MCN Columnists
Kim Voynar

Voynaristic By Kim VoynarVoynar@moviecitynews.com

Slumdog Millionaire and the Politics of Spin

What is it with the media’s insistence on attempting to spin stories to harm particular films? After enjoying the bounce of positive buzz from the Telluride and Toronto film festivals, solid critical support and a box office take bigger than anyone could have dreamed for a subtitled Bollywood hybrid, Slumdog Millionaire finds itself the target of…

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Deconstructing Oscar

Published under Oscar Outsider. Last week, those of us who were at Sundance had to pull our heads briefly out of the myopic world of Fest Coverage and back into the myopic world of Oscar Coverage when the all-important Oscar nominations were announced. Clearly, the people who run the Oscars hate those of us who…

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Sundance: It’s a Wrap

In the year of its 25th anniversary, the Sundance Film Festival coincided with the inauguration of a new president who offers hope to a country beaten down by war and a tough economic climate; it’s the first time in my own adult life I’ve ever cared enough about the inauguration to block out time on…

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Here We Go Again: The Foreign-Language Oscar Shortlist

Published under Oscar Outsider. The Oscar shortlist for foreign films was announced yesterday, and in spite of the rules changes that were supposed to stop such things from happening, Matteo Garrone‘s Gomorrah failed to make the short list. Really shocking omission, considering the film won the the Grand Prix at Cannes, the Silver Hugo, and has been…

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No Regrets: Why Even “Amateur” Films Deserve Honest Reviews

Should film critics differentiate or consider whether a given film is “professional” or “amateur” either in reviewing a film, or in deciding whether a film should even be reviewed at all? There’s been an interesting discussion about reviewing “amateur” versus “professional theater” on The Stranger‘s SLOG between critic Paul Constant and his editor, Brendan Kiley, that seems apropos…

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Originality Matters (Page 2)

Published under Oscar Outsider. Joel Coen and Ethan Coen, Burn After Reading I’ve written before that I’ve been befuddled by the rather tepid response to the Coen brother’s latest film, which I think is one of their better dark comedies.  The Coens are masters at exploiting the flaws and foibles of ordinary characters in extraordinary…

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Originality Matters: Considering the Best Original Screenplays of the Year

Published under Oscar Outsider. Spoiler Warning: This column contains heavy spoilers for the films The Wrestler, Happy-Go-Lucky, Burn After Reading, The Visitor and Frozen River. What elements set apart a few screenplays out of all those produced each year from the rest of the pack as we head into Oscar season? All scripts have certain…

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When Good Foreign Films Get Bad Remakes

We hear a lot about how American remakes of foreign films tend to be pale imitations of the original, and there’s more truth than stereotype to that sentiment. But are American remakes inferior because they’re made by Americans, or is there an inherent value in the unique cultural perspective of a foreign film that gets…

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Quote Unquotesee all »

Julian Schnabel: Years ago, I was down there with my cousin’s wife Corky. She was wild — she wore makeup on her legs, and she had a streak in her hair like Yvonne De Carlo in “The Munsters.” She liked to paint. I had overalls on with just a T-shirt and looked like whatever. We were trying to buy a bunch of supplies with my cousin Jesse’s credit card. They looked at the credit card, and then they looked at us and thought maybe we stole the card, so they called Jesse up. He was a doctor who became the head of trauma at St. Vincent’s. They said, “There’s somebody here with this credit card and we want to know if it belongs to you.”

He said, “Well, does the woman have dyed blonde hair and fake eyelashes and look like she stepped out of the backstage of some kind of silent movie, and is she with some guy who has wild hair and is kind of dressed like a bum?”

“Yeah, that’s them.”

“Yeah, that’s my cousin and my wife. It’s okay, they can charge it on my card.”
~ Julian Schnabel Remembers NYC’s Now-Shuttered Pearl Paint

MB Cool. I was really interested in the aerial photography from Enter the Void and how one could understand that conceptually as a POV, while in fact it’s more of an objective view of the city where the story takes place. So it’s an objective and subjective camera at the same time. I know that you’re interested in Kubrick. We’ve talked about that in the past because it’s something that you and I have in common—

GN You’re obsessed with Kubrick, too.

MB Does he still occupy your mind or was he more of an early influence?

GN He was more of an early influence. Kubrick has been my idol my whole life, my own “god.” I was six or seven years old when I saw 2001: A Space Odyssey, and I never felt such cinematic ecstasy. Maybe that’s what brought me to direct movies, to try to compete with that “wizard of Oz” behind the film. So then, years later, I tried to do something in that direction, like many other directors tried to do their own, you know, homage or remake or parody or whatever of 2001. I don’t know if you ever had that movie in mind for your own projects. But in my case, I don’t think about 2001 anymore now. That film was my first “trip” ever. And then I tried my best to reproduce on screen what some drug trips are like. But it’s very hard. For sure, moving images are a better medium than words, but it’s still very far from the real experience. I read that Kubrick said about Lynch’s Eraserhead, that he wished he had made that movie because it was the film he had seen that came closest to the language of nightmares.

Matthew Barney and Gaspar Noé