10 Days of Sundance Archive for January, 2010

‘Dancing With The Wildman

Sundance – Day 7 “It was weird. But I knocked (on the bathroom door). I think that was a sign that I was polite.” As I was sitting in the theatre waiting for my first screening of the day to begin, my new indie film community nemesis approached me saying, “Hey man, you know I…

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‘Dancing With The Wildman

Sundance – Day 6 “I should’ve known that if a guy like me talked to a girl like that, someone would end up dead.” Before I start with today’s films, here are my thoughts about Gone To The Dogs and Armless which I saw a few days ago but never got around to writing about for one…

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‘Dancing With The Wildman

Sundance – Day 5 “You either Joseph Gordon Love-it, or you Hate it.” Sometimes films at Sundance can either completely miss the mark compared to the expectations people have built up or be so genuinely wrongheaded in their eyes that they literally inspire rage. Such as it was that while waiting with the press to…

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LETTERS FROM LARRY

..Sundance 2010 ..Letters: On the Way ..Letters: Day One ..Letters: Day Two ..Letters: Day Three DEAR DAVID: Brian Poyser’s Lovers of Hate is the kind of tiny brilliant gem that low-budget indie films ought to be and so seldom are. Three no-name actors, (four speaking parts over all) star, half the movie shot on one practical…

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‘Dancing With The Wildman

Sundance: Day 4 ..Sundance 2010 ..Wildman: Day One ..Wildman: Day Two ..Wildman: Day Three “This is an early picture of Michael Jackson. When he was black.” Ran into Ella Taylor as I was finding my seat and she was all about the doc, Long Train Home. And when a critic like Ella is all over a…

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‘Dancing With The Wildman

Sundance – Day 3 – Wild On Slamdance “Brian, you’re project manager. You’re saving the earth.” Sometimes, in the spirit of “things happen,” a day here will take on its own theme. You miss one screening and have to duck into another one, you run into someone at a party or on Main Street and…

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LETTERS FROM LARRY

DEAR DAVID: In case the readers of these posts think I’m a softie who likes everything he ever sees or who is blowing smoke up the ass of the Sundance programming staff let me clarify: LIFE IS TOO SHORT TO PAN ALL THE BAD FILMS There are plenty of weak or ordinary films here this…

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‘Dancing With The Wildman

Sundance – Day 2 “Can we just follow the spandex?!” Fueled by my daily film festival shots of Airborne and Emergen–C (yes, I know they’re both basically placebos high in vitamin C. But it reassures me; therefore it’s doing its placebo best for me). Anyway, I get a quick start to…watch a screener ofDouchebag. DOUCHEBAG…

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LETTERS FROM LARRY

DEAR DAVID: Jack Goes Boating isPhillip Seymour Hoffman’s directorial debut adapted to the screen by Bob Glaudini from his play. It’s a foray into the ordinary- every-day-people- find- true-love genre personified by the Oscar classic, Marty. Hoffman and his superb cast do a wonderful job with it by conveying the obsessive craziness that even “little” people are…

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LETTERS FROM LARRY

DEAR DAVID: If there’s a better film that plays at Sundance 2010, than Jacques Audiar’s thrillingly compelling A Prophet (Un Prophete) I will be surprised. Audiard synthesizes a classic young-gangster-on-the-rise tale akin to Scarface or Public Enemy with a convincing depiction of what it is like to make it in French society as an illiterate teenager of North African…

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‘Dancing With The Wildman

Sundance – Day 1 I drive to Sundance. From L.A. It’s an eleven hour drive that I have become very accustomed to and even when it takes me through crazy rain and snow (and that was just between L.A. and Las Vegas) or the dreaded black ice threatens to send me careening into a snow…

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LETTERS FROM LARRY

DEAR DAVID: Heading up at some ungodly hour to Sundance, tomorrow morning. Have noticed that there are three films playing at the festival this year that I’ve seen already, and I thought all three of them happen to be utterly worth seeing. Sympathy for Delicious is the directorial debut of Mark Ruffalo from a script by…

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Quote Unquotesee all »

“Well, actually, of that whole group that I call the post-60s anti-authority auteurs, a lot of them came from television. Peckinpah’s the only one whose television work represents his feature work. I mean, like the only one. Mark Rydell can direct a really good episode of ‘Gunsmoke’ and Michael Ritchie can direct a really good episode of ‘The Big Valley,’ but they don’t necessarily look like The Candidate. But Peckinpah’s stuff, even the scripts he wrote that he didn’t even direct, have a Peckinpah feel – the way I think there’s a Corbucci West – suggest a Peckinpah West. That even in his random episodes that he wrote for ‘Gunsmoke’ – it’s right there.”
~ Quentin Tarantino

“The thought is interrupted by an odd interlude. We are speaking in the side room of Casita, a swish and fairly busy Italian bistro in Aoyama – a district of Tokyo usually so replete with celebrities that they spark minimal fuss. Kojima’s fame, however, exceeds normal limits and adoring staff have worked out who their guest is. He stops mid-sentence and points up towards the speakers, delighted. The soft jazz that had been playing discreetly across the restaurant’s dark, hardwood interior has suddenly been replaced with the theme music from some of Kojima’s hit games. Harry Gregson-Williams’ music is sublime in its context but ‘Metal Gear Solid 4: Guns of the Patriots’ is not, Kojima acknowledges, terribly restauranty. He pauses, adjusting a pair of large, blue-framed glasses of his own design, and returns to the way in which games have not only influenced films, but have also changed the way in which people watch them. “There are stories being told [in cinema] that my generation may find surprising but which the gamer generation doesn’t find weird at all,” he says.
~ Hideo Kojima