“Beam me up, Scotty” is a quote as iconic as Star Trek‘s once-magical automatic doors ― even if Captain Kirk didn’t actually say it. While Star Trek wasn’t the first sci-fi creation to teleport its characters around, its pleasingly sparkly transport scenes quickly captured fans’ imaginations. However, what is beamed up isn’t necessarily what is beamed down.
Simply put, Star Trek transporters, if they were real, would kill their users along the way. No matter the technicalities over moving versus duplicating the bits that make up a Trek crewman, you cannot blast a person into atoms without ending their brain functions and destroying them. You just can’t. Try it (don’t try it). So depending on how lazy a character is, a commute from a starship bridge to the bathroom could be the last thing they ever do.
It’s something that’s fascinated and vexed...
Simply put, Star Trek transporters, if they were real, would kill their users along the way. No matter the technicalities over moving versus duplicating the bits that make up a Trek crewman, you cannot blast a person into atoms without ending their brain functions and destroying them. You just can’t. Try it (don’t try it). So depending on how lazy a character is, a commute from a starship bridge to the bathroom could be the last thing they ever do.
It’s something that’s fascinated and vexed...
- 3/25/2024
- by Alec Bojalad
- Den of Geek
That too, in a clear, even colloquial and ‘colourful’ language – eschewing the esoteric jargon that most philosophers, chiefly Central European, tend to create or revel in.
And it also helps when they use examples from popular culture, like this bearded and burly Slovenian philosopher, whose frame of reference spans Hollywood films from Charlie Chaplin to "The Matrix" and literature from Shakespeare to Stephen King, as well as a wide section of cutting-edge science, from biogenetics to quantum theory.
For good measure, Slavoj Zizek is characterised by an unconventional approach and appearances and can be counted for a slew of polemics and provocations – describing most people as "boring idiots".
Along with global political and economic issues, he offers trenchant opinions on topics from modern advertising to consumerism to reality shows, and so on.
This is not only a bid to disrupt the expected academic method, but also of the idea of the philosopher as an unworldly,...
And it also helps when they use examples from popular culture, like this bearded and burly Slovenian philosopher, whose frame of reference spans Hollywood films from Charlie Chaplin to "The Matrix" and literature from Shakespeare to Stephen King, as well as a wide section of cutting-edge science, from biogenetics to quantum theory.
For good measure, Slavoj Zizek is characterised by an unconventional approach and appearances and can be counted for a slew of polemics and provocations – describing most people as "boring idiots".
Along with global political and economic issues, he offers trenchant opinions on topics from modern advertising to consumerism to reality shows, and so on.
This is not only a bid to disrupt the expected academic method, but also of the idea of the philosopher as an unworldly,...
- 4/22/2023
- by Agency News Desk
- GlamSham
Corsage director/screenwriter Marie Kreutzer on the interactions between Sisi (Vicky Krieps), Emperor Franz Joseph (Florian Teichtmeister), and King Ludwig II (Manuel Rubey): “Control is a big thing in the whole story for me.” Photo: Robert M Brandstaetter, courtesy IFC Films Release
Marie Kreutzer’s laser focus in Corsage is on Sisi, Empress Elisabeth of Austria turning 40 years old. Vicky Krieps (Best Actress European Film Awards and Cannes Film Festival Un Certain Regard Best Performance Award shared with Adam Bessa for Lotfy Nathan’s Harka) is in excellent form and up to the task of presenting to us the icon in all her idiosyncrasies.
Marie Kreutzer with Anne-Katrin Titze: “It was very important for me that the costumes as well as the production design would not just be romantic and luxurious …”
In the first instalment with Marie Kreutzer, we discuss her use of Camille’s song, She Was, her...
Marie Kreutzer’s laser focus in Corsage is on Sisi, Empress Elisabeth of Austria turning 40 years old. Vicky Krieps (Best Actress European Film Awards and Cannes Film Festival Un Certain Regard Best Performance Award shared with Adam Bessa for Lotfy Nathan’s Harka) is in excellent form and up to the task of presenting to us the icon in all her idiosyncrasies.
Marie Kreutzer with Anne-Katrin Titze: “It was very important for me that the costumes as well as the production design would not just be romantic and luxurious …”
In the first instalment with Marie Kreutzer, we discuss her use of Camille’s song, She Was, her...
