Author Topic: Self important  (Read 1927 times)

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AlguienEstolamiPantalones

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« on: August 16, 2003, 03:03:18 AM »
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this post started on the paul scrahader thread but it evolved some here it is

about paul, met him very intesnse and he came up in that era which we worship, but they did consider themselves self important,  heavens gate brought them down to earth

so he is  a bit self important, he made up a  lot of shit in auto focus out of thin air just because it would of served his story well

as much as i worship marty he is also  very self important, he takes 100 plus million of the weinsteins money then gets mad that they have the nerve to ask him about the film

marty i love you, make small tiny low budget films, your creative enough , you dont need all that money you can make a film look great with just a fucking cam corder and the right actors

stop asking for huge amounts of money and then getting mad when people want a return in their investments.

speilberg can ask for it and so can james cameron because they have a track record that says that they will deliver

its show BUISNESS

why do you think some guys just say fuck it and make tiny films outside of hollywood, well most of them have no talent that is why but some the reason they do is because they dont want to deal with the studios and their notes

p.s somtimes the studio can save a artist when he becomes full of himself and he is about to come out with a pretentiouce peice of shit

remember one of those last episodes of larry sanders where phill mentions the type of sitcome he wanted to create , he described it note for note and to me it sounded like a piece of fucking boring artsy preteniouce shit that noone would watch EVER

So  sometimes even the greats get a little self important , not that phill from larry sanders was ever great, but marty has had preteniouce ideas that sounded like shit in description

Ghostboy

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« Reply #1 on: August 16, 2003, 03:23:12 AM »
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Good post. I read a discussion on AICN about how Spielberg said he could never again make a movie for a million or less. He said that as soon as his name was attached to a project, it would be at lest forty five million. This is BS. He could open his checkbook, make a few phone calls, and make a completely independent film was practically any actor he wants for less than a million, no problem.

That was sort of the purpose of the Dogme movement, to burst any sort of bubbles of pretension.

AlguienEstolamiPantalones

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« Reply #2 on: August 16, 2003, 03:43:38 AM »
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Quote from: Ghostboy
Good post. I read a discussion on AICN about how Spielberg said he could never again make a movie for a million or less. He said that as soon as his name was attached to a project, it would be at lest forty five million. This is BS. He could open his checkbook, make a few phone calls, and make a completely independent film was practically any actor he wants for less than a million, no problem.

That was sort of the purpose of the Dogme movement, to burst any sort of bubbles of pretension.


i love scorcess, but lets be honest he needs to tone it down a bit, those guys in the 70's got spoiled

if your films dont make money dont ask for money, and you wont have to throw your cell phone through a window

i would love to see him do a small picture, but by small i dont artsy preteniouce john cassavetties meets jim jarmuch peice of crap because those guys are good at what they do why should marty try and copy them its like when millonare rock  stars  try and fool us
 into thinking they can come out with side projects where they play garage punk :: snores::  

just a small film, it could be a normal plot doesnt have to be artsy

or he could hop on a studio projct and re invent and give it new life which he did twice with great sucesss color of money and cape fear

ok thats what he should do, find pre exsisting projects, pre to the table his own shit and boom

maybe we can have another color of money

Alexandro

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« Reply #3 on: August 16, 2003, 11:12:45 AM »
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Quote from: Ghostboy
Good post. I read a discussion on AICN about how Spielberg said he could never again make a movie for a million or less. He said that as soon as his name was attached to a project, it would be at lest forty five million. This is BS. He could open his checkbook, make a few phone calls, and make a completely independent film was practically any actor he wants for less than a million, no problem.

That was sort of the purpose of the Dogme movement, to burst any sort of bubbles of pretension.



I think Sppielberg meant that if he tried to make a film on a really small budget it would be impossible not because he couldn't manage a small budget but because no one would want to work for so little money with him. My guess is that most actors and techinicians would say fuck you to him cause he obviously ha smoney to pay everyone very good salaries. I don't agreee with him anyway, cause i would work with him for free, no matter what...

As for Scorsese, even though I love Gangs of New York, I woul dlike to see him do a small film too. Hopefully he will do something like that after The Aviator.

aclockworkjj

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« Reply #4 on: August 16, 2003, 01:58:38 PM »
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Quote from: Ghostboy
That was sort of the purpose of the Dogme movement, to burst any sort of bubbles of pretension.

