list http://www.spout.com/ Recent community activity around Paranoid Park 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/Paranoid_Park/297924/default.aspx Title: Paranoid Park
Year: 2007
Director: Gus Van Sant
Plot: A skateboarder has a run-in with a security guard that results in the man's death. Confused, fearful, and evasive, the teen wanders the streets of Portland as his life takes a turn for the worse in director Gus Van Sant's screen adaptation of author Blake Nelson's grim coming-of-age tome. ~ Jason Buchanan, All Movie Guide
Times Tagged: 41
Number of Lists: 21
Number of blog posts: 10
SpoutRating: 3
]]>Thu, 09 Jul 2009 11:25:48 GMTParanoid Park2007Gus Van SantA skateboarder has a run-in with a security guard that results in the man's death. Confused, fearful, and evasive, the teen wanders the streets of Portland as his life takes a turn for the worse in director <a href="/players/P___115102/default.aspx" style='text-decoration:underline'>Gus Van Sant</a>'s screen adaptation of author Blake Nelson's grim coming-of-age tome. ~ Jason Buchanan, All Movie Guide41Tag Target (>10)21103http://www.spout.com/ProductImages/s297924.jpghttp://www.spout.com/films/Paranoid_Park/297924/default.aspxFilm http://www.spout.com/blogs/mciocco/archive/2008/12/28/38898.aspx Post By: mciocco
Post To: mciocco Blog
Post Date: 12/28/2008 8:59:23 PM
Body: In no particular order, some movies I saw during my Christmas vacation: Paranoid Park - Apparently high school is just as boring and arbitrary as I remember it, even if you've killed someone and are trying to evade the police. The Curious Case of Benjamin Button - Probably didn't need to be as long as it was, but it was far better than what the preview lead me to believe. On the other hand, it's not something I can picture myself watching over and over again like I can with some of Fincher's other films. Will probably earn a top 10 slot whenever I get around to compiling such a list for 2008. Milk - I guess I'm the only person in the world to think that it's possible that Milk doesn't do a body good. I just couldn't connect with this movie. While it's well made and Penn's performance is great, I can't get over the usual biopic lameness. I guess I just don't like biopics in general, and this one is no different. It seems to me that this subject is much more ideally suited to a documentary (which was already made 25 years ago). Valkyrie - Not nearly as bad as I thought it would be, but not particularly good either. It's a perfectly serviceable thriller and there is some tension despite the fact that everyone knows how it will turn out. However, like Milk, I think I might have rather watched a documentary on the subject. Man on Wire - Finally caught up with this documentary and wasn't disappointed. Perhaps not as great as the reviews would have you believe, but still interesting and entertaining doc about a high wire walker who did a daring show between the two towers in NY. Plays out a little like a heist film, but without the blatant theft. Also refreshing to see a movie about the WTC without having the filmmakers make some sort of tired political statement. Frost/Nixon - A bit meandering, but the whole thing builds to a climax that delivers. I kinda wish more attention was paid to the preparation and the actual mechanics of the interview, rather than constantly harping on the fact that the interview didn't have solid financial backing. I realize that the financial situation was probably foremost on Frost's mind during the interviews, but while it needs to be part of the story, I thought it took up too much time and brought down an otherwise pretty good film. It also makes the last interview session come off more as luck than anything else... but then, perhaps that's actually true... I know, perhaps a documen... alright, fine, I'll stop with that particular refrain.
