it and don’t think I could consider it seriously. But Paranoid Park is a really interesting film, one I wish I had time to write more about, but unfortunately haven’t been able to really cover in the madness of True/False and SXSW. It’s definitely a film about the psychology of Getting Away With It, and I can see how it would be tempting to graft political parallels on to that, in that it essentially mines horror from a criminal’s self-interested refusal to take personal responsibility. Still, even if the filmmakers were somehow taping into a zeitgeist, these films are all festival holdovers from 2007, and I’m not sure their simultaneous says anything other than that they’re neither likely Oscar contenders nor summer blockbusters. I’m personally skeptical that three corporate entities would suddenly come to a “newfound understanding” of their complicity in globalization and try to ameliorate their guilt by releasing three adult dramas on the same day. Speaking of Snow Angels, indieWIRE is sponsoring an Apple Store event tonight in New York, with Angels director Green and co-star Olivia Thirlby (yes, the girl who said “honest to blog” in Juno). More info here. Originally posted on:SpoutBlog » karina
]]>Wed, 05 Mar 2008 19:01:15 GMTKarinaKarina on SpoutBlog3/5/2008 2:01:15 PMMarried Life, Paranoid Park, and Snow Angels: three independently produced American films, all being released this weekend by indie arms of major corporations, and three films that, according to Anthony Kaufman, are surprisingly serious about the “notion that we must come to terms with our complicity in other people’s pain, as well as our own.” In this piece at Filmcatcher, Kaufman wonders what prompted filmmakers Ira Sachs, Gus Van Sant and David Gordon Green to tackle similar themes in very different ways. “Could it be some long-gestating post-9/11 reflection, or a reaction to the Iraq war and its horrendous collateral damages, from Abu Ghraib and Haditha? Or is it a newfound understanding of globalization, that we are all interconnected and responsible for each other?” I haven’t seen Snow Angels. I saw Married Life months ago, but I really didn’t care for it and don’t think I could consider it seriously. But Paranoid Park is a really interesting film, one I wish I had time to write more about, but unfortunately haven’t been able to really cover in the madness of True/False and SXSW. It’s definitely a film about the psychology of Getting Away With It, and I can see how it would be tempting to graft political parallels on to that, in that it essentially mines horror from a criminal’s self-interested refusal to take personal responsibility. Still, even if the filmmakers were somehow taping into a zeitgeist, these films are all festival holdovers from 2007, and I’m not sure their simultaneous says anything other than that they’re neither likely Oscar contenders nor summer blockbusters. I’m personally skeptical that three corporate entities would suddenly come to a “newfound understanding” of their complicity in globalization and try to ameliorate their guilt by releasing three adult dramas on the same day. Speaking of Snow Angels, indieWIRE is sponsoring an Apple Store event tonight in New York, with Angels director Green and co-star Olivia Thirlby (yes, the girl who said “honest to blog” in Juno). More info here. Originally posted on:SpoutBlog » karina http://www.spout.com/blogs/spoutblog/archive/2008/3/5/25893.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 3/5/2008 2:00:58 PM
Body: Married Life, Paranoid Park, and Snow Angels: three independently produced American films, all being released this weekend by indie arms of major corporations, and three films that, according to Anthony Kaufman, are surprisingly serious about the “notion that we must come to terms with our complicity in other people’s pain, as well as our own.” In this piece at Filmcatcher, Kaufman wonders what prompted filmmakers Ira Sachs, Gus Van Sant and David Gordon Green to tackle similar themes in very different ways. “Could it be some long-gestating post-9/11 reflection, or a reaction to the Iraq war and its horrendous collateral damages, from Abu Ghraib and Haditha? Or is it a newfound understanding of globalization, that we are all interconnected and responsible for each other?” I haven’t seen Snow Angels. I saw Married Life months ago, but I really didn’t care for it and don’t think I could consider it seriously. But Paranoid Park is a really interesting film, one I wish I had time to write more about, but unfortunately haven’t been able to really cover in the madness of True/False and SXSW. It’s definitely a film about the psychology of Getting Away With It, and I can see how it would be tempting to graft political parallels on to that, in that it essentially mines horror from a criminal’s self-interested refusal to take personal responsibility. Still, even if the filmmakers were somehow taping into a zeitgeist, these films are all festival holdovers from 2007, and I’m not sure their simultaneous says anything other than that they’re neither likely Oscar contenders nor summer blockbusters. I’m personally skeptical that three corporate entities would suddenly come to a “newfound understanding” of their complicity in globalization and try to ameliorate their guilt by releasing three adult dramas on the same day. Speaking of Snow Angels, indieWIRE is sponsoring an Apple Store event tonight in New York, with Angels director Green and co-star Olivia Thirlby (yes, the girl who said “honest to blog” in Juno). More info here. Originally posted on:SpoutBlog
]]>Wed, 05 Mar 2008 19:00:58 GMTSpoutBlogSpoutBlog on spout.com3/5/2008 2:00:58 PMMarried Life, Paranoid Park, and Snow Angels: three independently produced American films, all being released this weekend by indie arms of major corporations, and three films that, according to Anthony Kaufman, are surprisingly serious about the “notion that we must come to terms with our complicity in other people’s pain, as well as our own.” In this piece at Filmcatcher, Kaufman wonders what prompted filmmakers Ira Sachs, Gus Van Sant and David Gordon Green to tackle similar themes in very different ways. “Could it be some long-gestating post-9/11 reflection, or a reaction to the Iraq war and its horrendous collateral damages, from Abu Ghraib and Haditha? Or is it a newfound understanding of globalization, that we are all interconnected and responsible for each other?” I haven’t seen Snow Angels. I saw Married Life months ago, but I really didn’t care for it and don’t think I could consider it seriously. But Paranoid Park is a really interesting film, one I wish I had time to write more about, but unfortunately haven’t been able to really cover in the madness of True/False and SXSW. It’s definitely a film about the psychology of Getting Away With It, and I can see how it would be tempting to graft political parallels on to that, in that it essentially mines horror from a criminal’s self-interested refusal to take personal responsibility. Still, even if the filmmakers were somehow taping into a zeitgeist, these films are all festival holdovers from 2007, and I’m not sure their simultaneous says anything other than that they’re neither likely Oscar contenders nor summer blockbusters. I’m personally skeptical that three corporate entities would suddenly come to a “newfound understanding” of their complicity in globalization and try to ameliorate their guilt by releasing three adult dramas on the same day. Speaking of Snow Angels, indieWIRE is sponsoring an Apple Store event tonight in New York, with Angels director Green and co-star Olivia Thirlby (yes, the girl who said “honest to blog” in Juno). More info here. Originally posted on:SpoutBlog http://www.spout.com/members/0/tags/drama/MemberTagFilms.aspxdrama
Number of films tagged: 527

