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By Ray Pride Pride@moviecitynews.com

Trailering TO ROME WITH LOVE

http://www.youtube.com/watch?v=quYMphMnugw

To Rome With Love, via the Via Blogorosa: Hoping Sony Pictures Classics won’t mind, but this first trailer for Woody’s latest Eurologue is via Huffington Post who got it from TrailersAddicted, who lifted it from Yahoo! Movies, which still has its watermark on the image. But it’s all publicity among good friends, right?

One Response to “Trailering TO ROME WITH LOVE”

  1. Daniella Isaacs says:

    I never get why some Allen movies hit and others fail. I thought CASSANDRA’S DREAM was better than MATCH POINT, YOU WILL MEET A TALL DARK STRANGER at least as good as MIDNIGHT IN PARIS. For whatever it’s worth, I see this as a moderate hit–not up to PARIS levels, but better than VICKY CHRISTINA… You just never know with him. The title change, is for the worse, but will probably help sell tickets.

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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