Word: camera
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Dates: during 1990-1999
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...count on the duo for literate scripts, and they deliver, putting even this season's overused direct-camera-address device to thoughtful (if a bit precious) use. But to realize the show's potential, the creators must end the honeymoon--between the viewers and the characters. thirtysomething's strength lay in its shifting sympathies for the self-absorbed Steadmans, whom we stuck with through sheer exasperation. You have to love Once and Again; it will be a great show only if it gets us to do so in spite of ourselves...
...Well, for me, I think, you know--obviously I had some slight difficulty in taking my top off on camera (laughs and blushes). But other than that, I found it so easy to identify with Angela that it was never hard to get inside her. I was really, really eager to play her because I've always had so many different sides to me. It made me feel even stronger as an actor...
...fear of the movie's characters is raw and brutal, but the fear of the audience members is dulled by the absence of any emotional involvement in the film. Perhaps if writers/directors Daniel Myrick and Eduardo Sanchez had instructed their dazed and confused trio to put down the cameras for a moment and just talk, we would have had some emotional stake in the film. As the movie stands, though, its forte is style and not substance. Unfortunately, true horror is born of more than just jerky camera work...
...describe Blair Witch; it gives it that whole unpolished film-school-final-project kind of feel). The most important lesson of Blair Witch, of course, is not that hundreds of millions can be made by making unnecessary noises in the woods and filming them with a low-tech camera, but rather that audiences are looking for a genuine scare. (And no, The Haunting didn't quite deliver the goods.) But true horror comes from a blend of realistic awareness and the fantastic. And Blair Witch was so bogged down in the nuts and bolts of being realistic that it forgot...
...graduate of sitcom gigs, and the director Sam Mendes, fresh from such theatrical triumphs as the Broadway revival of "Cabaret" and the acclaimed roundelay "The Blue Room." Mendes, working on film for the first time, is extraordinarily self-assured, inspired both with his actors and, more impressively, his camera eye. Fittingly, since the script praises the hidden beauties of the world, this is itself a deeply beautiful film. Its static compositions by Conrad Hall are overloaded with vibrant colors and symmetries that make you almost want to cry. On the surface, Mendes has packed a great deal into this movie...