Number of people who tagged: 102

Number of times used: 627

]]>Wed, 16 Dec 2009 19:01:29 GMT527102627Tag http://www.spout.com/members/0/tags/deception/MemberTagFilms.aspxdeception
Number of films tagged: 1090

Number of people who tagged: 55

Number of times used: 123

]]>Mon, 16 Nov 2009 19:18:11 GMT109055123Tag http://www.spout.com/members/0/tags/lovetriangle/MemberTagFilms.aspxlovetriangle
Number of films tagged: 2902

Number of people who tagged: 38

Number of times used: 75

]]>Tue, 16 Jun 2009 13:12:01 GMT29023875Tag http://www.spout.com/members/0/tags/extramaritalaffair/MemberTagFilms.aspxextramaritalaffair
Number of films tagged: 3121

Number of people who tagged: 18

Number of times used: 31

]]>Thu, 09 Jul 2009 13:13:22 GMT31211831Tag http://www.spout.com/members/0/tags/scheme/MemberTagFilms.aspxscheme
Number of films tagged: 1069

Number of people who tagged: 12

Number of times used: 19

]]>Tue, 04 Aug 2009 13:05:14 GMT10691219Tag http://www.spout.com/members/0/tags/poison/MemberTagFilms.aspxpoison
Number of films tagged: 305

Number of people who tagged: 7

Number of times used: 16

]]>Wed, 15 Jul 2009 19:23:31 GMT305716Tag http://www.spout.com/members/0/tags/murderattempt/MemberTagFilms.aspxmurderattempt
Number of films tagged: 46

Number of people who tagged: 1

Number of times used: 1

]]>Mon, 08 Jun 2009 13:02:54 GMT4611Tag