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David Poland

By David Poland poland@moviecitynews.com

Rabbit Hole, director John Cameron Mitchell

4 Responses to “Rabbit Hole, director John Cameron Mitchell”

  1. LexG says:

    Time is a little bit at a premium today, so I can’t sit down to the whole interview just yet…

    Can someone direct me to the time code where BAND OF THE HAND is discussed in detail for 19 straight minutes?

  2. Amy says:

    Good interview but colour me surprised, for some reason, I thought JCM would be a bit energetic in person. Every of his interviews I have watched or listened to since the film debuted at TIFF almost made me want to nod off, lol.

    Looking forward to RH, word on it has been fantastic! :)

  3. scooterzz says:

    no offense intended but why do you insist on making those cooing sounds while mitchell is talking?…it gets to the point where i can only hear you saying “um-hum”, “right”, “um-hum”…the guy is a pretty prolific writer…i wouldn’t think he’d need prompting…

  4. Rita Soto says:

    I adore JCM! Very much looking forward to “Rabbit Hole”. Great interview with this talented writer/director.

DP/30

Quote Unquotesee all »

“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