Mulholland Drive

[dissention]

Anyone seen this? Forgive me, but if you have, can you make any bloody sense out of it? I love David Lynch, but jeezum crow, what a mess.

[GypsySorcerer]

Anyone seen this? Forgive me, but if you have, can you make any bloody sense out of it? I love David Lynch, but jeezum crow, what a mess.

Saw it once a couple years ago and hated it. :laugh: So if anyone understood it, please share.

I love when filmmakers think their work must be incomprehensible to be brilliant.

[GardenStateGirlie]

I've seen it twice and even read the explaination of it on salon.com and still couldn't figure it out. I like to think i'm pretty good when it comes to those movies that you really have to think about. Not when it comes to this film though...I have not a friggin' clue.

[dissention]

I've seen it twice and even read the explaination of it on salon.com and still couldn't figure it out. I like to think i'm pretty good when it comes to those movies that you really have to think about. Not when it comes to this film though...I have not a friggin' clue.

Same here. :wavey:

However, I thought the Salon article was utter bull****, written by someone who thinks they're intelligent when they're just as out of the loop about it as the rest of us. It's no wonder ABC rejected the pilot. I think it's utterly divine and brilliant up until Betty and Rita jump into bed together, but then the whole movie becomes incomprehensible garbage. By the time they go to Silencio, it's torturous to sit through. :cool:

It's still worth seeing for the first two hours, though, and to see what Ann Miller did to her face with all that plastic surgery. I think Justin Theroux is kinda sexy, too.

[gldstwmn]

Anyone seen this? Forgive me, but if you have, can you make any bloody sense out of it? I love David Lynch, but jeezum crow, what a mess.
I started watching it once but just thought the violence was gratuitous and shut it off. :shrug:

[dissention]

I love when filmmakers think their work must be incomprehensible to be brilliant.

I'd bet cash money that even David Lynch doesn't know what it's about. And that insert that came with DVD telling you to look for the clues in order to figure it out? What bogus bull****!

"Look for the ashtray."
"Pay attention to the red lampshades."
"Where is Aunt Ruth?"
"Where did the accident occur?"
"What is the key for?"

HOW THE F*CK DO I KNOW?

:rolleyes:

[dissention]

I started watching it once but just thought the violence was gratuitous and shut it off. :shrug:

I didn't think it was too bad. I laughed my ass off when the hit man killed that guy for the black book and accidentally shot a fat woman in the ass through a wall when he was wiping his prints from the gun.

"Ah! Something bit me!"

:laugh:

[hayley]

I absolutely love it. But I've always been a huge fan of David's. The performances, especially Justin Thoreux's & Naomi Watts, I love. It's hypnotic. Looking for logic, plot, or explanations in it is pointless... it's a dream, nothing more. My favorite is the scene in the club, with the singer and the key. I get shivers when I see it. And the scene in the beginning, with the monster, gave me nightmares for weeks, and I'm not the type to be affected by something like that.

It should also get credit for being one of only two movies that feature Melissa George that don't make me want to jump off a cliff.

I love David. Checking his <a href="www.davidlynch.com">daily weather reports</a> is a total obsession of mine.

[dissention]

It should also get credit for being one of only two movies that feature Melissa George that don't make me want to jump off a cliff.

What's the other one? The Limey? I *love* that movie.

Otherwise, I can't stand her. Who in their right mind would pay to see her and Ryan Reynolds together onscreen in The Amityville Horror? :eek:

[amber]

yeah, I figured it out. It's a vanity piece for David Lynch to be weird for weird's sake, and it is utterly incomprehensible. Did that clear things up?

[hayley]

What's the other one? The Limey? I *love* that movie.

Otherwise, I can't stand her. Who in their right mind would pay to see her and Ryan Reynolds together onscreen in The Amityville Horror? :eek:
Actually, it's not nearly as smart as The Limey. It's Sugar and Spice. Hee. I <3 that movie. Have you ever seen it? She has black hair, and is obsessed with boning Conan O'Brien.

