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The Small Screen / Re: Lost (spoilers)
« Last post by Jeremy Blackman on August 03, 2018, 01:13:38 PM »
Evangeline Lilly in a recent interview:

“In season 3, I’d had a bad experience on set with being basically cornered into doing a scene partially naked, and I felt I had no choice in the matter,” she tells me. “I was mortified and I was trembling, and when it finished I was crying my eyes out and had to go on and do another very formidable and strong scene immediately after.”

She continues: “So in season 4, another scene came up where Kate was undressing and I fought very hard to have that scene be under my control, and I failed to control it again. So, I said. ‘That’s it – no more. You can write whatever you want, I won’t do it. I will never take my clothes off on this show again’ – and I didn’t.”

The first nude scene she's referring to is unfortunately in "I Do" (305), one of my very favorite episodes of Lost, which I talked about several times on the last 2 pages. Kate basically has a nude sex scene with Sawyer in a cage, which is definitely the type of thing that should require the actress's full consent.

I'm actually not sure what the season 4 scene is.

There was a joint response statement by Abrams, Lindelof, Bender, and Cuse:

Our response to Evie’s comments this morning in the media was to immediately reach out to her to profoundly apologise for the experience she detailed while working on LOST. We have not yet connected with her, but remain deeply and sincerely sorry. No person should ever feel unsafe at work. Period.

Equally illuminating are Evangeline Lilly's problems with Kate's character, which I have to say are kind of hard to disagree with:

“I always thought she was obnoxious,” she says. “Not at the beginning – at the beginning, she was kind of cool. But as the show went on, I thought she became more and more predictable. I felt that my character went from being autonomous – really having her own story, journey and agendas – to chasing two men around the island. That irritated the shit out of me.”

“I wanted her to be better because she was an icon for strength and for women. I think I tried very hard to take what I was given and always find the way to show that strength, to have her own thoughts and to take moments I thought might be quite whiny and somehow make them... not whiny.”

“I’m not opposed to having romance in a woman’s life. I’m one of those people who has never been able to be single, so there’s nothing wrong with women’s lives being characterised by their relationships. But there was this eventual lack of dimension to what was going on with her. It was just [mock gasps] ‘Jack!” “Sawyer!’”

I've always strongly felt that Jack & Kate only really work because of those actors, and this seems to further validate that view.

It is too bad that Kate didn't get more to do in the show. She never quite became the heroic figure that might have been. Her best scenes and moments usually took place off-island, peaking in Season 4 I would say.
News and Theory / Re: What Films Are We Watching?
« Last post by polkablues on August 03, 2018, 12:21:17 AM »
This raises a good question; are there any current filmmakers who might be considered the standard-bearer for the continuation of the Ashby aesthetic? Baumbach and Gerwig come to mind... anyone else?
News and Theory / Re: What Films Are We Watching?
« Last post by jenkins on August 02, 2018, 10:19:41 PM »
that's a really beautiful post
This Year In Film / Re: Mission: Impossible - Fallout
« Last post by jenkins on August 02, 2018, 10:19:27 PM »
this is a personal fact that deviates from the course, which is my substyle, but this one comes with a prolepsis: it does fit perfectly into an overall theme of the conversation.

then i must build up the story itself, rather than deliver the punchline immediately. i am 17 in Ohio. i work at Taco Bell. i hang out with the disheveled personalities, that's my friend-type and a reflection of me. they come in all varieties. these two are like this: one was a guy who was into being positive and  making ridiculous discoveries, normal fun-guy type, and the other was a girl who was blonde and her variety usually hangs out with the prettiest men but she had a slice of the mystery in her like us. okay what we decided to do after their prom was over, my school didn't have a prom, well i had church clothes, so, in order to do what felt like a true good idea at the time: the three of us dressed in those clothes and went to see The Fast and the Furious. i'd already seen it. i think she hadn't. what did the night feel like? an ideal night of friendship with interlocking pitches, complete harmony, the personal best F&F experience i ever had, the first one. never had a better experience with the franchise.

