DOCSLIB.ORG

Gus Van Sant Regis Dialogue Formatted

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Gus Van Sant Regis Dialogue Formatted Gus Van Sant Regis Dialogue with Scott Macaulay, 2003 Scott Macaulay: We're here at the Walker Art Center for Regis dialogue with American filmmaker Gus Van Sant. He'll be discussing the unique artistic vision that runs through his entire body of work. Gus was first recognized for a trilogy of films that dealt with street hustlers, Mala Noche, Drugstore Cowboy, My Own Private Idaho. He then went on to experiment with forum and a number of other films including To Die For, Psycho and even Cowgirls Get the Blues. Gus is perhaps best known for his films, Goodwill Hunting and Finding Forrester, but all of his work including his latest film, Gerry, has his own unique touch. We'll be discussing Gus' films today during this Regis dialogue. I'm Scott Macaulay, producer and editor of Filmmaker Magazine. I'll be your guide through Gus' work today in this Regis dialogue. Thanks. Gus Van Sant: Thank you. Scott Macaulay: It's a real pleasure to be here with Gus Van Sant on this retrospective ... Which is called on the road again. I guess there are a lot of different illusions in that title, a lot of very obvious ones because a lot of Gus' movies deal with travel and change and people going different places, both locations within America but also in their lives. But another interesting implication of the title is that this retrospective is occurring on the eve of the release here and also nationwide of Gerry, which is really one of Gus' best and most moving films but it's also yet sort of another new direction for Gus as a filmmaker. I don't know. It's almost like looking at back at these films, I could imagine maybe being here 10 years from now with another retrospective and a whole another films in the next 10 years. One of the things I'm looking forward to doing is talking to Gus about the films he's made in the past, and maybe some of the directions for the future and where his head is at as a filmmaker right now. Welcome. Gus Van Sant: Thank you. Scott Macaulay: Maybe we should just start like all the way back in the beginning and we have a series of clips to show tonight but starting with the first two films; Mala Noche and Drugstore Cowboy, and maybe how you even got to the point of making those films coming out of painting and the background that's not so typical for a lot of filmmakers especially today. Gus Van Sant: Yes. I started out as in junior high school making eight millimeter films which was typical of maybe the period and the time. My parents lived in Connecticut in a suburb of New York, Darien, Connecticut. It's close enough Feb 28, 2003 1 that I could go in on the train to see certain things that ... Oh, I was a painting at the time so I was influenced by American underground cinema. I had a summer job when I was 16 and I bought a book that was about the American underground cinema. I could read about the films and I could pretend to make films like Stan Brakhage and people like that. Being a painter, I thought along those lines. I never really considered the idea of making a dramatic film. I continued on like that until I got into art school and went to Rhode Island School Design in Providence, Rhode Island. The painters that were coming back, the graduating painters that would go to New York City to try and get art shows with their work were discouraged and sad. I decided to major in film because I thought maybe that was a better angle. I didn't know what ... At the time I was a freshman in college. I didn't know whether the degree itself, what it sat on it, whether it made a difference so I thought maybe if it had film it would be better. But I didn't think that gout galleries would be asking to see my diploma anyway. I majored in film and went to Hollywood after that and worked for a filmmaker named Ken Shapiro, who was a comedian and he had made a film called the Groove Tube. He was going to make a sequel to the Groove Tube at Paramount. That was my introduction to the film business. I had a good time working for him and he eventually got very discouraged, sort of like the painters at RISD. He quit the business. He made Modern Problems first with Chevy