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David Poland

By David Poland

DP/30 – Matteo Garrone, director of Gomorrah

The director of the 2008 Italian submission for Oscar sits for a chat with David Poland.

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7 Responses to “DP/30 – Matteo Garrone, director of Gomorrah”

  1. T. Holly says:

    It blurs the lines of real and fake so naturally that Scarlett Johansson can make an appearance via newscast on the Venice Film Festival red carpet in an unidentified long, cream vintage gown in silk and lace, with a sash belt and it becomes a story point. You’re both better in person, I understand Kris Tapley has an audio interview with the writer.

  2. David Poland says:

    Was that in some kind of secret code, T Holly?

  3. T. Holly says:

    Yes. Some stories have to be approached sideways. Probably not so for those in the book Tony Scott had on his desk in David Carr’s video: “Intelligence Work: The Politics of American Documentary.”
    I’d like to see “Gomorrah” again back to back with “Manda Bala.” Returning to the dress, the producer said it was Angelina Jolie’s in the book. It’s a really cool movie.

  4. yancyskancy says:

    If I watch this video, will I understand T. Holly’s posts? Wait — Dave MADE the video, and he’s confused, so maybe I’ll just let it go.

  5. leahnz says:

    i always feel like i’m just ON THE VERGE of grocking what t. holly is on about but then the gears in my head grind to a halt and i go blank like homer simpson, complete with one eyeball twitching to side

  6. leahnz says:

    ‘twitching to THE side’ %$&#*@&$
    * david poland, any chance of adding an ‘edit’ function to your blog so that ignoramouses like me can fix our comments after the fact?

  7. movieman says:

    Terrific movie:
    it vaguely reminded me of the late, great HBO series “The Wire.”

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“But okay, I promise you now that if I ever retire again, I’m going to ensure that I can’t walk it back. I’ll post a series of the most disgusting, offensive, outrageous statements you can ever imagine. That way it will be impossible for me to ever be employed again. No one is going to take my calls. No one is going to want to be seen with me. Oh, it will be scorched earth. I will have torched everything. I’m going to flame out in the most legendary fashion.”
~ Steven Soderbergh

I feel strongly connected to young cinephile culture. The thing about filmmaking—and cinephilia—is that you can’t keep hanging out with your own age group as you get older. They drop off, move somewhere. You can’t put together a crew of sixty-somethings. It’s the same for cinephilia: my original set of cinephile friends are watching DVDs at home or delving into 1958 episodes of ‘Gunsmoke,’ something like that. The people who are out there tend to be young, and I happen to be doing the same thing still, so it’s natural that I move in their circles.

In terms of the filmmaking, there was a gear shift: my first movies focused on people around my age, and I followed them for three films. Until The Unspeakable Act, I was using the same actors, not because of an affinity for people at a specific age, but because of my affinity for the actors. I like to work with actors a second time, especially if I don’t feel confident casting a new film. But The Unspeakable Act was a different script, and I had to cast all new people. Even for the older roles, I couldn’t get the people I’d worked with before. But when it was over, the same thing happened: I wanted to work with Tallie again in the worst way, and I started the process all over again.

I think Rohmer did something similar around the time of Perceval and Catherine de HeilbronnHe developed new groups of people that he liked to work with. These gear shifts are natural. Even if you want to follow certain actors to the end of their life (which I kind of do) the variety of ideas that you generate makes it necessary to change. And once you’ve made the change, you’ve got all these new people around.”
~ Dan Sallitt