MCN Columnists
Leonard Klady

Gross Behavior Column By Leonard KladyKlady@moviecitynews.com

GROSS BEHAVIOR: Sound and Fury…

Movie going is unquestionably destined to become the opera of the future. By that I mean that the 18th century’s favorite form of entertainment still exists but it long ago ceded its vaunted position. The movies today cannot compete with television and that diversion abetted by home entertainment has had the biggest impact on the Seventh Art since its debut circa 1896.

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Gross Behavior: Leonard On Bingham

Bingham had a number of virtues few of us can claim. He didn’t hold many grudges and wasn’t someone prone to gotcha politics. When we talked it was a true discussion whether it was one-on-one or in a group. He wasn’t diplomatic, not that he was abusive or dogmatic. Bing simply spoke his mind and that was fine, mostly, when he was running October Films with Jeff Lipsky and problematic when he worked for others.

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Guillaume Canet’s Series of Most Fortunate Events

Considered one of the most versatile leading actors of contemporary French cinema, Guillaume Canet self-confesses that stardom –even the prospect of becoming a working performer — was a series of accidents. Canet, 37, is ostensibly in Los Angeles for a few days to promote the film Farewell, a fact-based thriller about a French functionary in…

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If You Build It, Will They Come?

The Los Angeles Film Festival kicks off Thursday night with a curtain raiser of The Kids Are All Right, which won awards and commercial distribution following its premiere at Sundance in January. And despite its relative nascence, LAFF is attempting to do a bit of re-imagining. The most obvious change is its location. Following home bases in Hollywood and Westwood,…

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Let’s Be Perfectly Franque

With Cannes and COLCOA in the wings, I was reminded of an encounter with the actor Philippe Leotard (now deceased) in the streets of the French festival town. He was walking in the street with actress Nathalie Baye and I stopped him just to say how much I admired his performance in Le Gueule Ouverte, a searing family…

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Reap What You Til

Til Schweiger is probably the biggest star in the German film industry today. He recalls the rugged masculinity of the likes of William Holden. Schweiger became a star with the release of the social comedy Der Bewegte Mann (Maybe … Maybe Not in the U.S.) in 1994 and has managed a career that has encompassed high and low brow…

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It’s an (Organic) Wrap

Las Vegas – There was a lot to digest at the recently concluded Showest convention, ranging from matters of life and death (digital conversion, access to diverse movies) to the frankly frivolous (healthier snack foods). On balance, one left with the sense that at least the distribution sector was 1) on relatively stable economic ground and 2)…

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It Was the Showest of Times, It Was the Showorst of Times

The film industry ought to be giddy. Box office is booming thanks to a pair of 3D movies; namely Avatar and Alice in Wonderland. Attendance is up; people, according to industry statistics, are going more often and rate the experience with four stars. Yet, apart from the rare instance of hyperbole, you’d have to characterize the mood…

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Confessions of a Festival Junkie …

Despite avid research I’ve been stumped. The wag who observed that when one receives something for free, the value is commensurate with the cost (or words to that effect) appears to have been lost to time. I’ve certainly employed that theorem over the years and it’s something I’ve believed/experienced without exception. So, the first blush…

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Festival in …

They don’t have car shows in Detroit. But in Los Angeles — a once near-moribund venue for alternative cinema — the landscape is rife with celebrations of the seventh art. The unprepossessing-sounding Los Angeles Film Festival is one of two annual events (the other, AFI Fest, unspools in November) that at least on paper strive…

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The Eye of the Navel 2008

(Something Like a Top 10 List) Stop me if you’ve heard this one before. Compiling a “best of” list reflects one’s mood on the day of doing the deed. The films most recently seen are advantaged because one’s had less time to ruminate about their qualities. Today I’m feeling more magnanimous than usual and have…

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Last One Out Turns Off the Lights

The traditional glib article about the American Film Market will talk about the parade of Troma characters parading in front of the Loew’s Santa Monica Hotel. Or, it will highlight the weird exploitation titles being sold (I Ate His Liver with Fava Beans) or the busty women handing out pamphlets and trade papers. Regardless, there’s…

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Que la Fete Commence 2

The expression goes “that if I had a nickel for every time I (fill in the blank), I’d be a millionaire.” What crosses my mind at this particular point in time is the number of articles and words I’ve committed to film festivals. In a broad sense it can be boiled down to: the role…

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Paul Newman

You knew something was wrong when Paul Newman announced that he was retiring from acting a couple of years ago. Oh, there had been others that had made it “official” in the past. Cary Grant stuck to his guns and Cagney stayed out of the picture for two decades until his doctor ordered him back to work. Grace…

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Will That be Poppyseed?