Chase then he quit the business and told me that I shouldn't try and make films, that I should get into some other business. At that time, I was making, later on, Mala Noche in '87. That kicked me into this film career. Scott Macaulay: You obviously left Los Angeles, you went back to Portland to make that film, Mala Noche? Gus Van Sant: Yeah. I had also lived in Portland, Oregon. My junior and senior year in college, my family moved to Oregon and so I had a lot of ties to Oregon. I used to go back there every summer to hang out with friends. I was a sound man on a film called Property. One of the actors was Walt Curtis and he had written this novella called Mala Noche and that's what I latched on to that and adapted it into a film Scott Macaulay: Because of that whole notion of going back to your hometown and maybe working with people locally, I mean based in LA, now in the 90s a lot of people have done that but you were before that curve a little bit in terms of making films originally. At what point did you- Gus Van Sant: There was a film, Northern Lights, which was made here. I think was- Scott Macaulay: Rob Nelson. Gus Van Sant: ... '84, Rob Nelson. This thing was in the air of how to do it, you do it yourself local film, how to open it locally, how to invite the mayor and the governor to your opening and get a lot of press and try and get interest in your firm. But Northern Lights was specifically local Minneapolis production, which was one of the original ones. I guess John Sayles was shooting in New Jersey. Yeah. Feb 28, 2003 2 Scott Macaulay: Yeah. Was there ever a point before that where you thought, "Okay. Well ..." Tried to write the Hollywood script or work on the Chevy Chase movie instead of the ... Gus Van Sant: Yeah, I know I worked on those movies and I did write a script earlier than Mala Noche and filmed a film called Alice in Hollywood which I shot when I was in Hollywood. It was an Alice in Wonderland, somewhat of a retelling of Alison Wonderland except set in Hollywood. I didn't like it and I cut it down. It didn't really go over very well so I made it shorter. Scott Macaulay: Now Walt Curtis, who you met on Mala Noche, he provided the material for Drugstore Cowboy a little bit, right? Gus Van Sant: No. Scott Macaulay: No? What am I saying? What am I ... Gus Van Sant: Well, Curtis was a local Portland poet, probably the most renown street poet in Portland and still is. Then another friend in Portland had an unpublished novel by James Fogle who was spending time in Walla Walla State Penitentiary for robbing drugstores. That's how I found Drugstore Cowboy, was through this friend who had the unpublished work named Dan Yost. His name was Dan Yost. Scott Macaulay: How did Drugstore Cowboy become this slightly bigger movie with better known actors done in a very different way than Mala Noche? Gus Van Sant: Well Mala Noche was a $20,000 film with just local actors and it played the San Francisco lesbian and gay film festival, and then it played the LA lesbian and gay film festival. At that festival in LA, it was seen by local Los Angeles critics. They gave it an award at the end of the year at the same time as I was trying to sell a Drugstore Cowboy as a film idea. They gave it this award which was the best independent/experimental film. If you left up the experimental part, it was the best independent film of that year which it was easy to do. [inaudible 00:09:36] and we sort of got Drugstore Cowboy going, fueled by the script and by, I think at that time we were trying to talk Matt Dillon into being in it. He was interested and then also the award helped it go through, at least for me. Scott Macaulay: Right. Well let's watch a clip from that. Do you want to set this up in any way? The dog the- Gus Van Sant: What is the ... Oh, it's the dog? Feb 28, 2003 3 Scott Macaulay: Yeah. Gus Van Sant: I think- Scott Macaulay: It's pretty self-explanatory so let's go into a clip from Drugstore Cowboy. Speaker 3: Stereo by the month. You can choose any of these great systems for only $25 a month. Bob: Hot dog. Speaker 3: That's why [crosstalk 00:10:21]- Nadine: Speaking of dogs, do you think that Rick and I could get a little pup? Just a little something to hold and pet when you guys are gone? Bob: No.