]]>Mon, 29 Dec 2008 01:59:23 GMTmcioccomciocco Blog12/28/2008 8:59:23 PMIn no particular order, some movies I saw during my Christmas vacation: Paranoid Park - Apparently high school is just as boring and arbitrary as I remember it, even if you've killed someone and are trying to evade the police. The Curious Case of Benjamin Button - Probably didn't need to be as long as it was, but it was far better than what the preview lead me to believe. On the other hand, it's not something I can picture myself watching over and over again like I can with some of Fincher's other films. Will probably earn a top 10 slot whenever I get around to compiling such a list for 2008. Milk - I guess I'm the only person in the world to think that it's possible that Milk doesn't do a body good. I just couldn't connect with this movie. While it's well made and Penn's performance is great, I can't get over the usual biopic lameness. I guess I just don't like biopics in general, and this one is no different. It seems to me that this subject is much more ideally suited to a documentary (which was already made 25 years ago). Valkyrie - Not nearly as bad as I thought it would be, but not particularly good either. It's a perfectly serviceable thriller and there is some tension despite the fact that everyone knows how it will turn out. However, like Milk, I think I might have rather watched a documentary on the subject. Man on Wire - Finally caught up with this documentary and wasn't disappointed. Perhaps not as great as the reviews would have you believe, but still interesting and entertaining doc about a high wire walker who did a daring show between the two towers in NY. Plays out a little like a heist film, but without the blatant theft. Also refreshing to see a movie about the WTC without having the filmmakers make some sort of tired political statement. Frost/Nixon - A bit meandering, but the whole thing builds to a climax that delivers. I kinda wish more attention was paid to the preparation and the actual mechanics of the interview, rather than constantly harping on the fact that the interview didn't have solid financial backing. I realize that the financial situation was probably foremost on Frost's mind during the interviews, but while it needs to be part of the story, I thought it took up too much time and brought down an otherwise pretty good film. It also makes the last interview session come off more as luck than anything else... but then, perhaps that's actually true... I know, perhaps a documen... alright, fine, I'll stop with that particular refrain. http://www.spout.com/blogs/el_bicho/archive/2008/12/24/38806.aspx Post By: El_Bicho
Post To: El_Bicho Blog
Post Date: 12/24/2008 5:14:15 AM
Body: Adapted from Blake Nelson’s young adult novel, Paranoid Park is a wonderful mystery, not so much whodunit, although that’s part of it, but as a character study. The film’s focus isn’t about solving the crime, but how the main character deals with it.Alex (Gabe Nevins) tells his version of the story in a journal. He is in high school and a harmful incident has thrown his life into a state of confusion, causing him to withdraw and impacting matters like how he deals with the affections of the attractive Jennifer who considers them a couple and the separation of his parents.As he goes through the events in his mind, the plot is presented out of chronological order, causing the revelations to add to the mystery. Detective Lu interviews Alex because a skateboarder is suspected in foul play related to a rail yard security guard getting run over by a train. The viewer has no idea of Alex’s involvement, if any.As the film progresses and the truth, or at least Alex’s version of it, is presented, the viewer’s perceptions of previous scenes become altered upon reflection. The story then hits an intriguing crossroads: will Alex hear the beating of the guard’s tell-tale heart, or like Ralphie in A Christmas Story does he know “darn well it was always better not to get caught”? The answer is arrived at in a believable way. Viewers will be left curious about Alex’s future and considering rewatching the film once the story is known.Since the story is about a young protagonist in Portland, Oregon, Gus Van Sant is as natural a choice to be writer/director as John Waters would be filming social misfits in Baltimore. Sant’s work has traversed the City of Roses many times with films such as Mala Noche, Drugstore Cowboy, and My Own Private Idaho. Skateboarding is Alex’s one escape and the artistic choices made by Sant in terms of film stock and the soundtrack perfectly convey being “in the moment.” The film’s one flaw is that a couple of the non-actors are obvious, like Alex’s female friend, the Iraq War-obsessed Macy, and while no doubt doing the best they could, they draw attention to themselves with their poor delivery of lines and looking into the camera.Paranoid Park is an intriguing film and has the feel of a short story. I would recommend it for fans of independent films and Sant that are curious. The DVD is bare bones, containing the film alone.
