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David Poland

By David Poland poland@moviecitynews.com

My Favorite Films/Statues From The Olly Moss Oscar Poster

You can find and explore and purchase the full poster here

4 Responses to “My Favorite Films/Statues From The Olly Moss Oscar Poster”

  1. KrazyEyes says:

    Not bad. Not quite as creative as some of Moss’s other works (Studio Ghibli, Star Wars) but some work quite nicely. I think your picks are pretty spot-on too.

    Overall though, I think they work much better as the single poster than as individual pieces.

  2. movielocke says:

    I’d happily view the full poster, but that appears to not be possible. I guess I’ll have to hope I’m lucky enough to see it in person plastered somewhere around LA. Too bad the full poster isn’t available for viewing, here or at any of the links. No fucking way in hell I’m going to click through 85 times for every individual fucking movie (and I’m guessing a new ad with a 10 second hold every time I try to advance) at the official oscar.go website. Blech.

  3. berg says:

    I clicked through all the pics and it didn’t take that long …. waaahh … also just watched part 2 of the Boal DP 30 on youtube, and it was great

  4. hcat says:

    Movielocke, go to the Empire site they allow you to highlight different quadrants of the poster.

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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.

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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.
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The whole world within reach.
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