Load more

Recommended publications
  • Recommended Movies and Television Programs Featuring Psychotherapy and People with Mental Disorders Timothy C
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OpenKnowledge@NAU Recommended Movies and Television Programs Featuring Psychotherapy and People with Mental Disorders Timothy C. Thomason Abstract This paper provides a list of 200 feature films and five television programs that may be of special interest to counselors, psychologists and other mental health professionals. Many feature characters who portray psychoanalysts, psychiatrists, psychologists, counselors, or psychotherapists. Many of them also feature characters who have, or may have, mental disorders. In addition to their entertainment value, these videos can be seen as fictional case studies, and counselors can practice diagnosing the disorders of the characters and consider whether the treatments provided are appropriate. It can be both educational and entertaining for counselors, psychologists, and others to view films that portray psychotherapists and people with mental disorders. It should be noted that movies rarely depict either therapists or people with mental disorders in an accurate manner (Ramchandani, 2012). Most movies are made for entertainment value rather than educational value. For example, One Flew Over the Cuckoo’s Nest is a wonderfully entertaining Academy Award-winning film, but it contains a highly inaccurate portrayal of electroconvulsive therapy. It can be difficult or impossible for a viewer to ascertain the disorder of characters in movies, since they are not usually realistic portrayals of people with mental disorders. Likewise, depictions of mental health professionals in the movies are usually very exaggerated or distorted, and often include behaviors that would be considered violations of professional ethical standards. Even so, psychology students and psychotherapists may find some of these movies interesting as examples of what not to do.
    [Show full text]
  • ADOPTED SEP 0 7 2010 SECONDED BY: C.R~ LOS ANGELES CITY Council
    CITY OF LOS ANGELES RESOLUTION MARC MARMARO WHEREAS, Marc Marmaro was born on February 26, 1948, in the Bronx, New York; and, WHEREAS, Marmaro went on to receive a B.A. from George Washington University in 1969 and J.D. cum laude, Order of the Coif, from New York University School of Law in 1972; and, WHEREAS, in 1972, Marmaro clerked for the Honorable John J. Gibbons, U.S. Court of Appeals for the Third Circuit; and, WHEREAS, Marmaro served the U.S. Attorney's Office, Southern District of New York as an assistant U.S. attorney from 1975 to 1978; and, WHEREAS, Marmaro moved to the City of Los Angeles to join Manatt, Phelps & Phillips as a litigation associate and partner until 1981; and, WHEREAS, in 1981, Marmaro helped found the law firm Jeffer, Mangels, Butler, & Marmaro, LLP, which has grown from 11 employees to over 140 in three cities across the United States; and, WHEREAS, Marmaro is a Fellow of the American College of Trial Lawyers; and, WHEREAS, in 2004, he was named California Lawyer of the Year in Intellectual Property by California Lawyer magazine for negotiating the settlement of spinal fusion technology patent disputes for $1.35 billion; and, WHEREAS, on June 30,2010, California Governor Arnold Schwarzenegger appointed him to the Los Angeles County Superior Court; and, WHEREAS, on August 5, 2010, Marc Marmaro was officially sworn into office as a Judge for Los Angeles County Superior Court; and, NOW, THEREFORE, BE IT RESOLVED, that by the adoption of this resolution, the City Council of Los Angeles, the Mayor, and the City Attorney extends their congratulations to Marc Marmaro for his judicial appointment, outstanding achievements, and constant pursuit for justice.
    [Show full text]
  • Sundance Institute Presents Institute Sundance U.S
    1 Check website or mobile app for full description and content information. description app for full Check website or mobile #sundance • sundance.org/festival sundance.org/festival Sundance Institute Presents Institute Sundance The U.S. Dramatic Competition Films As You Are The Birth of a Nation U.S. Dramatic Competition Dramatic U.S. Many of these films have not yet been rated by the Motion Picture Association of America. Read the full descriptions online and choose responsibly. Films are generally followed by a Q&A with the director and selected members of the cast and crew. All films are shown in 35mm, DCP, or HDCAM. Special thanks to Dolby Laboratories, Inc., for its support of our U.S.A., 2016, 110 min., color U.S.A., 2016, 117 min., color digital cinema projection. As You Are is a telling and retelling of a Set against the antebellum South, this story relationship between three teenagers as it follows Nat Turner, a literate slave and traces the course of their friendship through preacher whose financially strained owner, PROGRAMMERS a construction of disparate memories Samuel Turner, accepts an offer to use prompted by a police investigation. Nat’s preaching to subdue unruly slaves. Director, Associate Programmers Sundance Film Festival Lauren Cioffi, Adam Montgomery, After witnessing countless atrocities against 2 John Cooper Harry Vaughn fellow slaves, Nat devises a plan to lead his DIRECTOR: Miles Joris-Peyrafitte people to freedom. Director of Programming Shorts Programmers SCREENWRITERS: Miles Joris-Peyrafitte, Trevor Groth Dilcia Barrera, Emily Doe, Madison Harrison Ernesto Foronda, Jon Korn, PRINCIPAL CAST: Owen Campbell, DIRECTOR/SCREENWRITER: Nate Parker Senior Programmers Katie Metcalfe, Lisa Ogdie, Charlie Heaton, Amandla Stenberg, PRINCIPAL CAST: Nate Parker, David Courier, Shari Frilot, Adam Piron, Mike Plante, Kim Yutani, John Scurti, Scott Cohen, Armie Hammer, Aja Naomi King, Caroline Libresco, John Nein, Landon Zakheim Mary Stuart Masterson Jackie Earle Haley, Gabrielle Union, Mike Plante, Charlie Reff, Kim Yutani Mark Boone Jr.
