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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!

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“When Bay keeps these absurd plot-gears spinning, he’s displaying his skill as a slick, professional entertainer. But then there are the images of motion—I hesitate to say, of things in motion, because it’s not clear how many things there are in the movie, instead of mere digital simulations of things. It doesn’t matter. What matters is that there’s a car chase through London, seen from the level of tires, that could have gone on for an hour, um, tirelessly. What matters is that the defenestrated Cade saves himself by leaping from drone to drone in midair like a frog skipping among lotus pads; that he and Vivian slide along the colossal, polished expanses of sharply tilting age-old fields of metal like luge Olympians. What matters is that, when this heroic duo find themselves thrust out into the void of inner space from a collapsing planet, it has a terrifyingly vast emptiness that Bay doesn’t dare hold for more than an instant lest he become the nightmare-master. What matters is that the enormous thing hurtling toward Earth is composed in a fanatical detail that would repay slow-motion viewing with near-geological patience. Bay has an authentic sense of the gigantic; beside the playful enormity of his Transformerized universe, the ostensibly heroic dimensions of Ridley Scott’s and Christopher Nolan’s massive visions seem like petulant vanities.”
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How do you see film evolving in this age of Netflix?

I thought the swing would be quicker and more violent. There have been two landmark moments in the history of French film. First in 1946, with the creation of the CNC under the aegis of Malraux. He saved French cinema by establishing the advance on receipts and support fund mechanisms. We’re all children of this political invention. Americans think that the State gives money to French films, but they’re wrong. Through this system, films fund themselves!

The other great turning point came by the hand of Jack Lang in the 1980s, after the creation of Canal+. While television was getting ready to become the nemesis of film, he created the decoder, and a specific broadcasting space between film and television, using new investments for film. That once again saved French film.

These political decisions are important. We’re once again facing big change. If our political masters don’t take control of the situation and new stakeholders like Netflix, Google and Amazon, we’re headed for disaster. We need to create obligations for Internet service providers. They can’t always be against film. They used to allow piracy, but now that they’ve become producers themselves, they’re starting to see things in a different light. This is a moment of transition, a strong political act needs to be put forward. And it can’t just be at national level, it has to happen at European level.

Filmmaker Cédric Klapisch