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Ray Pride

By Ray Pride Pride@moviecitynews.com

Basic Skyline: tear down this phallus, Mr. Livingstone!

In the Guardian, Peter Bradshaw constructs prize contumely in: re a certain building being the anchor of today’s London skyline in movies: “And, please, what is it with the Swiss Re ‘gherkin’ building? Why is it that every film set in London has to feature the gherkin? It used to be that London films had Routemasters sailing past the Palace of Westminster as their establishing shot. 30 St Mary Axe Gherkin photo by Grant Smith.jpgNow it’s that bulbous, squat glass edifice poking up into the skyline as characters hurry in and out of cabs. Morrissey’s office is actually in the gherkin, one of the most implausible sets I have ever seen, with its cross-diagonal struts visible on the windows overlooking the city. Why not have his office on the London Eye for ‘Basic Instinct 3′? Our poor capital city adds nothing to the film, and the film contributes nothing to London; it might as well be set on one of Jupiter’s moons for all the atmosphere that is injected. Basic Instinct 2 resembles nothing so much as the toe-curling sex-obsession drama Killing Me Softly, another movie in which the UK is about as sexy as a pair of old Y-fronts.”

One Response to “Basic Skyline: tear down this phallus, Mr. Livingstone!”

  1. Kathy Boyes says:

    Down here at the bottom of the world in the Aussie sun we always thought the UK was about as sexy as a pair of old Y-fronts

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“The evening’s curious vanity and irrelevance stay with me, if only because those qualities characterize so many of Hollywood’s best intentions. Social problems present themselves to many of these people in terms of a scenario, in which, once certain key scenes are licked (the confrontation on the courthouse steps, the revelation that the opposition leader has an anti-Semitic past, the presentation of the bill of participants to the President, a Henry Fonda cameo), the plot will proceed inexorably to an upbeat fade. Marlon Brando does not, in a well-plotted motion picture, picket San Quentin in vain: what we are talking about here is faith in a dramatic convention. Things “happen” in motion pictures. There is always a resolution, always a strong cause-effect dramatic line, and to perceive the world in those terms is to assume an ending for every social scenario… If the poor people march on Washington and camp out, there to receive bundles of clothes gathered on the Fox lot by Barbra Streisand, then some good must come of it (the script here has a great many dramatic staples, not the least of them in a sentimental notion of Washington as an open forum, cf. Mr. Deeds Goes to Washington), and doubts have no place in the story.”
~ Joan Didion On Hw’d In 1970

CAMPION: We were driving around the countryside the other day, and we happened to chance upon a lone bull and cow going through some sex rituals. I was so surprised to see how lengthy the whole process was for this bull. He started licking the cow’s shin and worked his way quite laboriously up toward her ass. And every now and again, you thought, “Maybe she’s ready now—he’ll try a quick move.”
TAYLOR-JOHNSON: She wasn’t ready.
CAMPION: She made it clear that that wasn’t the case. We couldn’t even wait; it was like 15 minutes, but it was really adorable. Even when we came back, they were still at it. The foreplay was phenomenal.
TAYLOR-JOHNSON: You don’t think of animal love in that way.
~ Jane Campion And Sam Taylor-Johnson in Interview

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