I spent several hours at work last week cutting out pictures of her from Amityville Horror ads and reviews, defacing them, and putting them together in a nice collection on my bulletin board.

[Serrart]

Anyone seen this? Forgive me, but if you have, can you make any bloody sense out of it? I love David Lynch, but jeezum crow, what a mess.

Not my favourite Lynch movie but I liked it. In my opinion, the plot is just a vicious circle to guide the public in a visit through many worlds that coexist in a same dimension: a celebration of the archetypes of noir genre; a satire about Hollywood and the way movies are made today; a critique to us the audience who digest every rubbish and consider it art (a reference to Tarantino, as an example); the declared impossibility as an artist, to give a definite shape to emotions; the hypocricy of a society that needs to have an official answer to everything, to feel safe; an homage to Fellini, which last movie finished with the same request of silence. At least, that's what I thought seeing it. When there aren't conventional answers, it's up to the public, and it could be fun to create them, if the audience is willing to play, I think. :)

Romy

[dissention]

Romy touched on what I thought it was about or what I liked it to be about: the need for the audience to have a solution to a problem, to be guided on a 3 part structure or atleast some structure that fits easily into their comfort zone. And then people walk out trying to put logic to a series of events that must have tied in only because it's incomprehensible for them not to have tied in. Of course that is then ironic and like he wished that message would go over the audience's head because he knew it would be viewed by the people he's commenting on. Or perhaps it has nothing to do with that and I'm contradicting myself by being one of those that he's also commenting on. Bleh psychobabble. I'm high. I despised the reviews that pretended they knew what was going on. Sticking by my initial thoughts, it's just laughable, them thinking they pieced the puzzle together.

That's what I started to think once they went to Silencio and then opened the box. But when it comes to David Lynch, no one ever knows but him. :laugh: The very end was just laughable (the old couple from Betty's flight crawling out of the box and tormenting her), yet still rather horrifying. It's a total mess, but I suppose that's what makes it work.

[sparky]

a critique to us the audience who digest every rubbish and consider it art


Exactly what I thought the movie was ! Rubbish. And so many called it art.

It lost me very quickly. I don't remember when it was that the damned thing fell apart. Considering the slapdash way it was thrown together, I think the whole thing was an accident. People talk about it as if it was some grandly structured and executed piece de resistance. Hogwash. It had some fascinating imagery. But so does an oil slick on a wet city street. At least THAT isn't confusing. Street Angel makes more sense than this thing.

I resented the hell out of this movie, and would have walked out if I had been alone. All that, and I didn't even pay to see it.

It is the absolute height of Hollywood insider masturbatory back slapping that this swill was nominated for awards. Lynch must have been peeing all over himself at fooling everyone.

[cliffdweller]

"Where is Aunt Ruth?"

You know, I never thought about this...but how does it have anything to do with the meaning of the movie?

Yeah, this film is a total mystery to me. I get the theme of dashed dreams in magical mystical Hollywood [you know Lynch has a total fixation with Hollywood being the land where dreams come true :rolleyes:] but some of it doesn't make sense. He said that he wanted to make a lesbian love story, which if you ask me, was quite unconvincing.

Diss, have you ever seen Bergman's Persona? I think Lynch was riffing HEAVILY on this movie.

[cliffdweller]

I didn't think it was too bad. I laughed my ass off when the hit man killed that guy for the black book and accidentally shot a fat woman in the ass through a wall when he was wiping his prints from the gun.

"Ah! Something bit me!"

:laugh:

Or how about that boardroom meeting in the beginning with the old boss guy and his damned espresso? That scene had me rolling, it was just so absurd. I think that was Lynch's satiracle take on those industry types.

[dissention]

Exactly what I thought the movie was ! Rubbish. And so many called it art.

The critics don't want to look bad or unhip by calling it the mess that it is.

