Film Essent Archive for November, 2012

This is it. Vote.

Voted. Dropped off our ballots. Finding it hard to concentrate on anything else today. This is it. Months of supporting Obama, carving money out of our limited budget every month to give to his campaign. Months of talking to friends inclined to support Romney, trying to (hopefully gently) persuade them to change their minds. Months of waiting, watching polls, watching debates. Hoping. It all comes down to today. Has it all been enough?

What values will our country uphold today? Will we support women’s rights, universal health care, education, immigrants, the right of two people to marry the person they love, the idea that the rich should not benefit on the backs of the poor and the struggling middle class? I wish I didn’t care so much. I cannot help but care so much. Now, I’d like to drink a Xanax smoothie and crawl under a quilt under it’s over, please.

Our president looked powerful and presidential last night at his last campaign speech. Never have I put so much faith in one man to fight these battles on our behalf. May the odds be ever in our favor.

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“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