list http://www.spout.com/ Recent community activity around Orphans 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/Orphans/320933/default.aspx Title: Orphans
Year: 2007
Director: Ry Russo-Young
Plot: Two women struggle with their personal demons as well as their troubled bonds in this independent drama. Rosie (Lily Wheelwright) and Sonia (James Katharine Flynn) are two sisters in their twenties who haven't seen one another in five years, having been on bad terms since their parents died in an auto accident. Despite their differences, Sonia asks Rosie to come home for her birthday party, and Rosie agrees. The party turns out to be a two-person affair held in an old farmhouse in the midst of a blizzard, and as the siblings try to buffer their tensions with drugs and alcohol, they bond in an alternately loving and painful manner as they confront their pasts. However, Sonia's troubling attempts to reconcile with Rosie leads to a surprising request Rosie isn't certain she can fulfill. The first feature film from writer and director Ry Russo-Young, Orphans was screened as part of the 2007 South by Southwest Film Festival, where her short film Marion was an award-winner in 2006. ~ Mark Deming, All Movie Guide
Number of Lists: 2
Number of blog posts: 5
Number of discussion threads: 1
SpoutRating: 2
]]>Mon, 22 Sep 2008 21:01:40 GMTOrphans2007Ry Russo-YoungTwo women struggle with their personal demons as well as their troubled bonds in this independent drama. Rosie (Lily Wheelwright) and Sonia (James Katharine Flynn) are two sisters in their twenties who haven't seen one another in five years, having been on bad terms since their parents died in an auto accident. Despite their differences, Sonia asks Rosie to come home for her birthday party, and Rosie agrees. The party turns out to be a two-person affair held in an old farmhouse in the midst of a blizzard, and as the siblings try to buffer their tensions with drugs and alcohol, they bond in an alternately loving and painful manner as they confront their pasts. However, Sonia's troubling attempts to reconcile with Rosie leads to a surprising request Rosie isn't certain she can fulfill. The first feature film from writer and director Ry Russo-Young, Orphans was screened as part of the 2007 South by Southwest Film Festival, where her short film <a href=/films/110706/default.aspx style='text-decoration:underline'>Marion</a> was an award-winner in 2006. ~ Mark Deming, All Movie Guide2512http://www.spout.com/ProductImages/s320933.jpghttp://www.spout.com/films/Orphans/320933/default.aspxFilm http://www.spout.com/blogs/spoutblog/archive/2008/9/22/35397.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 9/22/2008 5:01:40 PM
Body: Ry Russo-Young, who many will remember from her role in Joe Swanberg’s Hannah Takes the Stairs, was a prize winner at two of the last three SXSWs - she won the jury award for best experimental film for her Psycho deconstruction Marion at the 2006 fest and shared a special jury prize for Orphans at the 2007 edition. Orphans hits DVD next week via David Redmon and Ashley Sabin’s brand new label Carnivalesque Films. She chatted with us this week about Why Does Herr R Run Amok?, what working with the band “The Virgins” on her new film You Won’t Miss Me was like and why concert films aren’t really for her unless Amy Winehouse or The Rolling Stones are in them. What films or television shows have you seen recently? The Pool by Chris Smith at Film Forum, Man On Wire, Fassbinder’s film Why Does Herr R Run Amok?, The Dutchess, Day Of Wrath. I recently saw Hal Ashby’s movie Being There with Peter Sellers and Shirley MacLaine. Which ones stuck with you and why? Why Does Herr R Run Amok? stayed with me. I’m not yet sure why exactly… the style, the performances and then the brutal ending all came together like an elegant effortless dance. The whole time I was watching it I was completely enraptured and wasn’t sure why or where it was all going and then BAM the movie hits you so hard in one clean action and then the brutal truth becomes crystal clear. It’s pretty amazing. Does your interest in them have anything to do with your own work as a filmmaker? Oh yeah, of course. I like to watch things that will inspire me and push me. I also watch a lot in order to figure out how certain people did things in their films, how a scene was covered or the way a plot unfolds. How often do you read fiction? Do you wish you read more? I do wish I read more but have also been reading more frequently recently and I have to say, it feels great to stimulate my brain in that specific way. I read some fiction like Factory of Facts by Luc Sante, but I also like memoirs, diaries, biographies