BYOB Archive for May, 2010

BYOB Friday… Sex In Persia: The Sands Of Middle Age

34 Comments »

BYOb Sunday

Anything to say about Cannes?
Anything else?

19 Comments »

BYOB Thursday/Friday

I’m not sure whether you will see anything from me on Friday. 6:58a flight out… home by 11p.
Here’s some space. Be nice to each other. Play on…
Picture 179.png

23 Comments »

BYOB Tuesday

Abdicating the morning…
I feel like I am getting all the Cannes I need from Anthony Breznican, Ebert’s tweets, and Manohla at the NYT.
The trend of reporting on the opinions of others has gone past the boredom barrier for me. And sadly, when it comes to Cannes, the flash consensus is almost always wrong or at least wrong-headed. Do we really need to fight over I

69 Comments »

BYOB Monday

40 Comments »

BYOB Friday of the Hood

9 Comments »

BYOB Wednesday Cannes Begin

Robin Hood is not nearly as bad as some have claimed.. it’s even quite brilliant at times….more later…

48 Comments »

BYOB Iron Friday

14 Comments »

BYOB Humday 5+5=10

Iron Man 2 is coming… and he’s bringing an interesting discussion about the problems with sequels with him… but more on that later…
Here’s some room for you to be nice to each other and to over thoughtful ideas…
Hummmmmm….

32 Comments »

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