The question most asked about living in Los Angeles is: why can’t you get a good bagel in the city? Some would argue otherwise and then there’s the whole explanation that involves water and yeast. With the Los Angeles Film Festival beginning full screenings Friday, this is one of those times of year when there’s…

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Vadim Perelman

Vadim Perelman had the sort of feature film debut most filmmakers dream about but rarely are able to realize. An acclaimed director of commercials, he optioned the novel House of Sand and Fog by Andre Dubus III, adapted it for the screen with Shawn Lawrence Otto and co-produced the film with Michael London. The tale of a young woman…

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Charlton Heston

Charlton Heston was the sort of movie icon that received either grudging respect or abject derision rather than the praise or affection extended such contemporaries as William Holden and Burt Lancaster. The caricature is one of a face permanently cemented in some tense fashion with teeth clenched. The verity of his filmography contradicts such easy comic illustrations….

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So What!?

Wednesday morning Motion Picture Association of America president Dan Glickman got on the phone with (by my count) 15 or so entertainment business journalists. He told them a few things they probably knew, a lot they could have guessed and a panoply of things of no great significance. The seeming important news was that the domestic…

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Eye of the Navel 2007 …

The thing about top 10 lists is they tend to be relevant only at the moment they are compiled. A couple of weeks ago I sent in such a list to a poll conducted by the Village Voice/L.A. Weekly and in the brief time that’s followed it has gone AWOL. While nothing catastrophic has occurred in…

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Help Me Rwanda …

There weren’t a lot of films to be had at the Toronto International Film Festival, and for acquisition executives that was a bit of a relief. You see, there’s a glut of product in the pipeline and for most companies that fall somewhere between niche and mainstream their release schedules are sewn up through at…

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“I’m in Locarno, my movie is premiering for 1,000 people, which is nuts. A huge-ass screening, second day of the festival, 7:30pm in the sidebar competition. It’s comparable to Un Certain Regard or Director’s Fortnight. Every movie I saw in that section was fun, brilliant movies from around the world. The main competition was like Aza Jacobs and Mia Hansen-Løve, people who have been around. And I was like, “This is crazy. What am I doing inside the bloodstream of this establishment? I’m 27. I don’t belong here.” Every person I talked to there couldn’t believe what the movie cost, and then couldn’t believe when I told them what other American movies cost. We were the cheapest movie there by 65%. The next cheapest movie cost I think three times as much as we did. And they were just like, “You can’t make movies for what you’re telling us your movie cost.” And I told them, “Well, I can, I’m here, I’m in the same section as you are, so you are wrong. People think I’m lying when I tell them my budget. And also everyone likes it. I’m having a great time and people are being very responsive. Maurice Pialat’s widow was like, “I heard your movie’s good, I want a copy of it.” I’m like, “Well this is f**kin’ crazy.” Pedro Costa saw it there and really liked it and I’m like, What am I doing? I had gone in two months from screening at BAM for a lot of friends to Pedro Costa? This is the exact sentence: “Pedro Costa saw your movie. He’s a huge Jerry Lewis fan. He wants to talk to you about your movie and also Jerry Lewis.” And I thought, “I’m out of my element. I cannot have that conversation because that’s ridiculous.” Because his retrospective was happening at Anthology when I worked at Kim’s, and his Criterion box set came out when I was working at Kim’s. He can’t want to talk to me. That’s not possible. That’s not allowed. There is no world where that makes any sense!”  Or like when you wrote me to say that David Gordon Green wrote you to say, “I’m watching The Color Wheel and then I’m going to see Tree of Life.” There is no world where this is allowed! Again, somebody whose DVDs I was putting on the shelf, as, like, a hero. And it’s just like, “Oh, I’ll watch this movie.” There’s just a very fuzzy area in the middle there and it happened very quickly and I don’t understand why.  I still have a voice-mail from Sean [Price Williams, cinematographer]. I wish he was here to talk about it, but the voice-mail is a long pause and he’s just like, “I don’t want to tell you this, because it’s gonna make you so insufferable. I hate having to tell you this, but Leos Carax watched your movie and he really loves it, and he wants to meet you when he comes to New York.” I can’t live in a world where Leos Carax knows who I am, watches my movie, likes it, and thinks, “I wanna meet that guy.”
~ It’s Alex Ross Perry’s World

“I don’t know. It’s been a lot harder than I thought it was going to be to make the films I really dream of making. I was in Italy a few years ago scouting for this very beautiful film I wanted to make with Richard Linklater. We worked really hard on the script for a couple of years and couldn’t get the money together. It was an expensive idea. It’s heartbreaking when that happens over and over again and then the movies that do get made are ones that have lots of women being beaten up or zombies being killed. It’s all fine, it’s all okay, but it’s hard. I remember when River Phoenix died, he was ahead of me on this curve. He kind of realized how hard it was to make serious movies. People like Sidney Lumet figured out how to walk that line, but it’s hard. And it requires patience. It’s a life’s work and I wonder if I’m up to the task.”
~ Weary, Wary Ethan Hawke

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