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David Poland

By David Poland poland@moviecitynews.com

Trailer: Out Of Print

The film is about the New Beverly revival house in Los Angeles and the future of film.

6 Responses to “Trailer: Out Of Print”

  1. cadavra says:

    Wow! I’m in this! How very cool. :-)

  2. Kevin says:

    No mention of Tarantino?

  3. Jeffrey Boam's Doctor says:

    Very weird Tarantino is not in this. Not only is he the directors boss, he’s the obvious A lister apart from Nolan to talk to about digital takeover.

  4. berg says:

    I haven’t seen the film but just because he’s not in the trailer doesn’t mean he isn’t in the film

  5. cadavra says:

    The IMDb does not list him in the cast. It’s possible he declined to appear precisely because he owns the building. Not much of a reason, I grant you, but what else could it be? Certainly not modesty, and this was shot over a long period of time, so he must have been in town at some point.

  6. Jason Kelly says:

    Hi David,

    Got an award winning filmmaker eager to chat with you (u r DP/30 David Poland, right?).

    Pls contact me if you r: scott-jamesagency@att.com

    Thanks.

    Jason Kelly
    Literary Agent
    Scott-James Talent Agency

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DENNIS COOPER

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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