MCN Blogs

By DP30 david@thehotbuttonl.com

DP/30: Martha Marcy May Marlene, actors Elizabeth Olsen, John Hawkes, Sarah Paulson, and writer/director Sean Durkin

And for those of you who’d like to see how time changes people over 10 months, the DP/30 from Sundance, with added guest star High Dancy

7 Responses to “DP/30: Martha Marcy May Marlene, actors Elizabeth Olsen, John Hawkes, Sarah Paulson, and writer/director Sean Durkin”

  1. LexG says:

    Would a LOOK AT HER be too predictable?

    Because, really…

    I cannot WAIT to see this movie.

  2. Gus says:

    Yeah I am beyond psyched. I got to get out to Pasadena to catch take shelter before this drops. I keel waiting for it to appear at the arc light and it never does.

    DP, was there ever a Lena Dunham DP30?

  3. berg says:

    M4 has one of the best endings of any film I’ve seen this year … before I saw the film I couldn’t correctly pronounce the title to save my life, now I can’t ever forget the title

  4. David Poland says:

    Gus… we were scheduled multiple times and it never quite worked out with her ever-changing schedule. I’m sure we’ll try again.

  5. Gus says:

    Thanks for the reply, I am interested in her arc since Tiny Furniture especially, though I know you don’t do many TV-centric DP/30s.

  6. SamLowry says:

    If I saw a trailer for this movie, the title alone would drive me screaming from the theater.

    Or am I the only one who thinks that sequence of words feels like a cheese grater on the brain?

  7. Ray Pride says:

    SamLowry, the words become a meaningful tattoo after you’ve seen the film. First saw at Sundance and thought same, but then saw it and… say no more.

DP/30

Quote Unquotesee all »

“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

“They’re still talking about the ‘cathedral of cinema,’ the ‘communal experience,’ blah blah. The experiences I’ve had recently in the theatre have not been good. There’s commercials, noise, cellphones. I was watching Colette at the Varsity, and halfway through red flashes came up at the bottom of the frame. A woman came out and said, ‘We’re going to have to reboot, so take fifteen minutes and come back.’ Then they rebooted it from the beginning, and she had to ask the audience to tell her how far to go. You tell me, is that a great experience? I generally don’t watch movies in a cinema at all. Netflix is the future. It’s the present. But the whole paradigm of a series, binge-watching, it’s quite different. My first reaction is that it’s more novelistic, because if you have an eight-hour season, you can get into complex, intricate things. You can let it breathe and the audience expectations are such that they will let you, where before they wouldn’t have the patience. I think only the surface has been touched with experimenting with that.”
~ David Cronenberg