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DP/30: Damsels in Distress, writer/director Whit Stillman

8 Responses to “DP/30: Damsels in Distress, writer/director Whit Stillman”

  1. sanj says:

    this seemed like a dp/60 … haven’t seen any of his films

    dude needs to make some action films or something if he wants to get noticed

  2. JKill says:

    DAMSELS IN DISTRESS is great. I saw it some weeks back at an early screening as part of a Stillman retrospective. It’s probably his silliest, most broad and stylized film, which is part of its many charms. Gerwig is terrific in it. It’s a really fun and original film. I basically smiled the whole way through.

  3. The Pope says:

    Sanj, are you using an irony so deeply embedded I am completely unaware of it?

  4. sanj says:

    nah – he’s only made like 4-5 movies .. still haven’t seen them.

    so give him a comic book movie then people will figure out who he is

  5. The Pope says:

    “so give him a comic book movie then people will figure out who he is”

    So, Steven Spielberg has only just come on your radar? In which case, you might want to check out these directors: James Cameron, Martin Scorsese, David Fincher, Woody Allen, Clint Eastwood, Katheryn Bigelow, David Lynch, the Coen Brothers, Terence Mallick, Steven Soderbergh and Alexander Payne.

  6. Yancy Skancy says:

    I dig Stillman a lot, but in fairness to sanj (who I assume is a fairly young guy), this is his first film in 14 years, and his previous work hasn’t been canonized like that of, say, the similarly non-prolific Malick.

  7. The Pope says:

    Yancy Skancy,
    That’s fair enough. Although I’ve heard of these things called DVDs and they’re great because they allow me to watch films I missed in theaters.

  8. Brian Street says:

    Ha! Here he dances the Sambola lol

    http://vimeo.com/39214972

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DENNIS COOPER

The next thing that really changed my world and thoroughly influenced my writing were the films of Robert Bresson. When I discovered them in the late seventies, I felt I had found the final ingredient I needed to write the fiction I wanted to write.

INTERVIEWER

What was the final ingredient?

DENNIS COOPER

Recognizing that the films were entirely about emotion and, to me, ­ profoundly moving while, at the same time, stylistically inexpressive and monotonic. On the surface, they were nothing but style, and the style was extremely rigorous to boot, but they seemed almost transparent and purely content driven. Bresson’s use of untrained nonactors influenced my concentration on characters who are amateurs or noncharacters or characters who are ill equipped to handle the job of manning a story line or holding the reader’s attention in a conventional way. Altogether, I think Bresson’s films had the greatest influence on my work of any art I’ve ever encountered. In fact, the first fiction of mine that was ever published was a chapbook called “Antoine Monnier,” which was a god-awful, incompetent attempt to rewrite Bresson’s film Le diable ­probablement as a pornographic novella. So I came to writing novels through a channel that included experimental fiction, poetry, and nonliterary influences pretty much exclusively. I never read normal novels with any real interest or close attention.
~ Dennis Cooper Discovers Bresson

The whole world within reach.
~ Filmmaker Peter Hutton

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