Movies postsWednesday January 16, 2013
That Tarantino Interview: 'This is a commercial for the movie—make no mistake.'
Before I watched it, I assumed the interviewer in the clip below just asked Quentin Tarantino the wrong question. Instead of “Does movie violence lead to real violence?” he should have asked, “How has movie violence affected you?” I.e., Why do you make these kinds of movies? What is it about spaghetti westerns that appeal and why? I assumed the interviewer was just ham-handed.
Instead, the interviewer, Krishnan Guru-Murthy, is the furthest thing from ham-handed. He does in fact ask the question I thought he should ask, and is polite and articulate in doing so. It's Tarantino who's ham-handed. He comes off as a major asshole here. He comes off as pompous and privileged in promoting “Django Unchained.”
Here it is:
In the beginning he says the pompous:
I'm responsible for people talking about slavery in a way they have not in 30 years. ... There is a dialogue going on about slavery that has not been happening at all. It's a subject people are afraid to talk about. And now because of this movie, people aren't afraid to talk about it.
I'm thinking: What dialogue are people having about slavery? They're having a dialogue about you; and it's the same fucking dialogue. Tarantino wants to be a black man. No, Tarantino hates black men. The N-word: Why say it so often? Why this gratuitous violence against black men? In other words, the criticism leveled at him during “Inglourious Basterds”—that QT turned the victims (Jews) into victimizers, and victimizers (Nazis) into victims, because he never shows the Jews as victims—here becomes its opposite. Keli Goff on HuffPo is the worst in this regard. She also complains about the lack of a strong female character. This after 15 years of Jackie Brown, the Bride, Shoshanna Dreyfus. The only ones who come off worse than QT in discussing his films is everyone else.
Then Guru-Murthy asks Tarantino about the relationship between movie violence and real violence and QT joins the crowd:
I refuse your question. I’m not your slave and you’re not my master. You can’t make me dance to your tune. I’m not a monkey.
No, you're a privileged asshole. Because the next thing you say, rather snidely, is this:
Because I’m here to sell my movie. This is a commercial for the movie—make no mistake.
So the dialogue about slavery the U.S. is having because of you? That was PR? Of course it was.
I could go on. Almost everything people think is wrong about Tarantino's movies (the N-word, racism) isn't. But almost everything people think is right about Tarantino's movies (how cool they are) isn't. In the end, he's not worth this much time. We should stop dancing to his tune.
“This is a commercial for the movie—make no mistake.”
The Evolution of Jeffrey Wells' Thinkin' on 'Lincoln'
Jeff Wells of Hollywood Elsewhere isn't much of a fan of Steven Spielberg's “Lincoln.” Here's how he got there.
He started out last March with a joke, kind of, that Daniel Day-Lewis was a shoo-in for the Oscar...
- March 14: “Who's gonna take Lewis's Oscar away? Leonardo DiCaprio as Jay Gatsby? Phillip Seymour Hoffman as The Master? Bill Murray as FDR? Hugh Jackman or Russell Crowe in Les Miserables? Nobody is going to beat Honest Abe-who-gets-shot. It's over. Forget it.” — “Same Result Anyway.”
He also wrote about the other Lincoln movie last year, the one about the vampire hunter. Thus begins Wells' obsession with Lincoln's voice...
- May 28: “Listen to Benjamin Walker's Abraham Lincoln voice in this recently-released trailer for Timur Bekmambetov's Abraham Lincoln, Vampire Hunter ... He almost sounds JFK-like, but Lincolnesque? Not if you buy the old story about the 16th President's son, Robert Todd Lincoln (1843-1926), having heard Raymond Massey perform on stage and being ”struck by the close similarity of Massey's speaking voice to that of his father.“ — ”Voice is Wrong.“
In July he starts counseling Disney on how to open the movie. First he suggests not showing it to anyone before it opens...
- July 18: ”Do you want to hear a bold, bold, bold idea? Show Lincoln to absolutely no one until opening day. Make them scream and pant for it and say “nope...sorry, kids...too bad...this is a really good film, but first and foremost it's for the people...buy a ticket.” — “Lincoln Is Sooner Than You Think”
Then he wonders why Disney isn't showing it at the New York Film Festival before it opens. Maybe it's bad?
