aIt looks like a studio film, but itas made like an independent film. Itas kind of a testament to (federal funding agency) Telefilm. The opportunities we have as directors in this country a thereas a sweet spot of around a $10 million budget where you can have the time and money to make something good, with good production value and attract a good cast.a Dowse doesnat rule out a return stateside, and knows what he would do if he got the chance. aIad love to make a big action comedy,a he said. aIad flourish in that.a Even Xavier Dolan is mulling a trip south of the border. At TIFF with his fourth film, Tom A la ferme, (which premiAred at the Venice Film Festival last week), the writer-actor-director is in pre-production for his next feature, Mommy, which despite its title will be in French. After that, he plans to join the club. aYou guys will be hearing about it quite soon,a he said of the unnamed project. aI begin shooting (Mommy) in 3A weeks, then Iall be in production next summer for my first American movie.a It will be a amiddle-budgeta affair, Dolan explained a athe ones that donat exist anymore, the slot thatas been dismissed by all of Hollywood. But it will be co-produced with the U.K. and France. Itas an American story.a With American actors? aSure, hopefully the best of them. Thatas what we all hope for, in the beginning.a Not to worry, Dolan wonat be abandoning his home province a just expanding his horizons. aI donat see myself renouncing Quebec films,a he said. aIam a screenwriter and my instinct as a writer is local.
Hollywood antics fall flat in the real world
The third of the movie trilogy, “Three Comrades,” was scripted by “The Great Gatsby” author F. Scott Fitzgerald. Gyssling’s censorship office editing was so extensive that it rendered the movie almost unrecognizable. “After all the changes had been made, Three Comrades neither attacked the Nazis nor mentioned the Jews,” wrote Urwand. “The picture had been completely sanitized.” Other films were blocked entirely, before they could be made. While the treachery of Hollywood’s collaboration with Hitler and the Nazis should not surprise those of us who know American cinema history, we are nevertheless indebted to Urwand’s historical scholarship on this neglected part of history. On this point, did you know that Hollywood’s first movie was the exceedingly racist, pro-KKK propaganda movie, “Birth of a Nation” (1915) directed by D.W. Griffith? A movie which caused race riots, beatings, extensive property damage and even deaths inflicted against blacks in many cities across America, nevertheless Democrat President Woodrow Wilson (1913-21) loved this movie so much that he had it personally screened inside the Whitehouse giving it one of the most famous reviews by any movie critic “It was like writing history with lighting.” If these Hollywood moguls, driven by Neville Chamberlain servile appeasement, could sellout their own country before the rise of Hitler and the Nazis and during World War II and Hitler’s Holocaust against the Jews, without being blacklisted, tried for treason and imprisoned, then what makes anyone think that today’s liberal fascists in Hollywood (e.g., Sean Penn, Michael Moore, Whoopi Goldberg, Danny Glover, Barbara Streisand, Alec Baldwin, Jane Fonda, Susan Sarandon, Janeane Garofolo, Joy Behar, Oliver Stone, Matt Damon, Angelina Jolie, Brad Pitt, Samuel Jackson, Morgan Freeman, Steven Spielberg and many, many others) will pay any price for their treachery in the twenty first century? Democrat Socialists never pay any price for treason because the Judas precedent had already been set 80 years ago between Hollywood and Hitler. Book Notice It’s been 5 years since publishing my last book and now I’ve published two new volumes THE PROGRESSIVE REVOLUTION (University Press of America, 2013): Vol.
Hollywood, Qc: Quebec directors find their place in the sun
Their young public or on-screen personas may be squeaky clean, but too often that vanishes once they are of a legal age to tell their parents and handlers to bug off. Think about it: These are children who are required to act like adults well before their time, yet also be the embodiment of the innocence of childhood. What a balancing act. Its no wonder someone like Cyrus is attaching herself to demolition equipment. Not too hard to figure the symbolism there, is it? Knowing the whys still leaves parents searching for the right words. This is what weve gotta get our young girls to consider. There are two worlds out there, the real one and the one entertainers inhabit. Its not called Hollyweird for nothing. Stars are under pressure to push the envelope, do something anything to get attention. For them, any time in the spotlight, even when its negative, usually is better than none. But our girls have to know they are not rock stars. This is not how adult females do it in the real world. We let our talents ones weve worked hard to develop and hone speak for themselves without flashing anyone. What plays out with rewards in Hollywood wont necessarily translate positively in the real world.