In this week’s action-packed, adrenaline-fueled thrill-ride of an episode Gareth and I launch ‘OPERATION SAVE THE FILM TALK’, delve into the new film of a ‘A Christmas Carol’ while discussing in not some small detail the flaws in Charles Dicken’s original, speculate as to the nature of 3D and motion capture cinema and have a most illuminating conversation with that most controversial of modern film critics Armond White:
Really enjoyed the Armond White interview. I've been reading him for quite some time -- not because he validates my opinions, but precisely because he doesn't. In fact, I disagree with him almost universally. But what he brings to the table is a sharp mind, a wealth of film knowledge, and the desire to comment on the art form. A film critic determining for the people whether a film is "bad" or "good" is really uninteresting compared to offering new ideas, reasoned insights, and contributing to the discussion of the modern age's most dynamic art form.
Great interview with Armond White. I have really enjoyed reading his film criticisms even when I don't agree with him 100%. He is perceptive and informed, regardless of how people react to him. Thanks for the interview!
I have to agree with your comments re: 3D technology.
In my experience, I have only found 3D movies to a distraction. And funny you mentioned "House of Wax" - I remember it being re-released to a theater when I was very young. I was dying to see it, because it was in 3D...and the highlight of the film for me was the "paddle ball" scene. That's it. That's all I remembered from the movie.
So I agree, it's a neat novelty, but for me more of a distraction from the story being told, which is what I'm more interested in anyway.
I remember watching the 'Paddle Ball' sequence as a child also - but in 2D on a Saturday afternoon - it was an injection of the surreal - bam! - right into my life... what the heck was that guy doing with the paddle??
And what an appropriate anecdote, whether intentionally or unintentionally, as the "House of Wax" ties in so well to Zemeckis' latest films, because the characters literally are like wax statues brought to life - or the 'living dead', as you refer to them.
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