- July 29: “A little while back I floated a notion about Steven Spielberg's Lincoln being the closing-night attraction at the New York Film Festival on Sunday, 10.14. That would be only three and half weeks before the opening. The media-fed response would certainly get the word-of-mouth rolling if the film is any good. But since I wrote that certain...how to put this?...insect-antennae vibrations are suggesting that Disney might not be interested. ... If Disney and Spielberg have the goods then they have the goods --- it can't possibly be a harmful thing to let people know that Lincoln is (let's use our fertile imaginations) a very special, moving, possibly austere, high-calibre historical drama. Unless, of course, Lincoln is Amistad by way of War Horse — unless it's some kind of treacly, commercial, family-friendly, emotionally shameless ”Spielberg film“ in the worst sense of that term. — ”All Them Lincoln Conundrums“
Now comes the nitpicking. The hair is wrong. The voice is wrong. The music is wrong. The voice is really wrong. I wish I could smell what the White House smelled like back then. Have I mentioned how much I REALLY, REALLY HATE the voice yet? That high tenor? It should sound LEGENDARY. It should sound MANLY. Instead of like MATTHEW MODINE. (No offense, Matthew.) This is two months before the movie opens...
- August 7: ”I've never seen any photos of Abraham Lincoln in which he looked quite this gray [as in the poster]. His hair is flecked with gray around the temples in those portraits he sat for in early 1865, but Daniel Day Lewis almost looks like a silver fox here. Plus his hair is too neatly combed.“ — ”The Grey“
- August 8: ”This is what I want, partly, from Steven Spielberg's Lincoln. Not just toilet and bathtub information but various hints of the quality and texture of life in the 1860s. Imagine how amazing it would be if Spielberg had decided to present the film in Smellovision or Aroma-rama, then we'd have an idea of what the White House might have actually smelled like from time to time. Think of the transportation!“ — ”White House Plumbing“
- September 13: ”I still don't like the sound of Daniel Day Lewis's Lincoln voice. I almost hate it, in a way. It's flat, undistinctive, unimpressive, Matthew Modine-ish. (And that's not a putdown of Modine.) It's hard to describe what I was looking to hear, but this isn't it. And I dearly love the voices that Lewis has given us over the years. The fault, of course, is Spielberg's — he didn't push Lewis hard enough, he let well enough alone.“ — ”Not Right“
- September 15: ”It's not just Daniel Day Lewis's decision to channel Matthew Modine in his voicing of Abraham Lincoln in Steven Spielberg's forthcoming biopic. My insect antennae are also picking up hints of that old Spielbergian schmaltz, particularly among the strains of John Williams' music. I'm hoping for something deeper and grander but we all know who and what Spielberg is, and I smell trouble, real trouble.“ — That Sinking Lincoln Feeling (with Tweet from film critic Jimmy Fallon)
- September 18: Steven Spielberg's Lincoln won't screen for critics until next week, but already there is a certain pushback in the form of concern about Daniel Day Lewis's Lincoln voice. It ain't right. ... A director-writer who knows people and gets around says he's heard that ”DDL's Lincoln voice tries to be consistent with what the actual man's sounded like, but aside from an impassioned, impressive performance the film is another Amistad with good intentions outweighing a good film.“-- ”Lincoln Snowball Gaining Size?“
- October 3: ”I despise the wussy timbre of Daniel Day Lewis's Abraham Lincoln voice. Even more than I did before. It's chalk on blackboard.“ — ”With Every Fibre of My Being...“
After all that, he begins to wonder, ”Hey, how come Disney isn't inviting me to any of the premieres?“
- October 4: ”Next Monday night's New York Film Festival debut of Steven Spielberg's Lincoln is unexpected, for sure, and the bravest thing that Disney marketing has done on behalf of this Tony Kushner-scripted film. Before this moment Disney has been presenting a cautious if not timid face to the world, particularly in its decision to take the AFI Fest's closing-night slot, which is only hours before the 11.9 opening. ... [But] it burns me that Glenn Kenny and Kris Tapley will be seeing Daniel Day Lewis's Honest Abe by way of Walter Brennan and Matthew Modine before me...“ — ”Lincoln's Big NYFF Debut“
- October 5: ”As an accredited New York Film Festival press pass holder, I requested a ticket to Monday night's “secret” Lincoln screening at Alice Tully Hall, as everyone else with the same pass did. It took the NYFF all day to say “sorry, we can't help.” Uh-huh. I don't know but I strongly suspect there's a general coordinated strategy to keep me away from this puppy.“ — Blood Is Up
But in November, with the rest of us, he finally sees it, and delivers a ”Yes, but...“ review. Yes, it's good, but... Yes, it's serious, but... No, I'm cool with that, but...
