Barton Fink (dir. Joel and Ethan Coen, 1991)
Gone are the days when my heart was young and gay, gone are my friends from the cotton fields away, gone from the earth to a better land I know, I hear the gentle voices calling, old black Joe. I’m coming I’m coming, oh my head is bending low, I hear the gentle… the truth my honey is a tart that does not bear scrutiny. Breach my levee at your own peril!
2014 - Film Diary
Film: Match Point (2005)
Director: Woody Allen
I’m slowly working my way through Woody Allen’s filmography making Match Point the fifth film I’ve seen by him. This film had my eyes glued to the screen unlike any Allen film I’ve seen, thus far. The signature Allen writing (New York setting, quirky humor, ect) is missing, but it’s all so good. The first 40 minutes or so of Match Point is all character development and it’s refreshing. I like being able to spend a good amount of time with a character, get to know them, and basic live with them within the film. After that, the plot starts and it is all so captivating. I find the characters likable, despite what some do, because I’m engaged and curious to see where they go. The cinematography and Allen’s direction is imposing. It’s slow, mysterious, and interesting to the very end. The performances are excellent, especially from Jonathan Rhys Meyers and Emily Mortimer. Meyers has a great screen presence. Scarlett Johanssen is also good, but my least favorite of the three. Some of her line delivery bothers me. Even the rest of the supporting cast shines while on screen. Match Point is a sophisticated character study that takes a dark turn at the end. I really love this film and enjoyed every minute of it.
NOTE: I’m loving Woody Allen’s films, thus far. I’ve seen: Annie Hall, Manhattan, Match Point, Midnight in Paris, and To Rom with Love.
found this in the basement. a present I made for her in 2006 after she busted me flirting around
"I had three hours left to shoot the whole scene, it was the night before the Christmas holiday. We were pushed over a week and a half because of (Hurricane) Sandy, Leo had to leave, you know, and we still hadn’t done the two big speeches. And so we got…three more hours. And it’s a nice scene, it’s a quiet scene. I did two cameras, rigid, very very very locked in, and it comes to the end of the first take and Leo says at the end of it, to Jonah, "Want that last yellowtail?" And Jonah’s supposed to say "Yeah, okay" and take it. And Jonah changes it, he goes, "No, it’s all yours." And Leo takes it. I said, "that’s kinda nice, that’s not bad. Okay. Let’s do one more take." Did another take. And I really liked it, I thought it was really good. (…) After the third take, I really liked it, I thought it was good, but Leo had another idea that he wanted to try a couple more. It was the last night of shooting, so I said…that’s when I realized and I said, "Don’t eat the sushi. Don’t do it. Don’t do it. Because if we start this now, it’s going to be another seven takes, and we explore all these different things, you know, this lower, higher…and you’re gonna eat the sushi every time? You’re gonna get sick.” He said “No! No! I’m gonna be fine!” Two more takes, retching. Retching! The medics came on the set…I thought that was it. I thought that was the end of him, I thought it was the end for him. The saliva, the (mimics pained grumbling), and then Jonah in the middle of the take saying, “Heh, how about that tuna? Want some tuna?” (laughs) “Stop that! You’re gonna get him crazy!” And then finally, at the end, he was just this head in the pail with the people and the blood pressure (measuring apparatus), you know, and (mimics Leonardo DiCaprio moaning) “I’m good, I’ll pray for Christmas!” And we had to all hug with all the stuff on him.
Martin Scorsese recalls the now infamous sushi incident during the production of The Wolf of Wall Street during the DGA’s annual talk with all of the Best Director nominees, January 25th, 2014