Re: Big Love (was: Sherlock)

On Fri, 29 Oct 2010, pcg wrote:

>> Then again... hmmm.  I don't think she did anything all *that* 
>> outrageous in Kids.  But at least one of the *next* films that Larry 
>> Clark directed -- which Sevigny did *not* co-star in -- certainly had 
>> some hardcore stuff. (I'm referring to Ken Park.  Boy, did I feel dirty 
>> after seeing that film. I haven't seen any of Clark's other films.)
>
> Was that "Bully?" I can't recall if that was Park, but I think it was, 
> and *that* movie made me feel dirty.

Ken Park is the name of the film.  I've never seen Bully.

>> Well, the version of The Brown Bunny that most people have seen is 
>> about 90 minutes, whereas the version that played at Cannes was about 
>> 120 minutes and was, by all accounts, just a rough cut of the film. 
>> Roger Ebert slammed the 120-minute version pretty hard but liked the 
>> 90-minute version, I believe. So Sevigny was probably reacting more to 
>> the Cannes audience's reaction to that rough cut, more than anything 
>> else.
>
> Right. I imagine her apprehension at how her "brave" scene might be 
> received probably played into her emotional reaction, though.

Yeah, true.  And honestly, I wonder how I would have reacted to that scene 
if I had not known in advance that it was in there.  Whenever I hear about 
Cannes audiences going nuts (and not in a good way) over some wacky movie 
that's premiered there (like Lars von Trier's Antichrist), I always kind 
of envy them because they got to experience the film first without hearing 
about anyone *else* going nuts (and not in a good way) over it.

Mind you, that being said, it does seem sometimes that *some* audience 
members at the later screenings did *not* go in sufficiently prepared.  I 
was at the very same screening of Antichrist described here:

    http://www.cnn.com/2009/SHOWBIZ/Movies/10/24/review.antichrist/index.html?eref=ew

    Apparently someone had a seizure when the movie showed at the New York 
Film Festival recently. When I caught up with it at the Vancouver 
International Film Festival two weeks ago, the screening was punctuated 
with the single loudest shriek I've ever heard in the theatre -- that 
would have been when Gainsbourg gets out the scissors for a spot of ad hoc 
auto-surgery. There also was a very vociferous walk-out: a gentleman who 
fairly barked "You get what you pay for, folks" as he made for the exit a 
full 20 minutes before the end.

This would have been about four or five months after the film premiered at 
Cannes.  And yes, hoo boy, do I remember that shriek.

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