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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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CATHERINE LACEY: Do you think that your writer DNA was sort of shaped by how your family was displaced by the Nazi regime before you were born?
RENATA ADLER: It’s funny that you should mention that because I think it affects a lot else, specifically being a refugee. I wasn’t born there. I didn’t experience any of it. But they were refugees. So then I was thinking of this business of being a refugee, no matter in what sense.

Prenatal refugee.
Prenatal refugee and actually postnatal refugee. And I thought there are probably things in common between being a child and being a refugee and being an anthropologist.

It gives you a sense of curiosity.
But also a complete displacement. You’ve got to read the situation. You’re the new kid in school all the time. But I wasn’t aware of it then. I’m aware of it now because language affects you differently, or not. But I used to talk to Mike Nichols about it because he was a refugee. Do you envision an audience when you write? Do you envision a particular person? 

No.
Every once in a while I think: Now, what would Mike say to that?

There’s that idea that when you’re blocked, you can always just write as if it was a letter to one specific person.
Oh, that’s good. That’s a wonderful idea. Mine is more in terms of criticism. If someone was to say, “I know what that is. Do you really want to do that?” But anyway, about Mike and his attitude toward language, I remember him saying—it was a question of whether something written was fresh or not—and he would ask, “Why not smell it?” Which, from an English speaker’s point of view, is hysterical.

~ Renata Adler and Catherine Lacey In Conversation 

“Oh it was just hellish. This is the worst thing that ever happened to me. It would be stupid for me to say that I didn’t know what I was getting into. It has taken me five years to decide on a first film and I always held out for something like this. The lesson to be learned is that you can’t take on an enterprise of this size and scope if you don’t have a movie like The Terminator or Jaws behind you. Because when everybody’s wringing their handkerchiefs and sweating and puking blood over the money, it’s very nice to be able to say, ‘This is the guy who directed the biggest grossing movie of all time, sit down, shut up and feel lucky that you’ve got him.’ It’s another thing when you are there and you’re going ‘Trust me, this is really what I believe in,’ and they turn round and say ‘Well, who the hell is this guy?’ If I make ten shitty movies, I’ll deserve the flak and if I go on to make 10 great ones, this’ll probably be looked upon as my first bungled masterpiece.”
~ David Fincher, 1992

 

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