list http://www.spout.com/ Recent community activity around Saturday Night Fever 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/Saturday_Night_Fever/30078/default.aspx Title: Saturday Night Fever
Year: 1977
Director: John Badham
Plot: John Travolta graduated from minor celebrity to superstar with Saturday Night Fever. Travolta plays Tony Manero, a Brooklyn paint-store clerk who'd give anything to break out of his dead-end existence. In life, Tony is a peasant; on the disco dance floor, he's a king. As the soundtrack plays one Bee Gees hit after another (including "Stayin' Alive"), we watch white-suited Tony strut his stuff amidst flashing lights and sweaty, undulating bodies. Tony's class aspirations are mirrored in his relationship with his dance partner, Stephanie (Karen Lynn Gorney), a secretary eager to move into the glamorous world of Manhattan. Saturday Night Fever's huge success grew meteorically thanks to the towering popularity of its soundtrack; during the first half of 1978, when the movie's disco songs saturated the singles charts up to four at a time, it was no longer clear whether the hit movie was feeding the hit songs or the hit songs were feeding the hit movie. This crossover between music and movies set the pace for many movies to come, as it also marked the rise and fall of 1970s disco culture. Two versions of this film exist: the original R-rated version and a PG version, edited down to more "family-friendly" fare and fed to the public with the tagline, "Because we want everyone to see John Travolta's performance." ~ Hal Erickson, All Movie Guide
Times Tagged: 9
Number of Lists: 21
Number of blog posts: 4
Number of discussion threads: 2
SpoutRating: 3
]]>Tue, 25 Aug 2009 17:09:16 GMTSaturday Night Fever1977John Badham<a href="/players/P____71670/default.aspx" style='text-decoration:underline'>John Travolta</a> graduated from minor celebrity to superstar with Saturday Night Fever. Travolta plays Tony Manero, a Brooklyn paint-store clerk who'd give anything to break out of his dead-end existence. In life, Tony is a peasant; on the disco dance floor, he's a king. As the soundtrack plays one Bee Gees hit after another (including "Stayin' Alive"), we watch white-suited Tony strut his stuff amidst flashing lights and sweaty, undulating bodies. Tony's class aspirations are mirrored in his relationship with his dance partner, Stephanie (Karen Lynn Gorney), a secretary eager to move into the glamorous world of Manhattan. Saturday Night Fever's huge success grew meteorically thanks to the towering popularity of its soundtrack; during the first half of 1978, when the movie's disco songs saturated the singles charts up to four at a time, it was no longer clear whether the hit movie was feeding the hit songs or the hit songs were feeding the hit movie. This crossover between music and movies set the pace for many movies to come, as it also marked the rise and fall of 1970s disco culture. Two versions of this film exist: the original R-rated version and a PG version, edited down to more "family-friendly" fare and fed to the public with the tagline, "Because we want <I>everyone</I> to see <a href="/players/P____71670/default.aspx" style='text-decoration:underline'>John Travolta</a>'s performance." ~ Hal Erickson, All Movie Guide9Taggedy Taggged (6-10)21423http://www.spout.com/ProductImages/u41673f2tvx.jpghttp://www.spout.com/films/Saturday_Night_Fever/30078/default.aspxFilm http://www.spout.com/blogs/karina/archive/2009/1/8/39288.aspx Post By: Karina
Post To: Karina on SpoutBlog
Post Date: 1/8/2009 7:01:13 PM
Body: La MISSION, an American Spectrum film starring Benjamin Bratt and directed by his brother Peter, takes place in the Mission District of San Francisco, and tracks the relationship between an ex-con bus driver named Che (played by the former Mr. Julia Roberts), his son and a sexy neighbor lady who “challenges Che to reconcile the life he thought he had.” We asked Peter Bratt the 4 Questions We Ask Everyone, and his answers touched on everything from American Graffiti to Marvin Gaye to Ki-duk Kim. More after the jump. Tell us about your movie: who did you work with, what did you shoot on, why did you make it? Give us the reductive, 25-word or less, “It’s like [pop culture reference a] meets [pop culture reference b]!” pitch, then explain what the quick and dirty sell leaves out. We shot La MISSION on HD entirely on location in 26 short days. The core team was made up of myself, brother Benjamin Bratt (who was doing double time as lead actor and producer), and force of nature/producing partner Alpita Patel. The “dirty sell”: Imagine the old cars and music from American Graffiti (but with a bit more funk), the working class, ethnic flavor of Saturday Night Fever, and