]]>Wed, 24 Dec 2008 10:14:15 GMTEl_BichoEl_Bicho Blog12/24/2008 5:14:15 AMAdapted from Blake Nelson&rsquo;s young adult novel, Paranoid Park is a wonderful mystery, not so much whodunit, although that&rsquo;s part of it, but as a character study. The film&rsquo;s focus isn&rsquo;t about solving the crime, but how the main character deals with it.Alex (Gabe Nevins) tells his version of the story in a journal. He is in high school and a harmful incident has thrown his life into a state of confusion, causing him to withdraw and impacting matters like how he deals with the affections of the attractive Jennifer who considers them a couple and the separation of his parents.As he goes through the events in his mind, the plot is presented out of chronological order, causing the revelations to add to the mystery. Detective Lu interviews Alex because a skateboarder is suspected in foul play related to a rail yard security guard getting run over by a train. The viewer has no idea of Alex&rsquo;s involvement, if any.As the film progresses and the truth, or at least Alex&rsquo;s version of it, is presented, the viewer&rsquo;s perceptions of previous scenes become altered upon reflection. The story then hits an intriguing crossroads: will Alex hear the beating of the guard&rsquo;s tell-tale heart, or like Ralphie in A Christmas Story does he know &ldquo;darn well it was always better not to get caught&rdquo;? The answer is arrived at in a believable way. Viewers will be left curious about Alex&rsquo;s future and considering rewatching the film once the story is known.Since the story is about a young protagonist in Portland, Oregon, Gus Van Sant is as natural a choice to be writer/director as John Waters would be filming social misfits in Baltimore. Sant&rsquo;s work has traversed the City of Roses many times with films such as Mala Noche, Drugstore Cowboy, and My Own Private Idaho. Skateboarding is Alex&rsquo;s one escape and the artistic choices made by Sant in terms of film stock and the soundtrack perfectly convey being &ldquo;in the moment.&rdquo; The film&rsquo;s one flaw is that a couple of the non-actors are obvious, like Alex&rsquo;s female friend, the Iraq War-obsessed Macy, and while no doubt doing the best they could, they draw attention to themselves with their poor delivery of lines and looking into the camera.Paranoid Park is an intriguing film and has the feel of a short story. I would recommend it for fans of independent films and Sant that are curious. The DVD is bare bones, containing the film alone. http://www.spout.com/blogs/atacta/archive/2008/11/28/37711.aspx Post By: atacta
Post To: atacta Blog
Post Date: 11/28/2008 3:04:54 PM
Body: Gus Van Sant exploring his familiar Northwest American childhood detachment and apathy. This is among his best work - in the same league with Drugstore Cowboy, My Own Private Idaho and Elephant. I cannot wait to watch this again soon. It really is a companion piece to Elephant without the abject horror. I know of these skatepark guys - I have seen them and met them recently and I used to do a bit of this myself back in the day - in this film a culture that signifies a generation or generations of youngsters alienated by the CNN new culture of bad news and the breakdown of the family in all its nastiness. The scene between Alex (Gabe Nevins) and his wayward father (Jay 'Smay' Williamson) near the end serves as an afterthought given the make up of Alex and his droogs. It is truly amazing how Van Sant captures this culture in a way far more superior to MTV, Nick Jr, you know what I mean. I am too old to watch those stations. This is stark realism set to an amazing soundtrack. If and when you watch the DVD, keep the subtitles on for the song references - it will build a nice play list. The only rub on the film is the blithe treatment of the early female love interest, the cheerleader who dreams of more condoms and superficial love. Otherwise I agree with Adam, certainly one of the best films of the year. Drugstore Cowboy (1989)
]]>Fri, 28 Nov 2008 20:04:54 GMTatactaatacta Blog11/28/2008 3:04:54 PMGus Van Sant exploring his familiar Northwest American childhood detachment and apathy. This is among his best work - in the same league with Drugstore Cowboy, My Own Private Idaho and Elephant. I cannot wait to watch this again soon. It really is a companion piece to Elephant without the abject horror. I know of these skatepark guys - I have seen them and met them recently and I used to do a bit of this myself back in the day - in this film a culture that signifies a generation or generations of youngsters alienated by the CNN new culture of bad news and the breakdown of the family in all its nastiness. The scene between Alex (Gabe Nevins) and his wayward father (Jay 'Smay' Williamson) near the end serves as an afterthought given the make up of Alex and his droogs. It is truly amazing how Van Sant captures this culture in a way far more superior to MTV, Nick Jr, you know what I mean. I am too old to watch those stations. This is stark realism set to an amazing soundtrack. If and when you watch the DVD, keep the subtitles on for the song references - it will build a nice play list. The only rub on the film is the blithe treatment of the early female love interest, the cheerleader who dreams of more condoms and superficial love. Otherwise I agree with Adam, certainly one of the best films of the year. Drugstore Cowboy (1989) http://www.spout.com/blogs/mrbuckyk/archive/2008/4/20/27544.aspx Post By: mrbuckyk
Post To: mrbuckyk Blog
Post Date: 4/20/2008 2:11:43 AM
Body: Gus Van Sant's new flick which is in theaters and On Demand through IFC. Only 80 mins long and a lot of the scenes are repeated through flashbacks. One of the better Van Sant films as of late (I was yelling at the TV when watching Gerry.... two hours of watching people walk through the dessert. I shit you not). Interesting choices for music and non-actors. Some good and some bad on both fronts. The cinematography was great especially on the skateboarding scenes. Def. an art house flick through and through.
