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By DP30 david@thehotbuttonl.com

DP/30 @ TIFF: Killer Joe, director Freidkin, writer Letts, editor Navarro, actors Hirsch & Temple

Shot in Toronto, Sept 2011 – Director William Friedkin, writer Tracy Letts, editor Darrin Navarro, and actors Emile Hirsch & Juno Temple

3 Responses to “DP/30 @ TIFF: Killer Joe, director Freidkin, writer Letts, editor Navarro, actors Hirsch & Temple”

  1. Joe Leydon says:

    BTW: Killer Joe will be screened at SXSW next weekend.

  2. sanj says:

    audio isn’t the greatest – a bit of echo int the room

    the lamp thing was fun but could have been funnier ..

    did Juno Temple not see any blurays at all ? seemed that way. Juno seemed 50% less animated and happy with this one
    than the other dp/30’s she did.

    also its too bad DP didn’t ask about the background buildings. just reminds me of the last 1 minute of fight club except its not dark ..

    i couldn’t find too many video for the play this is based on on youtube . how popular is this ?

    wouldn’t it make sense for this to go to HBO instead of
    going to theatres ? are they expecting one actor to
    hit oscar ? like how Kidman did with Rabbit Hole…
    which i didn’t really like and it did seem like oscar bait ..

  3. SamLowry says:

    sanj, I wasn’t really thinking about the audio. I was thinking more about the lighting, and whether the fidgety Ms. Temple was itching to give us a “Basic Instinct” moment if only she had been frontlit a little better.

    JUST LOOK AT HER!

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INTERVIEWER
Do you outline plays before you start to write them?

PINTER
Not at all. I don’t know what kind of characters my plays will have until they…well, until they are. Until they indicate to me what they are. I don’t conceptualize in any way. Once I’ve got the clues I follow them—that’s my job, really, to follow the clues.

INTERVIEWER
What do you mean by clues? Can you remember how one of your plays developed in your mind—or was it a line-by-line progression?

PINTER
Of course I can’t remember exactly how a given play developed in my mind. I think what happens is that I write in a very high state of excitement and frustration. I follow what I see on the paper in front of me—one sentence after another. That doesn’t mean I don’t have a dim, possible overall idea—the image that starts off doesn’t just engender what happens immediately, it engenders the possibility of an overall happening, which carries me through. I’ve got an idea of what might happen—sometimes I’m absolutely right, but on many occasions I’ve been proved wrong by what does actually happen. Sometimes I’m going along and I find myself writing “C. comes in” when I didn’t know that he was going to come in; he had to come in at that point, that’s all.
~ Harold Pinter

“I love Los Angeles. Have I said that? I love it all. The earnestness. The artifice. The blowsy, sunny beauty. The bland, bland, pleasant weather.  The drama of traffic. I love that people don’t know how to make conversation and can’t recognize a joke at a hundred paces. I love that people care about silly things and embrace ridiculousness wholeheartedly. I had a serious conversation with a good friend about his fascination with channeling, for example. Channeling. “I don’t think you’re patient enough for it,” he said and all I could think about was Shirley MacLaine with ectoplasm coming out of her head. Of course I’m fucking patient I thought. I’m fucking spiritual. Shove that up your namaste. Ha ha ha. I love that I’ve become desperately un-English, in the immortal words of my friend Giles, and yet not quite American.”
~ Bumble Ward In The Present Los Angeles Moment

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