MCN Columnists
Kim Voynar

Voynaristic By Kim VoynarVoynar@moviecitynews.com

Coming of Age at the Movies: Where’s the Brat Pack for Today’s Teens?

My own coming-of-age years were defined by Sixteen Candles, The Breakfast Club, Pretty in Pink and Ferris Bueller’s Day Off (seasoned with a generous sprinkle of Purple Rain and a dash of Desperately Seeking Susan). If you were a couple years behind me in high school, it was probably Say Anything and Some Kind of Wonderful.  The 1980s teen flicks were great…

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Until the Credits Do Us Part: Marriage and the Movies

If you judged marriage based on the recent history of Hollywood’s depiction of adult relationships, you might think most people spend the majority of their lives either starting new relationships or ending old ones, and very little time in the period in between. Perhaps it’s partly the influence of Hollywood, where celebrity marriages might last…

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The Slippery Slope of Truth in Non-Fiction Films

Rich, successful Latino-American lawyer takes on a big corporation on behalf of downtrodden, third-world workers and wins. It makes for a great “David versus Goliath” story of melodramatic Erin Brockovich proportions — but what if the David of the story ends up being accused of fraud, causing not only that case but others to be thrown…

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The Fame and Misfortune of Michael Jackson

People who live and make their living in Hollywood are quick to tell you that Hollywood is an awful, soul-sucking, backstabbing hell of a town, and they’re largely right. Fame is, in its way, as evil a societal monster as alcoholism and drug addiction, and it’s not particularly surprising that many people who achieve fame…

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Quote Unquotesee all »

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.

INTERVIEWER

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.
~ Dennis Cooper Discovers Bresson

The whole world within reach.
~ Filmmaker Peter Hutton

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