the soul searching of Peter Weir’s Fearless, and you have La MISSION. The real skinny: The story takes place in an urban Latino community, and centers on a violent patriarch (“Che”) who discovers that his only son (“Jess”) is homosexual. In the San Francisco Neighborhood that bears the film’s name, Che is a reformed bad boy of the street, who at middle age, finds beauty building classic lowrider cars. His son, and the friends he’s had since childhood, are at the center of his world. In many ways, Che personifies the dominant patriarchal culture that surrounds him, and like that culture, is at the threshold of great change. He is faced with a choice: maintain old habits and attitudes, OR adapt, grow and mature. In order to make this choice, Che is forced to stretch beyond his comfort zone; and it’s only from this place that he discovers what might be at stake if he doesn’t chose wisely. As a filmmaker living in an increasingly violent and dangerous world, I was drawn to the idea of transformation and the pain that often goes with it. I also wanted to fulfill a life’s dream, and make a movie with a Marvin Gaye jam in it! If you funded your film through a “day job” or through working on projects that were not your own, tell us about that. If not, tell us a story from your past work life, before you became a professional filmmaker. I worked as a carpenter before and after I made my first film. Before that, I had applied and was admitted to NYU film school. Weeks before I packed up and headed East, I sold my truck and all my tools, confidently thinking I would never need them again. It took me less than a semester to learn that film school wasn’t for me, and I dropped out and returned home to San Francisco with my chin on my chest. Carpentry was the only way I knew how to make a living, so I started all over again from scratch, buying and collecting tools as more jobs came in. After I saved enough to live on for a year, I held up in a work-for-rent, sub-basement apartment, read every “how to write a screenplay”  book  under the sun, and then sat down and  wrote the screenplay I would eventually make into my first feature. But the moral of the story is: “never say never…and most definitely never sell your tools!” Have you been to Park City before? If so, tell us your best moment (or worst, which ever is funnier). I’d been there once before, in the pre-internet days, with my film Follow Me Home. We got the film in the can for a little over a $200,000, but had to raise more for post. Needless to say, it was a long process that kept us busy almost up to the day we premiered at the Holiday One theater. I was very naïve and didn’t have an agent, a lawyer, a publicist, or any other veteran consultant, and my editor and I simply showed up with a 35mm print and NO promotional material. When we walked through town, we saw that nearly every other film team had postcards, one sheets, flyers, etc. Later that night, in a panic, we high-tailed it to Salt Lake and found an all night Kinko’s. We stayed up half the night making flyers and posting them throughout the streets and store fronts of Park City. Every morning we would rise at the crack of dawn, before the crowds filled the streets, and plastered any empty space we could find. This time around the team is a bit more seasoned, so I’m hoping to slow the pace down enough to enjoy my morning coffee. Let’s get hypothetical: You’re on death row. The night of your execution, you’re allowed to watch any two films of your choice. What would you pick for your last-night-on-Earth double feature? Good hypothetical. Rather than going with a couple films about family, friendship, or how sweet life is, I would be focused on meeting death and preparing myself for the ultimate journey. For that I’d want a road map to navigate the “hell worlds” I would surely encounter due to my evil ways. I would go with Jacob’s Ladder (based on “Tibetan Book of the Dead”) and the South Korean film that examines each stage of a person’s life, Spring, Summer, Fall, Winter … and Spring. Then get on my knees and pray. Originally posted on:SpoutBlog » Karina Longworth
