MCN Blogs
David Poland

By David Poland poland@moviecitynews.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!

Leave a Reply

The Hot Blog

Quote Unquotesee all »

Julian Schnabel: Years ago, I was down there with my cousin’s wife Corky. She was wild — she wore makeup on her legs, and she had a streak in her hair like Yvonne De Carlo in “The Munsters.” She liked to paint. I had overalls on with just a T-shirt and looked like whatever. We were trying to buy a bunch of supplies with my cousin Jesse’s credit card. They looked at the credit card, and then they looked at us and thought maybe we stole the card, so they called Jesse up. He was a doctor who became the head of trauma at St. Vincent’s. They said, “There’s somebody here with this credit card and we want to know if it belongs to you.”

He said, “Well, does the woman have dyed blonde hair and fake eyelashes and look like she stepped out of the backstage of some kind of silent movie, and is she with some guy who has wild hair and is kind of dressed like a bum?”

“Yeah, that’s them.”

“Yeah, that’s my cousin and my wife. It’s okay, they can charge it on my card.”
~ Julian Schnabel Remembers NYC’s Now-Shuttered Pearl Paint

MB Cool. I was really interested in the aerial photography from Enter the Void and how one could understand that conceptually as a POV, while in fact it’s more of an objective view of the city where the story takes place. So it’s an objective and subjective camera at the same time. I know that you’re interested in Kubrick. We’ve talked about that in the past because it’s something that you and I have in common—

GN You’re obsessed with Kubrick, too.

MB Does he still occupy your mind or was he more of an early influence?

GN He was more of an early influence. Kubrick has been my idol my whole life, my own “god.” I was six or seven years old when I saw 2001: A Space Odyssey, and I never felt such cinematic ecstasy. Maybe that’s what brought me to direct movies, to try to compete with that “wizard of Oz” behind the film. So then, years later, I tried to do something in that direction, like many other directors tried to do their own, you know, homage or remake or parody or whatever of 2001. I don’t know if you ever had that movie in mind for your own projects. But in my case, I don’t think about 2001 anymore now. That film was my first “trip” ever. And then I tried my best to reproduce on screen what some drug trips are like. But it’s very hard. For sure, moving images are a better medium than words, but it’s still very far from the real experience. I read that Kubrick said about Lynch’s Eraserhead, that he wished he had made that movie because it was the film he had seen that came closest to the language of nightmares.

Matthew Barney and Gaspar Noé