also at the end i mention this as rhetorical and expect the conversation to movie on in some other fashion, absolving myself the dangers of this post, in order to leave it behind peacefully.
This Year In Film / Re: Mission: Impossible - Fallout
« Last post by polkablues on August 02, 2018, 08:40:02 PM »
100%. Each established an identity for the series, but were immediately blown out of the water by the next three installments.
News and Theory / Re: What Films Are We Watching?
« Last post by BB on August 02, 2018, 07:54:31 PM »
Man, wish more young cats would start ripping off Ashby. With the possible exception of Harold and Maude, his style has never quite been aped so readily as all the other 70s stalwarts, and yet, I find it so vital and relevant. Re-watched The Landlord recently and just damn, what a picture. Maybe even ahead of our times.

And Shampoo, yeah. Imagine somebody made Shampoo today. We'd all love them. Cool, humanist movies, actually funny comedies and sincerely tragic dramas, kinda equally shaggy and sharp, stylistically interesting but subtle and humble. With the exception of Bound For Glory, you could make these movies cheap too.
This Year In Film / Re: Mission: Impossible - Fallout
« Last post by pete on August 02, 2018, 06:03:44 PM »
felt like JJ Abram's MI3 was much closer to Fast 4 - it's a much-needed piece for re-branding purposes but nothing in the installment itself was that well-executed, compared to the installments to come.
This Year In Film / Re: Mission: Impossible - Fallout
« Last post by polkablues on August 02, 2018, 03:18:30 PM »
I still think no one has come close to capturing the magic of DePalma though.

Interestingly, it doesn't even seem like any have tried. Much like Justin Lin did with the Fast and/or Furious franchise, J.J. Abrams really set the template of what a Mission Impossible movie "is" with the third one, and Bird and McQuarrie seem to have mostly built off of that. The first two M:I movies were entirely their own things, but the past four have very much been of a piece with each other.
This Year In Film / Re: Mission: Impossible - Fallout
« Last post by ©brad on August 02, 2018, 03:08:02 PM »
I'd buy that (the Marvel bit, and everything else). I've yet to see this, but I did rewatch Rogue Nation on TV and the dialogue is really bad. I thought Christopher Mcquarrie could pen a script? Was Usual Suspects an anomaly?

These movies remain a guilty pleasure so I'm excited to see this one in the theaters. I still think no one has come close to capturing the magic of DePalma though. Brad Bird maybe got closest.
DVD Talk / Re: Random DVD and Blu-ray announcements
« Last post by wilder on August 02, 2018, 10:19:54 AM »
October 22, 2018

Jacques Tourneur’s Night of the Demon (1957) on blu-ray from Indicator (UK)

American professor John Holden arrives in London for a parapsychology conference, only to find himself investigating the mysterious actions of Devil-worshiper Julian Karswell.

Based on M R James’ chilling short story ‘Casting the Runes’, this acknowledged and hugely influential classic of horror cinema is presented in a deluxe 2-Disc Blu-ray Limited Edition, with four alternative presentations of the film, a staggering array of new and archival extra features and an exclusive 80-page book containing new writing and archival re-prints.

Night of the Demon (1957) - Powerhouse Films

October 22, 2018

William Castle at Columbia, Volume One on blu-ray from Indicator (UK)

The first of two Limited Edition Blu-ray box sets dedicated to one of American cinema’s most iconic filmmakers. WILLIAM CASTLE AT COLUMBIA, VOLUME ONE features four fright films from the outrageous showman’s illustrious career with Columbia Pictures – the shocking THE TINGLER (1959), starring the great Vincent Price, the intense 13 GHOSTS (1960), the controversial Psycho-inspired HOMICIDAL (1961), and the lurid MR SARDONICUS (1961). All four films are presented for the first time on Blu-ray in the UK, and are complemented by a wealth of essential extra features and comprehensive booklets containing new essays and archival material.

William Castle at Columbia, Volume One - Powerhouse Films
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