- 12/14/2022
- by Anne-Katrin Titze
- eyeforfilm.co.uk
The Adventures Of Gigi The Law (Gigi La Legge) director on Pier Luigi Mecchia as Gigi and Jacques Lacan: “Sometimes he can laugh with people - it’s his way to have a relationship with the Other …”
Gigi (Pier Luigi Mecchia), in Alessandro Comodin’s charmingly absurd and delightfully real The Adventures Of Gigi The Law (Gigi La Legge), works for the local police in a rural corner of the Friuli region in the northeastern part of Italy. He has a contentious debate at night with his neighbour (Ezio Massarutto), who wants Gigi to cut down some of the trees and shrubs in his jungle-like garden, as they presumably attract “rats and snakes.” This insinuation infuriates our otherwise mellow and cheerful hero.
Alessandro Comodin with Anne-Katrin Titze: “You don’t have to make a big show to tell a story as mythological as Ulysses, the Odyssey.
The daily routine...
Gigi (Pier Luigi Mecchia), in Alessandro Comodin’s charmingly absurd and delightfully real The Adventures Of Gigi The Law (Gigi La Legge), works for the local police in a rural corner of the Friuli region in the northeastern part of Italy. He has a contentious debate at night with his neighbour (Ezio Massarutto), who wants Gigi to cut down some of the trees and shrubs in his jungle-like garden, as they presumably attract “rats and snakes.” This insinuation infuriates our otherwise mellow and cheerful hero.
Alessandro Comodin with Anne-Katrin Titze: “You don’t have to make a big show to tell a story as mythological as Ulysses, the Odyssey.
The daily routine...
- 10/11/2022
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Richard Ledes on Seriema (Ismenia Mendes) with the analyst (David Patrick Kelly) in Adieu Lacan: “The costumes [by Kathryn O'Reardon] were very important.”
Adieu Lacan, based on the book The Parrot And The Doctor, aka Lacan’s Parrot, and the play Goodbye, Doctor by Betty Milan, who was in analysis with Jacques Lacan in the 1970s in Paris, addresses a number of vital issues that are as relevant today as they were then. Richard Ledes and cinematographer Valentina Caniglia use the camera in this black and white movie to explore, at times in amusing ways, the power dynamics at play.
Richard Ledes with Anne-Katrin Titze on Bill Raymond: “He’s so wonderful. We’ve done three films together and worked on a fourth.”
“Now she has stopped being against herself” concludes the analyst about Seriema (Ismenia Mendes) when it is time to say adieu Lacan. The journey to this point is the journey of the film,...
Adieu Lacan, based on the book The Parrot And The Doctor, aka Lacan’s Parrot, and the play Goodbye, Doctor by Betty Milan, who was in analysis with Jacques Lacan in the 1970s in Paris, addresses a number of vital issues that are as relevant today as they were then. Richard Ledes and cinematographer Valentina Caniglia use the camera in this black and white movie to explore, at times in amusing ways, the power dynamics at play.
Richard Ledes with Anne-Katrin Titze on Bill Raymond: “He’s so wonderful. We’ve done three films together and worked on a fourth.”
“Now she has stopped being against herself” concludes the analyst about Seriema (Ismenia Mendes) when it is time to say adieu Lacan. The journey to this point is the journey of the film,...
- 5/29/2022
- by Anne-Katrin Titze
- eyeforfilm.co.uk
“Now she has stopped being against herself” concludes the analyst about Seriema (Ismenia Mendes) when it is time to say adieu Lacan. The journey to this point is the journey of the film, one session at a time, some shorter, some longer, as was the style for Jacques Lacan, one of the most original thinkers of the 20th century.
Adieu Lacan, based on the book The Parrot And The Doctor, aka Lacan’s Parrot, and the play Goodbye, Doctor by Betty Milan, who was in analysis with Lacan in the 1970s in Paris, addresses a number of vital issues that are as relevant today as they were then. Director Richard Ledes and cinematographer Valentina Caniglia use the camera in this black and white movie to explore, at times in amusing ways, the power...
Adieu Lacan, based on the book The Parrot And The Doctor, aka Lacan’s Parrot, and the play Goodbye, Doctor by Betty Milan, who was in analysis with Lacan in the 1970s in Paris, addresses a number of vital issues that are as relevant today as they were then. Director Richard Ledes and cinematographer Valentina Caniglia use the camera in this black and white movie to explore, at times in amusing ways, the power...
- 5/26/2022
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Britt Lower on Ava in Tribeca Film Festival highlight Circus Person: “She’s discovering who she is in this new chapter of her life.”