]]>Fri, 09 Jan 2009 00:01:13 GMTKarinaKarina on SpoutBlog1/8/2009 7:01:13 PM La MISSION, an American Spectrum film starring Benjamin Bratt and directed by his brother Peter, takes place in the Mission District of San Francisco, and tracks the relationship between an ex-con bus driver named Che (played by the former Mr. Julia Roberts), his son and a sexy neighbor lady who “challenges Che to reconcile the life he thought he had.” We asked Peter Bratt the 4 Questions We Ask Everyone, and his answers touched on everything from American Graffiti to Marvin Gaye to Ki-duk Kim. More after the jump. Tell us about your movie: who did you work with, what did you shoot on, why did you make it? Give us the reductive, 25-word or less, “It’s like [pop culture reference a] meets [pop culture reference b]!” pitch, then explain what the quick and dirty sell leaves out. We shot La MISSION on HD entirely on location in 26 short days. The core team was made up of myself, brother Benjamin Bratt (who was doing double time as lead actor and producer), and force of nature/producing partner Alpita Patel. The “dirty sell”: Imagine the old cars and music from American Graffiti (but with a bit more funk), the working class, ethnic flavor of Saturday Night Fever, and the soul searching of Peter Weir’s Fearless, and you have La MISSION. The real skinny: The story takes place in an urban Latino community, and centers on a violent patriarch (“Che”) who discovers that his only son (“Jess”) is homosexual. In the San Francisco Neighborhood that bears the film’s name, Che is a reformed bad boy of the street, who at middle age, finds beauty building classic lowrider cars. His son, and the friends he’s had since childhood, are at the center of his world. In many ways, Che personifies the dominant patriarchal culture that surrounds him, and like that culture, is at the threshold of great change. He is faced with a choice: maintain old habits and attitudes, OR adapt, grow and mature. In order to make this choice, Che is forced to stretch beyond his comfort zone; and it’s only from this place that he discovers what might be at stake if he doesn’t chose wisely. As a filmmaker living in an increasingly violent and dangerous world, I was drawn to the idea of transformation and the pain that often goes with it. I also wanted to fulfill a life’s dream, and make a movie with a Marvin Gaye jam in it! If you funded your film through a “day job” or through working on projects that were not your own, tell us about that. If not, tell us a story from your past work life, before you became a professional filmmaker. I worked as a carpenter before and after I made my first film. Before that, I had applied and was admitted to NYU film school. Weeks before I packed up and headed East, I sold my truck and all my tools, confidently thinking I would never need them again. It took me less than a semester to learn that film school wasn’t for me, and I dropped out and returned home to San Francisco with my chin on my chest. Carpentry was the only way I knew how to make a living, so I started all over again from scratch, buying and collecting tools as more jobs came in. After I saved enough to live on for a year, I held up in a work-for-rent, sub-basement apartment, read every “how to write a screenplay”  book  under the sun, and then sat down and  wrote the screenplay I would eventually make into my first feature. But the moral of the story is: “never say never…and most definitely never sell your tools!” Have you been to Park City before? If so, tell us your best moment (or worst, which ever is funnier). I’d been there once before, in the pre-internet days, with my film Follow Me Home. We got the film in the can for a little over a $200,000, but had to raise more for post. Needless to say, it was a long process that kept us busy almost up to the day we premiered at the Holiday One theater. I was very naïve and didn’t have an agent, a lawyer, a publicist, or any other veteran consultant, and my editor and I simply showed up with a 35mm print and NO promotional material. When we walked through town, we saw that nearly every other film team had postcards, one sheets, flyers, etc. Later that night, in a panic, we high-tailed it to Salt Lake and found an all night Kinko’s. We stayed up half the night making flyers and posting them throughout the streets and store fronts of Park City. Every morning we would rise at the crack of dawn, before the crowds filled the streets, and plastered any empty space we could find. This time around the team is a bit more seasoned, so I’m hoping to slow the pace down enough to enjoy my morning coffee. Let’s get hypothetical: You’re on death row. The night of your execution, you’re allowed to watch any two films of your choice. What would you pick for your last-night-on-Earth double feature? Good hypothetical. Rather than going with a couple films about family, friendship, or how sweet life is, I would be focused on meeting death and preparing myself for the ultimate journey. For that I’d want a road map to navigate the “hell worlds” I would surely encounter due to my evil ways. I would go with Jacob’s Ladder (based on “Tibetan Book of the Dead”) and the South Korean film that examines each stage of a person’s life, Spring, Summer, Fall, Winter … and Spring. Then get on my knees and pray. Originally posted on:SpoutBlog » Karina Longworth http://www.spout.com/blogs/spoutblog/archive/2009/1/8/39287.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 1/8/2009 7:00:59 PM
