Z
MCN Blogs
David Poland

By David Poland poland@moviecitynews.com

DP/30: Shame

co-writer/director Steve McQueen, actor Michael Fassbender

actor Carey Mulligan

8 Responses to “DP/30: Shame”

  1. Paul MD (Stella's Boy) says:

    DP are these safe for people who have not seen Shame?

  2. Boo says:

    Thanks for the interview. I saw this film twice now at the festivals, two months apart. The actors have a shot but the film in the blogosphere is really borderlining between hype and buzz.

  3. berg says:

    here is joan jett and lita ford from an ABC special in the late 70s

    http://www.dangerousminds.net/comments/the_runaways_in_rock_n_roll_sports_classic

  4. David Poland says:

    Hard to say, Paul. It’s not really a “spoiler” movie. If you know the premise and that the actors are naked, you are pretty much in for experiencing it.

    On the other hand, if you don’t want to hear discussions about what the subtext might be or about thoughts behind some of the ideas presented, you might want to wait.

  5. Paul MD (Stella's Boy) says:

    Thanks DP. I wasn’t sure if it’s a spoiler movie. Wanted to ask before I listen, which I really want to do.

  6. LexG says:

    The biggest “spoiler” in all these DPs is that “Steve McQueen” isn’t some hardcore chain-smoking Irish petty thug who looks like Hardy in “Bronson,” but rather Miss Jay from Top Model.

  7. sanj says:

    i officially request that Carey Mulligan becomes the special host for dp/30 … take her to Sundance festial – let her do 8 dp/30’s with different actors / directors. it would be easy for her and she’d be fair to everybody – even if the movie aren’t great.

  8. Sam says:

    She could host them in a Wendy’s over a dollar menu business lunch!

    I hope she interviews mouth-breathers with bare feet. Every question should be about how bad they feel that Midnight In Paris smoked their trashy name-checking movies at the box office. LOOOOOOK AT HER!

Leave a Reply

The Hot Blog

Quote Unquotesee all »

“We don’t defy the laws of physics: There are no flying men or cars in this movie. So it made sense to do it old-school: real vehicles and real human beings in the desert. We shot the movie more or less in continuity, because the cars and the characters get really banged up along the way. The biggest benefit of digital technology for me was that the cameras were smaller and much more agile, so you could put them anywhere. We also spent a huge amount of time on spatial awareness—making sure the viewer could follow the action and understand what was happening. There has to be a strong causal connection from one shot to the next, just the same way that in music, there has to be a connection from one note to the next. Otherwise it’s just noise. Too often, if you just cram a lot of stuff into the frame, you get the illusion of a fast pace. But there’s no coherence. It doesn’t flow. It comes off as headbanging music, and it can be exhausting. We storyboarded the movie before we had a script: We had 3,500 boards, which helps the cast and crew understand how everything is going to fit together. Movies are getting faster and faster. The Road Warrior had 1,200 cuts. This one has 2,700 cuts. You have to treat it like a symphony.”
~ George Miller

“I was having issues with my script for It’s All About Love, so I called Ingmar Bergman and we ended up talking about everything but the script. He said, “Well, Festen is a masterpiece, so what are you going to do now?” At that point, I had not decided if I was going to make It’s All About Love, so I answered, “Hmmm, I don’t know. Maybe this, maybe that.” There was just a long pause, and then he said, “You’re fucked.” I said, “Well, how can you know?” “Well, Thomas, you always have to decide your next movie before the movie you’re doing presently opens.” And I said, “Why is that?” “Well, two things can happen. One thing is that you fail, and then you’ll feel scared and humiliated. It’ll get into your head. Second, and even worse, you have success, and then you’ll want more of it, or you’ll want to maintain it. But if you decide on your next film while you’re in the middle of editing, it becomes a very nonchalant choice. And then it’s shorter from the heart to the hand.”
~ Thomas Vinterberg

Z Z