Britt Lower’s Circus Person, starring the director/writer with Philip Smithey, Jessica Marks, and Ramona Young; Héctor Silva Nuñez’s Home_ with Doris Amen, Andrew Zawacki, Arbie Goings, Remy Guerrien, and Micah Sudduth and Keylee Koop-Sudduth’s Backsliders, join Elvira Lind’s Oscar-nominated The Letter Room, starring Oscar Isaac as the four shorts screening in the 2020: Now Showcase A: Soul Connection program on the closing day of the 20th anniversary edition of the Tribeca Film Festival in 2021.
Britt Lower with Anne-Katrin Titze on the sound design: “It was a very collaborative process with the editor Alex Knell and our sound designer Cem Dursun.”
In his seminar on Edgar Allan Poe’s short story The Purloined Letter, Jacques Lacan stated that a letter always arrives at its destination.
Britt Lower’s Circus Person, starring the director/writer with Philip Smithey, Jessica Marks, and Ramona Young; Héctor Silva Nuñez’s Home_ with Doris Amen, Andrew Zawacki, Arbie Goings, Remy Guerrien, and Micah Sudduth and Keylee Koop-Sudduth’s Backsliders, join Elvira Lind’s Oscar-nominated The Letter Room, starring Oscar Isaac as the four shorts screening in the 2020: Now Showcase A: Soul Connection program on the closing day of the 20th anniversary edition of the Tribeca Film Festival in 2021.
Britt Lower with Anne-Katrin Titze on the sound design: “It was a very collaborative process with the editor Alex Knell and our sound designer Cem Dursun.”
In his seminar on Edgar Allan Poe’s short story The Purloined Letter, Jacques Lacan stated that a letter always arrives at its destination.
- 6/19/2021
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Praised by Jonas Mekas as the "the most important North American avant-garde filmmaker to emerge during the 1980s," Canadian filmmaker and critic R. Bruce Elder's work places images of nature and the body within rigorous theories on art, spirituality, and philosophy. Now playing for free on Nomadica (hosted by the Laba Libera Academy of Fine Arts) until May 30, his 1982 film Illuminated Texts is one chapter of his magnum opus, the film cycle The Book of All The Dead. In fact, Illuminated Texts only makes up three hours of the cycle's 46 hours, which consists of 20 films made between 1975 and 1994. But the questions that the encyclopedic film raises about image-making technology, forms of knowledge, and the discord of human history, are wholly realized. Illuminated Texts begins with a satirical opening involving a pushy professor who imposes false mathematical teachings onto his all-too-willing and dim-witted pupil. This forceful institutional pedagogy is challenged by the film's subsequent chapters,...
- 5/24/2021
- MUBI
With a seemingly endless amount of streaming options — not only the titles at our disposal, but services themselves — we’ve taken it upon ourselves to highlight the titles that have recently hit platforms. Every week, one will be able to see the cream of the crop (or perhaps some simply interesting picks) of streaming titles (new and old) across platforms such as Netflix, iTunes, Amazon, and more (note: U.S. only). Check out our rundown for this week’s selections below.
Certain Women (Kelly Reichardt)
The cinema of Kelly Reichardt lives in quiet, tender observations with deeply rooted characters and location. Even when adding a thriller element as with her last feature, the overlooked Night Moves, her style is never compromised. Her latest feature, Certain Women, is a loosely connected three-part drama adapted from the short stories of Maile Meloy. It’s perhaps the purest distillation of her sensibilities yet...
Certain Women (Kelly Reichardt)
The cinema of Kelly Reichardt lives in quiet, tender observations with deeply rooted characters and location. Even when adding a thriller element as with her last feature, the overlooked Night Moves, her style is never compromised. Her latest feature, Certain Women, is a loosely connected three-part drama adapted from the short stories of Maile Meloy. It’s perhaps the purest distillation of her sensibilities yet...
- 7/6/2018
- by Jordan Raup
- The Film Stage
Arnaud Desplechin on Rainer Maria Rilke, Jacques Lacan, Alfred Hitchcock, and Philip Roth: "What I love is to mix popular culture and what is called classic culture." Photo: Anne-Katrin Titze
In our conversation Arnaud Desplechin discusses the character of his protagonist in Ismael’s Ghosts: Director’s Cut (Les Fantômes D'Ismaël), starring Mathieu Amalric, Charlotte Gainsbourg and Marion Cotillard with Louis Garrel, László Szabó, Alba Rohrwacher, and Hippolyte Girardot. The director reveals the scenes included in the upcoming Magnolia Pictures release for the Us that were not shown at the Cannes Film Festival last year.