Body: La MISSION, an American Spectrum film starring Benjamin Bratt and directed by his brother Peter, takes place in the Mission District of San Francisco, and tracks the relationship between an ex-con bus driver named Che (played by the former Mr. Julia Roberts), his son and a sexy neighbor lady who “challenges Che to reconcile the life he thought he had.” We asked Peter Bratt the 4 Questions We Ask Everyone, and his answers touched on everything from American Graffiti to Marvin Gaye to Ki-duk Kim. More after the jump. Tell us about your movie: who did you work with, what did you shoot on, why did you make it? Give us the reductive, 25-word or less, “It’s like [pop culture reference a] meets [pop culture reference b]!” pitch, then explain what the quick and dirty sell leaves out. We shot La MISSION on HD entirely on location in 26 short days. The core team was made up of myself, brother Benjamin Bratt (who was doing double time as lead actor and producer), and force of nature/producing partner Alpita Patel. The “dirty sell”: Imagine the old cars and music from American Graffiti (but with a bit more funk), the working class, ethnic flavor of Saturday Night Fever, and the soul searching of Peter Weir’s Fearless, and you have La MISSION. The real skinny: The story takes place in an urban Latino community, and centers on a violent patriarch (“Che”) who discovers that his only son (“Jess”) is homosexual. In the San Francisco Neighborhood that bears the film’s name, Che is a reformed bad boy of the street, who at middle age, finds beauty building classic lowrider cars. His son, and the friends he’s had since childhood, are at the center of his world. In many ways, Che personifies the dominant patriarchal culture that surrounds him, and like that culture, is at the threshold of great change. He is faced with a choice: maintain old habits and attitudes, OR adapt, grow and mature. In order to make this choice, Che is forced to stretch beyond his comfort zone; and it’s only from this place that he discovers what might be at stake if he doesn’t chose wisely. As a filmmaker living in an increasingly violent and dangerous world, I was drawn to the idea of transformation and the pain that often goes with it. I also wanted to fulfill a life’s dream, and make a movie with a Marvin Gaye jam in it! If you funded your film through a “day job” or through working on projects that were not your own, tell us about that. If not, tell us a story from your past work life, before you became a professional filmmaker. I worked as a carpenter before and after I made my first film. Before that, I had applied and was admitted to NYU film school. Weeks before I packed up and headed East, I sold my truck and all my tools, confidently thinking I would never need them again. It took me less than a semester to learn that film school wasn’t for me, and I dropped out and returned home to San Francisco with my chin on my chest. Carpentry was the only way I knew how to make a living, so I started all over again from scratch, buying and collecting tools as more jobs came in. After I saved enough to live on for a year, I held up in a work-for-rent, sub-basement apartment, read every “how to write a screenplay”  book  under the sun, and then sat down and  wrote the screenplay I would eventually make into my first feature. But the moral of the story is: “never say never…and most definitely never sell your tools!” Have you been to Park City before? If so, tell us your best moment (or worst, which ever is funnier). I’d been there once before, in the pre-internet days, with my film Follow Me Home. We got the film in the can for a little over a $200,000, but had to raise more for post. Needless to say, it was a long process that kept us busy almost up to the day we premiered at the Holiday One theater. I was very naïve and didn’t have an agent, a lawyer, a publicist, or any other veteran consultant, and my editor and I simply showed up with a 35mm print and NO promotional material. When we walked through town, we saw that nearly every other film team had postcards, one sheets, flyers, etc. Later that night, in a panic, we high-tailed it to Salt Lake and found an all night Kinko’s. We stayed up half the night making flyers and posting them throughout the streets and store fronts of Park City. Every morning we would rise at the crack of dawn, before the crowds filled the streets, and plastered any empty space we could find. This time around the team is a bit more seasoned, so I’m hoping to slow the pace down enough to enjoy my morning coffee. Let’s get hypothetical: You’re on death row. The night of your execution, you’re allowed to watch any two films of your choice. What would you pick for your last-night-on-Earth double feature? Good hypothetical. Rather than going with a couple films about family, friendship, or how sweet life is, I would be focused on meeting death and preparing myself for the ultimate journey. For that I’d want a road map to navigate the “hell worlds” I would surely encounter due to my evil ways. I would go with Jacob’s Ladder (based on “Tibetan Book of the Dead”) and the South Korean film that examines each stage of a person’s life, Spring, Summer, Fall, Winter … and Spring. Then get on my knees and pray. Originally posted on:SpoutBlog