and the newspaper. I read something everyday, even if it’s something small like a paragraph size entry from the diaries of Robert Musil. You can just pick it up anytime and be given a little anecdote or sliver of insight. What would be your ideal literary adaptation and why? Ah, well, there is a book I recently fell in love with that would make a great New York movie. I found the story, characters and landscape to be riveting. I could see the scenes unfold as if I were watching them on a screen. The story has a relevance that speaks beyond specifics and becomes primal, like The Godfather. I can’t say much more but maybe later… How, if at all, has reading informed your filmmaking? Oh, that’s a tough one! Right now I’m working on a screenplay that’s adapted from a short story and what I loved about the story was the way it dove into the characters subconscious point of view and jumped from the exterior to the interior worlds. This is something we can also do with filmmaking using tools like voice over, POV and dreams. I think this first appealed to me in literature before I realized how it could be utilized in film. What are you listening to recently? Roland Kirk, an album called The Inflated Tear. Also Elvis, MGMT, Bruce Springsteen, The Fiery Furnaces, Golden Animals, The Stance Brothers, “Youth Group.” If you could collaborate with one musician on a film, who would it be and why? I’m not sure. In the movie I just finished You Won’t Miss Me, I worked with the band The Virgins as well as several other musicians who act in the film. The band acts in the film in addition to playing their music within the narrative of the movie. The lead character, Shelly Brown goes to see and band called The Virgins and then goes back stage afterwards to hang out. For You Won’t Miss Me I also worked with Will Bates who composed the perfect score for the film. What would be the ideal pairing for you if you were to make a concert film? I’ve never been a big fan of concert films, I’m usually kind of bored by them. I think I prefer films like Gimme Shelter that include and are about a concert but are maybe not a strait up “concert film.” I’d be interested in working with Amy Winehouse because her music is soulful but also because it would be interesting to watch her the moment after she walks off the stage. Originally posted on:SpoutBlog
]]>Mon, 22 Sep 2008 21:01:40 GMTSpoutBlogSpoutBlog on spout.com9/22/2008 5:01:40 PM Ry Russo-Young, who many will remember from her role in Joe Swanberg’s Hannah Takes the Stairs, was a prize winner at two of the last three SXSWs - she won the jury award for best experimental film for her Psycho deconstruction Marion at the 2006 fest and shared a special jury prize for Orphans at the 2007 edition. Orphans hits DVD next week via David Redmon and Ashley Sabin’s brand new label Carnivalesque Films. She chatted with us this week about Why Does Herr R Run Amok?, what working with the band “The Virgins” on her new film You Won’t Miss Me was like and why concert films aren’t really for her unless Amy Winehouse or The Rolling Stones are in them. What films or television shows have you seen recently? The Pool by Chris Smith at Film Forum, Man On Wire, Fassbinder’s film Why Does Herr R Run Amok?, The Dutchess, Day Of Wrath. I recently saw Hal Ashby’s movie Being There with Peter Sellers and Shirley MacLaine. Which ones stuck with you and why? Why Does Herr R Run Amok? stayed with me. I’m not yet sure why exactly… the style, the performances and then the brutal ending all came together like an elegant effortless dance. The whole time I was watching it I was completely enraptured and wasn’t sure why or where it was all going and then BAM the movie hits you so hard in one clean action and then the brutal truth becomes crystal clear. It’s pretty amazing. Does your interest in them have anything to do with your own work as a filmmaker? Oh yeah, of course. I like to watch things that will inspire me and push me. I also watch a lot in order to figure out how certain people did things in their films, how a scene was covered or the way a plot unfolds. How often do you read fiction? Do you wish you read more? I do wish I read more but have also been reading more frequently recently and I have to say, it feels great to stimulate my brain in that specific way. I read some fiction like Factory of Facts by Luc Sante, but I also like memoirs, diaries, biographies and the newspaper. I read something everyday, even if it’s something small like a paragraph size entry from the diaries of Robert Musil. You can just pick it up anytime and be given a little anecdote or sliver of insight. What would be your ideal literary adaptation