]]>Sun, 20 Apr 2008 06:11:43 GMTmrbuckykmrbuckyk Blog4/20/2008 2:11:43 AMGus Van Sant&#39;s new flick which is in theaters and On Demand through IFC. Only 80 mins long and a lot of the scenes are repeated through flashbacks. One of the better Van Sant films as of late (I was yelling at the TV when watching Gerry.... two hours of watching people walk through the dessert. I shit you not). Interesting choices for music and non-actors. Some good and some bad on both fronts. The cinematography was great especially on the skateboarding scenes. Def. an art house flick through and through. 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/blogs/spoutblog/archive/2008/1/10/23718.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 1/10/2008 12:00:39 PM
Body: What if this movie were not directed by acclaimed filmmaker Gus Van Sant? What if it had not been honored with a special prize at last year’s Cannes Film Festival? What if it had not been an official selection of the Toronto and New York Film Festivals? What if it wasn’t nominated for three (Independent) Spirit Awards, including Best Picture, Best Director and Best Producer? What if Manohla Dargis didn’t consider it, “one of the most moving and delicately felt films of Gus Van Sant’s career”? Would Paranoid Park still seem that appealing? Not to me, but then I’ve seen enough films involving teens covering up an intentional or accidental murder. And that’s despite having enjoyed most of them, including Mean Creek, Bully, George Washington and even (though much, much less so) I Know What You Did Last Summer. Honestly, if this new domestic trailer for Paranoid Park didn’t mention all its prestigious claims, I probably wouldn’t be that compelled to see it. In fact, even if it simply mentioned that it was directed by Van Sant and featured one or more positive review blurbs, that wouldn’t be enough to sell me. Van Sant did direct such lame films as Finding Forrester and Even the Cowgirls Get the Blues, so he’s not a name that is completely synonymous with greatness. And this specific film has received enough negative reviews that critical acclaim is also not constant enough to attract my attention. (more…) Originally posted on:SpoutBlog
]]>Thu, 10 Jan 2008 17:00:39 GMTSpoutBlogSpoutBlog on spout.com1/10/2008 12:00:39 PM What if this movie were not directed by acclaimed filmmaker Gus Van Sant? What if it had not been honored with a special prize at last year’s Cannes Film Festival? What if it had not been an official selection of the Toronto and New York Film Festivals? What if it wasn’t nominated for three (Independent) Spirit Awards, including Best Picture, Best Director and Best Producer? What if Manohla Dargis didn’t consider it, “one of the most moving and delicately felt films of Gus Van Sant’s career”? Would Paranoid Park still seem that appealing? Not to me, but then I’ve seen enough films involving teens covering up an intentional or accidental murder. And that’s despite having enjoyed most of them, including Mean Creek, Bully, George Washington and even (though much, much less so) I Know What You Did Last Summer. Honestly, if this new domestic trailer for Paranoid Park didn’t mention all its prestigious claims, I probably wouldn’t be that compelled to see it. In fact, even if it simply mentioned that it was directed by Van Sant and featured one or more positive review blurbs, that wouldn’t be enough to sell me. Van Sant did direct such lame films as Finding Forrester and Even the Cowgirls Get the Blues, so he’s not a name that is completely synonymous with greatness. And this specific film has received enough negative reviews that critical acclaim is also not constant enough to attract my attention. (more…) Originally posted on:SpoutBlog http://www.spout.com/blogs/paul/archive/2007/12/21/23053.aspx Post By: paul
Post To: paul on spout.com
Post Date: 12/21/2007 4:15:23 PM
