By Ray Pride Pride@moviecitynews.com

“To the extent that director Michael Dowse has a bit, it might be as a kind of loving documentarian of dirtbag behaviour. As the behind-the-camera co-creator of the ‘Fubar’ series – probably Canada’s funniest film-turned=TV series and definitely its most accurate cinematic depiction of Alberta – he could take a road trip through every small-town dive bar from coast to coast to coast without ever needing to drop a dime on a drink. He has extended that talent for capturing poetically heinous language and enthusiastically bad decisions to Ibiza (the techno mockumentary It’s All Gone Pete Tong), hockey’s minor leagues (Goon, the best sports comedy of the decade) and, to a degree, his latest, Stuber (the ride-sharing action-comedy that actually counts as tamer than most of those other films, even with people getting their faces shot off). There’s even an undercurrent of poop jokes in the otherwise pointedly sentimental The F Word, one of the world’s most criminally underrated romantic comedies.”

“To the extent that director Michael Dowse has a bit, it might be as a kind of loving documentarian of dirtbag behaviour. As the behind-the-camera co-creator of the ‘Fubar’ series – probably Canada’s funniest film-turned-TV series and definitely its most accurate cinematic depiction of Alberta – he could take a road trip through every small-town dive bar from coast to coast to coast without ever needing to drop a dime on a drink. He has extended that talent for capturing poetically heinous language and enthusiastically bad decisions to Ibiza (the techno mockumentary It’s All Gone Pete Tong), hockey’s minor leagues (Goon, the best sports comedy of the decade) and, to a degree, his latest, Stuber (the ride-sharing action-comedy that actually counts as tamer than most of those other films, even with people getting their faces shot off). There’s even an undercurrent of poop jokes in the otherwise pointedly sentimental The F Word, one of the world’s most criminally underrated romantic comedies.”

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“The word I have fallen in love with lately is ‘Hellenic.’ Greek in its mythology. So while everyone is skewing towards the YouTube generation, here we are making two-and-a-half-hour movies and trying to buck the system. It’s become clear to me that we are never going to be a perfect fit with Hollywood; we will always be the renegade Texans running around trying to stir the pot. Really it’s not provocation for the sake of being provocative, but trying to make something that people fall in love with and has staying power. I think people are going to remember Dragged Across Concrete and these other movies decades from now. I do not believe that they will remember some of the stuff that big Hollywood has put out in the last couple of years. You’ve got to look at the independent space to find the movies that have been really special recently. Even though I don’t share the same world-view as some of my colleagues, I certainly respect the hell out of their movies which are way more fascinating than the stuff coming out of the studio system.”
~ Dallas Sonnier

“My first objective relationship in life was with the camera. I didn’t understand anything but then I realized the camera is my friend. It doesn’t lie to me. It doesn’t manipulate me. It only reports what I’m doing. And therefore, for me to work with a camera and the camera to be directed by an artist, a craftsman, someone who knows what he or she wants, I couldn’t ask for anything more.”
~ Elliot Gould