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MCN Columnists
Kim Voynar

Voynaristic By Kim VoynarVoynar@moviecitynews.com

Defending Jennifer’s Body

Spoiler Warning: This column contains spoilers about the film Jennifer’s Body. Consider yourself forewarned and forearmed. Is Jennifer’s Body really as bad as some critics say, or are some folks just lime-green Jell-O over anything that has Diablo Cody‘s name attached? I thoroughly enjoyed this film from start to finish, in part because I thought I was…

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Cloudy with a Chance of Mediocrity

I realize I’m in the critical minority on this, but I wasn’t all that crazy about Cloudy with a Chance of Meatballs. Yes, yes, the animation was bright! And colorful! And the cheeseburgers and scoops of ice cream and giant pancakes and meatballs practically popped off the screen. It was all very exciting, I suppose. I…

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To Absent Friends

Today I’m thinking a lot about 1984 — the year, not the Orwell novel. September 8, 1984 was a life-altering day that altered the course of my life; on September 8, 1984, my best friend, Monica, committed suicide at the age of 16. I can still recall, with achingly perfect clarity, where I was when…

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Of Love, Life and Loss

What’s the meaning of a life, and a loss? Earlier today, MCN Headlines Editor Ray Pride posted a particularly tragic headline to the front page of MCN about the murders of Filipino-Canadian film critic Alexis Tioseco and his partner, Slovenian critic and programmer Nika Bohinc, in what seems to be a random house robbery. The murders have hit…

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Quote Unquotesee all »

“We don’t defy the laws of physics: There are no flying men or cars in this movie. So it made sense to do it old-school: real vehicles and real human beings in the desert. We shot the movie more or less in continuity, because the cars and the characters get really banged up along the way. The biggest benefit of digital technology for me was that the cameras were smaller and much more agile, so you could put them anywhere. We also spent a huge amount of time on spatial awareness—making sure the viewer could follow the action and understand what was happening. There has to be a strong causal connection from one shot to the next, just the same way that in music, there has to be a connection from one note to the next. Otherwise it’s just noise. Too often, if you just cram a lot of stuff into the frame, you get the illusion of a fast pace. But there’s no coherence. It doesn’t flow. It comes off as headbanging music, and it can be exhausting. We storyboarded the movie before we had a script: We had 3,500 boards, which helps the cast and crew understand how everything is going to fit together. Movies are getting faster and faster. The Road Warrior had 1,200 cuts. This one has 2,700 cuts. You have to treat it like a symphony.”
~ George Miller

“I was having issues with my script for It’s All About Love, so I called Ingmar Bergman and we ended up talking about everything but the script. He said, “Well, Festen is a masterpiece, so what are you going to do now?” At that point, I had not decided if I was going to make It’s All About Love, so I answered, “Hmmm, I don’t know. Maybe this, maybe that.” There was just a long pause, and then he said, “You’re fucked.” I said, “Well, how can you know?” “Well, Thomas, you always have to decide your next movie before the movie you’re doing presently opens.” And I said, “Why is that?” “Well, two things can happen. One thing is that you fail, and then you’ll feel scared and humiliated. It’ll get into your head. Second, and even worse, you have success, and then you’ll want more of it, or you’ll want to maintain it. But if you decide on your next film while you’re in the middle of editing, it becomes a very nonchalant choice. And then it’s shorter from the heart to the hand.”
~ Thomas Vinterberg

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