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Being Spike Jonze: “It’s all play.”

“It has always felt like me and my friends making things,” he says. “Play doesn’t mean it’s always fun and frivolous. You can play with the deepest ideas. Play can be melancholy and surreal and dig into deeper things, as long as you’re coming at it with a sense of exploration.”

Susan Sarandon will not back down.

“I, of course, would want to see a woman president. I hope it doesn’t have to be a millionaire that’s married to an ex-president for that to happen,” she says. “I’m more afraid of Hillary Clinton’s war record and her hawkishness than I am of building a wall, but that doesn’t mean that I would vote for Trump.”

‘Hate’ crimes? Tarantino attacks.

“I didn’t know that it was going to be such a serious meditation on the post-Civil War era,” he says. “And I had no idea that events in the news would be corresponding with the themes we were dealing with. You’ve got institutional racism running rampant in this country. We’ve got into a polarised, lines drawn camp that we haven’t experienced since the Civil War.”

Steven Spielberg: the war’s cold, so wrap up warm.

A few minutes before our scheduled meeting, I am installed in the corridor outside Spielberg’s room. An Italian journalist is gushing about the film as he leaves. “It’s like John Ford doing John Le Carre,” he says. “I like that,” replies Spielberg. “Print that.”

Can he take it to the bridge? Chadwick Boseman gets on up.

Whatever he makes of the film, Brown will enjoy the reminder that he is immortal. He used to say that he was born dead – that the first breath had to be blown into him. As a child, after surviving four minutes connected to mains electricity he concluded that he could not be killed. Get On Up is merely his latest reincarnation.

Paul Thomas Anderson, Thomas Pynchon and Joaquin Phoenix walk into a bar…

Inherent Vice, the movie we’re here to discuss, is a rambling tale of conspiracy and paranoia set in the fictional town of Gordita Beach, California, in that sour post-Altamont, post-Woodstock, post-Manson Family moment, the literal and figurative end of the sixties.

Tim’s Big Eyes: a break from the Burton-esque.

I ask Burton what he makes of the comparisons between Margaret Keane’s art and his own. “It gets panned,” he replies instantly, with feeling. “That show they had here at the MOMA, critically, it was completely ‘this isn’t art…’ And at the same time, it had the attendance ratings of a Picasso show.”

Christopher Nolan’s final frontier

Published in the Sydney Morning Herald on November 8, 2014. Like most boys born in Hollywood’s orbit in the early 1970s, Christopher Nolan was obsessed with outer space. Star Wars was released when he was seven years old and “changed everything” – for him and for the movie industry. Every birthday in his class was […]

Kill The Messenger: a fable for the post-Snowden era.

“The feeling of most Americans is that there’s been a breach in terms of our civil rights. Whether we’re talking about Wikileaks or Snowden, Gary Webb’s story resonates today”

“I got addicted to it” – a master forger comes clean.

“I’d never been treated before in my life with so much respect and deference,” Landis says. Like a first-time gambler whose horse comes home in front, he was hooked. For two decades, he duped the most respected art museums in the USA, but because he never asked for money, he committed no crime.

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