We speak about de-whispering with Rilke, suffering with Philip Roth, Jacques Lacan's Seminar VIII in Tel Aviv, loving someone like an apple, the presence of Hitchcock, and a touch of Claude Lanzmann. In dreams the dead return casually, without warning and little fanfare. An old stained looking glass can make you lose an eye and give you freckles.
In our conversation Arnaud Desplechin discusses the character of his protagonist in Ismael’s Ghosts: Director’s Cut (Les Fantômes D'Ismaël), starring Mathieu Amalric, Charlotte Gainsbourg and Marion Cotillard with Louis Garrel, László Szabó, Alba Rohrwacher, and Hippolyte Girardot. The director reveals the scenes included in the upcoming Magnolia Pictures release for the Us that were not shown at the Cannes Film Festival last year.
We speak about de-whispering with Rilke, suffering with Philip Roth, Jacques Lacan's Seminar VIII in Tel Aviv, loving someone like an apple, the presence of Hitchcock, and a touch of Claude Lanzmann. In dreams the dead return casually, without warning and little fanfare. An old stained looking glass can make you lose an eye and give you freckles.
- 1/3/2018
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Michel Piccoli and Romy Schneider in Max Et Les Ferrailleurs - Bertrand Tavernier: "I see Claude Sautet as the son of Jacques Becker."
In the third and final installment of my conversation with Bertrand Tavernier on his Journey Through French Cinema (Voyage À Travers Le Cinéma Français) he discusses his dedication to Jacques Becker (Casque D'Or, Édouard Et Caroline) and Claude Sautet (Max Et Les Ferrailleurs), Mireille Balin's dress in Jean Delannoy's Macao, l'Enfer Du Jeu (Gambling Hell), Jean Gabin, not forgetting Jean-Pierre Melville's Army Of Shadows (L'Armée Des Ombres), Léon Morin, Prêtre or Le Silence De La Mer, Jean Paul Gaultier and Falbalas (Paris Frills), Mila Parély in Coco Chanel, Jean Renoir's A Day In The Country (Partie De Campagne), Joseph Kosma, Sylvia Bataille and Jacques Lacan, Howard Hawks's Red River and Only Angels Have Wings, and not having to see Rio Bravo ever again.
In the third and final installment of my conversation with Bertrand Tavernier on his Journey Through French Cinema (Voyage À Travers Le Cinéma Français) he discusses his dedication to Jacques Becker (Casque D'Or, Édouard Et Caroline) and Claude Sautet (Max Et Les Ferrailleurs), Mireille Balin's dress in Jean Delannoy's Macao, l'Enfer Du Jeu (Gambling Hell), Jean Gabin, not forgetting Jean-Pierre Melville's Army Of Shadows (L'Armée Des Ombres), Léon Morin, Prêtre or Le Silence De La Mer, Jean Paul Gaultier and Falbalas (Paris Frills), Mila Parély in Coco Chanel, Jean Renoir's A Day In The Country (Partie De Campagne), Joseph Kosma, Sylvia Bataille and Jacques Lacan, Howard Hawks's Red River and Only Angels Have Wings, and not having to see Rio Bravo ever again.
- 6/16/2017
- by Anne-Katrin Titze
- eyeforfilm.co.uk
You can't really be an auteur until you've got your type – and that's just as true for the women directors
Tim Burton's Dark Shadows may have received a kicking from critics, but one person has emerged from the dust-up unscathed: Eva Green, the French actress who plays the evil witch Angelique Bouchard. With her red-lacquered lips, her crazy-beautiful eyes and possessed-marionette limbs, Green's lolling vamp represents the perfection of a type Burton has long been trying to get right – from Michelle Pfeiffer's Catwoman in Batman Returns, to Lisa Marie Smith's bosomy Martian in Mars Attacks!, to Anne Hathaway's White Queen in Alice in Wonderland.
Critics may be tired of the rest of Burton's directorial signatures – the ornate production designs, the seventies kitsch, the collaboration with Johnny Depp – but he's finally perfected his vamps: peroxide-blonde, big-chested, cinch-waisted, eyes like Bambi's.
All film directors have their types. Everyone...
