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By DP30 david@thehotbuttonl.com

DP/30 @ SXSW: Short Term 12, actor Brie Larson

4 Responses to “DP/30 @ SXSW: Short Term 12, actor Brie Larson”

  1. Lex says:

    Wait this is that hot chick from SCREAM 4 and FIVE YEAR ENGAGEMENT? Doesn’t even look like her.

  2. SamLowry says:

    Well, she is 23, so I guess on the Lex Scale she qualifies for AARP membership.

    (…and she was also the ex-GF from Hades in Scott Pilgrim. Gotta get that Pilgrim reference in there.)

    (…and I’m also glad to see her mug does say “Keep Calm and Carry On”–I’m starting to get really tired of The Chive.)

  3. Don R. Lewis says:

    I just met her tonight and am excited to see this interview. Talk about a genuinely NICE and intelligent woman….she’s awesome. So psyched SHORT TERM 12 won the narrative feature award tonight at SXSW too, I’m seeing it tomorrow. I cannot recommend Daniel Destin Crettin’s first feature I AM NOT A HIPSTER highly enough. Seek it out, it’s absolutely not waht you think.

  4. The Pope says:

    Ladies and Gentlemen,
    We give you the next Tracy Flick. Ambition. Youth. Energy. Intelligence. Confidence. Poise.

    And happily, in the eyes of this observer at least, completely lacking the unconscionable morass of self-entitlement that Flick had in abundance. Can’t wait to see how far she goes.

    Nice interview, David. Thanks.

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DP/30

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“I don’t believe in the Nietzschean notion that what doesn’t destroy you makes you stronger. You see these soldiers come back with PTSD; they’ve been to war and seen death and experienced these existential crises one after the other. There are traumas in life that weaken us for the future. And that’s what’s happened to me. The various slings and arrows of life have not strengthened me. I think I’m weaker. I think there are things I couldn’t take now that I would have been able to take when I was younger.”
~ Woody Allen

“Hitchcock films the story with a wide-eyed, astonished, fascinated, and disturbed camera stare that seems to shudder and tremble every time Hedren is onscreen. Even the director’s cameo—in which he watches Hedren walking down a hotel corridor and then turns back to look at the camera, shamefacedly caught in his own leer—suggests his self-aware sense of visual carnality. The images offer an extraordinary swing between blasts of heat and an eerie chill, sometimes bringing the two together. Even the film’s exterior locations have a fluorescent buzz that captures an ambient sense of derangement.”
~ Richard Brody on Marnie

 

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