Word: friedkin
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That's about as complex as the dialogue and characters get in this chic, wanton thriller. To which Director William Friedkin might riposte, "They're called movies, you know, not chatties or peo-plies." L.A. does move, notably in a brutal, bloated car-chase sequence pilfered from Friedkin's nifty The French Connection. In his God's-eye-view shots and acrobatic love scenes, he also pays tribute to the styles of Martin Scorsese and MTV. So the villain, Counterfeiter Willem Dafoe, is no more rotten or less picturesque than the hero, William Petersen. So everybody stinks. It matters...
Directorial one-upmanship and the censure of Friedkin’s predecessors for an overreliance on technology in action films perhaps lie behind such comments. Although moral lines become fuzzy within the film, the meta-filmic lines of combat stay fairly stable: Friedkin lives up to his goal, producing a nauseatingly violent action film without any key high-tech, high-caliber sequences...
...Toby S.A. Friedkin ’04 had to stay after section Monday to explain why he was passing notes in class. Thinking on his feet, he said, “I was, um, just saying how I think that annoying brunette should shove her Sprite bottle up her ass.” The TF wasn’t buying it, however. “I know you were really just writing notes to ask your neighbor what page in the book we were referring to.” Busted...
...After a late night at Redline, Monica P. Hansen ’04 invited herself over to the Quincy single of fellow government concentrator Jimmy A. Friedkin ’04. Reasoning that a 2 a.m. solo visit from a member of the opposite sex was most likely booty-related, Friedkin was not pleased when Hansen announced that she had come to decorate his room. After 45 minutes of awkward room-decoration banter, Friedkin made his move. “After she moved my floor lamp across the room I told her there was one other long pole...
...first role model. "When my dad died when I was 9," says Lansing, "I watched her take over the real estate business in Chicago. So many of my movies are about a woman who is not going to be a victim." When Lansing, who is married to director William Friedkin (The Exorcist), took the Paramount job in 1992, she continued to spin gold out of what she calls "female empowerment films" such as The First Wives Club and Double Jeopardy. She has a stern but maternal demeanor in the office. ("She can say no to you in the most endearing...