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By DP30 david@thehotbuttonl.com

DP/30: Natural Selection, writer/director Robbie Pickering, actor Rachel Harris

A rollicking interview… these two are very funny together.

5 Responses to “DP/30: Natural Selection, writer/director Robbie Pickering, actor Rachel Harris”

  1. Peter says:

    I was wondering what happened to this film. Didn’t hear anything about since Ebertfest…hopefully will see it soon.

    Fun interview, they sound very much like a couple bickering…it’s good stuff.

  2. Joe Leydon says:

    Funnily enough, according to The Wrap, I was one of the first people to praise this movie.

    http://www.thewrap.com/movies/column-post/good-morning-austin-march-16-sxsws-big-winner-25541

    But I’m fairly sure David is the first person to give it the video love it deserves.

  3. sanj says:

    50 minutes – longest dp/30 yet

    Robbie Pickering needs to act in sitcoms …very funny guy. he should do acting instead of directing .. it’ll make him richer probably and then he can use that tv money to direct movies. see problem solved for him.

    i want another dp/30 with him this year.

    my favorite part is “you talk”

    i give this 8/10 . would have been higher if at any point DP spent 2 minutes explaining what the movie was about without spoilers.

  4. SamLowry says:

    I watched it entirely because of Ms. Harris, the (hot) mom from the Wimpy Kid movies. Parent service at its best!

    ( http://tvtropes.org/pmwiki/pmwiki.php/Main/ParentService )

    Oops, hope you had nothing to do today.

  5. Nathan Cone says:

    I was lucky enough to catch Robbie along with Rachel and Matt O’Leary on the day the film premiered last year at SXSW: http://www.tpr.org/news/2011/03/news1103222.html

    A fun interview (17 min.) at the link. I second the cheers for interview chemistry between director and stars!

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“When Bay keeps these absurd plot-gears spinning, he’s displaying his skill as a slick, professional entertainer. But then there are the images of motion—I hesitate to say, of things in motion, because it’s not clear how many things there are in the movie, instead of mere digital simulations of things. It doesn’t matter. What matters is that there’s a car chase through London, seen from the level of tires, that could have gone on for an hour, um, tirelessly. What matters is that the defenestrated Cade saves himself by leaping from drone to drone in midair like a frog skipping among lotus pads; that he and Vivian slide along the colossal, polished expanses of sharply tilting age-old fields of metal like luge Olympians. What matters is that, when this heroic duo find themselves thrust out into the void of inner space from a collapsing planet, it has a terrifyingly vast emptiness that Bay doesn’t dare hold for more than an instant lest he become the nightmare-master. What matters is that the enormous thing hurtling toward Earth is composed in a fanatical detail that would repay slow-motion viewing with near-geological patience. Bay has an authentic sense of the gigantic; beside the playful enormity of his Transformerized universe, the ostensibly heroic dimensions of Ridley Scott’s and Christopher Nolan’s massive visions seem like petulant vanities.”
~ Michael Bay Gives Richard Brody A Tingle

How do you see film evolving in this age of Netflix?

I thought the swing would be quicker and more violent. There have been two landmark moments in the history of French film. First in 1946, with the creation of the CNC under the aegis of Malraux. He saved French cinema by establishing the advance on receipts and support fund mechanisms. We’re all children of this political invention. Americans think that the State gives money to French films, but they’re wrong. Through this system, films fund themselves!

The other great turning point came by the hand of Jack Lang in the 1980s, after the creation of Canal+. While television was getting ready to become the nemesis of film, he created the decoder, and a specific broadcasting space between film and television, using new investments for film. That once again saved French film.

These political decisions are important. We’re once again facing big change. If our political masters don’t take control of the situation and new stakeholders like Netflix, Google and Amazon, we’re headed for disaster. We need to create obligations for Internet service providers. They can’t always be against film. They used to allow piracy, but now that they’ve become producers themselves, they’re starting to see things in a different light. This is a moment of transition, a strong political act needs to be put forward. And it can’t just be at national level, it has to happen at European level.

Filmmaker Cédric Klapisch