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By DP30 david@thehotbuttonl.com

DP/30: Winter’s Bone, actor Jennifer Lawrence

9 Responses to “DP/30: Winter’s Bone, actor Jennifer Lawrence”

  1. Keil Shults says:

    Despite having read this website for years, I’ve never really gotten around to watching these DP interviews. But with my new job affording me lots of time alone in a room in front of a computer, I figured, “What the hell.”

    Anyway, interesting interview. I have yet to see Winter’s Bone, but apparently Netflix shipped it to me today, so I should be viewing it tomorrow evening. Very eager to see if the film and its newfound star are worth all this hubbub (I’m guessing they are).

    As for Lawrence herself…she seems to have many admirable qualities that appear to be lacking from many Hollywood starlets, but I suppose it’s also early in her career. Hopefully she won’t get seduced by the dark side. My heart still hasn’t recovered from realizing that Veronica Mars was only a fictional character, and the girl who played her seems intent on going against every witty, intelligent, sarcastic bone in her alter ego’s body.

  2. sanj says:

    that was fun – she got annoyed by your questions by the
    end…

    DP – time to get teen reporter to do teen actor interviews

  3. LexG says:

    “DP – time to get teen reporter to do teen actor interviews”

    Bullshit, time to get LEXG to do the teen ACTRESS interviews.

    MMMMMMMMMMMMMMMMMMMM.

  4. t.holly says:

    29:50 Action in the bedroom, hilarious.

  5. NickF says:

    Good stuff sir. She has an un-corrupted view of Hollywood, maybe even naive at times. But that is nice to see every once in a while. Her personality is very likable.

    I finally saw Winter’s Bone over the weekend, and she most definitely deserves a best actress nomination. The competition will be fierce, but the performance is exceptional.

  6. LexG says:

    Is there anything more hypnotic than a young blonde woman?

    Answer: NO.

  7. Keil Shults says:

    Since she seems to love P.T. Anderson, I’ll be the first to suggest he cast her as the lead in a Rollergirl spin-off (no pun intended).

  8. Keil Shults says:

    Finally saw the film last night. I liked the movie well enough, but felt it was a bit overrated. I’d give it a solid B+, and am definitely thinking of removing it from my Top 10 Best Pic Nominee Predictions.

    As for her performance…I thought it was really good, especially given her age and relative inexperience. However, I didn’t find it quite as amazing or affecting as I had anticipated, and while I still think a nomination is possible, it seems unlikely that she could actually win.

    And finally, John Hawkes is indeed a badass.

  9. Chris Rasmussen says:

    A solid, inspiring interview with a sincere, professional, unaffected talent. Would that the audio recordist have smacked the interviewer the first of FAR too many times that he annoyingly pounded or scratched his mic…

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DP/30

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Tsangari: With my next film, White Knuckles, it comes with a budget — it’s going to be a huge new world for me. As always when I enter into a new thing, don’t you wonder how it’s going to be and how much of yourself you are going to have to sacrifice? The ballet of all of this. I’m already imaging the choreography — not of the camera, but the choreography of actually bringing it to life. It is as fascinating as the shooting itself. I find the producing as exciting as the directing. The one informs the other. There is this producer-director hat that I constantly wear. I’ve been thinking about these early auteurs, like Howard Hawks and John Ford and Preston Sturges—all of these guys basically were hired by the studio, and I doubt they had final cut, and somehow they had films that now we can say they had their signatures.  There are different ways of being creative within the parameters and limitations of production. The only thing you cannot negotiate is stupidity.
Filmmaker: And unfortunately, there is an abundance of that in the world.
Tsangari: This is the only big risk: stupidity. Everything else is completely worked out in the end.
~ Chevalier‘s Rachel Athina Tsangari

“The middle-range movies that I was doing have largely either stopped being made, or they’ve moved to television, now that television is a go-to medium for directors who can’t get work in theatricals, because there are so few theatricals being made. But also with the new miniseries concept, you can tell a long story in detail without having to cram it all into 90 minutes. You don’t have to cut the characters and take out the secondary people. You can actually put them all on a big canvas. And it is a big canvas, because people have bigger screens now, so there’s no aesthetic difference between the way you shoot a movie and the way you shoot a TV show.

“Which is all for the good. But what’s happened in the interim is that theatrical movies being a spectacle business are now either giant blockbuster movies that run three hours—even superhero movies run three hours, they used to run like 58 minutes!—and the others, which are dysfunctional family independent movies or the slob comedy or the kiddie movie, and those are all low-budget. So the middle ground of movies that were about things, they’re just gone. Or else they’re on HBO. Like the Bryan Cranston LBJ movie, which years ago would’ve been made for theaters.

“You’ve got people like Paul Schrader and Walter Hill who can’t get their movies theatrically distributed because there’s no market for it. So they end up going to VOD, and VOD is a model from which no one makes any money, because most of the time, as soon as they get on the site, they’re pirated. So the whole model of the system right now is completely broken. And whether or not anybody’s going to try to fix, or if it even can be fixed, I don’t know. But it’s certainly not the same business that I got into in the ’70s.”
~ Joe Dante

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