- November 8: ”I myself was never bored, mind — I love history and period realism — but I would argue that the story of the passing of the 13th Amendment is an interesting saga with some great dialogue (Tommy Lee Jones' anger moments might be the best thing about it), but it's not a riveting one. It's not really movie material, certainly by today's standards. It's Showtime or PBS or History Channel material writ large by the Spielberg brand and the soulful skills of Daniel Day Lewis. Anyone who cares about doing this kind of thing correctly will understand and respect what Spielberg has tried to do, and in many ways has succeeded at.“ --”Lincoln in Kaminskiville by Way of History Channel“
He also incorrectly predicts box-office disaster...
- November 8: ”In some ways Lincoln is not that tonally different from Robert Redford's The Conspirator. And you know what that means.“ --”Lincoln in Kaminskiville by Way of History Channel“
He searches for people who agree with him. Here's one: an unnamed producer! Who says he would've left early but AN AFRICAN-AMERICAN was sitting next to him, weeping, and to walk out would be unseemly. Leading JW to imagine this scene:
- November 10: Weeping African-American Guy: ”Ohh-hoh-hoh...heeeeshh-hee-hee...hee-hee-heesh....weep...weep.“ Producer: ”Excuse me there, fella. Gotta get by.“ Weeping African-American Guy: ”I, uh....wait, you're leaving? I don't even know you but you're leaving? What are you made of? You're walking out on a movie about Abraham Lincoln? Did you vote for Romney? Producer: “It's a free country, pal...okay? You can weep and moan and make all the noise you want, but this is a slow turgid thing and it's not doing it for me. And I voted for Obama, if you want to know.” --Lincoln Reactions, Please
The New York Times agrees with him, too...
- November 17: “The 11.16 N.Y. Times ”Sweet Spot“ (i.e., A.O. Scott and David Carr chit-chatting and sometimes interviewing Times staffers) is about guilty non-pleasures — art forms and entertainments that you're supposed to like but you just can't. And the most persistent non-pleasure of the Times newsroom? Lincoln.” — Not to Beat a Dead Horse
You know who else agrees with him? Everyone....
- November 17: “I stood in an Arclight lobby the other night (i.e., just before the Anna Karenina premiere screening) as a crowd that had just seen Lincoln walked past me. They were a bit glummed out; their faces seemed a little somber and even haggard. No faint smiles; no looks of calm or serenity. Most seemed to be saying to themselves, 'All right, that's over...where can we eat? In fact, let's just get a drink.'” — Homework and Trances
Then he focuses on the horse-race aspect of the best picture race and keeps veering wildly between narratives: either “Lincoln is losing air” or “Lincoln is a lock”...
- November 14: “Lincoln is a Best Picture nominee, yes, but rarified, Kaminski-ized and all but entombed. Lincoln is inflated because it just opened and is flower-fresh in Guru minds and did well at the box-office...but there are little pin holes that people don't want to look at. Helium is escaping as we speak.” --Gurus of Delusion
- December 5: “Some [Oscar voters] would like to give it to Lincoln or Les Miz but they're not feeing the current in the rapids and they can feel the ardor cooling down (certainly with Lincoln). ... They have two choices. They can go with the unassailable Zero Dark Thirty — the flinty, pruned-down CIA docudrama with Jessica Chastain's super-tough heroine, or with the jazzy, spazzy, warmly emotional and hyper-intelligent Silver Linings Playbook, the movie that restored respect to the seriously tarnished romantic comedy genre ...” — Boiled Down, Translated
- December 11: “2012 is over and Lincoln is probably going to win Best Picture. I can't stand it. I don't want to think about it any more. I just want to focus on January and February releases and on the Sundance, Santa Barbara and Berlin film festivals.” — Move On
Finally, after dismissing “Lincoln” by disparaging Daniel Day-Lewis' voice, then Steven Spielberg's direction, he decides to dismiss it by attacking Abraham Lincoln himself. He imagines a movie called “Johnson,” about Lincoln's successor, and suggests it wouldn't get the best-picture attention “Lincoln” does because we don't care about Andrew Johnson...