]]>Fri, 09 Jan 2009 00:00:59 GMTSpoutBlogSpoutBlog on spout.com1/8/2009 7:00:59 PM La MISSION, an American Spectrum film starring Benjamin Bratt and directed by his brother Peter, takes place in the Mission District of San Francisco, and tracks the relationship between an ex-con bus driver named Che (played by the former Mr. Julia Roberts), his son and a sexy neighbor lady who “challenges Che to reconcile the life he thought he had.” We asked Peter Bratt the 4 Questions We Ask Everyone, and his answers touched on everything from American Graffiti to Marvin Gaye to Ki-duk Kim. More after the jump. Tell us about your movie: who did you work with, what did you shoot on, why did you make it? Give us the reductive, 25-word or less, “It’s like [pop culture reference a] meets [pop culture reference b]!” pitch, then explain what the quick and dirty sell leaves out. We shot La MISSION on HD entirely on location in 26 short days. The core team was made up of myself, brother Benjamin Bratt (who was doing double time as lead actor and producer), and force of nature/producing partner Alpita Patel. The “dirty sell”: Imagine the old cars and music from American Graffiti (but with a bit more funk), the working class, ethnic flavor of Saturday Night Fever, and the soul searching of Peter Weir’s Fearless, and you have La MISSION. The real skinny: The story takes place in an urban Latino community, and centers on a violent patriarch (“Che”) who discovers that his only son (“Jess”) is homosexual. In the San Francisco Neighborhood that bears the film’s name, Che is a reformed bad boy of the street, who at middle age, finds beauty building classic lowrider cars. His son, and the friends he’s had since childhood, are at the center of his world. In many ways, Che personifies the dominant patriarchal culture that surrounds him, and like that culture, is at the threshold of great change. He is faced with a choice: maintain old habits and attitudes, OR adapt, grow and mature. In order to make this choice, Che is forced to stretch beyond his comfort zone; and it’s only from this place that he discovers what might be at stake if he doesn’t chose wisely. As a filmmaker living in an increasingly violent and dangerous world, I was drawn to the idea of transformation and the pain that often goes with it. I also wanted to fulfill a life’s dream, and make a movie with a Marvin Gaye jam in it! If you funded your film through a “day job” or through working on projects that were not your own, tell us about that. If not, tell us a story from your past work life, before you became a professional filmmaker. I worked as a carpenter before and after I made my first film. Before that, I had applied and was admitted to NYU film school. Weeks before I packed up and headed East, I sold my truck and all my tools, confidently thinking I would never need them again. It took me less than a semester to learn that film school wasn’t for me, and I dropped out and returned home to San Francisco with my chin on my chest. Carpentry was the only way I knew how to make a living, so I started all over again from scratch, buying and collecting tools as more jobs came in. After I saved enough to live on for a year, I held up in a work-for-rent, sub-basement apartment, read every “how to write a screenplay”  book  under the sun, and then sat down and  wrote the screenplay I would eventually make into my first feature. But the moral of the story is: “never say never…and most definitely never sell your tools!” Have you been to Park City before? If so, tell us your best moment (or worst, which ever is funnier). I’d been there once before, in the pre-internet days, with my film Follow Me Home. We got the film in the can for a little over a $200,000, but had to raise more for post. Needless to say, it was a long process that kept us busy almost up to the day we premiered at the Holiday One theater. I was very naïve and didn’t have an agent, a lawyer, a publicist, or any other veteran consultant, and my editor and I simply showed up with a 35mm print and NO promotional material. When