    [Show full text]
  • Executive Producer)
    PRODUCTION BIOGRAPHIES STEVEN SODERBERGH (Executive Producer) Steven Soderbergh has produced or executive-produced a wide range of projects, most recently Gregory Jacobs' Magic Mike XXL, as well as his own series "The Knick" on Cinemax, and the current Amazon Studios series "Red Oaks." Previously, he produced or executive-produced Jacobs' films Wind Chill and Criminal; Laura Poitras' Citizenfour; Marina Zenovich's Roman Polanski: Odd Man Out, Roman Polanski: Wanted and Desired, and Who Is Bernard Tapie?; Lynne Ramsay's We Need to Talk About Kevin; the HBO documentary His Way, directed by Douglas McGrath; Lodge Kerrigan's Rebecca H. (Return to the Dogs) and Keane; Brian Koppelman and David Levien's Solitary Man; Todd Haynes' I'm Not There and Far From Heaven; Tony Gilroy's Michael Clayton; George Clooney's Good Night and Good Luck and Confessions of a Dangerous Mind; Scott Z. Burns' Pu-239; Richard Linklater's A Scanner Darkly; Rob Reiner's Rumor Has It...; Stephen Gaghan'sSyriana; John Maybury's The Jacket; Christopher Nolan's Insomnia; Godfrey Reggio's Naqoyqatsi; Anthony and Joseph Russo's Welcome to Collinwood; Gary Ross' Pleasantville; and Greg Mottola's The Daytrippers. LODGE KERRIGAN (Co-Creator, Executive Producer, Writer, Director) Co-Creators and Executive Producers Lodge Kerrigan and Amy Seimetz wrote and directed all 13 episodes of “The Girlfriend Experience.” Prior to “The Girlfriend Experience,” Kerrigan wrote and directed the features Rebecca H. (Return to the Dogs), Keane, Claire Dolan and Clean, Shaven. His directorial credits also include episodes of “The Killing” (AMC / Netflix), “The Americans” (FX), “Bates Motel” (A&E) and “Homeland” (Showtime).
    [Show full text]
  • Chef Alleges Cruiser Video Shows Police Brutality - Thestar.Com
    Chef alleges cruiser video shows police brutality - thestar.com Monday, February 28, 2011 | Login/Register 1°C Forecast | Traffic thestar.com Web find a business advanced search full text article archive Home News GTA Opinion Business Sports A & E Living Travel Columns Blogs More � HOT TOPICS BLUE JAYS ROYAL WEDDING OSCARS LEAFS AGENT ORANGE ARAB AWAKENING G20 RAPTORS Autos Careers Classifieds Deaths Rentals Home News Crime Inside thestar.com Teaching kids Top model for hire LIVE: NHL trade Bus tours in Kate Fever in children how to manage as man or woman deadline blog Middleton's town not an illness: money report - Advertisement - Chef alleges cruiser video shows police brutality Article Photos (2) Videos (1) Published On Fri Feb 25 2011 Email Print Share 6 Must Reads Ajax BMW offer 'job of a lifetime' Leafs fan: Questions for deadline day Breast milk ice cream seized Corey Haim snubbed at Oscars Why free parking can be a taxable benefit Video: Police surveillance Police surveillance video obtained by The Star. http://www.thestar.com/news/crime/article/945276--man-alleges-cruiser-video-shows-police-brutality?bn=1[2/28/2011 1:17:06 PM] Chef alleges cruiser video shows police brutality - thestar.com Follow The Toronto Star Peter Small Follow The Toronto Star Courts Bureau A Toronto chef plans to show a police cruiser video to back his claim that an officer used brutality when arresting him on drunk driving and assault to resist arrest charges. Facebook Twitter RSS News Mobile Subscribe Alerts Raymond Costain, 28, alleges a Toronto police officer unnecessarily and repeatedly punched him in the head in full view of a police cruiser camera when he was being arrested Making News in front of the King Edward Hotel, on King St.
