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By DP30 david@thehotbuttonl.com

DP/30: Warrior, director/co-writer Gavin O’Connor

5 Responses to “DP/30: Warrior, director/co-writer Gavin O’Connor”

  1. LexG says:

    David, this was a TERRIFIC DP/30… Really liked this guy, threw this on thinking I’d bail and ended up listening to the whole thing… Awesome guy and movie. Found this whole DP strangely inspiring in a lot of ways…

    Whole thing made me wish I could be an artist instead of working a shitty dayjob. Great guy and cool movie… Good stuff.

    When did you film this? Obviously post release, but recently or a while back? No idea if the interviewees ever read THB to see the comments, but seriously, this guy ruled.

  2. sanj says:

    nice dp/30 . dude is happy and nice.

    he kept talking about Masa .. Masanobu Takayanagi
    so interview that guy

  3. actionman says:

    yeah, all of what Lex said above — terrific interview. Pride and Glory POWER.

  4. eugenen says:

    He gave the best DVD commentary I’ve ever heard on “Tumbleweeds.” Dude had roundtable discussions with himself.

  5. JKill says:

    This is a wonderful interview, and I found it inspiring too. I just adore WARRIOR, and I’ve been looking forward to picking up the DVD so I can share the film with others. Great stuff.

DP/30

Quote Unquotesee all »

“Well, actually, of that whole group that I call the post-60s anti-authority auteurs, a lot of them came from television. Peckinpah’s the only one whose television work represents his feature work. I mean, like the only one. Mark Rydell can direct a really good episode of ‘Gunsmoke’ and Michael Ritchie can direct a really good episode of ‘The Big Valley,’ but they don’t necessarily look like The Candidate. But Peckinpah’s stuff, even the scripts he wrote that he didn’t even direct, have a Peckinpah feel – the way I think there’s a Corbucci West – suggest a Peckinpah West. That even in his random episodes that he wrote for ‘Gunsmoke’ – it’s right there.”
~ Quentin Tarantino

“The thought is interrupted by an odd interlude. We are speaking in the side room of Casita, a swish and fairly busy Italian bistro in Aoyama – a district of Tokyo usually so replete with celebrities that they spark minimal fuss. Kojima’s fame, however, exceeds normal limits and adoring staff have worked out who their guest is. He stops mid-sentence and points up towards the speakers, delighted. The soft jazz that had been playing discreetly across the restaurant’s dark, hardwood interior has suddenly been replaced with the theme music from some of Kojima’s hit games. Harry Gregson-Williams’ music is sublime in its context but ‘Metal Gear Solid 4: Guns of the Patriots’ is not, Kojima acknowledges, terribly restauranty. He pauses, adjusting a pair of large, blue-framed glasses of his own design, and returns to the way in which games have not only influenced films, but have also changed the way in which people watch them. “There are stories being told [in cinema] that my generation may find surprising but which the gamer generation doesn’t find weird at all,” he says.
~ Hideo Kojima