- December 18: “I'm just making a mild, even-handed point about Lincoln, which is that deep down much if not most of the acclaim for Spielberg's film is about our lifelong embrace of the legend of Abraham Lincoln. Is it a good film? Yes. Is it a very good film? You could argue this. But if Johnson was just as good as Lincoln and perhaps in some ways a little bit better (you can't beat that Senate vote on impeachment for a third-act climax), you know it wouldn't be the same thing. Be honest and ask yourself — how much of the Lincoln acclaim is really about the film itself and how much of it is about the worship of a great man and a great historical figure? You know what the answer is. You know it.” — Steven Spielberg's Johnson
And on and on. Wells posted about “Lincoln” again last night. Spielberg's movie, introduced by a former president (Clinton), lost the Golden Globe to “Argo” and Wells thinks that matters in the Oscar race even though the GGs, with two options (drama, musical/comedy), have predicted Oscar's best picture only twice in the last eight years. But no matter. He sees “Argo” as the front-runner again. He thinks it looks like, it feels like, a brand new day...
- January 13, 2013: “Argo winning Best Motion Picture, Drama and Ben Affleck winning for Best Director tonight came right on the heels of the BFCA Critics Choice awards deciding to give the same awards, and I think that tore it. I think everyone except for the Lincoln die-hards realized tonight that Lincoln doesn't have the horses to win the Best Picture Oscar, and Spielberg is probably out of the running also. And the reason for the latter, I think, is that he looked scared tonight. Playing the Clinton card was basically Spielberg saying to himself, ”How do we shake this race loose and tip it in our favor? Obviously we have support but possibly not enough. That fucking Critics Choice Argo win didn't help any. I know...I'll call up Bill Clinton and have him make a pitch for it!“ ... It's now Argo in the lead for Best Picture vs. Silver Linings Playbook with Lincoln in third place.” — The Clinton Card
“I despise the wussy timbre of Daniel Day Lewis's Abraham Lincoln voice. Even more than I did before. It's chalk on blackboard.” — Jeffrey Wells
The Top 50 Viral Videos of 2012 (Or: My Increasing Separation from My Culture)
This was posted earlier today on Andrew Sullivan's site:
Of these, I've seen:
- #47: Fishing for Sharks
- #45: Duck Run (should be higher)
- #42: Man Has Conversation with 12-Year-Old Self
- #25 Dad Catches Foul Ball While Holding Daughter
- #17 Michelle Jenneke Warm-Up Dance
- #11 Isaac's Live Lip-Dub Proposal
- #1 Gangam Style (of course)
About 1/7 of them. Appropriate that I've seen more in the 40s since that's me: 49. But seriously? Only one from 1-10? And what the hell is a Nicole Westbrook? 13 million views for that thing? And are these things ranked by views?
My favorite of the bunch is Isaac's Live Lip-Dub Proposal. By far. It's a beautiful thing. Here's the full monty:
I couldn't believe this was from earlier this year. Seemed ages ago. I guess it was in Internet years, which are like dog years. Bang zoom.
Like everyone, I tear up watching this. All the work what went into it. The community atmosphere. The lady in red, who seems both lead dancer and choreographer. But mostly it's the joy and disbelief and love on the girl's face. Generally you see the work that went into something like this and think, “She better be worth it.” But here you see her reaction and you know: She is.
'Previously on The Hobbit...'
A friend of mine who usually writes of loftier matters has written a short review of “The Hobbit.” He's obviously a fan of Tolkien but not so much of Peter Jackson's new movie. Even so, this is the last line:
Let’s hope Jackson regains his footing in the next installment.
It made me think of this.
When we went to “Star Wars” in 1977, we went to see a movie. The movie began and it ended. It felt whole, and even gave us a symbol for wholeness: the Force.