we walked through town, we saw that nearly every other film team had postcards, one sheets, flyers, etc. Later that night, in a panic, we high-tailed it to Salt Lake and found an all night Kinko’s. We stayed up half the night making flyers and posting them throughout the streets and store fronts of Park City. Every morning we would rise at the crack of dawn, before the crowds filled the streets, and plastered any empty space we could find. This time around the team is a bit more seasoned, so I’m hoping to slow the pace down enough to enjoy my morning coffee. Let’s get hypothetical: You’re on death row. The night of your execution, you’re allowed to watch any two films of your choice. What would you pick for your last-night-on-Earth double feature? Good hypothetical. Rather than going with a couple films about family, friendship, or how sweet life is, I would be focused on meeting death and preparing myself for the ultimate journey. For that I’d want a road map to navigate the “hell worlds” I would surely encounter due to my evil ways. I would go with Jacob’s Ladder (based on “Tibetan Book of the Dead”) and the South Korean film that examines each stage of a person’s life, Spring, Summer, Fall, Winter … and Spring. Then get on my knees and pray. Originally posted on:SpoutBlog http://www.spout.com/blogs/spoutblog/archive/2008/6/5/30563.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 6/5/2008 3:01:05 PM
Body: Now that we know, courtesy of Stu at Defamer, that Werner Herzog’s remake of Abel Ferrara’s Bad Lieutenant is not so much a remake as it is like a new entry into a franchise, a la the James Bond movies, we at SpoutBlog wonder what other ’90s indie favorites could be continued with similar yet “completely different” installments. I remember back in the day thinking that Clerks should be a franchise, each film focusing on a different crappy job experience, but now that Clerks II has come and gone, that idea will likely never be realized. Of course, the concept of sequels unrelated to the original aren’t new — just look at any sequel title substituting the number 2 (or II) with the word Too. But nevertheless, here’s a few suggestions for other crazy foreign auteurs to take into consideration: Kids - Looking back, Larry Clark’s then-shocking debut is pretty tame. Nowadays you see teens doing worse things on commercial television. So, how about someone makes another Kids movie every decade or so to expose us to the latest generation of teenagers and how appallingly different they are from the previous generation. It would be like Apted’s Up documentaries, except it wouldn’t follow the same people. Slacker - This is Karina’s suggestion, off the top of her head, so I’ll give her credit. She likes the idea of Linklater revisiting the concept behind his monumental indie, but having it set in other cities, a la The Real World. Unlike the premise of the next Real World, though, I’d be much more excited about a Slacker Brooklyn. Leaving Las Vegas - While we’re on the idea of transplanting locations, and because Herzog is setting his Bad Lieutenant in New Orleans rather than New York, let’s mention some films whose remakes sequels next installments could feature title changes depending on their location changes. Leaving Boston might not have the same ring to it, though. What about King of New York redone as King of St. Louis? Of course, Abel Ferrara is already turning King of New York into a franchise with Pericle il Nero, a prequel that isn’t quite a prequel (strange that he would have a problem with Herzog’s film, then). Swingers - This one is easy. Take some hot new subculture/dance craze/music scene and exploit it, so none of the original followers like it anymore and all of the new followers can be labeled posers (no, of course I’m not bitter). Swingers wasn’t the first movie to do it; Saturday Night Fever and probably a few ’50s rock ‘n’ roll movies were viewed the same way. I wonder what scene is cool with the alternative kids these days … The Big One - Following the success of Roger and Me, Michael Moore made this documentary in which he attempts to get interviews with other corporate heads. But now his films are mostly political and there’s less attention paid towards companies like General Motors and Nike. Sure, we’ve since seen some worthy substitutes, including The Corporation, Enron: The Smartest Guys in the Room and Super Size Me, but I’d like Moore to return to his hunting of the villains of capitalism and give up on his pursuit of 9/11 answers. Breaking the Waves - Surely most movie execs were shocked at how unsexy Von Trier’s film was. After all, the story of a crippled man who sends his wife out to sleep with men for his vicarious benefit sounds like an