Looking forward to seeing V FOR VENDETTA because rumor has it the movie is good.
Stolen from dtaylor:
According to a piece by Patrick Goldstein in today’s LA Times, “Vendetta” is only the beginning of a trend of volatile, determinedly subversive films in the works at major studios. What ties all these movies together, as well as a host of other projects in various stages of production, Goldstein writes, is that they are being generated by filmmakers who’ve voiced constant frustration, to me as well as others, that the country — and the media — have largely avoided a serious discussion of the troubling issues facing the country. As Noah Feldman, a law professor at NYU, put it in a recent essay, “For the last five years, with a Republican-controlled Congress, Americans have not been exposed to serious congressional debate on any major issue.”
And yet we — as in those of us who inhabit LA — are the ones supposed to be “out of touch” (even as this city continues to pump out the movies and television shows that flood theatres and living rooms nationwide), that tired old right-winger propagandist cliche that gets trotted out again, if for a different purpose, in Annie Proulx’s bitter little rant in The Guardian about why BROKEBACK didn’t win. (I can’t speak for all, but a few of those ‘conservative heffalumps’ she so maturely refers to happen to be friends of mine — who actually don’t seclude themselves in gated estates but live in apartments and bungalows among the common people — they liked BROKEBACK [as one guy put it, “It’s rare these days to have a relationship movie with such a powerful reason for why that love gets denied”], they just didn’t buy it as the best movie of the year [aforementioned guy voted for CRASH]. I don’t buy CRASH as the best movie, either, but I’m not a voter — and frankly, my own pick, if limited to the nominees, would have been MUNICH. So I guess I’m just a heffalump myself.)
I’m a bit dismayed by Proulx’s article for other reasons — such bad form for a writer who’s had such an incredible, successful experience seeing her work adapted into a movie, a good movie, the kind of experience any writer would kill for even if it didn’t win the big bad Oscar (but just about everything else) — and, even if BROKEBACK lived completely up to its hype and was the best film of the year (hell, in all of movie history), since when do the Oscars have a history of recognizing and rewarding the film that truly deserves it, that will go on to influence film and filmmaking for decades to come? The PULP FICTION over the FOREST GUMP? It happens once in a great while, by accident, and to expect anything else is to truly be out of touch.
My editor Liz (the Liz at ROC/Penguin, not the other Liz at TOR) posted a pithy little essay about urban fantasy chicks and the readers who love them. Go to the side of the blog (by agent Irene Goodman) and click on LIVE FROM NY BLOG and you’ll find it. For some reason a direct link to the article won’t work for me. Because I am a moron.