Gone to the movies lately?

[Brwn_eyes0511]

Originally Posted by Richard B

Sometimes you really come off very snobby. American filmmakers do dare to make such movies. Instead of listing them...you should think about it.

ohhhh...someone got TOLD!

I come off as a big fat snob to sometimes...so...I can't say much!

[skcin]

Originally Posted by Richard B

Sometimes you really come off very snobby...

Sometimes?

Love ya, Diss.

[dissention]

Originally Posted by Richard B

Sometimes you really come off very snobby.

My apologies. Maybe I should employ more emoticons.

Originally Posted by Richard B

American filmmakers do dare to make such movies. Instead of listing them...you should think about it.

What I was trying to say, but obviously didn't do so very well, was that no American filmmaker would make such a movie and attract much of an audience or much interest. Von Trier's movies don't have that much of an audience themselves, but his name alone brings in the art-house crowd and automatically gets them some exposure. And considering that Von Trier couldn't really get any American actors to play the slaves, I don't think it's much of a stretch to say that such a movie wouldn't have an easy shot at getting made in this country.

[sparky]

Originally Posted by skcin

Keep your eyes & mouth closed. You never know what will be lurking in the water.

Originally Posted by dissention

I send you all the good karma that I possibly can. I know that Manatee ain't exactly your cup of crotch, so best of luck.

It went off without a hitch. Only did a mile, but it was glorious, dark outside, steam rising off the pool. And a nice bonus - some hot dude in the locker room with a friggin butt that wouldn't quit. Happy Sparky.

[dissention]

Originally Posted by sparky

It went off without a hitch. Only did a mile, but it was glorious, dark outside, steam rising off the pool. And a nice bonus - some hot dude in the locker room with a friggin butt that wouldn't quit. Happy Sparky.

Not to mention Lucky Sparky. Your buddy wasn't there, but you had a nice arse to gaze at.

[Richard B]

Originally Posted by dissention

My apologies. Maybe I should employ more emoticons.
What I was trying to say, but obviously didn't do so very well, was that no American filmmaker would make such a movie and attract much of an audience or much interest. Von Trier's movies don't have that much of an audience themselves, but his name alone brings in the art-house crowd and automatically gets them some exposure. And considering that Von Trier couldn't really get any American actors to play the slaves, I don't think it's much of a stretch to say that such a movie wouldn't have an easy shot at getting made in this country.

GAWD no, please. No more emoticons are necessary, if ever.

Now this is what I'm talking about it. I understand what you're saying. I do (at least now). I do seek out Von Trier's films. I like his style of filmmaking. I don't generally like his films though, but I like what he's doing with the technique of filmmaking. Does that make sense? He challenges his audiences, which is always a good thing.

I think their are American filmmakers that do push the boundaries, so to speak. For instance, Gus Van Sant and to a lesser degree, Stanley Kubrick.

I guess, Diss, sometimes I get rather annoyed that some people are so quick to put down American film and filmmakers in such a way. Being in the "industry' myself I struggle with it too. I can generally list my favorite filmmakers that I would want to work with and in that Top 10, most are abroad. But I still think their are some fine American filmmakers that work as hard to be heard just as much as Von Triers and other non-american filmmakers that push the boundaries of cinema.

I hope I make sense. It's a topic that I wish I could actually discuss with you in person, since it is so dense with opinion and thought.

[Richard B]

One more thing, Dissention. I only said "Snobby" because I actually think you're really smart.
(Gawd...I just used a smilie.)
Just be careful how you wield those smarts.

[sparky]

Originally Posted by Richard B

Just be careful how you wield those smarts.

He usually wields it like a club.

[dissention]

Originally Posted by Richard B

Now this is what I'm talking about it. I understand what you're saying. I do (at least now). I do seek out Von Trier's films. I like his style of filmmaking. I don't generally like his films though, but I like what he's doing with the technique of filmmaking. Does that make sense? He challenges his audiences, which is always a good thing.

Yes, it makes sense. I'm the opposite, though, because I usually love his movies. They're truly enthralling to me (with the exception of The Idiots, I could not get into that at all) and amongst the most unique I've ever seen, both in theme and execution. They are an acquired taste, I imagine, because they're quite extreme and somewhat brutal.

Originally Posted by Richard B

I think their are American filmmakers that do push the boundaries, so to speak. For instance, Gus Van Sant and to a lesser degree, Stanley Kubrick.

