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David Poland

By David Poland poland@moviecitynews.com

DP/30 – Please Give writer/director Nicole Holofcener

pleasegive490.jpg
mp3 of the interview

8 Responses to “DP/30 – Please Give writer/director Nicole Holofcener”

  1. guselephant says:

    Thanks for these, FYI, DP30 site still doesn’t work in safari. QT videos don’t load, RSS on the page doesn’t work either.

  2. David Poland says:

    Odd… just opened in Safari and worked just fine.
    Also, checked on iPad, which is only Safari, and works fine.
    Not sure how to help.

  3. Rob says:

    She gets marginalized by the critical boys’ club, but I think her movies are better than Noah Baumbach’s and Alexander Payne’s.

  4. leahnz says:

    tell it like it is, rob
    (i haven’t been able to watch this yet, but i’m a fan of ‘lovely and amazing’ and ‘walking and talking’. it would appear keener is her muse)

  5. JTag says:

    Rob, I completely agree with you. I hate pulling the whole “if it was directed by a man…” card buuuuuuut, “Walking and Talking” deserves way more respect than it gets.

  6. Joe Leydon says:

    She looks cute.

  7. Rob says:

    Actually, I withdraw what I said about the critical boys’ club after reading the NY Times and LA Times reviews.
    Dargis writes as if Holofcener’s movies are about and for women exclusively while Turan says: “No American writer-director has her exact sense of the way some of us live today…Holofcener has always been a piercing and amusing observer of life’s anxieties and discontents, illuminating how we make our way through the tangle of dissatisfactions that confront us at every turn.”
    I would also argue that, from Lovely & Amazing on, she’s dealt with class in a way that American filmmakers almost never do.

  8. Blackcloud says:

    Her name reminds me of Holofernes. C’mon, I can’t be the only one.

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“Well, actually, of that whole group that I call the post-60s anti-authority auteurs, a lot of them came from television. Peckinpah’s the only one whose television work represents his feature work. I mean, like the only one. Mark Rydell can direct a really good episode of ‘Gunsmoke’ and Michael Ritchie can direct a really good episode of ‘The Big Valley,’ but they don’t necessarily look like The Candidate. But Peckinpah’s stuff, even the scripts he wrote that he didn’t even direct, have a Peckinpah feel – the way I think there’s a Corbucci West – suggest a Peckinpah West. That even in his random episodes that he wrote for ‘Gunsmoke’ – it’s right there.”
~ Quentin Tarantino

“The thought is interrupted by an odd interlude. We are speaking in the side room of Casita, a swish and fairly busy Italian bistro in Aoyama – a district of Tokyo usually so replete with celebrities that they spark minimal fuss. Kojima’s fame, however, exceeds normal limits and adoring staff have worked out who their guest is. He stops mid-sentence and points up towards the speakers, delighted. The soft jazz that had been playing discreetly across the restaurant’s dark, hardwood interior has suddenly been replaced with the theme music from some of Kojima’s hit games. Harry Gregson-Williams’ music is sublime in its context but ‘Metal Gear Solid 4: Guns of the Patriots’ is not, Kojima acknowledges, terribly restauranty. He pauses, adjusting a pair of large, blue-framed glasses of his own design, and returns to the way in which games have not only influenced films, but have also changed the way in which people watch them. “There are stories being told [in cinema] that my generation may find surprising but which the gamer generation doesn’t find weird at all,” he says.
~ Hideo Kojima