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BYOB: RIP Wes Craven

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From 2014, Wes Craven Expands On His 10 Scariest Movies

From 2014, Wes Craven Expands On His 10 Scariest Movies And – Craven Describes The Origins Of His Meta-Horror New Nightmare And – “My goal is to die in my 90s on the set”

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Wes Craven on SCREAM, Career, Fear And “The Edged Weapon” (1996)

Calm, bearded, loquacious, Wes Craven is such a smart, soothing professorial presence, you almost want to, well, scream. That’s the name of the newest thriller by the creator of Freddie Krueger, the “nightmare” hero of the most successful series of slasher movies. Through the years, Craven’s tried to get beyond stock genre movies, but with…

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WES CRAVEN WAS 76

WES CRAVEN WAS 76 And – “Get Rid Of The Assholes”: A Scream-Time Interview

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Michael Wolff Sees Murdoch Set To Sue Facebook And Google

Michael Wolff Sees Murdoch Set To Sue Facebook And Google

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Netflix Loses Lots Of Movies As Epix Deal Ends And Moves To Hulu

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Oliver Sacks In Conversation With David Milch (65m)

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OLIVER SACKS WAS 82

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Film Scholar Tag Gallagher Says He Doesn’t Know What A “Classic Film” Is

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Mekado Murphy On White Male Directors Who Jump To Franchise Films After Their Debut Indie Film

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The Weekend Report

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Weekend Estimates by Summer Dregs Klady

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Jordan Hoffman Spoilers The Rigors Of War Room; Commenters, Pray, Disagree

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Mad Max: Fury Road Retold In Hieroglyphics

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An Oral History Of Longtime Companion At 25

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Straight Outta Compton, F. Gary Gray

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Call Me Lucky, Barry Crimmins, Bob Goldthwaite

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“He begs forgiveness, prays and even gives stolen drugs back to his bosses (who don’t press charges, because he seems so sad.) There is a recurring gag that Elizabeth’s feet stink, and the movie ends with Tony washing them in a nice genderbent Mary Magdalene moment.”
Jordan Hoffman Spoilers The Rigors Of War Room; Commenters, Pray, Disagree: “It Stirs Up The Prayer Warrior Inside Of You”

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“If you’re doing something that terrifies you, most likely you’re doing the right thing.”
Amber Tamblyn Talks Directing, Writing, Living

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“We’ve encouraged Walt Disney, ‘Put your characters out on Broadway free of charge so people don’t have to worry about their kids being groped,'” the police commissioner said.”
Disney, Marvel Shun Times Square Superhero-Shill Shutout

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“The core fear is what can happen to you, personally. Your body. That’s what horror films deal with, precisely. We are a very thin skin wrapped around a pumping heart and guts. At any given moment it can come down to that, be it diseases, or somebody’s assault, or war, or a car wreck. You could be reduced to the simple laws of physics and your body’s vulnerability. The edged weapon is the penultimate weapon to disclose that reality to you.”
~ Wes Craven, 1996, promoting Scream

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

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