It lost me very quickly. I don't remember when it was that the damned thing fell apart. Considering the slapdash way it was thrown together, I think the whole thing was an accident. People talk about it as if it was some grandly structured and executed piece de resistance. Hogwash. It had some fascinating imagery. But so does an oil slick on a wet city street. At least THAT isn't confusing. Street Angel makes more sense than this thing.

You can spot exactly where the TV pilot ends and the newly shot scenes begin: as soon as Watts and Harring jump into the sack together. Then the movie falls apart. It's a complete failure of filmmaking, but it's still ridiculously engrossing. It is slapdash, from beginning to end.

And how about Ann Miller's face? :eek:

I resented the hell out of this movie, and would have walked out if I had been alone. All that, and I didn't even pay to see it.

It is the absolute height of Hollywood insider masturbatory back slapping that this swill was nominated for awards. Lynch must have been peeing all over himself at fooling everyone.

He added insult to injury by including an insert on the DVD that told you to look for the clues that would unlock the mysteries to the movie. ****ing asshole.

[dissention]

You know, I never thought about this...but how does it have anything to do with the meaning of the movie?

It doesn't. ;) He also says to look for red lampshades, ashtrays, and other such ****.

Yeah, this film is a total mystery to me. I get the theme of dashed dreams in magical mystical Hollywood [you know Lynch has a total fixation with Hollywood being the land where dreams come true :rolleyes:] but some of it doesn't make sense. He said that he wanted to make a lesbian love story, which if you ask me, was quite unconvincing.

The tagline was something along the lines of "A Love Story in Hollywood." :laugh: He's full of hot air. Bless Isabella Rossellini for being able to put up with him.

Diss, have you ever seen Bergman's Persona? I think Lynch was riffing HEAVILY on this movie.

Yup. I never thought about it that way, though, you might be right. I can't say I'm a big Bergman fan, in all honesty. :shocked: I'm still amazed at the sheer awfulness of The Virgin Spring.

[cliffdweller]

I'm still amazed at the sheer awfulness of The Virgin Spring.

a.k.a. Last House on the Left. John Carpenter must've been a Bergman fan. Unless he's a fan of the original ballad that TVS was based on, The Daughter of Tore of Vange, but somehow I doubt it. :laugh:

[Serrart]

Exactly what I thought the movie was ! Rubbish. And so many called it art.

It lost me very quickly. I don't remember when it was that the damned thing fell apart. Considering the slapdash way it was thrown together, I think the whole thing was an accident. People talk about it as if it was some grandly structured and executed piece de resistance. Hogwash. It had some fascinating imagery. But so does an oil slick on a wet city street. At least THAT isn't confusing. Street Angel makes more sense than this thing.

I resented the hell out of this movie, and would have walked out if I had been alone. All that, and I didn't even pay to see it.

It is the absolute height of Hollywood insider masturbatory back slapping that this swill was nominated for awards. Lynch must have been peeing all over himself at fooling everyone.

I'm not sure is art, but it's a good movie for me. I don't see much a problem with how it's done, it's nothing new from Nouvelle Vague, especially some Godard movies, so I don't understand the kind of reasoning "it's hogwash because I don't understand it"; it's impossible to control everything we watch, IMO. Anyway, there's always the reassuring Alexander Payne, California and two hours of people talking of wine, no? ;)

Romy

[Serrart]

Yup. I never thought about it that way, though, you might be right. I can't say I'm a big Bergman fan, in all honesty. :shocked: I'm still amazed at the sheer awfulness of The Virgin Spring.

And I thought in 30 years you'd be like Isak Borg in Wild Strawberries... :D

Romy

[trackaghost]

Actually, it's not nearly as smart as The Limey. It's Sugar and Spice. Hee. I <3 that movie. Have you ever seen it? She has black hair, and is obsessed with boning Conan O'Brien.

I spent several hours at work last week cutting out pictures of her from Amityville Horror ads and reviews, defacing them, and putting them together in a nice collection on my bulletin board.