When we went to “The Empire Strikes Back” in 1980, we were given a movie that was to be continued. I was actually shocked when I saw it in the theater. That's it? “To be continued” on TV meant next week; “to be continued” in a galaxy far, far away meant three years. Whenever anyone says “The Empire Strikes Back” was the best of the “Star Wars” movies, I generally respond, when I care enough to respond, “So how did you like the ending?”
When we went to see “The Lord of the Rings: The Fellowship of the Ring” in 2001, we knew we were going to see the first of a trilogy, based on a trilogy of books. That may be part of why it never interested me. I knew it would be continued. But at least it was based on a “To be continued” book.
“The Hobbit”? Based on a single book. But three movies. Because there's money in fragmentation.
We're not going to see movies anymore. We're going to see fragments of movies, fragments of narratives, that fit our fragmented times. Maybe we prefer it this way. Wholeness is so exhausting. Endings are so tyrannical. Fragments let us imagine any kind of escape from the narrative ... but hopefully an escape that leads us right back here, telling the same story, with a few variations. We want comfort and familiarity, with merely a chance of escape. We want to hear that story over again, Daddy.
The Annotated Jeffrey Wells: 'Torture Has Been Used For Centuries'
The following is a post on Jeffrey Wells' “Hollywood Elsewhere” site. The annotations in bold are mine...
Are you going to tell me that if your son or daughter has been kidnapped and is being held in some secret, all-but-impossible-to-discover location and might possibly be killed if you don't find him/her...are you going to tell me that if you've captured a close accomplice of the kidnappers who refuses to talk...are you going to tell me that all you're going to do is take this guy out to lunch and feed him hummus and tomatoes, and if that doesn't work you're going to take him out for drinks and then set him up with $5000-a-night prostitute in hopes that he'll reveal the location? The objection to “Zero Dark Thirty” isn't about the urge to torture in extreme situations to gain desired information; it's about the efficacy of that torture. It's about whether the person you're torturing is in fact a close accomplice of the kidnappers ... or me, since I'll say anything you want me to say, since you're torturing me to say it. That's always been the problem with torture. The torturer tends to gain the information he wants whether that information is true or not. More specifically, the objection with “Zero Dark Thirty” (which I, like most of the world, haven't seen yet), is whether Bigelow and Boal have misrepresented the efficacy of torture by drawing a line between post-9/11 enhanced interrogation techniques and the intel that led to Osama bin Laden. The information we have indicates there was no line. Do Boal and Bigelow have new information? Did they draw the line themselves? Should we torture them to find out?
If your answer is “yes” (and I'm talking to you, Hollywood liberals, and to you, Alex Gibney) then you are a liar. In fact, you have never been more of a liar than you are right now. And you, Jeff Wells, have never been more wrong than you are now. Except every time you write about Abraham Lincoln's voice, which reveals how much you actually buy into the myth-making tendencies of Hollywood that you pretend to abhor.
Zero Dark Thirty doesn't precisely say that torture was the thing that got the information about the whereabouts of Osama bin Laden (Again, this is the key question; everything else is more-or-less irrelevant), although it has obviously been applied for several centuries, and presumably with some benefit to the torturers. (Why else would the practice continue over the millenia? Because people like to torture?) Irrelevant, but ... I assume we keep torturing because people in desperate situations do desperate things. And because sometimes it works. And because we don't have any new ideas. And because it's in our nature.
Maya (Jessica Chastain) and Dan (Jason Clarke) and their CIA colleagues do whatever they can to get their captors to talk. They try a little torture, they try little hummus. And by hook or crook, they finally get the info they want. Are you going to tell me that if they'd used only hummus, they would have discovered Bin Laden's Abbotobad address? Focus, Jeff. Does ZDT show that intel gathered via torture led to Osama bin Laden? If “yes,” do Bigelow and Boal know something Senators McCain, Levin and Feinstein don't? The other day, in warning about “Zero Dark Thirty,” CIA director Michael Morell actually backs it up. He wrote, “Some [of the Osama bin Laden intelligence] came from detainees subjected to enhanced techniques, but there were many other sources as well.” If I were you, Jeff, this is the kind of thing I would focus on rather than the above.
Those were the days, my friend, we thought they'd never end.