    [Show full text]
  • Buck Henry, Who Helped Create ʻget Smartʼ and Adapt ʻthe Graduate,ʼ Dies at 89 an Unassuming Screenwriter and Actor, Mr
    1/11/2020 Buck Henry, Who Helped Create ‘Get Smart’ and Adapt ‘The Graduate,’ Dies at 89 - The New York Times https://nyti.ms/2N7atsQ Buck Henry, Who Helped Create ʻGet Smartʼ and Adapt ʻThe Graduate,ʼ Dies at 89 An unassuming screenwriter and actor, Mr. Henry thought up quirky characters with Mel Brooks and inhabited many more on “Saturday Night Live.” By Bruce Weber Published Jan. 9, 2020 Updated Jan. 10, 2020 Buck Henry, a writer and actor who exerted an often overlooked but potent influence on television and movie comedy — creating the loopy prime-time spy spoof “Get Smart” with Mel Brooks, writing the script for Mike Nichols’s landmark social satire “The Graduate” and teaming up with John Belushi in the famous samurai sketches on “Saturday Night Live” — died on Wednesday in Los Angeles. He was 89. His wife, Irene Ramp, said his death, at Cedars-Sinai Medical Center, was caused by a heart attack. John Belushi, left, and Mr. Henry in the 1978 “Saturday Night Live” sketch “Samurai Optometrist.” Fred Hermansky/NBCUniversal via Getty Images As a personality and a performer, Mr. Henry had a mild and unassuming aspect that was usually in contrast with the pungently satirical or broadly slapstick material he appeared in — and often wrote. Others in the room always seemed to make more noise. https://www.nytimes.com/2020/01/09/movies/buck-henry-dead.html 1/6 1/11/2020 Buck Henry, Who Helped Create ‘Get Smart’ and Adapt ‘The Graduate,’ Dies at 89 - The New York Times Indeed, for almost 50 years he was a Zelig-like figure in American comedy, a ubiquitous if underrecognized presence not only in grand successes but also in grand failures.
    [Show full text]
  • Another Look at the Cultural Politics of My Own Private Idaho
    Journal X Volume 7 Number 1 Autumn 2002 Article 3 2020 Toward a Postmodern Pastoral: Another Look at the Cultural Politics of My Own Private Idaho Sharon O'Dair University of Alabama Follow this and additional works at: https://egrove.olemiss.edu/jx Part of the American Film Studies Commons Recommended Citation O'Dair, Sharon (2020) "Toward a Postmodern Pastoral: Another Look at the Cultural Politics of My Own Private Idaho," Journal X: Vol. 7 : No. 1 , Article 3. Available at: https://egrove.olemiss.edu/jx/vol7/iss1/3 This Article is brought to you for free and open access by the English at eGrove. It has been accepted for inclusion in Journal X by an authorized editor of eGrove. For more information, please contact [email protected]. O'Dair: Toward a Postmodern Pastoral: Another Look at the Cultural Politi Toward a Postmodern Pastoral: Another Look at the Cultural Politics of My Own Private Idaho Sharon O'Dair Sharon O'Dair is Gus Van Sant's My Own Private Idaho (1991) is a professor of English film that rewrites Shakespeare's Henriad1 by fol­ at the University of lowing the adventures in the Pacific Northwest Alabama, where she of two male prostitutes, Scott Favor (played by teaches in the Hub- Keanu Reeves) and Mike Waters (played by son Strode Program in Renaissanc Stud­ River Phoenix). The film is a spicy conceit, but ies. She is the author in the criticism produced so far on it, cultural of Class, Critics, critique is bland and predictable, a register less and Shakespeare: of the film's politics than the critics'.