I LOVE Sugar And Spice! :nod:
And Melissa George is just bleugh. Funnily enough we were talking about her in the office today. I've just started watching Alias and NO WAY would Michael Vartan to married to her!

Edit: forgot to say, I think Mullholland Drive is genius, but I too have no clue what it's about. I need to watch it again those to see if it's still as puzzling as I remember it.

[dissention]

And I thought in 30 years you'd be like Isak Borg in Wild Strawberries... :D

Romy

Oh, how observant. ;)

I'm not the cynic Borg was, I simply declare something to be **** when it's obvious to me that it is.

[dissention]

I'm not sure is art, but it's a good movie for me. I don't see much a problem with how it's done, it's nothing new from Nouvelle Vague, especially some Godard movies, so I don't understand the kind of reasoning "it's hogwash because I don't understand it"; it's impossible to control everything we watch, IMO.

We're comparing Lynch to Godard now? I suppose if one were to equate the two, Novelle Vague is the perfect piece of "art film" trash to do it with. That thing has to be one of Godard's worst. It has nothing to do with the narrative (or lack thereof), it has to do with the sheer amount of half-baked ideas to be found in it. Nothing becomes a whole. At least Mulholland Drive can declare victory in that arena, no matter how incomprehensible it may be from narrative standpoint.

Mulholland Drive is hogwash simply because it's pretentious bull**** masquerading as brilliant art, the same as Nouvelle Vague. I enjoyed it for the absurd crap that it is, nothing more.

Anyway, there's always the reassuring Alexander Payne, California and two hours of people talking of wine, no? ;)

As opposed to David Lynch and his two hours of cinematic masturbation? Yup. :nod:

[sparky]

I don't understand the kind of reasoning "it's hogwash because I don't understand it?

It's hogwash because NO ONE understands it, and there was no plan behind it. This is so close to Dadism it isn't even funny. If your audience needs a guide book to understand the meaning of your art, as Rolling Stone once said of Stevie Nicks, "Whose fault is that ?"

He might as well have tossed four buckets of Dunn Edwards at a wall and called it a painting. I think he was just lazy and cocky.

[amber]

yeah, I figured it out. It's a vanity piece for David Lynch to be weird for weird's sake, and it is utterly incomprehensible. Did that clear things up?
I'm gonna have to quote myself on this one, because I think I said it best. :laugh: :laugh:

[Serrart]

We're comparing Lynch to Godard now? I suppose if one were to equate the two, Novelle Vague is the perfect piece of "art film" trash to do it with. That thing has to be one of Godard's worst. It has nothing to do with the narrative (or lack thereof), it has to do with the sheer amount of half-baked ideas to be found in it. Nothing becomes a whole. At least Mulholland Drive can declare victory in that arena, no matter how incomprehensible it may be from narrative standpoint.

Mulholland Drive is hogwash simply because it's pretentious bull**** masquerading as brilliant art, the same as Nouvelle Vague. I enjoyed it for the absurd crap that it is, nothing more.

Narrativity in a movie is a convention. A narrative movie is the most wide spread form of films, but it's not the only one, as all the vanguards have shown. There wouldn't have been Hitchcock without surrealism, for example. Lynch can do different, or a mixture of various forms and equally well (when he wants to), IMO.

As opposed to David Lynch and his two hours of cinematic masturbation? Yup. :nod:

I'd say exactly the same of Sideways (which I liked by the way). It gives exactly that feeling of fulfilling intellectualism that many so called "new directors" sell so well.

Romy

[Serrart]

It's hogwash because NO ONE understands it, and there was no plan behind it. This is so close to Dadism it isn't even funny. If your audience needs a guide book to understand the meaning of your art, as Rolling Stone once said of Stevie Nicks, "Whose fault is that ?"

He might as well have tossed four buckets of Dunn Edwards at a wall and called it a painting. I think he was just lazy and cocky.

As far as I know Dadaism according to Tzara's manifesto was meant to be an attack to society's conventions. Personally I wouldn't say Mulholland Drive is dadaist, but probably it wanted to create a sense of uneasiness in the audience. Not all the directors feel the urge to nest their public, sometimes a confrontational relationship can be very interesting too, I think.

