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

Z

Quote Unquotesee all »

“Chad Harbach spent ten years writing his novel. It was his avocation, for which he was paid nothing, with no guarantee he’d ever be paid anything, while he supported himself doing freelance work, for which I don’t think he ever made $30,000 a year. I sold his book for an advance that equated to $65,000 a year—before taxes and commission—for each of the years of work he’d put in. The law schools in this country churn out first-year associates at white-shoe firms that pay them $250,000 a year, when they’re twenty-five years of age, to sit at a desk doing meaningless bullshit to grease the wheels of the corporatocracy, and people get upset about an excellent author getting $65,000 a year? Give me a fucking break.”
~ Book Agent Chris Parris-Lamb On The State Of The Publishing Industry

INTERVIEWER
Do you think this anxiety of yours has something to do with being a woman? Do you have to work harder than a male writer, just to create work that isn’t dismissed as being “for women”? Is there a difference between male and female writing?

FERRANTE
I’ll answer with my own story. As a girl—twelve, thirteen years old—I was absolutely certain that a good book had to have a man as its hero, and that depressed me. That phase ended after a couple of years. At fifteen I began to write stories about brave girls who were in serious trouble. But the idea remained—indeed, it grew stronger—that the greatest narrators were men and that one had to learn to narrate like them. I devoured books at that age, and there’s no getting around it, my models were masculine. So even when I wrote stories about girls, I wanted to give the heroine a wealth of experiences, a freedom, a determination that I tried to imitate from the great novels written by men. I didn’t want to write like Madame de La Fayette or Jane Austen or the Brontës—at the time I knew very little about contemporary literature—but like Defoe or Fielding or Flaubert or Tolstoy or Dostoyevsky or even Hugo. While the models offered by women novelists were few and seemed to me for the most part thin, those of male novelists were numerous and almost always dazzling. That phase lasted a long time, until I was in my early twenties, and it left profound effects.
~ Elena Ferrante, Paris Review Art Of Fiction No. 228

Z Z