XIXAX Film Forum


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31
2018 In Film / Re: BlacKkKlansman
« Last post by Jeremy Blackman on January 15, 2019, 05:52:10 PM »
This was surprisingly meh. Entertaining, but that's about it. Writing was subpar from beginning to end. Something was very off about the acting; I think Adam Driver had the only good performance.

The story has numerous problems, too. It feels juiced up within an inch of its life (is that a coherent metaphor?) in a very Hollywood kind of way, and that's not great.

Also... Could they not afford more than one music cue, or was that a choice?
32
2018 In Film / Re: You Were Never Really Here
« Last post by Jeremy Blackman on January 15, 2019, 05:41:50 PM »
Specifically:

Spoiler: ShowHide
I finally understood why Joe is so affected by Nina's story and why he has such an outsized level of empathy and attachment to her.

(1) Joe is still tormented by the domestic abuse he suffered. Notice that Nina's coping mechanism mirrors his (counting).
(2) He's haunted by all the child sex abuse that's he's seen doing his job.
(3) He has PTSD from his experiences in war, where he saw at least one child commit violence.

Nina hits all 3 of these pretty hard. The first two are nothing new for Joe, but when he realizes that Nina's been forced to become a murderer herself, and that she might have even learned from his example, it's just too much. (This is when he breaks down in the bedroom near the end.)

It breaks his heart because he knows from experience how difficult her life is going to be.

But I might also speculate that he's deeply affected by her resilience—perhaps an emotional strength that he never quite had. Notice how in the end he is entirely dependent on her hope and optimism. That is, in fact, illustrated explicitly.
33
Paul Thomas Anderson / Re: Magnolia discussion
« Last post by eward on January 15, 2019, 03:29:51 PM »
And what's the first thing we're gonna do?

That's right, we're gonna MARK THAT CALENDAR.
34
The Director's Chair / Re: Sofia Coppola
« Last post by wilder on January 15, 2019, 03:27:29 PM »
Sofia Coppola And Bill Murray To Reteam For ‘On The Rocks’, Apple & A24’s First Film
via Deadline

Sofia Coppola will direct Bill Murray again after their Oscar-winning 2003 film Lost in Translation in the upcoming feature On the Rocks, which marks Apple and A24’s first film partnership.

The movie follows a young mother who reconnects with her larger than life playboy father on an adventure through New York.  Rashida Jones will star with Murray. Production starts this spring in New York. Coppola won an original screenwriting Oscar for Lost in Translation and was nominated for best director. Murray nabbed a best actor Oscar nom, and the movie earned a best picture nom. Coppola also directed Murray in the 2015 Netflix holiday special A Very Murray Christmas.

Coppola will produce with Youree Henley. A24 previously worked with Coppola on The Bling Ring. She is repped by ICM and attorney Barry Hirsch. Murray is repped by Ziffren Brittenham. Jones is represented by United Talent Agency and Schreck Rose Dapello Adams Berlin & Dunham.

Coppola made history at the 70th Cannes Film Festival as the second woman ever in the event to win best director for her remake of The Beguiled.

A24 and Apple announced a multi-year feature slate deal back in November.
35
The Director's Chair / Re: Paul Schrader
« Last post by wilder on January 15, 2019, 03:26:56 PM »
Paul Schrader Says His Next Film Will Be A Western Starring Ethan Hawke & Willem Dafoe
via The Playlist

According to Erick Weber, from Awards Ace, it would appear that Schrader is moving from “First Reformed” to a new Western, but he’s bringing along his star along to this new project, as well.

Weber tweeted, “Also spoke with Paul Schrader fresh off his #CriticsChoiceAwards original screenplay win, told me he’s writing a western titled NINE MEN FROM NOW with Ethan Hawke & Willem Dafoe as its two leads.”
36
News and Theory / Re: Slated and Indie Film Production
« Last post by Sleepless on January 15, 2019, 03:06:53 PM »
Snakes On A Plane II?
37
News and Theory / Slated and Indie Film Production
« Last post by wilberfan on January 15, 2019, 02:14:42 PM »
After listening to the most recent (Jan 9/11th) episode of the Brett Easton Ellis podcast (this episode is really quite fascinating and I would urge you to give it a listen by whatever means)--and seeing the first two episodes of "Valley of the Boom" (also recommended), I learned of the existence of Stephen Paternot.