Romy

[dissention]

Lynch can do different, or a mixture of various forms and equally well (when he wants to), IMO.

Of course he can do different things in his movies that challenge the audience, but doing those things well is an entirely different ballgame. He certainly didn't pull it off with Mulholland Drive. I'm not about to congratulate him simply because he did something outside of the norm in terms of filmmaking, because the end result came out half-baked. I'll reserve my praise for something like Greenaway's Tulse Luper Suitcase; something that is completely different and original and done well, not put together in a slapdash manner for those who think they're in the loop to praise.

I'd say exactly the same of Sideways (which I liked by the way). It gives exactly that feeling of fulfilling intellectualism that many so called "new directors" sell so well.

And I'd disagree. If we want to look at Alexander Payne as a "new director" that tries to fulfill his audiences desires with intellectualism, by all means do so. He makes movies that are funny on an intellectual level (Citizen Ruth proved as much), but he doesn't permeate his movies with an air of pretentiousness like David Lynch does. I wouldn't confuse intellectualism in films with self-congratulatory backslapping, but that's just me.

[GypsySorcerer]

Of course he can do different things in his movies that challenge the audience, but doing those things well is an entirely different ballgame. He certainly didn't pull it off with Mulholland Drive. I'm not about to congratulate him simply because he did something outside of the norm in terms of filmmaking, because the end result came out half-baked. I'll reserve my praise for something like Greenaway's Tulse Luper Suitcase; something that is completely different and original and done well, not put together in a slapdash manner for those who think they're in the loop to praise.


And I'd disagree. If we want to look at Alexander Payne as a "new director" that tries to fulfill his audiences desires with intellectualism, by all means do so. He makes movies that are funny on an intellectual level (Citizen Ruth proved as much), but he doesn't permeate his movies with an air of pretentiousness like David Lynch does. I wouldn't confuse intellectualism in films with self-congratulatory backslapping, but that's just me.

A gold star for you today. :nod:

[dissention]

A gold star for you today. :nod:

Not for long, Jonathan Todd will de-star me eventually. :p :laugh:

[dissention]

As far as I know Dadaism according to Tzara's manifesto was meant to be an attack to society's conventions. Personally I wouldn't say Mulholland Drive is dadaist, but probably it wanted to create a sense of uneasiness in the audience. Not all the directors feel the urge to nest their public, sometimes a confrontational relationship can be very interesting too, I think.

Romy

Dadaism wasn't simply an attack on how intellectually stunted society became, it was also an attack on how the arts became intellectually repressed as well; Dadaists didn't like the rigidity that was prevalent in the arts. The entire principle behind Dadaism was to deliberately confuse people to try to get them to think and if Mulholland Drive isn't close to Dadaism, I don't know what is. :shrug:

[Serrart]

Of course he can do different things in his movies that challenge the audience, but doing those things well is an entirely different ballgame. He certainly didn't pull it off with Mulholland Drive. I'm not about to congratulate him simply because he did something outside of the norm in terms of filmmaking, because the end result came out half-baked. I'll reserve my praise for something like Greenaway's Tulse Luper Suitcase; something that is completely different and original and done well, not put together in a slapdash manner for those who think they're in the loop to praise.

I can assure you that I 'm not in the loop to praise anyone, especially David Lynch (I'm still laughing for most of Twin Peaks, Fire With me, Lost Highway while I loved The Elephant Man, Blue Velvet and more recently The Straight Story). The fact that it didn't give anything to you doesn't mean that it can't offer some input to others.


And I'd disagree. If we want to look at Alexander Payne as a "new director" that tries to fulfill his audiences desires with intellectualism, by all means do so. He makes movies that are funny on an intellectual level (Citizen Ruth proved as much), but he doesn't permeate his movies with an air of pretentiousness like David Lynch does. I wouldn't confuse intellectualism in films with self-congratulatory backslapping, but that's just me.

