Cannes 2004

Started by MacGuffin, February 20, 2004, 12:52:17 PM

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Tictacbk

I'd like to think that Clint Eastwood is masculine yet down to earth.

godardian

Quote from: TictacbkI'd like to think that Clint Eastwood is masculine yet down to earth.

I, too, would like to be able to think that...
""Money doesn't come into it. It never has. I do what I do because it's all that I am." - Morrissey

"Lacan stressed more and more in his work the power and organizing principle of the symbolic, understood as the networks, social, cultural, and linguistic, into which a child is born. These precede the birth of a child, which is why Lacan can say that language is there from before the actual moment of birth. It is there in the social structures which are at play in the family and, of course, in the ideals, goals, and histories of the parents. This world of language can hardly be grasped by the newborn and yet it will act on the whole of the child's existence."

Stay informed on protecting your freedom of speech and civil rights.

Tictacbk

well he did do Bridges of Madison county AND Paint your wagon.

godardian

Quote from: Tictacbkwell he did do Bridges of Madison county AND Paint your wagon.

He'd have to do summer stock in Cabaret to make up for the Dirty Harry series, though.  :wink:
""Money doesn't come into it. It never has. I do what I do because it's all that I am." - Morrissey

"Lacan stressed more and more in his work the power and organizing principle of the symbolic, understood as the networks, social, cultural, and linguistic, into which a child is born. These precede the birth of a child, which is why Lacan can say that language is there from before the actual moment of birth. It is there in the social structures which are at play in the family and, of course, in the ideals, goals, and histories of the parents. This world of language can hardly be grasped by the newborn and yet it will act on the whole of the child's existence."

Stay informed on protecting your freedom of speech and civil rights.

SoNowThen

Quote from: godardianI don't find Scorsese a "man's man," to be honest.

That's because your definition of "man's man" is probably a derogatory and grotesque nightmare of anything you ever found offensive in masculinity.


Also, I'm not a cinephile, I'm a filmmaker. If I was just a fan who was trying to be the best fan he could be, I suppose I'd have to like everything equally. But things being as they are, because of time contraints and focusing of personal vision, I hafta be unfairly biased against some things.


Back to topic: is it true, the rumor that I heard, that WKW might not have his movie ready for Cannes?
Those who say that the totalitarian state of the Soviet Union was not "real" Marxism also cannot admit that one simple feature of Marxism makes totalitarianism necessary:  the rejection of civil society. Since civil society is the sphere of private activity, its abolition and replacement by political society means that nothing private remains. That is already the essence of totalitarianism; and the moralistic practice of the trendy Left, which regards everything as political and sometimes reveals its hostility to free speech, does nothing to contradict this implication.

When those who hated capital and consumption (and Jews) in the 20th century murdered some hundred million people, and the poster children for the struggle against international capitalism and America are now fanatical Islamic terrorists, this puts recent enthusiasts in an awkward position. Most of them are too dense and shameless to appreciate it, and far too many are taken in by the moralistic and paternalistic rhetoric of the Left.

Pubrick

dude, ur a total homophobe.
under the paving stones.

SoNowThen

Dammit, everytime I make a post that I think makes complete sense in the most rational way, I inevitably have to spend the next 2 pages defending it word by word...


Are you just kidding, or are you being serious? Cos it seems to me that is exactly the reason he has such trouble with the phrase you said being attributed to Scorsese.
Those who say that the totalitarian state of the Soviet Union was not "real" Marxism also cannot admit that one simple feature of Marxism makes totalitarianism necessary:  the rejection of civil society. Since civil society is the sphere of private activity, its abolition and replacement by political society means that nothing private remains. That is already the essence of totalitarianism; and the moralistic practice of the trendy Left, which regards everything as political and sometimes reveals its hostility to free speech, does nothing to contradict this implication.

When those who hated capital and consumption (and Jews) in the 20th century murdered some hundred million people, and the poster children for the struggle against international capitalism and America are now fanatical Islamic terrorists, this puts recent enthusiasts in an awkward position. Most of them are too dense and shameless to appreciate it, and far too many are taken in by the moralistic and paternalistic rhetoric of the Left.

godardian

a) How, exactly, is Scorsese any more of a "man's man" than his big hero, the bisexual, Judy Garland-marrying Vincente Minnelli? He's not obsessively threatened by and squeamish about homosexuality or unacceptably "womanish" men, which seems to me to be the real mark of a "man's man." I didn't just make that up, either; you know as well as I do what I base that on.

b) Are cinephiles really "just fans"? I thought they were people who cared about the cinema and had a voracious appetite for it. I think "movie fan" is much too casual a term; cinephile means something a lot more than that.

