"I had a revelation while watching Muppets Music Moments," writes Cheryl Eddy at the San Francisco Bay Guardian. "Statler and Waldorf are the reasons I became a film critic." Truer words, truer words.
You love to blur the line between your life and workâ€”
me, sometimes life and work become indistinct. Fitzcarraldo, he pulled
a 3,650-ton ship over a mountain, with 1,100 savage Indians, in the
middle of the Peruvian jungle? Yesâ€”weâ€™ll do that too. I donâ€™t mind that
other filmmakers make movies with different means. But Iâ€™ll do it my
"Half Nelson" director Ryan Fleck discusses "McCabe & Mrs Miller" in the Telegraph: "Throughout, there are sudden zooms in on characters. You don’t know why – it feels very random, and yet it feels right. Or moments when someone is talking and another character is looking at something off-screen. The dialogue is never as important as all those glances."
Hugh Hart at Wired News reports of the filmmakers behind "Four Eyed Monster," who recently put their entire feature film up on YouTube: "In the past week alone, Crumley and Buice say they’ve earned more than $20,000 in referral payments from sponsor Spout.com, a movie rate-and-review site that’s giving the filmmakers $1 for each new recommendation for Monsters made by a site visitor."
"The Cell" director Tarsem Singh‘s film "The Fall" is "what would’ve happened if Andrei Tarkovsky had made ‘The Wizard of Oz,’" according to David Fincher, but as Patrick Goldstein writes in the LA Times, "He can’t get anyone to release the movie."
Several execs I spoke to theorized that Tarsem’s success as a commercial director worked against the film, saying it would’ve received a warmer festival reception if it had been made by a struggling Third World filmmaker instead of a chic director best known for soft-drink ads and R.E.M. videos.
"If the film were in a foreign language, it would probably would have sold right away," says Think Films chief Mark Urman, an admirer of the movie.
At Slate, Blake Bailey examines Sam Mendes‘ planned "Revolutionary Road" adaptation and Richard Yates’ novel: "Were Yates alive to advise Mendes, I daresay he’d insist that the movie begin, as the novel does, with April’s mortifyingly awful performance in an amateur production of The Petrified Forest." And also at Slate, Eric Lichtenfeld dissects the lasting impact of John McClane’s signature line:
When terrorist-slash-exceptional thief Hans Gruber (Alan Rickman) taunts hero John McClane (Bruce Willis), "Who are you? Just another American who saw too many movies as a child?" and asks this "Mr. Cowboy" if he really thinks he stands a chance, McClane’s answerâ€”"Yippee-ki-yay, motherfucker"â€”marks the moment that McClane, an everyman, assumes the mantle of America’s archetypal heroes: Roy Rogers, John Wayne, Gunsmoke’s Marshall Dillon, and others who have been so vital to American boyhood. Unlike the many action-movie one-liners that are rooted in the hero’s narcissism, McClane’s stems from our collective wish-fulfillment. He is not referring to himself, not suggesting an "I" or a "me" but an us.
+ Singin’ and shillin’ with the Muppets (SF Bay Guardian)
+ ‘My Left Foot’ typewriter on sale (BBC)
+ Influences: Werner Herzog (New York)
+ Filmmakers on film: Ryan Fleck (Telegraph)
+ Fans Help Filmmakers Win YouTube Deal (Wired News)
+ No one wants to take "The Fall," a film Tarsem Singh made on his own terms (LA Times)
+ Revolutionary Roadâ€”the Movie (Slate)
+ Yippee-Ki-Yay … (Slate)