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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 think this anxiety of yours has something to do with being a woman? Do you have to work harder than a male writer, just to create work that isn’t dismissed as being “for women”? Is there a difference between male and female writing?

FERRANTE
I’ll answer with my own story. As a girl—twelve, thirteen years old—I was absolutely certain that a good book had to have a man as its hero, and that depressed me. That phase ended after a couple of years. At fifteen I began to write stories about brave girls who were in serious trouble. But the idea remained—indeed, it grew stronger—that the greatest narrators were men and that one had to learn to narrate like them. I devoured books at that age, and there’s no getting around it, my models were masculine. So even when I wrote stories about girls, I wanted to give the heroine a wealth of experiences, a freedom, a determination that I tried to imitate from the great novels written by men. I didn’t want to write like Madame de La Fayette or Jane Austen or the Brontës—at the time I knew very little about contemporary literature—but like Defoe or Fielding or Flaubert or Tolstoy or Dostoyevsky or even Hugo. While the models offered by women novelists were few and seemed to me for the most part thin, those of male novelists were numerous and almost always dazzling. That phase lasted a long time, until I was in my early twenties, and it left profound effects.
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