Tim Burton's Dark Shadows may have received a kicking from critics, but one person has emerged from the dust-up unscathed: Eva Green, the French actress who plays the evil witch Angelique Bouchard. With her red-lacquered lips, her crazy-beautiful eyes and possessed-marionette limbs, Green's lolling vamp represents the perfection of a type Burton has long been trying to get right – from Michelle Pfeiffer's Catwoman in Batman Returns, to Lisa Marie Smith's bosomy Martian in Mars Attacks!, to Anne Hathaway's White Queen in Alice in Wonderland.
Critics may be tired of the rest of Burton's directorial signatures – the ornate production designs, the seventies kitsch, the collaboration with Johnny Depp – but he's finally perfected his vamps: peroxide-blonde, big-chested, cinch-waisted, eyes like Bambi's.
All film directors have their types. Everyone...
- 5/18/2012
- by Tom Shone
- The Guardian - Film News
Second #5029, 83:49
“Now it’s dark,” Frank has said previously, like some incantation, and now it really is dark. Jeffrey, his back to the camera, is practically swallowed up alive by the blackness, as Frank inhales whatever it is that unleashes his id. There is a flashlight, the dome light of the Charger, and the very small light in the distance that give shape and depth of space to the frame.
For the psychoanalyst and philosopher Jacques Lacan the coherent, unified self is an illusion, a fragile thing constructed gradually during an infant’s Mirror Stage, a stage when the ego or the “I” develops:
This illusion of unity, in which a human being is always looking forward to self-mastery, entails a constant danger of sliding back again into the chaos from which he started; it hangs over the abyss of a dizzy Assent in which one can perhaps see the very essence of Anxiety.
“Now it’s dark,” Frank has said previously, like some incantation, and now it really is dark. Jeffrey, his back to the camera, is practically swallowed up alive by the blackness, as Frank inhales whatever it is that unleashes his id. There is a flashlight, the dome light of the Charger, and the very small light in the distance that give shape and depth of space to the frame.
For the psychoanalyst and philosopher Jacques Lacan the coherent, unified self is an illusion, a fragile thing constructed gradually during an infant’s Mirror Stage, a stage when the ego or the “I” develops:
This illusion of unity, in which a human being is always looking forward to self-mastery, entails a constant danger of sliding back again into the chaos from which he started; it hangs over the abyss of a dizzy Assent in which one can perhaps see the very essence of Anxiety.
- 4/27/2012
- by Nicholas Rombes
- Filmmaker Magazine - Blog
Focus Online is reporting that media theorist Friedrich Kittler has died this morning in Berlin. Having taught at a number of universities, including Berkeley and Stanford, he was appointed to the chair for Aesthetics and History of Media at the Humboldt-University, Berlin in 1993. The European Graduate School notes that his book Gramophone, Film, Typewriter "first appeared in German in 1986. The book examines the restrictive nature of Michel Foucault's discursive textual archive theory. Kittler proposes a wider media band in which he examines phonographic and cinematic flows as ways of deconstructing literary writing. Friedrich Kittler's 'media discourse theory' follows from Foucault as the prime member of the triumvirate Michel Foucault, Jacques Lacan and Jacques Derrida…. Kittler derives Lacan's real, imaginary and symbolic from the data channels of the phonograph, cinema and typewriter. His ability to apply theoretical concepts to technology is what makes him one of Germany's most relevant philosophers of today.
- 10/18/2011
- MUBI
[Editor's Note: Spoiler Alert - The ending of Source Code is mentioned in this piece.]
“We have only to understand the mirror stage as an identification, in the full sense that analysis gives to the term: namely, the transformation that takes place in the subject when he assumes an image — whose predestination to this phase-effect is sufficiently indicated by the use, in analytic theory, of the ancient term imago.
This jubilant assumption of his specular image by the child at the infant stage, still sunk in his motor incapacity and nursling dependence, would seem to exhibit in an exemplary situation the symbolic matrix in which the I is precipitated in a primordial form, before it is objectified in the dialectic of identification with the other, and before language restores to it, in the universal, its function as subject.
This form would have to be called the Ideal-i, if we wished to incorporate it into our usual register, in the sense that it will also be the source of secondary identifications,...
“We have only to understand the mirror stage as an identification, in the full sense that analysis gives to the term: namely, the transformation that takes place in the subject when he assumes an image — whose predestination to this phase-effect is sufficiently indicated by the use, in analytic theory, of the ancient term imago.