I didn't know a lot about this until this sweet little number I work with brought it to my attention....how I missed the posts about it here, I dunno....but I found the whole thing fascinating...not to mention it was being present by a cute girl, which coulda helped with the desire to hear more.

cine

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« Reply #5 on: August 17, 2003, 12:47:15 AM »
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Quote from: AlguienEstolamiPantalones

or he could hop on a studio projct and re invent and give it new life which he did twice with great sucesss color of money and cape fear

ok thats what he should do, find pre exsisting projects, pre to the table his own shit and boom

maybe we can have another color of money


Maybe not. It could be just me.. but I don't find it a coincidence that Color of Money and Cape Fear were his 'worst' movies.

SoNowThen

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« Reply #6 on: August 17, 2003, 11:03:18 AM »
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Well, here's my two cents. And of course all of you know that I worship Scorsese and Schrader so...


They should feel self important because fuck, they are superfuckingimportant in American cinema. They have produced the most amazing work. The fact that Marty gets worked up over them wanting to touch his film is just great. That shows that he still loves and cares about what he is doing. The way I see it is that a producer can do a bunch of shit that's only fulfilling in a commercial way (ie. make Blade 2, make a bunch of money), but he's in the movie biz, I mean, at the end of the day, wouldn't you like your name attached to a good movie? So go out and make a Scorsese film or a PTA film that barely breaks even. One of those a year, and 8 other money-making shit piles. That's great. That's kinda why I like De Luca (did I spell that right?). He helped get a lot of junk movies off the ground, but he also massaged PTA films. Balancing the scales on both ends.

If you wanna be a good artist (I mean that in terms of producing works, not in the pretentious term), you gotta be a little self-important. Ego is one of the best motivators. You gotta have that intense personal vision. But again, this is coming from a guy who fully believes in some incarnation of the auteur theory.
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.

mutinyco

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« Reply #7 on: August 17, 2003, 12:39:30 PM »
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Yeah, you need ego. You can't make it without it. Ego takes the edge off taking chances. It lowers the fear. But it also makes you paranoid.

I met Schrader. I actually found him to be quite thoughtful and unimposing. I've never been big on his films. But I liked Auto Focus, and I liked him.

As for Marty, yeah, he needs to get back to smaller films. That's what he built his reputation on. His epics are bloated bullshit. He only started making them after the critics sucked him off cause of Goodfellas. He was being hailed as the best director and bought into it.

As for Spielberg, he doesn't need to do a no-budget movie because he has complete control over his productions. And the truth is, compared to most big directors he usually keeps his budgets down. Catch Me was his version of a small film. Check out The Sugarland Express in widescreen if you get the chance.

And it wasn't just Heaven's Gate that did 'em in. It was also New York, New York, 1941, One From the Heart, Sorceror... Every one of those big directors made huge bombs in the late-70s/early-80s. Only Spielberg fully recovered from that because he was smart enough to gauge where both the public and the industry were. Marty went back to small movies and it took him a decade to fully rehabilitate himself.
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AlguienEstolamiPantalones

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« Reply #8 on: August 17, 2003, 12:57:13 PM »
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Quote from: Cinephile
Quote from: AlguienEstolamiPantalones

or he could hop on a studio projct and re invent and give it new life which he did twice with great sucesss color of money and cape fear

ok thats what he should do, find pre exsisting projects, pre to the table his own shit and boom

maybe we can have another color of money


Maybe not. It could be just me.. but I don't find it a coincidence that Color of Money and Cape Fear were his 'worst' movies.


well i think your wrong, and how can you say that after he made kundun

i think your just shitting on those two because it use to be cool to slam manistream films, but xixax is changing that

were fighting for the making of quality mainstream films, not all hollywood films have to be van damn movies or frankie muniz is a young james bond

some hollywood films are masterpeices

thats why we like MCg, he could make our summer movie expeirences fun

SoNowThen

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« Reply #9 on: August 17, 2003, 02:20:48 PM »
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My good example for a great Hollywood film: LA Confidential. I love that flick.



I just wanted to point out Spielberg's brilliant "return to form" in the 90's: The Lost World, Hook.... oh my, what genius, such brilliance.

Fuck off.

Marty after NY NY: Raging Bull, Last Waltz, King Of Comedy, After Hours, Color Of Money, Last Temptation Of Christ, Goodfellas.

BOOYAH!!
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.

AlguienEstolamiPantalones

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« Reply #10 on: August 17, 2003, 02:25:03 PM »
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Quote from: SoNowThen
My good example for a great Hollywood film: LA Confidential. I love that flick.


!!


and those are the type of films we should fight for, not gummo

not all hollywood films are blues brothers 2000

 

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