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MCN Columnists
Mike Wilmington

Wilmington By Mike WilmingtonWilmington@moviecitynews.com

MW on Movies: The Girl Who Kicked the Hornet’s Nest, Paranormal Activity 2, and CIFF Wrap-Up

The Girl Who Kicked the Hornet’s Nest (Three Stars) Sweden; Daniel Alfredson, 2009 The Girl Who Kicked the Hornet’s Nest, the third of the Steig Larsson “Girl” movie adaptations — about a leftist Swedish investigative reporter named Mikael Blomkvist, a dragon-tattooed Lesbian computer hacker/investigator named Lisbeth Salander, and the rat’s nest of government corruption, private…

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MW on Movies: Hereafter

Eastwood is 80. Most of the evidence is in. Frankly, if he were as bad as his blasters seem to think, some perhaps still taking their cues from the late, renowned and brilliant Eastwood-hater Pauline Kael, he would probably have gone the way of all old macho-hunk stars and be costarring this year in The Expendables.

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MW on DVDs: Disneynature Oceans, The Maltese Falcon, The Exorcist, Visions of Europe, Predators … and more

PICK OF THE WEEK: NEW DisneyNature: Oceans (Blu-ray & DVD) (Four Stars) France-U.S.; Jacques Perrin/Jacques Cluzaud, 2009 A real gem, from France, where they love to watch the world through a camera eye. Made by Jacques Perrin and Jacques Cluzaud, the two directors of the magnificent birds-in-flight documentary Winged Migration, here’s an equally magnificent view…

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Wilmington on Movies: The Chicago International Film Festival, Red, Conviction … and more

And listen, if I have to read one more review about how this is a movie especially for AARP members, or the geriatric set, or card-carrying Medicare moviegoers, or old folks, I think I’ll throw my walker at them. Give me a break. What do these clowns want, a life spent perusing nothing but Jesse Eisenberg, Michael Cera, or Hannah Montana movies?

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Wilmington on DVDs: How to Train Your Dragon, Treasure of the Sierra Madre, The Darjeeling Limited, The Films of Nikita Mikhalkov, The Hangover, The Human Centipede and more …

The opening, for me at least, would have been better with something quieter before the storm — however virtuosic that dragon-storm, however riveting that warfare. The movie could have used a lot more initial contrast between the dreamy predispositions of Hiccup, and those bloody dragon assaults that come blasting at us right from the start.

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Wilmington on Movies: Secretariat, Life As We Know It, Buried, You Again, and Let Me In

Secretariat (Three and a Half Stars) U. S.; Randall Wallace, 2010 If you’ve got a great story, in life or in movies, the best thing to do is usually to let it fill your heart, tell it clearly, keep it straight and pure, and don’t load it up with agendas and tack-ons. The new movie…

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Wilmington on DVDs: The Thin Red Line, Mid-August Lunch, Grindhouse, The Twilight Zone, A Nightmare on Elm Street … and more

PICK OF THE WEEK: CLASSIC The Thin Red Line (Two Discs) (Four Stars) U.S.; Terrence Malick, 1998 (Criterion Collection). Let‘s talk about a really great American movie that has been somewhat underrated and neglected, and shouldn’t be any more, not after this superb new Criterion two-disc release. The movie is Terrence Malick‘s 1998 film of…

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MW on Movies: The Social Network

But, in the top fillip of The Social Network’s many, many ironies, we see that maybe Mark and his fellow web movers and shakers — and the whole new social-communal wrinkle that they‘ve been chosen to dramatically represent — don’t really “need” things like empathy, sympathy, what we’d call humanity.

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Wilmington

Quote Unquotesee all »

MAMET
Well, that, to me, is always the trick of dramaturgy; theoretically, perfectly, what one wants to do is put the protagonist and the audience in exactly the same position. The main question in drama, the way I was taught, is always what does the protagonist want. That’s what drama is. It comes down to that. It’s not about theme, it’s not about ideas, it’s not about setting, but what the protagonist wants. What gives rise to the drama, what is the precipitating event, and how, at the end of the play, do we see that event culminated? Do we see the protagonist’s wishes fulfilled or absolutely frustrated? That’s the structure of drama. You break it down into three acts.

INTERVIEWER
Does this explain why your plays have so little exposition?

MAMET
Yes. People only speak to get something. If I say, Let me tell you a few things about myself, already your defenses go up; you go, Look, I wonder what he wants from me, because no one ever speaks except to obtain an objective. That’s the only reason anyone ever opens their mouth, onstage or offstage. They may use a language that seems revealing, but if so, it’s just coincidence, because what they’re trying to do is accomplish an objective… The question is where does the dramatist have to lead you? Answer: the place where he or she thinks the audience needs to be led. But what does the character think? Does the character need to convey that information? If the answer is no, then you’d better cut it out, because you aren’t putting the audience in the same position with the protagonist. You’re saying, in effect, Let’s stop the play. That’s what the narration is doing—stopping the play… It’s action, as Aristotle said. That’s all that it is—exactly what the person does. It’s not what they “think,” because we don’t know what they think. It’s not what they say. It’s what they do, what they’re physically trying to accomplish on the stage. Which is exactly the same way we understand a person’s character in life—not by what they say, but by what they do. Say someone came up to you and said, I’m glad to be your neighbor because I’m a very honest man. That’s my character. I’m honest, I like to do things, I’m forthright, I like to be clear about everything, I like to be concise. Well, you really don’t know anything about that guy’s character. Or the person is onstage, and the playwright has him or her make those same claims in several subtle or not-so-subtle ways, the audience will say, Oh yes, I understand their character now; now I understand that they are a character. But in fact you don’t understand anything. You just understand that they’re jabbering to try to convince you of something.
~ David Mamet

INTERVIEWER
Do you outline plays before you start to write them?

PINTER
Not at all. I don’t know what kind of characters my plays will have until they…well, until they are. Until they indicate to me what they are. I don’t conceptualize in any way. Once I’ve got the clues I follow them—that’s my job, really, to follow the clues.

INTERVIEWER
What do you mean by clues? Can you remember how one of your plays developed in your mind—or was it a line-by-line progression?

PINTER
Of course I can’t remember exactly how a given play developed in my mind. I think what happens is that I write in a very high state of excitement and frustration. I follow what I see on the paper in front of me—one sentence after another. That doesn’t mean I don’t have a dim, possible overall idea—the image that starts off doesn’t just engender what happens immediately, it engenders the possibility of an overall happening, which carries me through. I’ve got an idea of what might happen—sometimes I’m absolutely right, but on many occasions I’ve been proved wrong by what does actually happen. Sometimes I’m going along and I find myself writing “C. comes in” when I didn’t know that he was going to come in; he had to come in at that point, that’s all.
~ Harold Pinter

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