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By DP30 david@thehotbuttonl.com

Essential Killing, director Jerzy Skolimowski

3 Responses to “Essential Killing, director Jerzy Skolimowski”

  1. Sarah Melsom says:

    Sounds like an interesting film. Mr Skolimowski seems kind and thoughtful. I heard from many friends Vincent Gallo’s performance is spectacular. The interviewer mentions Vincent Gallo as difficult to work with and yet i have never heard a single filmmaker mention Gallo as difficult. Francis Ford Coppola mentions how much he love Gallo and how funny he was. I think for Gallo the negative response to his website humor (which i think is super funny and smart) gets confused with his working habits and real person. I met him once and found him extremely attractive, funny and kind.

  2. movieman says:

    It’s been a long time since the days of “Moonlighting,” “The Shout” and “Deep End,” but I’m willing to give Skolimowski the benefit of the doubt.
    And I’m still hoping to someday see “Four Nights of Anna” from 2009 which is supposed to be terrific.
    Does “Essential” have a distributer (or U.S. release date) yet? It’s one of the year-end screeners I still haven’t gotten around to watching.

  3. I saw this page bookmarked and I truly liked it. will surely bookmark it too and go through your other articles when I get home.

DP/30

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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