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Kim Voynar

By Kim Voynar Voynar@moviecitynews.com

Go Tinklenberg!

Awesome news coming from Minnesota Public Radio: The Democratic Congressional Campaign Committee has reportedly added El Tinklenberg to the list of candidates it will support from its Red to Blue Fund, which pours money into the coffers of Democratic candidates in races where there’s a good possibility of taking back a Republican-controlled seat.
The DCCC will, it seems, spend more than $1 million in television ads supporting Tinklenberg in his race against Michele “McCarthy” Bachmann. The ads start tomorrow. This could be just what the Tink needs to uproot Bachmann and put a Democrat in the seat for Minnesota’s Sixth Congressional District. One question … will the DCCC’s ads end with a “thank you” to Bachmann for handing them her own head on a silver platter? She keeps trying to backtrack and talk her way out of this, but that’s kind of hard to do when the video of you saying the very things you’re denying saying is out there to be seen by anyone and everyone.
It’s going to be a close race, but here’s hoping Tinklenberg pulls it off. This has just become one of the hottest races to watch on election night.
… and mucho thanks to Ray Pride for tipping me off about this.

4 Responses to “Go Tinklenberg!”

  1. Deathtongue_Groupie says:

    This is on top of the $640K that came in within 48 hours of her appearance on Hardball.
    The RNC must be shitting bricks, she turned a cake walk re-election into a toss up with one Fascist remark.
    Way to go!

  2. Mgmax says:

    Oh great, another “movie” blog that’s all about liberal politics. Anyone know a movie blog that’s about movies?

  3. jeffmcm says:

    Mgmax, didn’t you read the first three letters after the www up above?

  4. swordandpen says:

    Mgmax, do you plan to do this martyr routine on every movie blog?

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Julian Schnabel: Years ago, I was down there with my cousin’s wife Corky. She was wild — she wore makeup on her legs, and she had a streak in her hair like Yvonne De Carlo in “The Munsters.” She liked to paint. I had overalls on with just a T-shirt and looked like whatever. We were trying to buy a bunch of supplies with my cousin Jesse’s credit card. They looked at the credit card, and then they looked at us and thought maybe we stole the card, so they called Jesse up. He was a doctor who became the head of trauma at St. Vincent’s. They said, “There’s somebody here with this credit card and we want to know if it belongs to you.”

He said, “Well, does the woman have dyed blonde hair and fake eyelashes and look like she stepped out of the backstage of some kind of silent movie, and is she with some guy who has wild hair and is kind of dressed like a bum?”

“Yeah, that’s them.”

“Yeah, that’s my cousin and my wife. It’s okay, they can charge it on my card.”
~ Julian Schnabel Remembers NYC’s Now-Shuttered Pearl Paint

MB Cool. I was really interested in the aerial photography from Enter the Void and how one could understand that conceptually as a POV, while in fact it’s more of an objective view of the city where the story takes place. So it’s an objective and subjective camera at the same time. I know that you’re interested in Kubrick. We’ve talked about that in the past because it’s something that you and I have in common—

GN You’re obsessed with Kubrick, too.

MB Does he still occupy your mind or was he more of an early influence?

GN He was more of an early influence. Kubrick has been my idol my whole life, my own “god.” I was six or seven years old when I saw 2001: A Space Odyssey, and I never felt such cinematic ecstasy. Maybe that’s what brought me to direct movies, to try to compete with that “wizard of Oz” behind the film. So then, years later, I tried to do something in that direction, like many other directors tried to do their own, you know, homage or remake or parody or whatever of 2001. I don’t know if you ever had that movie in mind for your own projects. But in my case, I don’t think about 2001 anymore now. That film was my first “trip” ever. And then I tried my best to reproduce on screen what some drug trips are like. But it’s very hard. For sure, moving images are a better medium than words, but it’s still very far from the real experience. I read that Kubrick said about Lynch’s Eraserhead, that he wished he had made that movie because it was the film he had seen that came closest to the language of nightmares.

Matthew Barney and Gaspar Noé