An interesting fellow with an interesting career arc so far (theGlobe.com, anyone?) his most recent venture is a Kickstarter-ish company--only for serious investors interested in film production.   What fascinates me is that he's using algorithms and data-crunching to 'predict' what should be funded and what combination of artists and filmmakers would most likely produce the 'best' (or 'most successful') results.

From an LA Weekly article on Slated:

Quote
Two years ago, combining his passion for both tech and film, Paternot launched his comeback: Slated, a website that connects filmmakers with investors.

Years ago, he astutely conceived of a virtual community where people could connect socially. This time, Paternot believes he has spotted a gap in the filmmaking community: It's too closed to outsiders. Navigating Hollywood, he felt, could be a lot easier. "It made me think, 'Why isn't the Internet solving this?'?"

He started doing research with the goal of solving "the inefficiency of fundraising and communication in Hollywood" - basically, how to help investors find worthy projects, and help filmmakers find both investors and key personnel, such as sales agents and dist
ributors.

His remedy was Slated, a filmmaking social network that already boasts 10,000 members, including Oscar-nominated producer Lawrence Bender (Pulp Fiction, An Inconvenient Truth). Membership is free but two current members must vouch for someone wishing to join. From there, members can peruse other profiles, list their projects and see what others hav
e listed.

"We want to make it as easy to invest in a film as it is easy to buy a book on Amazon," Paternot says. Unlike Kickstarter and Indiegogo, which bring in donations, Slated is based on equity financing, wherein investors own a piece of the project - and its profits. "Those sites are a great place to start for filmmakers doing their first films," Paternot says of crowdfunding sites. "Crowdfunding is where you start. Slated is when you graduate and are in it for a career."

I'm curious if any of you have heard of Slated, if any of you have worked with Slated (or know anyone who has), etc.     A lot of things about traditional Hollywood financing and producing don't work very efficiently, so it will be interesting to see if Slated gains any traction--especially with all of the changes coming courtesy of Netflix models of production, etc.
38
2018 In Film / Re: BlacKkKlansman
« Last post by Sleepless on January 15, 2019, 07:45:27 AM »
Spike's best in a good while. Not the greatest film of the year, but I thoroughly enjoyed. Knowing what else is likely to be nominated for Best Picture, this'll be the one I'll be rooting for the win.


The only thing that didn't really sit well with me was the minute-long epilogue with the 2017 footage. On one hand I can understand why he did it, but on the other I feel like adding that on will only date the movie poorly.

Because Trump. I mean, I get what you're saying, but it ties back into the earlier conversation (which similarly took me out of the movie) about the KKK's long-term goal to get someone like them in the White House. Yes, this film could have been made at any point since the "fo' real fo real shit" actually happened - but it came out in the time of Trump and the resurgence of white nationalism to the mainstream, so it addresses that throughout. This specific story may be over, but the enemy persists even decades later.
39
2018 In Film / Re: Bohemian Rhapsody
« Last post by Drenk on January 15, 2019, 06:03:05 AM »
Why is it so loved? It is. A lot of people are seeing it, weeks after its release. I know that most people love Queen, but if it's as bad as it looks, why does it keep being a success? People love iPhones but Steve Jobs wasn't a success. Between Venom and this one I'm  thinking that Hollywood may try to reverse engineer "trainwrecks".
40
2018 In Film / Re: You Were Never Really Here
« Last post by Jeremy Blackman on January 15, 2019, 02:39:48 AM »
I strongly suspect I would love this on a second watch. It probably is a masterpiece.

Correct.

This hit me much harder on rewatch. Because everything actually makes sense. And there is no expectations game. Strongly recommend revisiting this if it didn't quite work for you the first time.