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By Ray Pride Pride@moviecitynews.com

Lukas Moodysson Makes Nice With WE ARE THE BEST

Fucking Åmål meets Times Square? Ja! Rough translation from the Swedish: “A film about Bobo, Clara, and Hedwig. Three girls who are twelve or thirteen years. Who drag around on the streets and babbling. Who are brave and tough and strong and weak and confused and goofy. And are on their own way too early. Heat fish sticks in the toaster when the mother is at the pub. Start a punk rock band without instruments to play, even though everyone says that punk is dead.

If being different and of a friendship that is greater than everything else.

A movie with lots of music and a lot of humor and very serious. - I hope there will be a happy film, full of hope and vitality, says Lukas Moodysson.

Coco Moodysson has written comic book “Never bedtime,” which is the basis for the story. Lukas Moodysson has adapted. Shooting is planned for autumn 2012, with a fall 2013 release.” [Image source.]

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“I don’t know, because I don’t know much about those cameras. I know that’s been a complaint, but I wouldn’t know. Film is what worked for this film. I have a fear of the unknown. I’ve spent a long time trying to learn one camera, and to fucking stop and try to learn another one… I would have to stop for 20 years! I’m a slow learner; I’d have to go through the manual, it would be starting over. So there’s that, too. It’s an issue for filmmakers, and it’s on people’s minds, and I have to say that it’s a lot more challenging and difficult just to kind of get somebody to show film or to print film. It’s far more challenging than it should be right now, and we’re just trying to keep it alive a little bit and create a little pocket where it can be shown that way in various places across the country right now.”
~ Paul Thomas Anderson To David Ehrlich On The Prospect Of Switching From Film

“Almodóvar–the first name is almost unnecessary–is a genius, is a flower, is a guiding light: the last, best son of Buñuel and so much more than that. His screenplays, which he directs with passion and fine care, have taught us about the exteriors of his native land and the interiors of our own hearts. From the early, manic experimental Super-8 work to the breakthrough Women on the Verge of a Nervous Breakdown, his titles are as evocative as most people’s screenplays. Yet for all their antic energy, Almodóvar’s films are deeply spiritual: watching his disturbing, mysterious, heart-rending Talk to Her is to understand, perhaps for the first time, the full meaning of grace. An Almodóvar screenplay is a running leap off a Gaudi balcony, it flips, soars, ascends, careens, tumbles, falls – always landing, astonishingly and astonished, on its feet.”
~ Howard A. Rodman, Announcing Almodóvar’s Jean Renoir Award