MCN Blogs
David Poland

By David Poland poland@moviecitynews.com

Up On Review – Passion Play

8 Responses to “Up On Review – Passion Play”

  1. Proman says:

    So, alright suppose the movie really is bad. But don’t you feel it’s a little unfair to label someone who only ever directed one film as “not that kind of director”?

  2. LexG says:

    THE FOX. Still a MUST-SEE for Megan, Murray and Rourke.

    Dug the fortuitous Scorsese red-light on Poland’s face at 1:50!

  3. qwiggles says:

    I think this is going to live on as some kind of bizarro world terrible version of Lost Highway once it ends up on cable.

  4. IOv3 says:

    Dude, I know you are busy but you can’t neglect the blog like this all weekend. If you are not going to post BO reports or even add a BYOB, then let your administrator do it. If not, then changing everything right before TIFF was a bad freaking idea.

  5. Peter says:

    Saw it at TIFF. It was bad. Wild Orchid level bad. LexG, you might like it though since Megan is pretty hot in it, but she needs an acting coach…

  6. LexG says:

    All I needed to hear!

  7. Pitt says:

    I think some people are going to love it and some people are going to hate it. It’s more a film for film school students I think.

  8. nate says:

    I’ve read the script. I almost consulted on the film. They had budget problems before shooting started and apparently it came through. Actually, the script was pretty bad too when I read it. I knew it would be a flop.

Leave a Reply

The Hot Blog

Quote Unquotesee all »

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