At LAFCA in 2019, Michael Barker took me by the hand and led me through a crowded hotel auditorium, past J Lo and Bong Joon-ho, shouting “Pedro! Pedro!” so I could meet his longtime collaborator, Pedro Almodovar. I felt like a kid exiting a stadium with his father, except we’d somehow gotten onto the field and were ing hall of famers. Noah Bambauch looked especially upset by this. Anyway, Michael (understandably) assumed I was a big fan of Pedro’s, who…
Watching Tom Neal accidentally kill two people in a way that seems written to relieve him of any real wrongdoing feels silly at first. Like noirish bad luck approaching parody. That's until you learn that, in real life, Neal would go on to kill his actual wife and provide an equally absurd defense that denied any real culpability.
A part of that defense included painting his deceased wife as a cruel, Ann Savage-like woman, who he had to kill in…
A movie built entirely around one piece of music and honestly rightfully so. A favorite of my parents, even though neither would argue it's a great movie—it’s unnecessarily convoluted, overwrought, and the cannon fire recalls Pirates of the Caribbean the ride—but man that score. DDL and Russell Means just galloping through the Blue Ridge Mountains for an hour and a half to that score. I can’t decide if Michael Mann’s bizarre oversights are why it isn’t a good movie or…
As an audience member, this tapped feelings I hadn't felt in a while—nostalgia for a place I've never been, empathy in corners usually mined for rage cheerleading. As a filmmaker, it feels like a loving dare—what can happen when you push past digestible characters with moralizing arcs and, instead, get closer to something bawdy and uncomfortable and sordid and foul and tender all at once.
Watched at the TCL Chinese Theatre in Hollywood. Shot on 16 w/ custom lenses made for Soderbergh that he never ended up using. :)