I agree to an extent, but I think the key difference (for the most part, mind you) between them and Von Trier is that their movies are more cerebral, whereas Von Trier literally beats you over the head with what he's trying to say in his films; he doesn't leave much to the imagination. With something like Eyes Wide Shut, you had to think about what you were watching in order to realize how utterly disturbing it is, which is unlike a Von Trier movie that essentially brings those elements front and center without much room to wiggle in your final interpretation of what you've seen. That's what I think makes his movies so unusual and off-putting. I hope that makes a little bit of sense.

Originally Posted by Richard B

I guess, Diss, sometimes I get rather annoyed that some people are so quick to put down American film and filmmakers in such a way. Being in the "industry' myself I struggle with it too. I can generally list my favorite filmmakers that I would want to work with and in that Top 10, most are abroad. But I still think their are some fine American filmmakers that work as hard to be heard just as much as Von Triers and other non-american filmmakers that push the boundaries of cinema.

I think there are plenty of fabulous American filmmakers who bring a lot to the table, too, it's just that the general output over the past few years has left me quite cold when compared to the output of many foreign filmmakers. Even people whose work I love have just been grasping in the air for decent ideas lately (i.e. Todd Solondz's "Palindromes") and the general attitude that I've observed becoming even more prevalent than before is that because a movie is outside the norm and non-commercial, then it automatically has some merit. I think that's true with a lot of stuff when it's good, like Miranda July's "You and Me and Everyone We Know" and Larry Fessenden's "Wendigo," but that kind of stuff has become harder to find in recent years, imo. I'm disenchanted with a lot of American filmmaking. That isn't to say that I don't enjoy the movies (I admit to loving Flightplan), but my passion for American movies has waned a bit. The seventies are done and over with, but I sure wish the state of filmmaking from back then was still here today.

Originally Posted by Richard B

I hope I make sense. It's a topic that I wish I could actually discuss with you in person, since it is so dense with opinion and thought.

You make sense, no worries. I love to talk movies, so I could go on and on for ages.

[Brwn_eyes0511]

Originally Posted by dissention

With something like Eyes Wide Shut, you had to think about what you were watching in order to realize how utterly disturbing it is, which is unlike a Von Trier movie that essentially brings those elements front and center without much room to wiggle in your final interpretation of what you've seen. That's what I think makes his movies so unusual and off-putting. I hope that makes a little bit of sense.

Wow, very nicely put!

[dissention]

Originally Posted by Richard B

One more thing, Dissention. I only said "Snobby" because I actually think you're really smart.
(Gawd...I just used a smilie.)
Just be careful how you wield those smarts.

Thanks for the compliment.

I don't set out to sound snobby and I'm anything but. It's just the way I come across written down sometimes, I suppose. It's very hard to discern tone, but one never wants to use too many emoticons, either.

Originally Posted by sparky

He usually wields it like a club.

I'm squealing, Sparks.

[Serrart]

Originally Posted by dissention

Yes, it makes sense. I'm the opposite, though, because I usually love his movies. They're truly enthralling to me (with the exception of The Idiots, I could not get into that at all) and amongst the most unique I've ever seen, both in theme and execution. They are an acquired taste, I imagine, because they're quite extreme and somewhat brutal.

I like him, even if his superficiality and complex of superiority sometimes are unnerving but there are some authentic moments of deep lyrism in his cinema, and even if Dogma was basically a bluff to treat critics and the public like idiots (that's the sense of that movie, for me ) it gave some input and produced some beautiful movies, like Festen, or most recently Allegro.

Originally Posted by dissention

I think there are plenty of fabulous American filmmakers who bring a lot to the table, too, it's just that the general output over the past few years has left me quite cold when compared to the output of many foreign filmmakers. Even people whose work I love have just been grasping in the air for decent ideas lately (i.e. Todd Solondz's "Palindromes") and the general attitude that I've observed becoming even more prevalent than before is that because a movie is outside the norm and non-commercial, then it automatically has some merit. I think that's true with a lot of stuff when it's good, like Miranda July's "You and Me and Everyone We Know" and Larry Fessenden's "Wendigo," but that kind of stuff has become harder to find in recent years, imo. I'm disenchanted with a lot of American filmmaking.

