check out the big brain on brad. pulp fiction was this fever dream of a screen play and it was the screen play itself that was this mild, hairy bug. it was like a tarantula. you just had to look at it. look at the size of that thing. just forget it. that s an impossibility. trying to forget anything as intriguing as this would be an exercise in futility. is that a fact? and look at what john travolta does. look at uma thurman. bruce willis. it was slick, it was fast. it had no convention to it whatsoever. it just rewrote the rules of the way you can make film. die you [ bleep ]! you constantly have to pay attention, because you have all these characters who are somehow connected and you have to figure it out as the movie goes on. i love you, pumpkin. i love you, honey bunny.
office, maxine, it s a portal. and it takes you inside john malkovich. you see the world through john malkovich s eyes. be then after about 15 minutes, you re spit out into a ditch on the side of the new jersey turnpike. being john malkovich, it s a great combination. spike jonze, charlie kaufman. they kind of remind people that movies can be so much more. what happens when a man goes through his own portal? we ll see. it s a metafictional dive into literally the brain of john malkovich, who is in the movie playing himself. malkovich, malkovich! malkovich malkovich it s one of those movies that s impossible to describe, and it just sounds like you re piling one absurdity upon another. but it somehow all coheres into this crazy and beautiful film. i want you to do me a favor. yeah, sure. i want you to hit me as hard as you can.
it s kind of the culmination of both of our lives, and we have no choice. let s go. i can t imagine the movie would have had any power at all had we not ended it that way. i have no enemies here. no? wait a while. shawshank redemption is the perfect prison film. for a good prison movie, you need a warden who s corrupt. and i wouldn t worry too much about this contract. you need some claustrophobia. you want the audience to feel like they re trapped. and then there has to be hope. here. a little parole rejection present. the audience has to hope for something better for these characters that they fall for. it s a great love story between two men spending 20, 30 years in prison, getting to know each other. the funny thing is, on the outside, i was an honest man, straight as an arrow. i had to come to prison to be a
and the idea just hit me two women go on a crime spree. good morning, ladies and gentlemen, this is a robbery. it wasn t just the idea. i kind of saw the whole movie in one flash. goddamn, you re a bitch! i don t think he s going to apologize. nah, i don t think so. aah! it s an odyssey of two women on their last journey. they would not know it was the last journey. therefore, the journey had to be magnificent. a lot of women looked at this film and thought, i can relate to those women, i know what they re going through, i understand the choices they make. let s keep going. what do you mean? go! they looked at each other, and they both knew. you sure?
you feel the weight of the fabric, the dampness of the air and the moss. and it s so inherently jane. jane is a filmmaker from new zealand who shot this very intimate movie in her home country starring holly hunter, harvey keitel and a very young anna pack win. it was kind of diintimacy th jane pulled us into as an audience. she has a voice not to be denied. it s my mother s piano. it s an extraordinary performance in a film. and also holly is a very accomplished pianist. it s within of those perfect roles for the perfect actor. this movie established jane campion. she won at cannes and became the second woman to be nominated for