Author Topic: vincent gallo  (Read 36937 times)

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writedownhere

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vincent gallo
« on: April 18, 2003, 05:24:03 AM »
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is there a reason why david lynch is listed under directors and vincent gallo isn't?

have you seen buffalo '66?

hoaky versus awesomely spectacular.

let's get with it guys.[/quote]

MacGuffin

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Re: vincent gallo
« Reply #1 on: April 18, 2003, 10:17:39 AM »
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Quote from: writedownhere
have you seen buffalo '66?


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Gold Trumpet

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vincent gallo
« Reply #2 on: April 18, 2003, 10:29:22 AM »
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I've never understood the love affair with Buffalo 66. Mind you, I didn't grow up with the film and only watched it after the big hype and found it to be influences of Godard in ways not really that spetacular when you can watch Godard movies yourself. Then the movie tried to sell a romace out of a terrible kidnapping with the most unlikable of guys, someone that reminded me of all the asshole pricks I knew who were 25 and hung by the High School during lunch time so they could pick up their freshman girlfriends who were in it because the guy was older and had a big truck. This fucking asshole knew he had nothing much going for him by way of looks, but if he looked prickish enough, he could maybe hold the town record for popping cherries. By the time he gets 30, his days are done because the constant smoking and drinking have shown themselves quite clearly to where even to all the little girls who thought he was dangerous, he has now become that older weird guy who prolly has bad intentions. Sorry to go off in a rant, but I grew up near guys like this my entire life and a movie rendering is the least likely thing to change my opinion on them. Especially when it feels like an honest one.

~rougerum

Sigur Rós

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vincent gallo
« Reply #3 on: April 19, 2003, 02:57:39 PM »
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Isn't Gallo the "bad-guy" in the new Glassjaw video?? Cosmopolitan Bloodloss  :shock:

Derek

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« Reply #4 on: April 19, 2003, 03:01:31 PM »
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Quote from: The Gold Trumpet
I've never understood the love affair with Buffalo 66. Mind you, I didn't grow up with the film and only watched it after the big hype and found it to be influences of Godard in ways not really that spetacular when you can watch Godard movies yourself. Then the movie tried to sell a romace out of a terrible kidnapping with the most unlikable of guys, someone that reminded me of all the asshole pricks I knew who were 25 and hung by the High School during lunch time so they could pick up their freshman girlfriends who were in it because the guy was older and had a big truck. This fucking asshole knew he had nothing much going for him by way of looks, but if he looked prickish enough, he could maybe hold the town record for popping cherries. By the time he gets 30, his days are done because the constant smoking and drinking have shown themselves quite clearly to where even to all the little girls who thought he was dangerous, he has now become that older weird guy who prolly has bad intentions. Sorry to go off in a rant, but I grew up near guys like this my entire life and a movie rendering is the least likely thing to change my opinion on them. Especially when it feels like an honest one.

~rougerum


I'm just glad you're not bitter.
It's like, how much more black could this be? And the answer is none. None more black.

writedownhere

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vincent gallo
« Reply #5 on: April 19, 2003, 04:17:37 PM »
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just because lynch has made more movies than gallo, doesn't make him any less hokey and dumb.

Derek

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vincent gallo
« Reply #6 on: April 19, 2003, 04:51:20 PM »
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Quote from: writedownhere
hoaky


hokey
It's like, how much more black could this be? And the answer is none. None more black.

writedownhere

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vincent gallo
« Reply #7 on: April 19, 2003, 05:05:53 PM »
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it quite clearly says hokey.

Derek

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vincent gallo
« Reply #8 on: April 19, 2003, 05:13:16 PM »
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Quote from: Derek
Quote from: writedownhere
hoaky


hokey


yeah.
It's like, how much more black could this be? And the answer is none. None more black.

Ghostboy

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vincent gallo
« Reply #9 on: April 20, 2003, 01:23:55 AM »
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Gold Trumpet, I think I understand your dislike of the film, but that's just one way to look at it. I think the reason I (and so many others) love the movie so much is because of the redemptive qualities. This screwed up asshole who had a horrible upbringing is redeemed by love. Technically, it's the same thing as Punch Drunk Love (not that the two films are similar at all in any other way, but you get my point). What made Billy Brown such a wonderful character was his hang-ups. He'd never even really kissed a girl before. He couldn't put his feelings in words, he was afraid of human contact just as much as he wanted it. He was an A-hole, yes, but he was also somewhat damaged. The movie is so beautiful because, rather than go down the narrow, destructive path indicated in the hallucination/dream sequence, he chooses love, and, for the first time in his life, he gets it returned to him.

That kind of compassion for the character indicates to me that Gallo might not be the complete prick in real life that he usually comes off as.

The movie means a lot to me; don't know if my explanation came off too well, though.

And David Lynch is not hokey or hoaky.

writedownhere

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vincent gallo
« Reply #10 on: April 20, 2003, 01:58:53 AM »
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annoying sound better?

Sigur Rós

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« Reply #11 on: April 20, 2003, 07:31:58 AM »
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Quote from: Derek
Quote from: writedownhere
hoaky


hokey


bandy?

Sigur Rós

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« Reply #12 on: April 20, 2003, 08:00:00 AM »
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Quote from: mogwai
Quote from: Sigur Rós
Quote from: Derek
Quote from: writedownhere
hoaky


hokey


bandy?

Hokey, hokier, hokiest:
Mawkishly sentimental, corny or noticeably contrived, artificial.


Oh...I thought you guys meant bandy....They outdoor ice-hockey sport.  :shock:

Gold Trumpet

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« Reply #13 on: April 20, 2003, 10:14:39 AM »
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Ghostboy,
I know where you are coming from but the main difference between Sander and Gallo in their roles is that Gallo really is a prick character. Of course for all bullies and such they hide behind insecurities for doing what they do, but Sandler never really came off as the mean spirited person that Gallo's character did. And when Gallo is being met with love by Ricci, he just further enflames the situation by being the complete asshole in arguing with her for doing so. I just couldn't really care for the character at all because when he was put into a sympathetic role that was similiar to Sandler's but showed very little remorse in being it. Instead of the movie seeming to be about his transition, it just kept on repeating the idea of how he is an asshole who is scared and such for most of the movie where it seemed less about transition and more of an act of repitition in annoyness.

~rougerum

SoNowThen

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vincent gallo
« Reply #14 on: April 21, 2003, 10:31:30 AM »
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This is a picture of us SPANNING time. We're the couple that doesn't touch, and we SPAN time together. Just don't touch me.

----

Come on, this movie is hilarious. I find Gallo's character very funny and likeable, because he at least says what's on his mind. He's been burned by chicks his whole life, so he's a little tenative to trust Ricci's character. But I guess it's a "love it or hate it" kinda flick.
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.

 

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