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David Poland

By David Poland poland@moviecitynews.com

The Backstory Of “The Artist”

6 Responses to “The Backstory Of “The Artist””

  1. Proman says:

    Wow, Purple Rose of Cairo much?

  2. JS Partisan says:

    This time… WITHOUT THE TALKING BECAUSE YOU KNOW, THE TALKING, IS A FAD!

  3. JS Partisan says:

    Also, who isn’t looking forward to this movie?

  4. berg says:

    i have religiously watched the two recent OSS films and this guy is the real deal … by the way, the original OSS films were produced before the Bind films

  5. David Poland says:

    Yes… but they weren’t satirical back then.

  6. berg says:

    the first OSS books were also published before the first Bond books too …. like the first current OSS movie better than the second one; also there was a television version of Casino Royale produced in the 50s as part of the series Climax!

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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