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David Poland

By David Poland poland@moviecitynews.com

The Campaign for The Lady Launches

9 Responses to “The Campaign for The Lady Launches”

  1. LexG says:

    I don’t get why the MIGHTY Luc Besson is doing this of all things… Seems like a PURE medicine movie, won’t make much money, and it’s been proven time and again that Americans don’t care about these epic Eastern humanitarian movies (Kundun, Beyond Rangoon, Anna and the King, Red Corner)… Come to think of it, wasn’t Boorman’s Beyond Rangoon ALSO about the EXACT same story– ONG SONG SUCHEE or whatever her name was? Other than some dippy Westside Yogi, does anyone in America have interest in this material? Starring a 50-year-old Asian actress? Good luck.

    I want the old Luc Besson back; I go to Luc Besson movies to see lanky, anorexic, slightly boyish supermodels in fetish wear shooting off oversized guns… I don’t care about ONG SONG SUCHEE.

  2. Joe Leydon says:

    Oddly enough, both posters look like Hatch Show Prints.

  3. sloanish says:

    I know it’s subjective and they’re both wonderful, but is this the first time where you could argue that the actor is less attractive than the subject?

  4. LexG says:

    they should of had her played by jennifer morrison

  5. cadavra says:

    You guys do realize that Yeoh is drop-dead gorgeous and that’s MAKEUP!!!!!!!

  6. Edward Wilson says:

    Luc Besson’s Pearl Harbor.

  7. palmtree says:

    Luc Besson is making Oscar bait, right?

  8. yancyskancy says:

    Lex, don’t worry – COLOMBIANA is on the way (even though Besson isn’t in the director’s chair).

    I think it’s cool that Yeoh is getting an Oscar bait role; hope it’s good.

  9. LexG says:

    COLOMBIANA POWER MEGATON POWER SALDANA POWER VARTAN POWER MOLLA POWER.

    If you’re not going to see COLOMBIANA SIXTEEN TIMES this weekend, you should be banned from movies.

    Only thing is, why is it PG-13? Aw fuck it, getting kinda sick of that whole AICN thing where dorks get all HOSTILE if something isn’t HARD R. Who cares, what’s more awesome, hot chicks and guns, or a bunch of explicit squib shots?

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Julian Schnabel: Years ago, I was down there with my cousin’s wife Corky. She was wild — she wore makeup on her legs, and she had a streak in her hair like Yvonne De Carlo in “The Munsters.” She liked to paint. I had overalls on with just a T-shirt and looked like whatever. We were trying to buy a bunch of supplies with my cousin Jesse’s credit card. They looked at the credit card, and then they looked at us and thought maybe we stole the card, so they called Jesse up. He was a doctor who became the head of trauma at St. Vincent’s. They said, “There’s somebody here with this credit card and we want to know if it belongs to you.”

He said, “Well, does the woman have dyed blonde hair and fake eyelashes and look like she stepped out of the backstage of some kind of silent movie, and is she with some guy who has wild hair and is kind of dressed like a bum?”

“Yeah, that’s them.”

“Yeah, that’s my cousin and my wife. It’s okay, they can charge it on my card.”
~ Julian Schnabel Remembers NYC’s Now-Shuttered Pearl Paint

MB Cool. I was really interested in the aerial photography from Enter the Void and how one could understand that conceptually as a POV, while in fact it’s more of an objective view of the city where the story takes place. So it’s an objective and subjective camera at the same time. I know that you’re interested in Kubrick. We’ve talked about that in the past because it’s something that you and I have in common—

GN You’re obsessed with Kubrick, too.

MB Does he still occupy your mind or was he more of an early influence?

GN He was more of an early influence. Kubrick has been my idol my whole life, my own “god.” I was six or seven years old when I saw 2001: A Space Odyssey, and I never felt such cinematic ecstasy. Maybe that’s what brought me to direct movies, to try to compete with that “wizard of Oz” behind the film. So then, years later, I tried to do something in that direction, like many other directors tried to do their own, you know, homage or remake or parody or whatever of 2001. I don’t know if you ever had that movie in mind for your own projects. But in my case, I don’t think about 2001 anymore now. That film was my first “trip” ever. And then I tried my best to reproduce on screen what some drug trips are like. But it’s very hard. For sure, moving images are a better medium than words, but it’s still very far from the real experience. I read that Kubrick said about Lynch’s Eraserhead, that he wished he had made that movie because it was the film he had seen that came closest to the language of nightmares.

Matthew Barney and Gaspar Noé