At least you admitted to being unfair, though. Still, that unfairness reflects poorly. How much easier and more flattering would it have been just to say, "Oh, I haven't seen any of Almodovar's films- I'm ignorant on that guy's stuff." That goes for me with plenty of famous filmmakers, but instead of basing my opinion or willingness to see their work on something I think I know about them as individuals, I just cop to not having had a chance to see the work. I mean, there are plenty of great directors (Tarantino is the first one who comes to mind) who have personalities that would preclude me from ever seeing anything of theirs... if I were so fatuous as to base my willingness to assay their filmmaking capabilities on something so finally arbitrary as their sexual orientation, demeanor, or espoused political views.

So, yes, the bottom line seems to be that there's a person here who would ignore and/or dismiss Pedro Almodovar (while also being resolutely unwilling to see any of his films) as a filmmaker simply because he's a big gay progressive who found some very mild-mannered and pleasant way to express his opinion publicly. And when you consider the Godard-appreciation of that person, that eliminates being genuinely put off by someone loudly espousing and blatantly including in their films even the most radically leftist views. That pretty much leaves homophobia, whether Pubrick was joking or not.

I guess it's just lucky for some people that Godard wasn't gay... but where does that leave Pasolini, Fellini (read John Baxter's revealing essay in the Juliet of the Spirits DVD if you're wondering), Minnelli, Fassbinder, etc? The more you think about the Almodovar-bashing and subsequent discursive flailing around we've seen here, the more absurd and insupportable it seems. He's being singled out- by someone who, again, not only hasn't seen his work but apparently refuses to- for doing something that seems laughably minor compared to equivalent things said/done by many of the other directors I mentioned, only on a much more grand and unequivocal scale. There are sections of Pierrot le Fou, Weekend, and Masculin/Feminin that are what Almodovar said magnified a million times. And that's in the work, not separate from it on a stage somewhere.
""Money doesn't come into it. It never has. I do what I do because it's all that I am." - Morrissey

"Lacan stressed more and more in his work the power and organizing principle of the symbolic, understood as the networks, social, cultural, and linguistic, into which a child is born. These precede the birth of a child, which is why Lacan can say that language is there from before the actual moment of birth. It is there in the social structures which are at play in the family and, of course, in the ideals, goals, and histories of the parents. This world of language can hardly be grasped by the newborn and yet it will act on the whole of the child's existence."

Stay informed on protecting your freedom of speech and civil rights.

mutinyco

Morrissey certainly isn't a man's man.
"I believe in this, and it's been tested by research: he who fucks nuns will later join the church."

-St. Joe

godardian

Quote from: mutinycoMorrissey certainly isn't a man's man.

:yabbse-thumbup:

To tie it in with Scorsese, he once used a giant Harvey Keitel still from Who's That Knocking at My Door as a stage backdrop (alternating with an equally giant Edith Sitwell) for the '91 Kill Uncle tour (it was supposed to be the Strangeways, Here We Come cover, but they couldn't get permission; Moz really wanted to use it, though, and Keitel eventually relented).

Programme:



...which is, in fact, where I first ever heard of Who's That Knocking At My Door.
""Money doesn't come into it. It never has. I do what I do because it's all that I am." - Morrissey

"Lacan stressed more and more in his work the power and organizing principle of the symbolic, understood as the networks, social, cultural, and linguistic, into which a child is born. These precede the birth of a child, which is why Lacan can say that language is there from before the actual moment of birth. It is there in the social structures which are at play in the family and, of course, in the ideals, goals, and histories of the parents. This world of language can hardly be grasped by the newborn and yet it will act on the whole of the child's existence."

Stay informed on protecting your freedom of speech and civil rights.

SoNowThen

Whoa, back up the pony wagon here. I have no idea about Almodovar's sexual activities. He came off like a goof, imo, Scorsese didn't, imo. I have no ulterior motives for being put-off by him, so don't cry wolf on my watch.


Also, Fellini was not gay.  :roll:  I have the Baxter book that essay is culled from.


Quote from: godardianScorsese...  He's not obsessively threatened by and squeamish about homosexuality or unacceptably "womanish" men, which seems to me to be the real mark of a "man's man."

Good, so we're in agreeance -- Scorsese is a man's man.

Quote from: godardianAre cinephiles really "just fans"?

Yes.