Body: Eugene Hernandez of indieWIRE is laying down the buzz in Cannes, and it’s no real surprise Julian Schnabel (The Diving Bell and the Butterfly), the Coen brothers (No Country For Old Men) and Gus Van Sant (Paranoid Park) are getting the spotlight. (Of course, there’s a certain status a filmmaker can attain where they become the buzz just by stepping off the plane at a festival. I’d say these filmmakers are in that camp and for good reason.) Among these three films, it’s Hernandez’ synopsis of Van Sant’s Paranoid Park which has both the former skater and former art student inside me hugging and jumping up and down with anticipation: As for the sound and look, Van Sant has woven a number of natural audio and soundscape work into the soundtrack, utilizing some musique concrete that is built upon real world sounds. Much of it is work by musician and sound artist Ethan Rose. For the images, Van Sant worked with frequent Won Kar Wai collaborator Christopher Doyle and Rain Kathy Li as his D.P. The duo utilized some Super 8 footage, shot by a local who regularly shoots in the park, for scenes of the kids skating. And they slowed it down for its usage in the film. “Because neither of us are skaters, (using slow motion was) the only way to approximate what we (wanted)…to try to give it a form that we know, celebrating this incredible energy. The physicality of skating,” said Doyle. Originally posted on:SpoutBlog » Paul
]]>Fri, 21 Dec 2007 21:15:23 GMTpaulpaul on spout.com12/21/2007 4:15:23 PMEugene Hernandez of indieWIRE is laying down the buzz in Cannes, and it’s no real surprise Julian Schnabel (The Diving Bell and the Butterfly), the Coen brothers (No Country For Old Men) and Gus Van Sant (Paranoid Park) are getting the spotlight. (Of course, there’s a certain status a filmmaker can attain where they become the buzz just by stepping off the plane at a festival. I’d say these filmmakers are in that camp and for good reason.) Among these three films, it’s Hernandez’ synopsis of Van Sant’s Paranoid Park which has both the former skater and former art student inside me hugging and jumping up and down with anticipation: As for the sound and look, Van Sant has woven a number of natural audio and soundscape work into the soundtrack, utilizing some musique concrete that is built upon real world sounds. Much of it is work by musician and sound artist Ethan Rose. For the images, Van Sant worked with frequent Won Kar Wai collaborator Christopher Doyle and Rain Kathy Li as his D.P. The duo utilized some Super 8 footage, shot by a local who regularly shoots in the park, for scenes of the kids skating. And they slowed it down for its usage in the film. “Because neither of us are skaters, (using slow motion was) the only way to approximate what we (wanted)…to try to give it a form that we know, celebrating this incredible energy. The physicality of skating,” said Doyle. Originally posted on:SpoutBlog » Paul http://www.spout.com/blogs/spoutblog/archive/2007/8/15/18125.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 8/15/2007 9:01:05 AM
Body: Giving credence to rumors that have been floating around for many weeks, IFC confirmed yesterday that they’re planning to move away from distributing moderate-budget festival acquisitions in order to concentrate more attention on their IFC FirstTake program. This can only be good news for VOD-loving indie film fans. FirstTake has brought some of the year’s best films to cable boxes, including Day Night Day Night, Lars Von Trier’s The Boss of it All, and current selection This is England; they already have plans to distribute highly-anticipated (by me, at least) festival holdovers such as Hannah Takes the Stairs and Gus Van Sant’s Paranoid Park. Can you imagine what they could do if they tried harder? Fox has struck a deal with what appears to be some kind of unofficial union called the Writing Partners, designed to lure top screenwriters to the studio by promising that the scribes will earn money off the gross if the movies get made.  This seems to be more thinly-veiled strike hysteria: Fox is worried that the crunch to get pictures in the can over the next twelve months will result in a dearth of quality, so they’re doing whatever it takes to get confirmed hit makers (Mr and Mrs Smith scribe Simon Kinberg and Little Miss Sunshine Oscar winner Michael Arndt are among the Partners) on board while they can. Len Wiseman, fresh off of resurrecting the Die Hard franchise, is in talks to steer a remake of Escape From New York. Gerard Butler (better known as “that guy from 300“) is apparently lined up to play the Kurt Russell role. Originally posted on:Spoutblog
