BjÃ¶rk, talking to Luke Crisell at New York magazine about "Drawing Restraint 9": "Because of how Matthew [Barney] uses character, it’s more like sculpture. Me and Matthew actually sculpt each other in the film, we remove each other’s legs [with flensing knives at the film’s climax] and we end up swimming after the ship as two whales. It’s not acting like Dustin Hoffman does."
Novelist/director Ryu Murakami, talking to Kim Tae-jong at the Korea Times about how his 1992 "Tokyo Decadence" is finally being released in Korea: "Before I directed this movie, I made three other films, which I and other people weren’t happy with. The dissatisfaction could have resulted from my inability but also the fact that I worked with major film production companies and I couldn’t get my points accepted. So when I made ‘Tokyo Decadence,’ I worked with young staff, whose average age was 27, and with a low budget (to give myself more freedom in expressing my ideas)."
Cillian Murphy, talking to Jessica Winter at the Village Voice about "Breakfast on Pluto" and walking in high heels: "Oh, you just need that confidence to go for it and fall down as much as you need to. I hung out with these transvestites in London, and their advice was, ‘Learn when you’re drunk,’ so I did."
The great Ray Harryhausen, talking to William Shaw at the Observer about his career and how he inspired the recent return of stop-motion: "A lot of [the figures] were cannibalised at the time because we were short of time and money. The tentacles from this character became a dinosaur tail in the next movie."
Filmmaker Debra Granik, talking to Jeremiah Kipp at Filmmaker Magazine about "Down to the Bone": "At Sundance, an actor I admire had a cup of coffee with me…He told me, ‘You guys had so much freedom. It was like nobody was telling you what to do.’ This is an actor who has been in $15-20 million dollar films. What dawned on me was that he was right. On this project, there was no one greater than our selves. It reminds you what slogans like ‘fiercely independent’ really mean. Some days, this level of filmmaking feels like you’re in the ghetto with both hands tied behind your back. You’re unable to raise a penny. At other times, it feels like the only freedom there is exists on the margins of the filmmaking community."
Actor Donal Logue, talking to Don R. Lewis at Film Threat about his directorial debut, "Tennis, Anyone?" (which, incidentally, is going to be one of the first films released through Mark Cuban’s Truly Indie filmmaker-financed distribution arm): "The distribution environment for little movies that aren’t about blondes with big tits shooting machine guns is more grim these days than ever. We could sell rights to our movie for fifty grand, but beyond that you will never see anything again. We own our movie and are now close to breaking even, even without finishing domestic DVD deals. It is rough. Even ‘My Big Fat Greek Wedding’ had millions to keep it pumped up until it found an audience. All I have is my ATM card and I can’t do that with kids."
+ New BjÃ¶rk (New York)
+ Japanese Author Brings ‘Decadent’ Film to Seoul (Korea Times)
+ Change Clothes (Village Voice)
+ The origin of the species (Observer)
+ CUTTING CLOSE TO THE BONE (Filmmaker Magazine)
+ DONAL LOGUE: TENNIS FOR EVERYONE (Film Threat)
+ Heath Turns It Around (Time)