What does it mean to be funny on an intellectual level? To let some (or many) feel intelligent enough to appreciate it? You can make a funny movie or not, using certain languages or not, but the ''aren't we all enjoying this small feast'' kind of feeling is becoming a genre already. :nod:

Romy

[Serrart]

Dadaism wasn't simply an attack on how intellectually stunted society became, it was also an attack on how the arts became intellectually repressed as well; Dadaists didn't like the rigidity that was prevalent in the arts. The entire principle behind Dadaism was to deliberately confuse people to try to get them to think and if Mulholland Drive isn't close to Dadaism, I don't know what is. :shrug:

Because Lynch doesn't seem to me a director who loves form for the sake of the form, he tranforms it in a meaning (whatever could be). I'd say he's closer to surrealists, but there's also a lot of Nouvelle Vague in his style, and baroquisms and pop art, so maybe he could be a dadaistsurrealistgodardcopierfellinlovewithCocteauandflabbergastedbywarholwithoutforgettingfellinian dbunuelandfeelfreetoaddmore director :D

Romy

[dissention]

I can assure you that I 'm not in the loop to praise anyone, especially David Lynch (I'm still laughing for most of Twin Peaks, Fire With me, Lost Highway while I loved The Elephant Man, Blue Velvet and more recently The Straight Story). The fact that it didn't give anything to you doesn't mean that it can't offer some input to others.

No one is in the loop to praise Mulholland Drive for much beyond the most topical of things because no one knows what it's about, they're simply either guessing or blowing hot air up our collective asses. It can offer all the input it wants, but that doesn't negate the fact that no one understands it but David Lynch. We can make all the assumptions and guesses we want, that's what makes it a rather interesting film in the first place.

I agree with you in regards to his other movies, however. I also like Wild At Heart a lot.

What does it mean to be funny on an intellectual level? To let some (or many) feel intelligent enough to appreciate it? You can make a funny movie or not, using certain languages or not, but the ''aren't we all enjoying this small feast'' kind of feeling is becoming a genre already. :nod:

What does it mean to be funny on an intellectual level? Jokes and wit that don't deal with flatulence, for one thing. It doesn't take much more than that.

[dissention]

Because Lynch doesn't seem to me a director who loves form for the sake of the form, he tranforms it in a meaning (whatever could be). I'd say he's closer to surrealists,

Dadaism greatly influenced surrealism, so we may be getting somewhere. :laugh:

so maybe he could be a dadaistsurrealistgodardcopierfellinlovewithCocteauandflabbergastedbywarholwithoutforgettingfellinian dbunuelandfeelfreetoaddmore director :D

I could agree with that. :D

[Serrart]

What does it mean to be funny on an intellectual level? Jokes and wit that don't deal with flatulence, for one thing. It doesn't take much more than that.

What's the fun then? J/K ;)

Romy

[dissention]

What's the fun then? J/K ;)

Romy

The fun is in knowing that without fart and piss jokes, Adam Sandler wouldn't have a career. :D

[Serrart]

The fun is in knowing that without fart and piss jokes, Adam Sandler wouldn't have a career. :D

Hey, he's just become the favourite of one of snobbiest Italian critics for Spanglish. He's a genius and we still haven't realized it. ;) David would be really pleased.

Romy

[dissention]

Hey, he's just become the favourite of one of snobbiest Italian critics for Spanglish. He's a genius and we still haven't realized it. ;) David would be really pleased.

Romy

*shudders*

I can't get over his voice, Romy, it drives me to drink. Sounds half-cocked and retarded at the same time. :laugh:

If he's a genius, I was Van Gogh in a former life.

[amber]

Hey, he's just become the favourite of one of snobbiest Italian critics for Spanglish. He's a genius and we still haven't realized it. ;) David would be really pleased.

Romy
Well, Tea is in Spanglish, so that's different.