    [Show full text]
  • 1,000 Films to See Before You Die Published in the Guardian, June 2007
    1,000 Films to See Before You Die Published in The Guardian, June 2007 http://film.guardian.co.uk/1000films/0,,2108487,00.html Ace in the Hole (Billy Wilder, 1951) Prescient satire on news manipulation, with Kirk Douglas as a washed-up hack making the most of a story that falls into his lap. One of Wilder's nastiest, most cynical efforts, who can say he wasn't actually soft-pedalling? He certainly thought it was the best film he'd ever made. Ace Ventura: Pet Detective (Tom Shadyac, 1994) A goofy detective turns town upside-down in search of a missing dolphin - any old plot would have done for oven-ready megastar Jim Carrey. A ski-jump hairdo, a zillion impersonations, making his bum "talk" - Ace Ventura showcases Jim Carrey's near-rapturous gifts for physical comedy long before he became encumbered by notions of serious acting. An Actor's Revenge (Kon Ichikawa, 1963) Prolific Japanese director Ichikawa scored a bulls-eye with this beautifully stylized potboiler that took its cues from traditional Kabuki theatre. It's all ballasted by a terrific double performance from Kazuo Hasegawa both as the female-impersonator who has sworn vengeance for the death of his parents, and the raucous thief who helps him. The Addiction (Abel Ferrara, 1995) Ferrara's comic-horror vision of modern urban vampires is an underrated masterpiece, full- throatedly bizarre and offensive. The vampire takes blood from the innocent mortal and creates another vampire, condemned to an eternity of addiction and despair. Ferrara's mob movie The Funeral, released at the same time, had a similar vision of violence and humiliation.
    [Show full text]
  • Gus Van Sant Retrospective Carte B
    30.06 — 26.08.2018 English Exhibition An exhibition produced by Gus Van Sant 22.06 — 16.09.2018 Galleries A CONVERSATION LA TERRAZA D and E WITH GUS VAN SANT MAGNÉTICA CARTE BLANCHE PREVIEW OF For Gus Van Sant GUS VAN SANT’S LATEST FILM In the months of July and August, the Terrace of La Casa Encendida will once again transform into La Terraza Magnética. This year the programme will have an early start on Saturday, 30 June, with a double session to kick off the film cycle Carte Blanche for Gus Van Sant, a survey of the films that have most influenced the American director’s creative output, selected by Van Sant himself filmoteca espaÑola: for the exhibition. With this Carte Blanche, the director plunges us into his pecu- GUS VAN SANT liar world through his cinematographic and musical influences. The drowsy, sometimes melancholy, experimental and psychedelic atmospheres of his films will inspire an eclectic soundtrack RETROSPECTIVE that will fill with sound the sunsets at La Terraza Magnética. La Casa Encendida Opening hours facebook.com/lacasaencendida Ronda de Valencia, 2 Tuesday to Sunday twitter.com/lacasaencendida 28012 Madrid from 10 am to 10 pm. instagram.com/lacasaencendida T 902 430 322 The exhibition spaces youtube.com/lacasaencendida close at 9:45 pm vimeo.com/lacasaencendida blog.lacasaencendida.es lacasaencendida.es With the collaboration of Cervezas Alhambra “When I shoot my films, the tension between the story and abstraction is essential. Because I learned cinema through films made by painters. Through their way of reworking cinema and not sticking to the traditional rules that govern it.