Quote from: godardian
There are sections of Pierrot le Fou, Weekend, and Masculin/Feminin that are what Almodovar said magnified a million times. And that's in the work, not separate from it on a stage somewhere.

Good. Put whatever you want in the work. I'll support that. Doesn't mean I'll choose to watch it. In Godard's case, I have.


I didn't say I want to kill Almodovar. I didn't say he should stop making movies. I never said anything negative about the movies he's made. I have lots of shit to watch in the near future. I don't plan on including any of his filmography anytime soon. If I was at Cannes, and it came down to going to a screening of his new flick, or hanging out at the topless beach, I'd choose the beach. Learn to deal with it.
Those who say that the totalitarian state of the Soviet Union was not "real" Marxism also cannot admit that one simple feature of Marxism makes totalitarianism necessary:  the rejection of civil society. Since civil society is the sphere of private activity, its abolition and replacement by political society means that nothing private remains. That is already the essence of totalitarianism; and the moralistic practice of the trendy Left, which regards everything as political and sometimes reveals its hostility to free speech, does nothing to contradict this implication.

When those who hated capital and consumption (and Jews) in the 20th century murdered some hundred million people, and the poster children for the struggle against international capitalism and America are now fanatical Islamic terrorists, this puts recent enthusiasts in an awkward position. Most of them are too dense and shameless to appreciate it, and far too many are taken in by the moralistic and paternalistic rhetoric of the Left.

MacGuffin

Tarantino set for Cannes 'heaven'
BBC News


Quentin Tarantino heads a festival jury that includes Tilda Swinton and Emmanuelle Beart


The world's film industry elite have gathered for the start of the 57th Cannes Film Festival in France.

This year's main competition jury is headed by director Quentin Tarantino, who described the event as "heaven".

"I think we've all dreamed of heaven - for me, [Cannes] is where dreams come true," he said on the opening day.

After the 11-day event is opened by Pedro Almodovar's La Mala Educacion on Wednesday, the jury will judge 18 contenders for the Palme d'Or award.

They include Michael Moore's Fahrenheit 911, Shrek 2 and Tom Hanks' The Ladykillers, as well as offerings from France, Japan and Argentina.

Among the stars due to attend are Charlize Theron, Cameron Diaz and Brad Pitt, who will be promoting his Greek epic Troy on Thursday.

The event is seen as the world's most prestigious film festival, where directors and actors go to launch films and where executives go to buy them.

Merit

Tarantino, who won the Palme d'Or in 1994 with Pulp Fiction, is head of a nine-strong jury that also includes actresses Kathleen Turner, Emmanuelle Beart and Tilda Swinton.

He said: "As great as it is to go [to Cannes] with a movie, it's better to be president of the jury."

He would judge the competing films purely on merit, he said.

"When you're going to look at films that you have never seen before - completely different styles, genres, countries - I don't think it would be right to have any kind of criteria," he said.

"I think we'll know it when we see it."

He said he would not let the political storm around Fahrenheit 911, which Disney has refused to release because of its strong anti-President Bush stance, colour the jury's judgement.

"I think it's just going to fall down on whether or not we like the movie. Politics be damned, if that's possible."

And he added: "It's very well-known how much I like Asian cinema - but that doesn't give one film an edge over another."

Last year's award was won by Gus Van Sant's Elephant, in a year when the festival came in for criticism for its poor choice of films.

'Not my fight'

There were fears this year's event could be disrupted by protests from striking French part-time showbusiness workers angry at cuts to their benefits.

But a last-minute deal saw Cannes organisers agree to provide them with a meeting space, and allow them to make public speeches during the festival.

When asked about the dispute, Tarantino said: "I don't really understand it - and since I'm not a French citizen, I don't have to.

"I'm here to judge films - it's not my fight."

The festival will be officially opened with an opening ceremony at 1830 BST on Wednesday, followed by a screening of La Mala Educacion.

Almodovar and the film's cast, including Mexican star Gael Garcia Bernal, will be among those walking the red carpet up the steps of the Palais de Festivals.
"Don't think about making art, just get it done. Let everyone else decide if it's good or bad, whether they love it or hate it. While they are deciding, make even more art." - Andy Warhol


Skeleton FilmWorks

cron

La Mala EducaciĆ³n was booed.
context, context, context.

Chest Rockwell


cron

I was punk'd. It wasn't,  it was applauded in fact.  My sister saw it a while ago and she told me it was very dark and experimental.  And my uncle saw it too, this guy LOVED Hable con Ella but detested La Mala EducaciĆ³n.
context, context, context.