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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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Aloha is the movie equivalent of a man in a donkey suit with a tree branch growing out of his forehead. I don’t know what the fuck this movie is. It feels like Cameron Crowe tried to make some Pynchonesque contemporary riff on Casablanca, then either or he or the studio chickened out halfway through and tried to turn it back into Jerry Maguire. But don’t confuse Aloha with hackwork. It’s more like a mad scientist had 10 beakers bubbling, and instead of unlocking cold fusion, he blew up his lab and melted an ear. I swear, this movie is like some bastard offspring of Casablanca, Inherent Vice, ‘Goosebumps,’ and ‘Baywatch Hawaii.’ My takeaway? Making movies is hard, yo.”
~ Vince Mancini

“We don’t defy the laws of physics: There are no flying men or cars in this movie. So it made sense to do it old-school: real vehicles and real human beings in the desert. We shot the movie more or less in continuity, because the cars and the characters get really banged up along the way. The biggest benefit of digital technology for me was that the cameras were smaller and much more agile, so you could put them anywhere. We also spent a huge amount of time on spatial awareness—making sure the viewer could follow the action and understand what was happening. There has to be a strong causal connection from one shot to the next, just the same way that in music, there has to be a connection from one note to the next. Otherwise it’s just noise. Too often, if you just cram a lot of stuff into the frame, you get the illusion of a fast pace. But there’s no coherence. It doesn’t flow. It comes off as headbanging music, and it can be exhausting. We storyboarded the movie before we had a script: We had 3,500 boards, which helps the cast and crew understand how everything is going to fit together. Movies are getting faster and faster. The Road Warrior had 1,200 cuts. This one has 2,700 cuts. You have to treat it like a symphony.”
~ George Miller

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