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By DP30 david@thehotbuttonl.com

DP/30: Promised Land, co-writer/actor John Krasinski

3 Responses to “DP/30: Promised Land, co-writer/actor John Krasinski”

  1. Pete B. says:

    This lucky bastard is married to Emily Blunt. ARGH!

  2. Rob says:

    Terrific interview. David, you nailed why his Office performance has been oddly underrated. Hope he gets better opportunities than he’s had in movies thus far.

  3. Don R. Lewis says:

    I didn’t watch this interview yet but…I wanna say….

    THE PROMISED LAND is fucking fantastic. I’m so happy to have seen it and I’ve watched it twice. It’s absolutely NOT what anyone thinks it is (unless you know what it is from reading the Eggers story) and also, it’s simply NOT going to get noticed in this awards season. It’s a dead film walking, which, is unfortunate but also, who cares? This movie has much more going for it than awards bait.

    A movie as good as this deserves better than to be rolled by this field of nominees that are already decided. PROMISED LAND is not among them. That’s a fact. I wish Focus Features would ever so quietly back away from releasing it, sit back and wait till after the Oscars/the spring and let it live. It will find an audience.

    This movie is fucking great. Dropping it in theaters now will be a huge waste and relegate it to DVD/home viewing and thus take away from it’s impact. I don’t even know if a studio can like….quietly walk out right now but if they can, I wish it would sneak away and come back in the spring so it can be seen. So, so good.

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“Chad Harbach spent ten years writing his novel. It was his avocation, for which he was paid nothing, with no guarantee he’d ever be paid anything, while he supported himself doing freelance work, for which I don’t think he ever made $30,000 a year. I sold his book for an advance that equated to $65,000 a year—before taxes and commission—for each of the years of work he’d put in. The law schools in this country churn out first-year associates at white-shoe firms that pay them $250,000 a year, when they’re twenty-five years of age, to sit at a desk doing meaningless bullshit to grease the wheels of the corporatocracy, and people get upset about an excellent author getting $65,000 a year? Give me a fucking break.”
~ Book Agent Chris Parris-Lamb On The State Of The Publishing Industry

INTERVIEWER
Do you think this anxiety of yours has something to do with being a woman? Do you have to work harder than a male writer, just to create work that isn’t dismissed as being “for women”? Is there a difference between male and female writing?

FERRANTE
I’ll answer with my own story. As a girl—twelve, thirteen years old—I was absolutely certain that a good book had to have a man as its hero, and that depressed me. That phase ended after a couple of years. At fifteen I began to write stories about brave girls who were in serious trouble. But the idea remained—indeed, it grew stronger—that the greatest narrators were men and that one had to learn to narrate like them. I devoured books at that age, and there’s no getting around it, my models were masculine. So even when I wrote stories about girls, I wanted to give the heroine a wealth of experiences, a freedom, a determination that I tried to imitate from the great novels written by men. I didn’t want to write like Madame de La Fayette or Jane Austen or the Brontës—at the time I knew very little about contemporary literature—but like Defoe or Fielding or Flaubert or Tolstoy or Dostoyevsky or even Hugo. While the models offered by women novelists were few and seemed to me for the most part thin, those of male novelists were numerous and almost always dazzling. That phase lasted a long time, until I was in my early twenties, and it left profound effects.
~ Elena Ferrante, Paris Review Art Of Fiction No. 228

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