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David Poland

By David Poland

The Male Director Challenge: 2004 (Year 5 of 15)

As in 2003, there were (for the 2nd year in a row) only 5 newcoming directors whose movies hit the Top 50 at the domestic box office in 2004.

#8 Grosser – The Bourne Supremacy – Paul Greengrass – Experienced director with big indie credibility from Bloody Sunday, teamed with an infrastructure that had made the previous, troubled production, a success.

#19 – Dodgeball: An Underdog’s Story – Rawson Marshall Thurber – Big heat coming off of “Tony Tate: Linebacker” ads had Hollywood scrambling for his first film project. This was it.

#21 – The Grudge – Takashi Shimizu – This enormously experienced Japanese director got to remake his film in English.

#27 – Along Came Polly – John Hamburg – Red-hot comedy screenwriter got his shot to direct. (He had made an indie film and directed TV as well)

#30 – Anchorman – Adam McKay – Will Ferrell’s brain (so to joke) got to direct one of their projects.

Studio experienced directors making films in the Top 50 in 2004 were: Raimi, Gibson, Roach, Cuaron, Emmerich, Turteltaub, Zemeckis, Proyas, Petersen, Soderbergh, Segal, Sommers, Moore, Silberling, Shyamalan, Scorsese, Mann, Eastwood, Marshall, Phillips, Waters, Gosnell, Casavettes, Anderson, Scott, Spielberg, Hewitt, Hackford, Russell, Roth, Payne, Wayans, Johnston, Ruben, Tarantino, Demme, Sullivan, O’Connor, Berg, Del Toro, Oz

2 Responses to “The Male Director Challenge: 2004 (Year 5 of 15)”

  1. Bob Burns says:

    Below is a link to a list of the candidates for NFL head coach prospects from the NFL. Half of them are black. The NFL is hugely popular with the public and sells bunches of tickets for people to watch black performers directed by black coaches.

    Hollywood can’t hide behind the ticket-buying public as an excuse for their sexism and racism. Well, they and their apologists try, but it’s bs.

  2. Delgado says:

    Please finish this. You have a decade to go! We want to see the rest!

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“Well, actually, of that whole group that I call the post-60s anti-authority auteurs, a lot of them came from television. Peckinpah’s the only one whose television work represents his feature work. I mean, like the only one. Mark Rydell can direct a really good episode of ‘Gunsmoke’ and Michael Ritchie can direct a really good episode of ‘The Big Valley,’ but they don’t necessarily look like The Candidate. But Peckinpah’s stuff, even the scripts he wrote that he didn’t even direct, have a Peckinpah feel – the way I think there’s a Corbucci West – suggest a Peckinpah West. That even in his random episodes that he wrote for ‘Gunsmoke’ – it’s right there.”
~ Quentin Tarantino

“The thought is interrupted by an odd interlude. We are speaking in the side room of Casita, a swish and fairly busy Italian bistro in Aoyama – a district of Tokyo usually so replete with celebrities that they spark minimal fuss. Kojima’s fame, however, exceeds normal limits and adoring staff have worked out who their guest is. He stops mid-sentence and points up towards the speakers, delighted. The soft jazz that had been playing discreetly across the restaurant’s dark, hardwood interior has suddenly been replaced with the theme music from some of Kojima’s hit games. Harry Gregson-Williams’ music is sublime in its context but ‘Metal Gear Solid 4: Guns of the Patriots’ is not, Kojima acknowledges, terribly restauranty. He pauses, adjusting a pair of large, blue-framed glasses of his own design, and returns to the way in which games have not only influenced films, but have also changed the way in which people watch them. “There are stories being told [in cinema] that my generation may find surprising but which the gamer generation doesn’t find weird at all,” he says.
~ Hideo Kojima