and why? Ah, well, there is a book I recently fell in love with that would make a great New York movie. I found the story, characters and landscape to be riveting. I could see the scenes unfold as if I were watching them on a screen. The story has a relevance that speaks beyond specifics and becomes primal, like The Godfather. I can’t say much more but maybe later… How, if at all, has reading informed your filmmaking? Oh, that’s a tough one! Right now I’m working on a screenplay that’s adapted from a short story and what I loved about the story was the way it dove into the characters subconscious point of view and jumped from the exterior to the interior worlds. This is something we can also do with filmmaking using tools like voice over, POV and dreams. I think this first appealed to me in literature before I realized how it could be utilized in film. What are you listening to recently? Roland Kirk, an album called The Inflated Tear. Also Elvis, MGMT, Bruce Springsteen, The Fiery Furnaces, Golden Animals, The Stance Brothers, “Youth Group.” If you could collaborate with one musician on a film, who would it be and why? I’m not sure. In the movie I just finished You Won’t Miss Me, I worked with the band The Virgins as well as several other musicians who act in the film. The band acts in the film in addition to playing their music within the narrative of the movie. The lead character, Shelly Brown goes to see and band called The Virgins and then goes back stage afterwards to hang out. For You Won’t Miss Me I also worked with Will Bates who composed the perfect score for the film. What would be the ideal pairing for you if you were to make a concert film? I’ve never been a big fan of concert films, I’m usually kind of bored by them. I think I prefer films like Gimme Shelter that include and are about a concert but are maybe not a strait up “concert film.” I’d be interested in working with Amy Winehouse because her music is soulful but also because it would be interesting to watch her the moment after she walks off the stage. Originally posted on:SpoutBlog http://www.spout.com/blogs/karina/archive/2008/6/11/31119.aspx Post By: Karina
Post To: Karina on SpoutBlog
Post Date: 6/11/2008 3:00:51 PM
Body: Exciting news from David Redmon and Ashley Sabin, co-directors of a couple of our favorite recent docs, Kamp Katrina and Intimidad: they’re expanding the purview of their production company, Carnivalesque Films, in order to start distributing DVDs. Their first release will be their own film, the 2005 Sundance premiere Mardi Gras: Made in China, and it’ll be available, to quote David, “everywhere,” on July 29. In the coming months, Carnivalesque will distribute two festival favorites: Ry Russo-Young’s SXSW Special Jury prize winner Orphans, and The Holy Modal Rounders: Bound to Lose. The Mardi Gras trailer is embedded above; we’ll pass along more details on Carnivalesque’s upcoming releases as we get them. Originally posted on:SpoutBlog » Karina Longworth
]]>Wed, 11 Jun 2008 19:00:51 GMTKarinaKarina on SpoutBlog6/11/2008 3:00:51 PM Exciting news from David Redmon and Ashley Sabin, co-directors of a couple of our favorite recent docs, Kamp Katrina and Intimidad: they’re expanding the purview of their production company, Carnivalesque Films, in order to start distributing DVDs. Their first release will be their own film, the 2005 Sundance premiere Mardi Gras: Made in China, and it’ll be available, to quote David, “everywhere,” on July 29. In the coming months, Carnivalesque will distribute two festival favorites: Ry Russo-Young’s SXSW Special Jury prize winner Orphans, and The Holy Modal Rounders: Bound to Lose. The Mardi Gras trailer is embedded above; we’ll pass along more details on Carnivalesque’s upcoming releases as we get them. Originally posted on:SpoutBlog » Karina Longworth http://www.spout.com/blogs/spoutblog/archive/2008/6/11/31118.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 6/11/2008 3:00:40 PM
Body: Exciting news from David Redmon and Ashley Sabin, co-directors of a couple of our favorite recent docs, Kamp Katrina and Intimidad: they’re expanding the purview of their production company, Carnivalesque Films, in order to start distributing DVDs. Their first release will be their own film, the 2005 Sundance premiere Mardi Gras: Made in China, and it’ll be available, to quote David, “everywhere,” on July 29. In the coming months, Carnivalesque will distribute two festival favorites: Ry Russo-Young’s SXSW Special Jury prize winner Orphans, and The Holy Modal Rounders: Bound to Lose. The Mardi Gras trailer is embedded above; we’ll pass along more details on Carnivalesque’s upcoming releases as we get them. Originally posted on:SpoutBlog
