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David Poland

By David Poland poland@moviecitynews.com

DP/30: War Horse, Team Kaminski, Kahn, Carter, Burwell

3 Responses to “DP/30: War Horse, Team Kaminski, Kahn, Carter, Burwell”

  1. Edward Wilson says:

    Initially, when I saw ‘Carter’ and ‘Burwell’ I put them together as Carter Burwell. But that wouldn’t have made sense, since this is Spielberg not the Coens.

  2. Hallick says:

    “Initially, when I saw ‘Carter’ and ‘Burwell’ I put them together as Carter Burwell. But that wouldn’t have made sense, since this is Spielberg not the Coens.”

    I wondered the same thing and at first I thought, well, it must be a last name-comma-first name trick, but that didn’t make sense either.

    On a side note, some of the worst movie music of 2011 was inexplicably Carter Burwell’s score for Breaking Dawn Pt. I. I literally believed it had to be some feminine hygiene commercial composing hack also named Carter Burwell in one of those Paul Anderson/Paul Thomas Anderson/Paul W.S. Anderson situations. I’m not quite ready to stop believing this either.

  3. The Pope says:

    A pleasure as always, thank you David.

    Why the dissolve around 32 mins? The lights faded.

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CATHERINE LACEY: Do you think that your writer DNA was sort of shaped by how your family was displaced by the Nazi regime before you were born?
RENATA ADLER: It’s funny that you should mention that because I think it affects a lot else, specifically being a refugee. I wasn’t born there. I didn’t experience any of it. But they were refugees. So then I was thinking of this business of being a refugee, no matter in what sense.

Prenatal refugee.
Prenatal refugee and actually postnatal refugee. And I thought there are probably things in common between being a child and being a refugee and being an anthropologist.

It gives you a sense of curiosity.
But also a complete displacement. You’ve got to read the situation. You’re the new kid in school all the time. But I wasn’t aware of it then. I’m aware of it now because language affects you differently, or not. But I used to talk to Mike Nichols about it because he was a refugee. Do you envision an audience when you write? Do you envision a particular person? 

No.
Every once in a while I think: Now, what would Mike say to that?

There’s that idea that when you’re blocked, you can always just write as if it was a letter to one specific person.
Oh, that’s good. That’s a wonderful idea. Mine is more in terms of criticism. If someone was to say, “I know what that is. Do you really want to do that?” But anyway, about Mike and his attitude toward language, I remember him saying—it was a question of whether something written was fresh or not—and he would ask, “Why not smell it?” Which, from an English speaker’s point of view, is hysterical.

~ Renata Adler and Catherine Lacey In Conversation 

“Oh it was just hellish. This is the worst thing that ever happened to me. It would be stupid for me to say that I didn’t know what I was getting into. It has taken me five years to decide on a first film and I always held out for something like this. The lesson to be learned is that you can’t take on an enterprise of this size and scope if you don’t have a movie like The Terminator or Jaws behind you. Because when everybody’s wringing their handkerchiefs and sweating and puking blood over the money, it’s very nice to be able to say, ‘This is the guy who directed the biggest grossing movie of all time, sit down, shut up and feel lucky that you’ve got him.’ It’s another thing when you are there and you’re going ‘Trust me, this is really what I believe in,’ and they turn round and say ‘Well, who the hell is this guy?’ If I make ten shitty movies, I’ll deserve the flak and if I go on to make 10 great ones, this’ll probably be looked upon as my first bungled masterpiece.”
~ David Fincher, 1992

 

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