Z
MCN Blogs
David Poland

By David Poland poland@moviecitynews.com

Matt Labov To Academy: You Are My Bitch.

“The Academy caught wind of our idea and pulled his tickets. They went to war with us, made threats, got embarrassed, panicked, and reversed their position only after the press backlash portrayed them as stodgy. Plain and simple, that’s how it happened.”

8 Responses to “Matt Labov To Academy: You Are My Bitch.”

  1. waterbucket says:

    Am I the only one who really don’t like Sasha Cohen after this debacle? What a stunt queen.

  2. SamLowry says:

    Well, what part of his career didn’t involve stunts? Go way back to Ali G and still all he’s doing is pretending to be a real journalist to get bizarre interviews with real newsmakers.

    Take away the stunts and he’s a nobody, please.

  3. waterbucket says:

    That’s certainly true. But the other stunts were fun in spirit. This one not so much. I guess there are only so many stunts you can pull before it gets old.

  4. Ivan says:

    I think this was the deal between Sasha Baron Cohen and the Academy from the start, and it worked for both sides. I am definitely watching red carpet arrivals this year!

  5. cadavra says:

    Never liked the guy and wish Marty had cast someone else in HUGO.

  6. Joe Straatmann says:

    Even without Cohen in the role, it still would’ve felt like his character belonged in a different movie. His character seemed like he wandered out of Amelie. I could see Amelie trying to get him together with the flower girl, having it go wrong, blah blah blah. It’s weird that he’s the antagonist and he gets a scene where he gets carried off by the train where it goes a little too far. Yeah, we’re not supposed to like him at this point, but he’s also a war veteran with a disability who’s just doing his job. Was I supposed to laugh at that? It was part of the first hour that simply seemed it was setting up the movie Scorsese REALLY wanted to make.

  7. grandcosmo says:

    “Cohen said: ‘Victory is ours! Today the Mighty Nation of Wadiya triumphed over the Zionist snakes of Hollywood.'”

    Another triumph by the power of marketing.

  8. Krillian says:

    Has anyone written a column yet this year about how the Academy Awards are too white? That would be a fantastic original column.

Leave a Reply

The Hot Blog

Z

Quote Unquotesee all »

“We don’t defy the laws of physics: There are no flying men or cars in this movie. So it made sense to do it old-school: real vehicles and real human beings in the desert. We shot the movie more or less in continuity, because the cars and the characters get really banged up along the way. The biggest benefit of digital technology for me was that the cameras were smaller and much more agile, so you could put them anywhere. We also spent a huge amount of time on spatial awareness—making sure the viewer could follow the action and understand what was happening. There has to be a strong causal connection from one shot to the next, just the same way that in music, there has to be a connection from one note to the next. Otherwise it’s just noise. Too often, if you just cram a lot of stuff into the frame, you get the illusion of a fast pace. But there’s no coherence. It doesn’t flow. It comes off as headbanging music, and it can be exhausting. We storyboarded the movie before we had a script: We had 3,500 boards, which helps the cast and crew understand how everything is going to fit together. Movies are getting faster and faster. The Road Warrior had 1,200 cuts. This one has 2,700 cuts. You have to treat it like a symphony.”
~ George Miller

“I was having issues with my script for It’s All About Love, so I called Ingmar Bergman and we ended up talking about everything but the script. He said, “Well, Festen is a masterpiece, so what are you going to do now?” At that point, I had not decided if I was going to make It’s All About Love, so I answered, “Hmmm, I don’t know. Maybe this, maybe that.” There was just a long pause, and then he said, “You’re fucked.” I said, “Well, how can you know?” “Well, Thomas, you always have to decide your next movie before the movie you’re doing presently opens.” And I said, “Why is that?” “Well, two things can happen. One thing is that you fail, and then you’ll feel scared and humiliated. It’ll get into your head. Second, and even worse, you have success, and then you’ll want more of it, or you’ll want to maintain it. But if you decide on your next film while you’re in the middle of editing, it becomes a very nonchalant choice. And then it’s shorter from the heart to the hand.”
~ Thomas Vinterberg

Z Z