This jubilant assumption of his specular image by the child at the infant stage, still sunk in his motor incapacity and nursling dependence, would seem to exhibit in an exemplary situation the symbolic matrix in which the I is precipitated in a primordial form, before it is objectified in the dialectic of identification with the other, and before language restores to it, in the universal, its function as subject.
This form would have to be called the Ideal-i, if we wished to incorporate it into our usual register, in the sense that it will also be the source of secondary identifications,...
- 4/7/2011
- by Zachary Wigon
- Filmmaker Magazine - Blog
Cigars, whiskey, sunglasses, a naked waitress straddling a clothed, but unzipped Nic Cage, the line “I never disrobe before gunplay”, gunplay, sex, sex and gunplay and whiskey and cigars at the same time. This is the sort of thing you will find in Drive Angry, the newest film in Nic Cage’s long and illustrious oeuvre, and this is just one scene. This film, like Robert Rodriguez’ Machete and Alejandre Aja’s Pirhana remake from last year, is deeply indebted to the grindhouse exploitation films of the 1970s, with a little bit of John Carpenter-style comedy-horror thrown in for good measure. I know some people are probably a little fed up with the recent splurge of studio films attempting to be “so bad they’re good”, but Drive Angry is mercifully free of artificial print damage and intentionally visible boom mics. Director Patrick Lussier fortunately seems more interested in...
- 2/25/2011
- by Alan Jones
- DorkShelf.com
Hello, Zoners! Welcome to a new week of wonderfulness.There’s a lot of politics coming to the ‘Colbert Report’, wth Cornel West, Ron Reagan, and Chris Matthews all slated to visit; Ms. Turkle will bring science, psychology, and technology to the mix and she is the sole guest never to have previously appeared on either The Daily Show or the Report. I had fun looking back at the old videos, and I hope you will too.
January 17th: Sherry Turkle
How does our online communication affect the way we relate to each other in real life? Are today’s youngsters losing the ability to deal with each other face to face? How can living in a cyberworld help and harm us? Those are just a few of the questions tacked by eminent sociologist and author Sherry Turkle. Turkle, the Abby Rockefeller Mauzé Professor of the Social Studies of Science and Technology at MIT,...
January 17th: Sherry Turkle
How does our online communication affect the way we relate to each other in real life? Are today’s youngsters losing the ability to deal with each other face to face? How can living in a cyberworld help and harm us? Those are just a few of the questions tacked by eminent sociologist and author Sherry Turkle. Turkle, the Abby Rockefeller Mauzé Professor of the Social Studies of Science and Technology at MIT,...
- 1/18/2011
- by Karenatasha
- No Fact Zone
By Erica Abeel
When was the last time you heard someone drop a mention of Jacques Lacan? (I'll pause if you need to refresh your memory of the name at Wikipedia). If the answer is never, you haven't sat down with the delightful James Gray, who was at Cannes with his new film "Two Lovers," starring Joaquin Phoenix, Gwyneth Paltrow, Vinessa Shaw and Isabella Rossellini. In a stream-of-consciousness monologue that could pose a challenge to any interviewer, Gray also cited as influences Dostoevsky's novella "White Nights," Scorsese, Hitchcock, French poet Louis Aragon and a B-movie starring, uh... John Hodiak? There's a sense that Gray's in a hurry to put across his ideas now, since later can be a long time coming, given the gaps between his films. Bowing in 1994 at age twenty-four with "Little Odessa" (which took the Silver Lion in Venice), he didn't produce "The Yards" till 2000, "We Own...
When was the last time you heard someone drop a mention of Jacques Lacan? (I'll pause if you need to refresh your memory of the name at Wikipedia). If the answer is never, you haven't sat down with the delightful James Gray, who was at Cannes with his new film "Two Lovers," starring Joaquin Phoenix, Gwyneth Paltrow, Vinessa Shaw and Isabella Rossellini. In a stream-of-consciousness monologue that could pose a challenge to any interviewer, Gray also cited as influences Dostoevsky's novella "White Nights," Scorsese, Hitchcock, French poet Louis Aragon and a B-movie starring, uh... John Hodiak? There's a sense that Gray's in a hurry to put across his ideas now, since later can be a long time coming, given the gaps between his films. Bowing in 1994 at age twenty-four with "Little Odessa" (which took the Silver Lion in Venice), he didn't produce "The Yards" till 2000, "We Own...
- 5/26/2008
- by Erica Abeel
- ifc.com
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