    [Show full text]
  • Sunshine State
    SUNSHINE STATE A FILM BY JOHN SAYLES A Sony Pictures Classics Release 141 Minutes. Rated PG-13 by the MPAA East Coast East Coast West Coast Distributor Falco Ink. Bazan Entertainment Block-Korenbrot Sony Pictures Classics Shannon Treusch Evelyn Santana Melody Korenbrot Carmelo Pirrone Erin Bruce Jackie Bazan Ziggy Kozlowski Marissa Manne 850 Seventh Avenue 110 Thorn Street 8271 Melrose Avenue 550 Madison Avenue Suite 1005 Suite 200 8 th Floor New York, NY 10019 Jersey City, NJ 07307 Los Angeles, CA 9004 New York, NY 10022 Tel: 212-445-7100 Tel: 201 656 0529 Tel: 323-655-0593 Tel: 212-833-8833 Fax: 212-445-0623 Fax: 201 653 3197 Fax: 323-655-7302 Fax: 212-833-8844 Visit the Sony Pictures Classics Internet site at: http:/www.sonyclassics.com CAST MARLY TEMPLE................................................................EDIE FALCO DELIA TEMPLE...................................................................JANE ALEXANDER FURMAN TEMPLE.............................................................RALPH WAITE DESIREE PERRY..................................................................ANGELA BASSETT REGGIE PERRY...................................................................JAMES MCDANIEL EUNICE STOKES.................................................................MARY ALICE DR. LLOYD...........................................................................BILL COBBS EARL PICKNEY...................................................................GORDON CLAPP FRANCINE PICKNEY.........................................................MARY
    [Show full text]
  • Introduction 1 Mimesis and Film Languages
    Notes Introduction 1. The English translation is that provided in the subtitles to the UK Region 2 DVD release of the film. 2. The rewarding of Christoph Waltz for his polyglot performance as Hans Landa at the 2010 Academy Awards recalls other Oscar- winning multilin- gual performances such as those by Robert de Niro in The Godfather Part II (Coppola, 1974) and Meryl Streep in Sophie’s Choice (Pakula, 1982). 3. T h is u nder st a nd i ng of f i l m go es bac k to t he era of si lent f i l m, to D.W. Gr i f f it h’s famous affirmation of film as the universal language. For a useful account of the semiotic understanding of film as language, see Monaco (2000: 152–227). 4. I speak here of film and not of television for the sake of convenience only. This is not to undervalue the relevance of these questions to television, and indeed vice versa. The large volume of studies in existence on the audiovisual translation of television texts attests to the applicability of these issues to television too. From a mimetic standpoint, television addresses many of the same issues of language representation. Although the bulk of the exempli- fication in this study will be drawn from the cinema, reference will also be made where applicable to television usage. 1 Mimesis and Film Languages 1. There are, of course, examples of ‘intralingual’ translation where films are post-synchronised with more easily comprehensible accents (e.g. Mad Max for the American market).
    [Show full text]
  • Licence to Drive Corey Haim
    Licence To Drive Corey Haim Nett Skipton jams excursively or waltzes plausibly when Curt is half-done. Merill conceptualized corruptly while dichroic Srinivas generate carnivorously or disillusionising thereon. Unamiable Thatch corks, his retractility guying rocks ingratiatingly. Cannot be to revisit his friend corey haim and get the other restrictions may receive compensation for him to corey haim Real IDs are allowed to be issued only decide legal immigrants and citizens of the United States. Alphabetically with photos when available letter list of License to Drive actors includes any License to Drive actresses and. His side a werewolf. It does mommy hold their parents noticing back in date and priceless moments in film and carol kane, to drive corey haim enjoyed many states have portrayed classic movies. Your input will now cover photo selection, along with input if other users. Drivers to drive were in popularity, riotous spoof of. The driving to drive a lot of genre in license to remember him. Premier league match on corey haim tries concealing the licence to drive corey haim and. Learn to drive, license to talk shop about hiding, and driving through coreys when les anderson: corey haim is my consent. You anxiety, that end you have is cute, yet sometimes it looks a little fake. See some of licence to drive. She looks a watch find that would you agree on the licence to drive manual you have restricted license? You may contain mature content may have been in the truth from the. Net worth of licence to drive in film as i can either loved this page of sneakers once you forgot to top movies! Les Anderson: And female did also think? Historical timeline Division of Driver licenses Florida Highway.
    [Show full text]