I also think there are some great American filmakers. Talking of the new generation, Paul Thomas Anderson, for me is one of the best living directors and the fact that Altman wanted him as a 'ghost' for A Prairie Home Companion is also a proof. Todd Solondz's Palindrome and his other movies were brilliant and Sofia Coppola, Catherine Hardwicke, Darren Aronofsky are very interesting. And the movie that struck me more at Venice was probably Goodbye, and Good Luck by Clooney. Said that I can't say it's my favourite cinematography right now and it hasn't been for many years. When I look at movies like In The mood for Love, 3 Iron, Old Boy, Brokeback Mountain, Close-Up, Blackboards from Asian directors, or at films like Abre los ojos by Amenabar, Le Gout des Autres by Jaoui, Hidden by Haneke, Tzameti by Babluani, I got a more fulfilling, dreamy and real idea of cinema, emotions, life.

Romy

[Richard B]

Originally Posted by dissention

I think there are plenty of fabulous American filmmakers who bring a lot to the table, too, it's just that the general output over the past few years has left me quite cold when compared to the output of many foreign filmmakers. Even people whose work I love have just been grasping in the air for decent ideas lately (i.e. Todd Solondz's "Palindromes") and the general attitude that I've observed becoming even more prevalent than before is that because a movie is outside the norm and non-commercial, then it automatically has some merit. I think that's true with a lot of stuff when it's good, like Miranda July's "You and Me and Everyone We Know" and Larry Fessenden's "Wendigo," but that kind of stuff has become harder to find in recent years, imo. I'm disenchanted with a lot of American filmmaking. That isn't to say that I don't enjoy the movies (I admit to loving Flightplan), but my passion for American movies has waned a bit. The seventies are done and over with, but I sure wish the state of filmmaking from back then was still here today.

I think these movies are out there...it's just you have to dig harder. Funny you mention 'Wendigo' because I thought I was the only person who actually liked it. 'You and Me and Everyone We Know' was also a pleasant surprise.
Keep an eye out for Brad Anderson (The Machinist, Happy Accidents). I've enjoyed everyone of his films. I also really enjoyed Shane Carruth's 'Primer.' Let's see where he goes next...

[dissention]

Originally Posted by Richard B

I think these movies are out there...it's just you have to dig harder. Funny you mention 'Wendigo' because I thought I was the only person who actually liked it. 'You and Me and Everyone We Know' was also a pleasant surprise.

Wendigo is one of my all time favorite movies. I think everything about it is perfect. Maybe that's an indication that I'm quite crazy, who knows.

Originally Posted by Richard B

Keep an eye out for Brad Anderson (The Machinist, Happy Accidents). I've enjoyed everyone of his films. I also really enjoyed Shane Carruth's 'Primer.' Let's see where he goes next...

As a movie, I thought The Machinist was quite piss-poor, but it was certainly a fantastic showcase for Christian Bale (who I absolutely love) and anything with Jennifer Jason Leigh is watchable at least once. I loved Happy Accidents, though.

I've seen Primer in the video store, but I never grabbed it. Maybe next weekend.

[dissention]

Originally Posted by Serrart

I also think there are some great American filmakers. Talking of the new generation, Paul Thomas Anderson, for me is one of the best living directors and the fact that Altman wanted him as a 'ghost' for A Prairie Home Companion is also a proof. Todd Solondz's Palindrome and his other movies were brilliant and Sofia Coppola, Catherine Hardwicke, Darren Aronofsky are very interesting. And the movie that struck me more at Venice was probably Goodbye, and Good Luck by Clooney. Said that I can't say it's my favourite cinematography right now and it hasn't been for many years. When I look at movies like In The mood for Love, 3 Iron, Old Boy, Brokeback Mountain, Close-Up, Blackboards from Asian directors, or at films like Abre los ojos by Amenabar, Le Gout des Autres by Jaoui, Hidden by Haneke, Tzameti by Babluani, I got a more fulfilling, dreamy and real idea of cinema, emotions, life.

Romy

You seriously liked Palindromes, Romy? I thought I was going to die halfway through it and never thought he'd ever make such an incredibly dull and lifeless movie. Ellen Barkin was almost the best I've ever seen her, but his use of eight different actors to play Aviva and make his point just insulted my intelligence.

Good Night and Good Luck kicked ass. I saw the trailer for his other new movie that comes out in December called Syriana and it looks truly fantastic, too.