]]>Wed, 15 Aug 2007 13:01:05 GMTSpoutBlogSpoutBlog on spout.com8/15/2007 9:01:05 AM Giving credence to rumors that have been floating around for many weeks, IFC confirmed yesterday that they’re planning to move away from distributing moderate-budget festival acquisitions in order to concentrate more attention on their IFC FirstTake program. This can only be good news for VOD-loving indie film fans. FirstTake has brought some of the year’s best films to cable boxes, including Day Night Day Night, Lars Von Trier’s The Boss of it All, and current selection This is England; they already have plans to distribute highly-anticipated (by me, at least) festival holdovers such as Hannah Takes the Stairs and Gus Van Sant’s Paranoid Park. Can you imagine what they could do if they tried harder? Fox has struck a deal with what appears to be some kind of unofficial union called the Writing Partners, designed to lure top screenwriters to the studio by promising that the scribes will earn money off the gross if the movies get made.  This seems to be more thinly-veiled strike hysteria: Fox is worried that the crunch to get pictures in the can over the next twelve months will result in a dearth of quality, so they’re doing whatever it takes to get confirmed hit makers (Mr and Mrs Smith scribe Simon Kinberg and Little Miss Sunshine Oscar winner Michael Arndt are among the Partners) on board while they can. Len Wiseman, fresh off of resurrecting the Die Hard franchise, is in talks to steer a remake of Escape From New York. Gerard Butler (better known as “that guy from 300“) is apparently lined up to play the Kurt Russell role. Originally posted on:Spoutblog http://www.spout.com/blogs/spoutblog/archive/2007/6/19/11432.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 6/19/2007 10:11:17 AM
Body: Eugene Hernandez of indieWIRE is laying down the buzz in Cannes, and it's no real surprise Julian Schnabel (The Diving Bell and the Butterfly), the Coen brothers (No Country For Old Men) and Gus Van Sant (Paranoid Park) are getting the spotlight. (Of course, there's a certain status a filmmaker can attain where they become the buzz just by stepping off the plane at a festival. I'd say these filmmakers are in that camp and for good reason.) Among these three films, it's Hernandez' synopsis of Van Sant's Paranoid Park which has both the former skater and former art student inside me hugging and jumping up and down with anticipation: As for the sound and look, Van Sant has woven a number of natural audio and soundscape work into the soundtrack, utilizing some musique concrete that is built upon real world sounds. Much of it is work by musician and sound artist Ethan Rose. For the images, Van Sant worked with frequent Won Kar Wai collaborator Christopher Doyle and Rain Kathy Li as his D.P. The duo utilized some Super 8 footage, shot by a local who regularly shoots in the park, for scenes of the kids skating. And they slowed it down for its usage in the film. "Because neither of us are skaters, (using slow motion was) the only way to approximate what we (wanted)...to try to give it a form that we know, celebrating this incredible energy. The physicality of skating," said Doyle. Originally posted on:SpoutBlog
]]>Tue, 19 Jun 2007 14:11:17 GMTSpoutBlogSpoutBlog on spout.com6/19/2007 10:11:17 AMEugene Hernandez of indieWIRE is laying down the buzz in Cannes, and it's no real surprise Julian Schnabel (The Diving Bell and the Butterfly), the Coen brothers (No Country For Old Men) and Gus Van Sant (Paranoid Park) are getting the spotlight. (Of course, there's a certain status a filmmaker can attain where they become the buzz just by stepping off the plane at a festival. I'd say these filmmakers are in that camp and for good reason.) Among these three films, it's Hernandez' synopsis of Van Sant's Paranoid Park which has both the former skater and former art student inside me hugging and jumping up and down with anticipation: As for the sound and look, Van Sant has woven a number of natural audio and soundscape work into the soundtrack, utilizing some musique concrete that is built upon real world sounds. Much of it is work by musician and sound artist Ethan Rose. For the images, Van Sant worked with frequent Won Kar Wai collaborator Christopher Doyle and Rain Kathy Li as his D.P. The duo utilized some Super 8 footage, shot by a local who regularly shoots in the park, for scenes of the kids skating. And they slowed it down for its usage in the film. "Because neither of us are skaters, (using slow motion was) the only way to approximate what we (wanted)...to try to give it a form that we know, celebrating this incredible energy. The physicality of skating," said Doyle. Originally posted on:SpoutBlog http://www.spout.com/members/0/tags/romance/MemberTagFilms.aspxromance
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