[Serrart]

*shudders*

I can't get over his voice, Romy, it drives me to drink. Sounds half-cocked and retarded at the same time. :laugh:

If he's a genius, I was Van Gogh in a former life.

I know, he has the same effect on me, except for Punch Drunk Love which I liked; Paul Thomas Anderson can make me watch anyone in his movies. :nod:

Romy

[Serrart]

Well, Tea is in Spanglish, so that's different.

This Italian critic who's really strict usually, loved her even more than Sandler and said her performance is better than Meg Ryan's in When Harry Met Sally.

Romy

[amber]

This Italian critic who's really strict usually, loved her even more than Sandler and said her performance is better than Meg Ryan's in When Harry Met Sally.

Romy
Well, she's always really good. I'm not suprised.

[dissention]

This Italian critic who's really strict usually, loved her even more than Sandler and said her performance is better than Meg Ryan's in When Harry Met Sally.

Romy

Did you see her in that atrocious Nicholas Cage movie The Family Man? She was *fantastic* in it. :nod:

[amber]

Did you see her in that atrocious Nicholas Cage movie The Family Man? She was *fantastic* in it. :nod:
I think she's underrated and underused. I love her. Like, love.

[Serrart]

Did you see her in that atrocious Nicholas Cage movie The Family Man? She was *fantastic* in it. :nod:

Yes, she made the movie. :nod: I aso liked her a lot in Hollywood Ending.

Romy

[dissention]

Yes, she made the movie. :nod: I aso liked her a lot in Hollywood Ending.

Romy

Hollywood Ending was pretty good. At least I thought so. Melinda and Melinda is his best in years, though, it's REALLY good. :thumbsup:

I'm really looking forward to his new one with Scarlett Johansson. I've heard really good things about it and even Woody himself is saying that while he's usually nervous about new films, he's ecstatic about this one. Can't wait!

[Serrart]

Hollywood Ending was pretty good. At least I thought so. Melinda and Melinda is his best in years, though, it's REALLY good. :thumbsup:

I'm really looking forward to his new one with Scarlett Johansson. I've heard really good things about it and even Woody himself is saying that while he's usually nervous about new films, he's ecstatic about this one. Can't wait!

Yeah, I've read the same, I'm looking forward to see it too, Scarlett Johansson is a very good actress, incredibly versatile. And it seems Woody is already planning another movie with her. :thumbsup:

Romy

[dissention]

And it seems Woody is already planning another movie with her. :thumbsup:

Is she going to take Soon Yi's place? :eek:

[Serrart]

Is she going to take Soon Yi's place? :eek:

Nah, he would miss the intelligent conversations. ;)

Romy

[dissention]

Nah, he would miss the intelligent conversations. ;)

Romy

:laugh:

Have you seen Wild Man Blues? She is so incredibly...bland.

[amber]

:laugh:

Have you seen Wild Man Blues? She is so incredibly...bland.
I have. I was like, "WTF?" She must have uh, some hidden qualities that you and I can't discern. :shocked:

[dissention]

I have. I was like, "WTF?" She must have uh, some hidden qualities that you and I can't discern. :shocked:

I love what Margaret Cho (who I would marry in a heartbeat because I ****ing love her to death) said one time:

"Everyone puts Asian women in a box. I just want to shake them and say 'I don't play the violin, bitch, and I never f*cked Woody Allen!'"

:laugh:

[amber]

I love what Margaret Cho (who I would marry in a heartbeat because I ****ing love her to death) said one time:

"Everyone puts Asian women in a box. I just want to shake them and say 'I don't play the violin, bitch, and I never f*cked Woody Allen!'"

:laugh:
:lol: :laugh: :lol: :laugh: :lol:

[Serrart]

:laugh:

Have you seen Wild Man Blues? She is so incredibly...bland.

Yes, it's a great documentary. She's transparent, isn't she? He's such a control freak. One of funniest things was the scene where Woody Allen asked his mother why, in her opinion, both her sons ended up with Asian women. Her expression said it all. :laugh:

Romy