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David Poland

By David Poland poland@moviecitynews.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.

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DP/30

Quote Unquotesee all »

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