Film buff, composer, podcaster, and friend of the Cinecast, Jim Laczkowski continues his exploration of Steven Soderbergh’s prolific filmography from an earlier episode of the Director’s Club Podcast; which, not coincidentally, featured Andrew James. Focusing on many of Soderbergh’s film projects from The Limey onward, Jim invites both Kurt & Andrew into the mix to get down and dirty with Bubble, Contagion, Solaris, Ocean’s Twelve, The Good German, Haywire, The Informant! and more. From stunt cameos, to 1940s camera lenses, to mental health, to the art of the montage and atheism vs. belief. Yea, there is a lot of ground to cover.
Don’t want to download our two-part Soderbergh discussion in Mamo #291 and #292? We’ve stitched them both together, with exactly 35 seconds of additional content, for the all-in-one extravaganza. See Soderbergh the way he was meant to be seen! Mamo Roadshow!
To download this episode, use this URL: http://rowthree.com/audio/mamo/mamo293.mp3
Soderbergh continues – in part two of today’s multi-part examination of the director’s concluding career, we pick up at Out of Sight and watch the director become a filmmaking powerhouse unlike any in Hollywood, before ultimately deciding to abdicate his narrative throne… but not before leaving us with one last slice of pie: Side Effects.
To download this episode, use this URL: http://rowthree.com/audio/mamo/mamo292.mp3
So sedate you could get a lullaby out its dulcet tones, this episode of the Cinecast has the podcasting players considering death and slavery and obsolescence (and Easter Eggs) in the wake of Toy Story 3. (*SPOILERS*) Gamble comes up with his best idea yet: A hard “R” Pixar animated film. The debate ensues whether it should be an adaptation (Watership Down or Animal Farm?) or a straight up original War film a la CatShit1. I hope Emeryville is listening. Jonah Hex is thrown to the wolves – particularly for wasting such an interesting supporting cast. James Mangold’s star vehicle Knight and Day is previewed as being a fun popcorn flick with a saggy final act. Also Day & Night, the Pixar short, (but not Day For Night the Truffaut film or the Curitz film Day and Night or terrorist bombing flick Day Night Day Night) is talked about, confused yet? Andrew takes back his love for Public Enemies and lavishes it instead on Soderbergh & Damon’s pontificating corporate shlub in The Informant. He is diggin naked running men and gory kills from the natives in the Criterion release of Naked Prey. Kurt finally finds a fairly consistent stretch of Lost (Season 3.5 *SPOILERS*) and is in danger of flirting with satisfaction in the show which is eating up ridiculous amounts of his time. Finally, we attempt reader mail to mixed results.
As always, please join the conversation by leaving your own thoughts in the comment section below and again, thanks for listening!
ALTERNATIVE (no music track):
Full show notes are under the seats…
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Sure we have about three months to go and there is bound to be a few quality cinema advertisements for the end of season Oscar derby and various Christmas blockbusters, but let us jump the gun shall we? After surveying the last year of trailers here are the best and most intriguing of the litter; released online, in the cinema (Coming Attractions) or other places (TV, VOD, etc). This is not a reflection of the quality of the final released films (although many of these did in fact live up to the promise of their own creative marketing). So that’s that. The list is tucked under the seat.
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While I was out of town, The Toronto International Film Festival dropped a lot of high profile festival titles into the wild. In the interest of general discussion and anticipation of the locals (and those travelling in), here are some of the films and where they lie in this years TIFF programme: Getting the red carpet Gala treatment is the Robert Duvall, Bill Murray and Sissy Spacek starring dramedy Get Low about a man who fakes his own death to organize his own funeral, it is directed by cinematographer Aaron Schneider. Also, Precious will be getting the spotlight after its success elsewhere on the festival circuit. Opening the festival is the maybe-controversial-in-a-Kinsey-sort-of-way biopic on Charles Darwin called Creation. This is directed by the director Jon Amiel who has not done much lately, but was the director of one of the best TV minis of all time, The Singing Detective. Creation has a great collection of actors involved including Paul Bettany, Jennifer Connelly and Jeremy Northam (and the other Capote, Toby Jones).
In the Special Presentations category, there is Steven Soderberg‘s The Informant!, Niki “Whale Rider” Caro‘s The Vintner’s Luck, Johnnie To‘s Vengeance, Nicolas Winding Refn‘s Viking epic, Valhalla Rising, Neil Jordan‘s dark fairy tale, Ondine, Bong “The Host” Joon-ho‘s (much anticipated by me, Mother, Ricky Gervais’ The Invention of Lying, the latest from provocateur director Bruno Dumont Hadewijch, Kiwi Jane Campion finally returns with romantic take on John Keats with Bright Star and of course, very many more.
The full press release, which includes plot descriptions of all the films, is tucked under the seat.
After the experimental and sharp The Girlfriend Experience, Steven Soderbergh is back to his glossy, goofy self and graduating a puffy and mustachioed Matt Damon into the (oddly enough) “George Clooney role in a Coen Brothers movie”tm. Corporate farce, heist, and light comedy, The Informant is operating somewhere between The Ocean’s capers, Erin Brockovich‘s breezy activism and Burn After Reading‘s all out parody. And yet, all I could think during the fun, fun trailer is that Matt Damon was channeling Philip Seymour Hoffman‘s character and mannerism (admittedly a lot goofier) in Charlie Wilson’s War. Everyone get that? A new Soderbergh movie is always cause for celebration, and Andrew is probably smiling at the moment.
The Informant trailer is tucked under the seat.