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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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The next thing that really changed my world and thoroughly influenced my writing were the films of Robert Bresson. When I discovered them in the late seventies, I felt I had found the final ingredient I needed to write the fiction I wanted to write.

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DENNIS COOPER

Recognizing that the films were entirely about emotion and, to me, ­ profoundly moving while, at the same time, stylistically inexpressive and monotonic. On the surface, they were nothing but style, and the style was extremely rigorous to boot, but they seemed almost transparent and purely content driven. Bresson’s use of untrained nonactors influenced my concentration on characters who are amateurs or noncharacters or characters who are ill equipped to handle the job of manning a story line or holding the reader’s attention in a conventional way. Altogether, I think Bresson’s films had the greatest influence on my work of any art I’ve ever encountered. In fact, the first fiction of mine that was ever published was a chapbook called “Antoine Monnier,” which was a god-awful, incompetent attempt to rewrite Bresson’s film Le diable ­probablement as a pornographic novella. So I came to writing novels through a channel that included experimental fiction, poetry, and nonliterary influences pretty much exclusively. I never read normal novels with any real interest or close attention.
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