By Other Voices voices@moviecitynews.com

LETTERS FROM LARRY

..Sundance 2010
..Letters: On the Way
..Letters: Day One
..Letters: Day Two
..Letters: Day Three

DEAR DAVID:

Brian Poyser’s Lovers of Hate is the kind of tiny brilliant gem that low-budget indie films ought to be and so seldom are. Three no-name actors, (four speaking parts over all) star, half the movie shot on one practical set (located incidentally, in Park City, the action taking place in a three day period. The budget undoubtedly less than catering costs on a studio effects picture–the narrative combining elements of romantic-comedy psychological thriller, and slice of life character study, combining to produce a completely unclassifiable hybrid that is an authentically personal cinematic vision. Bravo!

Cooper and his programming team for finding this and if they could find five movies this good at this budget, in any one year’s program you’d know that American indie cinema was enjoying an artistic renaissance. I simply can’t start describing this film in detail without getting into damaging spoiler territory, but suffice it to say that you will think you’ve seen the set up and the situation before but I promise you that you haven’t. Every stock situation plays out in a quietly fresh and different way than you expect or assume If the multitudes in Park City know what is good for them, cinematically speaking, they will run not walk to the next screenings of The Lovers of Hate..

Quite a good deal more later.

Larry
Sent from my iPhone

_________________________________

Larry Gross is a 25 year screenwriting veteran and Winner of Sundance’s Waldo Salt Screenwriting Award for his most recent release, We Don’t Live Here Anymore.

Comments are closed.

Quote Unquotesee all »

“With any character, the way I think about it is, you have the role on the page, you have the vision of the director and you have your life experience… I thought it was one of the foundations of the role for John Wick. I love his grief. For the character and in life, it’s about the love of the person you’re grieving for, and any time you can keep company with that fire, it is warm. I absolutely relate to that, and I don’t think you ever work through it. Grief and loss, those are things that don’t ever go away. They stay with you.”
~ Keanu Reeves

“I was checking through stuff the other day for technical reasons. I came across The Duellists on Netflix and I was absolutely stunned to see that it was exquisitely graded. So, while I rarely look up my old stuff, I stopped to give it ten minutes. Bugger me, I was there for two hours. I was really fucking pleased with what it was and how the engine still worked within the equation and that engine was the insanity and stupidity of war. War between two men, in that case, who fight on thought they both eventually can’t remember the reason why. It was great, yeah. The great thing about these platforms now is that, one way or another, they’ll seek out and then put out the best possible form and the long form. Frequently, films get cut down because of that curse in which the studio felt or feels that they have to preview. And there’s nothing worse than a preview to diminish the original intent.Oh, yeah, how about every fucking time? And I’ve stewed about films later even more because when you tell the same joke 20 times the joke’s no longer funny. When you tell a bad joke once or twice? It’s fine. But come on, now. Here’s the key on the way I feel when I approach the movie: I try to keep myself as withdrawn from the project as possible once I’ve filmed it. And – this is all key on this – then getting a really excellent editor so I never have to sit in on editing. What happens if you sit in is you become stale and every passage or joke, metaphorically speaking, gets more and more tired. You start cutting it all back because of fatigue. So what you have to do is keep your distance and therefore, in a funny kind of way, you, as the director, should be the preview and that’s it.”
~ Sir Ridley Scott