By Ray Pride Pride@moviecitynews.com

Anna Biller

“The big question, is what would happen if men loved women as strongly as women want them to; the way women crave to be loved by men. Men are known for being much less emotional than women, but, in my experience, they’re much more emotional. And that’s why they won’t, or can’t, open that gate – it would destroy them. And that’s what kills all the men in my movie – having to experience their own feelings.

“As soon as the election happened, the reviews became very different from what they had been before. They talked about the character and her situation as if it were now something current and relevant, which they hadn’t done before. Then they started calling her, ‘The Love Witch #nastywoman,’ you know, grab-her-by-the-pussy jokes. People became more conscious that this movie’s ideas were relevant now, rather than seeing it as some fun little retro thing. And those scenes towards the end, at the bar, with the near-rape and the crowds shouting: ‘Burn the witch!’ – that all feels pretty Trumpian all of a sudden.”
~ Love Witch Filmmaker Anna Biller 

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“We’ve talked about this before in the past, my obsession with the Shakespearean histories having the ideal combination of the sweet and the sour. In ‘Henry IV, Part II’ which we’ve discussed before, in the end of that story it’s very complex and haunting because Prince Hal becomes Henry the King, and he has transcended his hoodlum days and at the ceremony is Falstaff, his good friend with whom he has really fucked around and been a loser with, and Falstaff comes up to him and says, ‘Now that you’re king we can really party,’ and the king famously says, ‘I know thee not, old man.’ It becomes Henry IV’s anointment and Falstaff’s catastrophe. That’s life. I have experienced very little unfettered triumph. There are moments, such as when my children are born, but even that comes with new fears and anxieties. In a sense the better you can communicate that life is both at once, the more powerful over time something becomes. One strives for something where the threads are there because it lasts in way that is very palpable. The idea of a tragedy is powerful in literature and theater, but in cinema it doesn’t work, certainly not commercially, and less so critically. Why is that? I think it has to do with how movies are so close to us.”
~ James Gray

 

“Hollywood executives can rattle off the rules for getting a movie approved by Chinese censors: no sex (too unseemly); no ghosts (too spiritual). Among 10 prohibited plot elements are “disrupts the social order” and “jeopardizes social morality.” Time travel is frowned upon because of its premise that individuals can change history. U.S. filmmakers sometimes anticipate Chinese censors and alter movies before their release. The Oscar-winning alien-invasion drama “Arrival” was edited to make a Chinese general appear less antagonistic before the film’s debut in China this year. For “Passengers,” the space adventure starring Chris Pratt and Jennifer Lawrence, a scene showing Mr. Pratt’s bare backside was removed, and a scene of Mr. Pratt chatting in Mandarin with a robot bartender was added.”
~ “Hollywood’s New Script”