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November 16, 2011

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The Siren

Glenn: So Farran, are you interested in an interview with Michael Fassben--
Farran: YES.

I am going to save this to read until after the movie is released, because I love Payne and really want to see it.

Gus

Yes, Fassbender interests me, sir.

Chris O.

"Yes" on any and all interviews, please. I hope you continue to do more with musicians as well.

Chris O.

This was a nice read. Good questions. It was interesting to read he thinks movies are under-edited when we usually tend to think movies now are "over-edited" since the advent of non-linear editing systems, fast cuts, etc. Whereas, maybe some of those films could stand some taking a step back and a deep breath. But I do wonder what the average post-production time is for a film like this, realizing every director is different and so on. Ten months *seems* like a long time.

Also...

"Even when I did a pilot for Hung…I didn’t go quite as deeply"

He's a funny guy.

bill

Yes, also, too, from me, regarding Fassbender.

MW

Fassbender interests me as well! I caught "Shame" the other night at a preview screening, and when I described it in passing to at least a dozen female friends/acquaintances who weren't exactly cinephiles, they all became pretty excited about it. It would be nice if it made a decent run at the box office, just to prove to distributors that an NC-17 rated art film of merit can be commercially profitable.

Tom Russell

Nice interview, Glenn. And sorry to hear that Widescreen is no more.

jim emerson

I'm sorry Wide Screen was discontinued. I was a subscriber from early on!

Escher

hey, here's a new hashtag for you: #FromIceland (cf K Longworth on Elvis Mitchell)

Joel

Good discussion of the editing. I just saw this wonderful film, and the two sequences that stood out for me were the ones where Clooney runs: the jog down the street to his wife's friend's house, and the jog down the beach when he finally spots Lillard's character. There is a Tati-like brilliance to both sequences. The latter, in particular, is a textbook piece of visual storytelling. I also loved the dissolves toward the end, especially the one that dissolves between shots of the back of Clooney's neck. And this is one of the few recent films I've seen that knows when and how to use a close-up. In general, I think that the filmmaking here makes Sideways, which I also enjoyed, look like a cheap basic-cable sitcom. It's also an incredibly sensitive depiction of certain family situations that were very familiar to me.

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