Juan José Campanella has a resume most people would kill for.
I like the way the filmmakers have organized the film into sections, which at least gives the illusion of forward momentum.
In the first two chapters the Palestinians yell at each other. In the third chapter the Israelis yell at each other.
Martin Scorsese’s usual lack of restraint works nicely throughout Shutter Island.
Actors often say they take a role in a film because of the director.
The Young Victoria is not particularly stodgy, but it is rather flat and literal.
Who said writing Romanian screenplays was easy?
Somebody writing about Fellini in the ’60s said that he stole from everybody but left his thumbprints on it.
And now, let’s see who I can piss off this time.
Nick Hornby does not just balance the two main characters, but all the supporting ones as well.
I suspect that the children’s book this is based on is probably a charmer, and I can see why kids would love it.
Not one of the Mistress’s finest, but amusing.
Understanding Screenwriting #33: Amreeka, My One and Only, Ghost Town, Yoo-Hoo Mrs. Goldberg, & More
While the West Bank material is new and fresh, the American material is flat and obvious.
As screenwriters, here is why you should do your research.
Funny People is unfocused and very repetitive, both overall and in individual scenes
The Hurt Locker is generally very natural, with only a couple of scenes where you hear the clicking of the writer’s computer keyboard.
Departures is a lovely, moving, funny, and hugely satisfying film.
Wait a minute, isn’t success supposed to have a thousand fathers?
Up has been driving me nuts.
Understanding Screenwriting #26: Ghosts of Girlfriends Past, Angels & Demons, In Plain Sight, & More
Sometimes it’s the writers.