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David Poland

By David Poland poland@moviecitynews.com

DP/Sneak – Emma Stone Stalks Keri Russell

12 Responses to “DP/Sneak – Emma Stone Stalks Keri Russell”

  1. Tofu says:

    Stone is hotter when off screen. DP’s seem to overlight her or something.
    Oh, and she’s a good actress too mumble mumble.

  2. leahnz says:

    emma reminds me of jodie foster back in the day – that smile, her voice…if they ever do ‘the jodie foster story’, i reckon emma’s channeling some young jodie

  3. Pete Grisham says:

    Watch her left index finger at :48 seconds when she says “Loved you on Felicity”.
    It’s faster than DP’s camera.

  4. Pete Grisham says:

    Also, way to repeat someone else’s joke with the closing “Once you’ve done that you can retire”, DP!

  5. yancyskancy says:

    To be picky, that’s her right index finger, Pete.
    I think Emma Stone is my favorite human on the planet right now. I am so there for the opening weekend of EASY A. I would give her an Oscar for the trailer. CHARMING, as is sometimes said around here.

  6. Anghus Houvouras says:

    the trailer is great until in the middle where she goes ‘in school, we were studying the scarlett letter, this chick named Hester Pryne…”(im paraphrasing)
    Ohhhhhhhh, it’s a book…..
    NAILS….. ON…. CHALKBOARD….
    Bad bad bad bad bad bad writing. If you have to explain the Scarlett Letter reference then this country is too stupid to save.
    Verbally name checking the book you are taking inspiration from is just so fucking sad. i hope that bit isnt in the movie and just some half assed marketing.

  7. The Pope says:

    Leah,
    Yes, the way her hair falls over one eye is definitely Jodie circa Taxi Driver and especially Freaky Friday. Even the tone of her voice, “gonna be tough, man” you can hear Iris in the coffee shop with Travis.

  8. yancyskancy says:

    Anghus: My understanding is that a recurring device in the film is Stone’s character recording her thoughts on a webcam or something (seems to be the case in the trailer). I assume some of that will carry over into narration. I have no trouble buying that a high schooler telling this story on her webcam would explain how the book relates to her situation, even if from the studio’s standpoint it also has the side benefit of filling in the great unwashed watching in the theater.
    If cultural illiteracy bums you out, for God’s sake never watch Jay Leno when he’s doing his “Jaywalking” feature or the Jeopardy-style “Battle of the Jaywalk All-Stars (I know, there are plenty of other reasons not to watch).

  9. Anghus Houvouras says:

    yancy, i would never… ever… watch Jay Leno. Jay Leno is the anti-funny. He’s is a fucking black whole of originality. the last time i saw Jay Leno and laughed was when he hosted SNL in 1985. I watched the Tonight Show with Jay for about 7 episodes before i decided that comedy that safe and sanitized deserves no further attention.

  10. leahnz says:

    “Even the tone of her voice, “gonna be tough, man” you can hear Iris in the coffee shop with Travis.”
    totally, pope. glad someone else sees/hears it

  11. Foamy Squirrel says:

    You hear the voices too?!?!?

  12. EdHavens says:

    Now THIS is the girl LexG and Hollywood should be obsessing over. Equal parts talented and drop-dead gorgeous, all charm and grace and that voice… holy shit!

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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