Interviews worth checking out (we’ve been letting them slide again):
Christoffer Boe (the director of "Reconstruction") with Todd at Twitch: "’I think Dogme is a wonderful thing in the sense that it has put Denmark on the map for film making and has done a lot for the industry but, as such, the film making that it does to me is really not anything revolutionary. I think Godard went out with five people and made Dogme movies in the sixties and I think they are more vibrant, they are more intellectual, they are more interesting, they are more keen on film and so forth. So I wouldnâ€™t give Dogme the benefit of reacting against it. I wouldnâ€™t say "Reconstruction" is a reaction against Dogme.’"
Jesse Bradford (now appearing in "Heights," though he really won our heart as Kirsten Dunst’s love interest in "Bring It On") with Janice Page in the Boston Globe: ”’I don’t want to say I’m trying to get away from the whole teen heartthrob thing, as if it’s this bad thing that I want nothing to do with, but it’s not the ultimate end to what I’m trying to do.’"
David Gordon Green on casting Jamie "Billy Elliot" Bell as a redneck teen in "Undertow" â€” with Sheila Johnson in the Telegraph: "’There was no question about it once we had got together. What appealed to me first off was that he was not someone trying to get a part, just a kid with a lot on his mind. No one else had that combination of energy and emotion.’"
Dan Harris (whose directorial debut, at age 24, was "Imaginary Heroes") with Mark Monahan in the Telegraph: "[Woody] Allen accidentally hit him in the chest with a ball that he was chucking against a wall between takes. ‘He said, "We’re going to pretend this never happened," and then he winked at me. And I thought it was the perfect Woody Allen moment: just small and weird and a little funny and not too much.’"
Andrew Horn, director of "The Nomi Song," with Amanda Reyes at Film Threat: "After a lot of thought I realized the simple reason the East Village became what it was, was because it was cheap and so it attracted all the lunatics and misfits who couldn’t deal with life anywhere else. We were young and life was relatively simple and we had time on our hands, places to do things (rent was cheap and spaces were available) and everyone seemed if not actually ambitious to do things then at least available."
Spike Lee with Andrew Billen in the London Times: "When Lee recalls how often Christ appeared to die in Mel Gibson’s ‘The Last Temptation of Christ’ [whoops, Billen, wrong controversial Jesus flick] (‘Jesus got his ass kicked’) he chuckles so hard that I have to tell him to calm down. His career, as opposed to Gibsonâ€™s, is, after all, a serious business.
Matthew MacFadyen (who’ll be playing Darcy in the new "Pride and Prejudice," and who was rather spectacular, in a clenchy, British way, in ultraserious BBC spy drama "Spooks" ("MI-5" here)) with Wendy Ide in the London Times: "’I find it difficult to talk about acting because…I just can’t. Unless you can dissect it like an acting teacher, you can’t do it. I’m not clever enough to do it. I can’t analyse it like that. As soon as you try and generalise something, you lose hold of it.’"
Anton Newcombe (of the Brian Jonestown Massacre, one of two bands profiled in "DiG!") with Sylvie Simmons in the Guardian: "Look at the box. It says ‘written by Ondi’. How do you write a documentary? You don’t. I’m not taking issue with any particular pixel or frame or sequence, but taken out of context, I can cut your words with this tape and make you say anything I want to say. It’s just lies – lies that were written into the narration. Courtney [Taylor, of the Dandy Warhols] read a script. They were not his words. It’s fascinating. Do you know what Courtney thinks? Shall I speak for Courtney? ‘This is a life mistake.’"
Sally Potter with Scott Foundas (who apparently famously trashed "Yes" in Variety when it premiered at Telluride last year) in the LA Weekly: "’It would have been different if everyone in Telluride had thought the film was no good. Then, however well-intentioned it had been, however hard the people had struggled, however long it took and that nobody got paid and everything â€” in a way it all would have been irrelevant, because in the end the film didn’t work. But in this case, 99 percent of the people not only thought it worked, but thought it worked brilliantly. The other 1 percent happened to have its voice in print.’"
+ Christoffer Boe interview (Twitch)
+ Jesse Bradford moves into a new role (Boston Globe)
+ The birth of Hillbilly Elliot (Telegraph)
+ The young prince of Hollywood (Telegraph)
+ Outer Space Angel (Film Threat)
+ Spike Lee (Times – London)
+ Matthew MacFadyen (Times)
+ ‘I am not a movie’ (Guardian)
+ Nick Nolte: The bad stage was good too (Independent)
+ Just Say Yes (LA Weekly)