I cannot think of a less appealing screen duo than Jonathan Rhys Meyers and anyone.
A podcast with Alexis Spraic, the director of Shadow Billionaire
By Adam Lippe
Here’s an audio interview I did with Alexis Spraic, the director of Shadow Billionaire, a movie without a distributor at the moment, that I reviewed here. We talk about how hard it must be to profile her subject Larry Hillblom, DHL magnate and procurer of young Vietnamese and Filipino virgin girls, in an objective fashion, how specific film festivals are, and how documentaries are often just preaching to the converted. You can listen to the podcast by clicking below or downloading it to your computer.
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It’s been said that Russ Meyer primarily made silly exploitation movies filled with huge breasts, wild editing styles, and jokey narration because when he tried to make a real movie, such as The Seven Minutes, it would either be dull or devolve into camp, like his most famous films, Beyond the Valley of the Dolls, Cherry, Harry, and Raquel, and Faster, Pussycat! Kill! Kill! The suggestion was that he wasn’t a talented enough director to have a movie be taken seriously, so he had no other choice but to mock. The thing is, you can get away with a lot in a genre parody. If you’re mocking an action-comedy, as long as your movie is funny it becomes irrelevant if you can’t afford explosions or can’t direct car chases. Problems occur [...]
There’s a famous poem by Robert Frost that says, and I paraphrase, “two roads diverged, both selling out in their own way, one to Hollywood, and one to direct-to-video erotic thrillers.” Frost wrote this poem after watching Open House, a low-budget slasher movie taking place amongst real estate agents, written by David Mickey Evans, who followed up this script with the fantasy/child abuse uplifting drama, Radio Flyer and the nostalgia for racial mixing amongst young baseball players with The Sandlot, while director Jag Mundhra followed Open House with titles like Sexual Malice, Tropical Heat, and most recently, Kama Sutra 3.
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