erotic, softcore, Skinamax kind of thing. So, when do we get Breaking the Waves Too, about another crippled man with a much younger, hotter wife (just FYI, I personally have always had a crush on Emily Watson)? And since it will be have to be direct-to-video will it still need to avoid the nauseating shaky cam that made so many people sick in the theater? Sling Blade - Having recently seen Robert Duvall in the 1972 film Tomorrow, I now know that Billy Bob Thornton’s “Karl Childers” is not that unique a character. For the next installment, I’d like to see Karl (well, a character like Karl) and his southern gothic story set in New York City. It would make about as much sense as Bad Lieutenant being set in NOLA. Being John Malkovich - Who hasn’t wanted a franchise in which each installment goes inside the head of a different cult-figure actor? Even if it would ruin the original just a little big, I’d love Being Jeff Goldblum or Being Christopher Walken. The latter would be enormously popular. Kolya - This Oscar-winning foreign film showed us that heartwarming tales of old, curmudgeonly Sean Connery lookalikes who learn to love the young child they’re forced to take care of are universal. But I’d like to see the same plot in other countries besides Czechoslovakia, just to be sure. Waiting for Guffman - Oh wait, Christopher Guest has been continually remaking this movie, only without association. Never mind. Originally posted on:SpoutBlog
]]>Thu, 05 Jun 2008 19:01:05 GMTSpoutBlogSpoutBlog on spout.com6/5/2008 3:01:05 PMNow that we know, courtesy of Stu at Defamer, that Werner Herzog’s remake of Abel Ferrara’s Bad Lieutenant is not so much a remake as it is like a new entry into a franchise, a la the James Bond movies, we at SpoutBlog wonder what other ’90s indie favorites could be continued with similar yet “completely different” installments. I remember back in the day thinking that Clerks should be a franchise, each film focusing on a different crappy job experience, but now that Clerks II has come and gone, that idea will likely never be realized. Of course, the concept of sequels unrelated to the original aren’t new — just look at any sequel title substituting the number 2 (or II) with the word Too. But nevertheless, here’s a few suggestions for other crazy foreign auteurs to take into consideration: Kids - Looking back, Larry Clark’s then-shocking debut is pretty tame. Nowadays you see teens doing worse things on commercial television. So, how about someone makes another Kids movie every decade or so to expose us to the latest generation of teenagers and how appallingly different they are from the previous generation. It would be like Apted’s Up documentaries, except it wouldn’t follow the same people. Slacker - This is Karina’s suggestion, off the top of her head, so I’ll give her credit. She likes the idea of Linklater revisiting the concept behind his monumental indie, but having it set in other cities, a la The Real World. Unlike the premise of the next Real World, though, I’d be much more excited about a Slacker Brooklyn. Leaving Las Vegas - While we’re on the idea of transplanting locations, and because Herzog is setting his Bad Lieutenant in New Orleans rather than New York, let’s mention some films whose remakes sequels next installments could feature title changes depending on their location changes. Leaving Boston might not have the same ring to it, though. What about King of New York redone as King of St. Louis? Of course, Abel Ferrara is already turning King of New York into a franchise with Pericle il Nero, a prequel that isn’t quite a prequel (strange that he would have a problem with Herzog’s film, then). Swingers - This one is easy. Take some hot new subculture/dance craze/music scene and exploit it, so none of the original followers like it anymore and all of the new followers can be labeled posers (no, of course I’m not bitter). Swingers wasn’t the first movie to do it; Saturday Night Fever and probably a few ’50s rock ‘n’ roll movies were viewed the same way. I wonder what scene is cool with the alternative kids these days … The Big One - Following the success of Roger and Me, Michael Moore made this documentary in which he attempts to get interviews with other corporate heads. But now his films are mostly political and there’s less attention paid towards companies like General Motors and Nike. Sure, we’ve since seen some worthy substitutes, including The Corporation, Enron: The Smartest Guys in the Room and Super Size Me, but I’d like Moore to return to his hunting of the villains of capitalism and give up on his pursuit of 9/11 answers. Breaking the Waves - Surely most movie execs were shocked at how unsexy Von Trier’s film was. After all, the story of a crippled man who