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By DP30 david@thehotbuttonl.com

DP/30: Cloud Atlas, screenwriter/directors Lana Wachowski, Tom Tykwer, Andy Wachowski

7 Responses to “DP/30: Cloud Atlas, screenwriter/directors Lana Wachowski, Tom Tykwer, Andy Wachowski”

  1. berg says:

    at the 17 minutes mark (approx) the interview soars to new heights

  2. Heisenberg says:

    Damn, aside from Tom Tykwer desperately trying to get out of there at the 30 minute mark, and their publicist throwing out a bit of a burn towards DP at the very end, it was a great interview. Loved the epic rants on the philosophical nature of “Revolutions,” as well as Andy Wachowski’s understandable annoyance with film junkets.

  3. djiggs says:

    Amazing interview…I wish I had the chance to catch the late screening with Q&A at Fantastic Fest…Profound love/respect/admiration to the Wachowskis, Tykwer, and you David. Cornel West was not joshing when he said Lana was laser smart. What a wonderful soul.

  4. Danny says:

    Inspiring trio. Artistically and personally.

  5. Captain_Celluloid says:

    Yeah, AMAZING interview.

    Three totally different totally interesting
    personas. Well wrangled, David.

    All were impressively articulate and comfortably erudite
    without being pretentious . . . . loved the ONE BROW FILM
    line . . . . as Hollywood has forgotten how to make
    smart and adult large scale films . . . . which is sadly ironic
    considering how well Hollywood did with that type of film in the 70′s . . . . .

    I am now totally prepared to like the CLOUD ATLAS . . . . I am also now totally and pleasantly surprised by how comfortable we’ve all gotten with Lana NEE Larry . . . I know I have.

    I may still have trouble with pronoun selection but Lana is a totally interesting — and forgive me for framing it this way — “non-freakish” person . . . .
    as is Andy . . . . and I am really glad they’ve decided to start talking about their work. I guess we can at least partially thank Tom Tykwer

  6. sanj says:

    Andy Wachowski is funny….get him back …let him go off topic about movies.

  7. Rashad says:

    I really wish someone would get the Wachowskis for an hour, and have them talk about their 10 favorite movies. Would love to hear their thoughts.

    And I love Revolutions as well.

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“Yes, good movies sprout up, inevitably, in the cracks and seams between the tectonic plates on which all of these franchises stay balanced, and we are reassured of their hardiness. But we don’t see what we don’t see; we don’t see the effort, or the cost of the effort, or the movies of which we’re deprived because of the cost of the effort. Paul Thomas Anderson’s Inherent Vice may have come from a studio, but it still required a substantial chunk of outside financing, and at $35 million, it’s not even that expensive. No studio could find the $8.5 million it cost Dan Gilroy to make Nightcrawler. Birdman cost a mere $18 million and still had to scrape that together at the last minute. Imagine American movie culture for the last few years without Her or Foxcatcher or American Hustle or The Master or Zero Dark Thirty and it suddenly looks markedly more frail—and those movies exist only because of the fairy godmothership of independent producer Megan Ellison. The grace of billionaires is not a great business model on which to hang the hopes of an art form.”
~ Mark Harris On The State Of The Movies

How do you make a Top Ten list? For tax and organizational purposes, I keep a log of every movie I see (Title, year, director, exhibition format, and location the film was viewed in). Anything with an asterisk to the left of its title means it’s a 2014 release (or something I saw at a festival which is somehow in play for the year). If there’s a performance, or sequence, or line of dialogue, even, that strikes me in a certain way, I’ll make a note of it. So when year end consideration time (that is, the month and change out of the year where I feel valued) rolls around, it’s a little easier to go through and pull some contenders for categories. For 2014, I’m voting in three polls: Indiewire, SEFCA (my critics’ guild), and the Muriels. Since Indiewire was first, it required the most consternation. There were lots of films that I simply never had a chance to see, so I just went with my gut. SEFCA requires a lot of hemming and hawing and trying to be strategic, even though there’s none of the in-person skullduggery that I hear of from folk whose critics’ guild is all in the same city. The Muriels is the most fun to contribute to because it’s after the meat market phase of awards season. Also, because it’s at the beginning of next year, I’ll generally have been able to see everything I wanted to by then. I love making hierarchical lists, partially because they are so subjective and mercurial. Every critical proclamation is based on who you are at that moment and what experiences you’ve had up until that point. So they change, and that’s okay. It’s all a weird game of timing and emotional waveforms, and I’m sure a scientist could do an in-depth dissection of the process that leads to the discovery of shocking trends in collective evaluation. But I love the year end awards crush, because I feel somewhat respected and because I have a wild-and-wooly work schedule that has me bouncing around the city to screenings, or power viewing the screeners I get sent.
Jason Shawhan of Nashville Scene Answers CriticWire