Monday, March 14, 2011

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Convenient Neglect of relevant materials

Manufacturing Dissent Debbie Melnyk and Rick Caine
review of the Corriere della Sera, here

Fahrenheit 9 / 11 is fine, but I think it falls into one category, that of those who preach to the converted. E 'became almost a secular church where people could pray together and attack the infidel Bush. A one-sided partisan communication tends to attract an audience of believers and to reinforce what they already believe, rather than cause someone to change his mind. - Erroll Morris, documentary

Retail 2'48 " - David Gilmour, film critic and commentator on Canadian TV, recalls his interview Michael Moore, after the exit del suo primo lungometraggio Canadian Bacon . Una commedia stroncata dalla critica. Interessante il match Gilmour/Moore.

2'48" MELNYK - David Gilmour interviewed Michael Moore when he was film critic for the Canadian Broadcasting Corporation. In his fifty years of doing interviews, David says the one he did with Michael Moore about "Canadian Bacon" is the one every one remembers. This is Michael’s only dramatic film and is one his rare failures.
GILMOUR - I suspected, and it turned out to be true, that the second I asked the first thing he didn’t like to hear, the little persona of the sweet little boy, the regular guy, that mask slipped off and I thought: “That’s the real Michael Moore!”

There are people who had some serious problems with this movie, you know, Canadian Bacon…
You have a list?
I have a long list.
(Bacon is an undercooked comedy, Childish, boring, ineffective blabber, Pure awefulness, Moore should stick to the nonfiction world, A dreadful waste of talent)
They think it’s amateurishly shot, badly directed and not funny…
MOORE: Wow...
… which is a problem for a comedy.
MOORE: Well, you know, those people like art films. I made a film for people like me. Some critic said: “This is the first left-wing film for the mall crowd”. Now I don’t know whether he was referring to people who go to shopping malls or who live in trailer parks, but I consider that a compliment. Where are you from?
Where did you go to school?
I went to private school.
Well, you come from a different class than I come from, you know. You might like different things than I like.
I don’t think it has anything to do with the highbrow intellectual crowd. I think it’s possible that maybe you didn’t make a good film, and I think that you got to acknowledge that, rather than dismiss the people who don’t like your movie as if there’s something wrong with them.
Oh, I don’t have to acknowledge that. I made a very good film. A film I am very proud of.

GILMOUR - It was really quite a schizophrenic interview. Because I could tell that he wanted me dead, but in the same time I had him on film. And the only way that he was going to get that off film, was to make me like him again.

Some people won’t like the film. It’s ok, you don’t have to love the film. It’s alright, I’ll still talk to you.

GILMOUR - Here's a guy who makes his living going around, dropping in on people, putting the camera on them, capturing them in awkward positions and then filming them. All I'm saying is, if you are going to do that for a living, you've gotta be prepared for it to happen to you and when it does happen to you, you better behave with some grace otherwise, you're gonna look like a hypocrite.

Al minuto 4'03" - the intervention of Erroll Morris (opening post)
Retail 4'26 " - the intervention of John Pierson, independent filmmaker, producer of Spike Lee, Richard Linklater and Michael Moore (Roger & ; Me) - "(...) excludes more absolute (Fahrenheit 9 / 11) has only slightly favored the campaign of John Kerry. Michael ended up selling himself. And by "Bowling for Columbine" on, whenever things are doing well for Michael Moore - on a personal level, a level of popularity at the level of bank account - basically be getting worse for the country. "


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