sends his wife out to sleep with men for his vicarious benefit sounds like an erotic, softcore, Skinamax kind of thing. So, when do we get Breaking the Waves Too, about another crippled man with a much younger, hotter wife (just FYI, I personally have always had a crush on Emily Watson)? And since it will be have to be direct-to-video will it still need to avoid the nauseating shaky cam that made so many people sick in the theater? Sling Blade - Having recently seen Robert Duvall in the 1972 film Tomorrow, I now know that Billy Bob Thornton’s “Karl Childers” is not that unique a character. For the next installment, I’d like to see Karl (well, a character like Karl) and his southern gothic story set in New York City. It would make about as much sense as Bad Lieutenant being set in NOLA. Being John Malkovich - Who hasn’t wanted a franchise in which each installment goes inside the head of a different cult-figure actor? Even if it would ruin the original just a little big, I’d love Being Jeff Goldblum or Being Christopher Walken. The latter would be enormously popular. Kolya - This Oscar-winning foreign film showed us that heartwarming tales of old, curmudgeonly Sean Connery lookalikes who learn to love the young child they’re forced to take care of are universal. But I’d like to see the same plot in other countries besides Czechoslovakia, just to be sure. Waiting for Guffman - Oh wait, Christopher Guest has been continually remaking this movie, only without association. Never mind. Originally posted on:SpoutBlog http://www.spout.com/blogs/eagle795/archive/2007/8/27/18859.aspx Post By: eagle795
Post To: eagle795 Blog
Post Date: 8/27/2007 1:45:43 AM
Body: Put this one in a time capsule as the definition of the late 70’s disco era. John Travolta is at the zenith of his career and The Bee Gees provide a pretty decent soundtrack. If I was about 15 years older and had been out partying during this era (instead of attending first grade) the movie may have been way higher on my list.
]]>Mon, 27 Aug 2007 05:45:43 GMTeagle795eagle795 Blog8/27/2007 1:45:43 AMPut this one in a time capsule as the definition of the late 70&rsquo;s disco era. John Travolta is at the zenith of his career and The Bee Gees provide a pretty decent soundtrack. If I was about 15 years older and had been out partying during this era (instead of attending first grade) the movie may have been way higher on my list. http://www.spout.com/groups/Top_5/Re_Top_5_EVER/190/7933/1/ShowPost.aspx Post By: lbenschwartz
Post To: Top 5
Post Date: 5/1/2007 10:00:58 PM
Body: Not saying they're the best ever made, but their my favs... 1. The Graduate2. Blue Velvet3. The Warriors4. Clockwork Orange5. Saturday Night Fever
]]>Wed, 02 May 2007 02:00:58 GMTlbenschwartzTop 55/1/2007 10:00:58 PM Not saying they&#39;re the best ever made, but their my favs... 1. The Graduate2. Blue Velvet3. The Warriors4. Clockwork Orange5. Saturday Night Fever http://www.spout.com/groups/Top_5/Re_Top_5_films_from_your_childhood/190/7777/1/ShowPost.aspx Post By: lbenschwartz
Post To: Top 5
Post Date: 4/28/2007 5:14:56 PM
Body: 1. Star Wars - I was on a family vacation when my father took my sister and I to see it. Myself, and every other five year old on the planet Earth, had their lives changed forever. 2. Tie: Grease/Saturday Night Fever - I have a sister whose about five years older who dragged me to see these two seminal Travolta flicks again and again and again. To this day, Saturday Night Fever is one of my favorite movies. 3. Porkys - First R rated movie I ever saw, or at least the first one with nudity4. Hair - For some reason, I would make my parents take me to this movie again and again. The first half, at least, still holds up thanks to the great Milos Forman.5. The Muppet Movie - Can't wait til my daughter is old enough to watch it.
]]>Sat, 28 Apr 2007 21:14:56 GMTlbenschwartzTop 54/28/2007 5:14:56 PM1. Star Wars - I was on a family vacation when my father took my sister and I to see it. Myself, and every other five year old on the planet Earth, had their lives changed forever. 2. Tie: Grease/Saturday Night Fever - I have a sister whose about five years older who dragged me to see these two seminal Travolta flicks again and again and again. To this day, Saturday Night Fever is one of my favorite movies. 3. Porkys - First R rated movie I ever saw, or at least the first one with nudity4. Hair - For some reason, I would make my parents take me to this movie again and again. The first half, at least, still holds up thanks to the great Milos Forman.5. The Muppet Movie - Can&#39;t wait til my daughter is old enough to watch it. http://www.spout.com/members/0/tags/friendship/MemberTagFilms.aspxfriendship
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