MCN Blogs

By DP30 david@thehotbuttonl.com

DP/30: Young Adult, writer Diablo Cody

5 Responses to “DP/30: Young Adult, writer Diablo Cody”

  1. Peter says:

    Good interview. Young Adult is the best script she has written. I am surprised no one talked about the script as a potential Academy Award nominee. It’s original and brave in some ways.

  2. Gus says:

    Is this one the “big get” you referred to earlier, or do you have someone else up your sleeve for the next week? Not a slight to Cody at all, I just have been wondering who that one is.

  3. film fanatic says:

    Given the fact that almost every big Oscar contender, save THE ARTIST, is an adaptation of some sort, I’d be really surprise if she weren’t nominated in the Original category. And she deserves to win, too, the script is exceptional (actually, in an ideal world, MARGARET would win, but we all know THAT ain’t gonna happen).

  4. Proman says:

    In the off-chance that the big get happens to be Spielberg – please ask him about the status of Interstellar and how he plans to make it happen/work it out.

    All will be forgiven.

  5. Mariamu says:

    Just saw this tonight. I am now officially a fan of Patton Oswalt.

Leave a Reply

DP/30

Quote Unquotesee all »

“I’ve been pleasantly surprised by how many recappers, while clearly over their heads, are baseline sympathetic to finding themselves routinely unmoored, even if that means repeating over and over that this is closer to “avant-garde art” than  normal TV to meet the word count. My feed was busy connecting the dots to Peter Tscherkassky (gas station), Tony Conrad (the giant staring at feedback of what we’ve just seen), Pat O’Neill (bombs away) et al., and this is all apposite — visual and conceptual thinking along possibly inadvertent parallel lines. If recappers can’t find those exact reference points to latch onto, that speaks less to willful ignorance than to how unfortunately severed experimental film is from nearly all mainstream discussions of film because it’s generally hard to see outside of privileged contexts (fests, academia, the secret knowledge of a self-preserving circle working with a very finite set of resources and publicity access to the larger world); resources/capital/access/etc. So I won’t assign demerits for willful incuriosity, even if some recappers are reduced, in some unpleasantly condescending/bluffing cases, to dismissing this as a “student film” — because presumably experimentation is something the seasoned artist gets out of their system in maturity, following the George Lucas Model of graduating from Bruce Conner visuals to Lawrence Kasdan’s screenwriting.”
~ Vadim Rizov Goes For It, A Bit

“On the first ‘Twin Peaks,’ doing TV was like going from a mansion to a hut. But the arthouses are gone now, so cable television is a godsend — they’re the new art houses. You’ve got tons of freedom to do the work you want to do on TV, but there is a restriction in terms of picture and sound. The range of television is restricted. It’s hard for the power and the glory to come through. In other words, you can have things in a theater much louder and also much quieter. With TV, the quieter things have to be louder and the louder things have to be quieter, so you have less dynamics. The picture quality — it’s fine if you have a giant television with a good speaker system, but a lot of people will watch this on their laptops or whatever, so the picture and the sound are going to suffer big time. Optimally, people should be watching TV in a dark room with no disturbances and with as big and good a picture as possible and with as great sound as possible.”
~ David Lynch