]]>Wed, 11 Jun 2008 19:00:40 GMTSpoutBlogSpoutBlog on spout.com6/11/2008 3:00:40 PM Exciting news from David Redmon and Ashley Sabin, co-directors of a couple of our favorite recent docs, Kamp Katrina and Intimidad: they’re expanding the purview of their production company, Carnivalesque Films, in order to start distributing DVDs. Their first release will be their own film, the 2005 Sundance premiere Mardi Gras: Made in China, and it’ll be available, to quote David, “everywhere,” on July 29. In the coming months, Carnivalesque will distribute two festival favorites: Ry Russo-Young’s SXSW Special Jury prize winner Orphans, and The Holy Modal Rounders: Bound to Lose. The Mardi Gras trailer is embedded above; we’ll pass along more details on Carnivalesque’s upcoming releases as we get them. Originally posted on:SpoutBlog http://www.spout.com/groups/FilmCouch/FilmCouch_24/302/11173/1/ShowPost.aspx Post By: porcupine
Post To: FilmCouch
Post Date: 6/15/2007 5:40:14 PM
Body: This week Paul and I talked about "Mumblecore" (aka- movies made by aimless twenty-something about aimless twenty-somethings for aimless twenty-somethings). Or is it more than that? Some titles we discussed:Hanna Takes the StairsLOLKissing on the MouthOrphansQuiet CityThe Godfather (it's in there, listen for it) Also, Paul mentioned the Duplass Brothers and their 2005 Sundance hit, The Puffy Chair. I had not seen that one, so my wife and I watched it last night. We both enjoyed it very much, but her comment kind of surprised me. She said, "This reminds me of Bottle Rocket so much that it's almost annoying." Interesting. I hadn't thought about these films in that context before. They do resemble Wes Anderson's premeire film quite a bit, I didn't make the connection because I usually think of Bottle Rocket as a stepping stone to Anderson's later, much more "production design-y" work.So what do you think? Has this been done before? If not by Wes Anderson, then who?
]]>Fri, 15 Jun 2007 21:40:14 GMTporcupineFilmCouch6/15/2007 5:40:14 PMThis week Paul and I talked about "Mumblecore" (aka- movies made by aimless twenty-something about aimless twenty-somethings for aimless twenty-somethings). Or is it more than that? Some titles we discussed:Hanna Takes the StairsLOLKissing on the MouthOrphansQuiet CityThe Godfather (it&#39;s in there, listen for it) Also, Paul mentioned the Duplass Brothers and their 2005 Sundance hit, The Puffy Chair. I had not seen that one, so my wife and I watched it last night. We both enjoyed it very much, but her comment kind of surprised me. She said, "This reminds me of Bottle Rocket so much that it&#39;s almost annoying." Interesting. I hadn&#39;t thought about these films in that context before. They do resemble Wes Anderson&#39;s premeire film quite a bit, I didn&#39;t make the connection because I usually think of Bottle Rocket as a stepping stone to Anderson&#39;s later, much more "production design-y" work.So what do you think? Has this been done before? If not by Wes Anderson, then who? http://www.spout.com/blogs/spoutblog/archive/2007/3/13/6526.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 3/13/2007 6:20:00 PM
Body: Left to right: Scott Kirsner (Cinematech), Ry Russo-Young (Orphans), Lance Weiler (Head Trauma, The Workbook Project) and Alison Willmore (IFC News) on the future of filmmaking. Syndicated Feed From:SpoutBlog
]]>Tue, 13 Mar 2007 22:20:00 GMTSpoutBlogSpoutBlog on spout.com3/13/2007 6:20:00 PMLeft to right: Scott Kirsner (Cinematech), Ry Russo-Young (Orphans), Lance Weiler (Head Trauma, The Workbook Project) and Alison Willmore (IFC News) on the future of filmmaking. Syndicated Feed From:SpoutBlog http://www.spout.com/blogs/spoutblog/archive/2007/3/13/6527.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 3/13/2007 6:15:00 PM
Body: Spout invited Scott Kirsner (Cinematech), Ry Russo-Young (Orphans), Lance Weiler (Head Trauma, The Workbook Project) and Alison Willmore (IFC News) to come and talk. We like their minds and think they're really tapped into the future of filmmaking and what the new distribution "sledgehammer" will be. Syndicated Feed From:SpoutBlog
]]>Tue, 13 Mar 2007 22:15:00 GMTSpoutBlogSpoutBlog on spout.com3/13/2007 6:15:00 PMSpout invited Scott Kirsner (Cinematech), Ry Russo-Young (Orphans), Lance Weiler (Head Trauma, The Workbook Project) and Alison Willmore (IFC News) to come and talk. We like their minds and think they're really tapped into the future of filmmaking and what the new distribution "sledgehammer" will be. Syndicated Feed From:SpoutBlog http://www.spout.com/members/0/tags/drugs/MemberTagFilms.aspxdrugs
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