Harry chats with M. Night Shyamalan about LADY IN THE WATER!
Hey folks, Harry here with a special treat. Had a chance to chat with M. Night Shyamalan for over an hour whilst he was up to something in New York. I say "up to something," because I don't know specifically what he was up to. You see, Night, as he prefers to be called, is a bit of a secretive and mysterious fellow. If you ask a question that gets close to something he doesn't want to talk about, he giggles like a kid and then talks around the question in an entertaining manner. I found the conversation quite engaging... here we go, Night will be in Purple... Mr Glass fashion...
M. Night: Hello?
M: Hey Harry, how are ya?
H: Very good. It’s an absolute pleasure to be speaking with you today.
M: Good to talk to you man.
H: So, not very much is known about Lady in the Water outside of bedtime story. What are some of your fave bedtime stories?
M: You know, I like the darker ones… The ones I make up or kinda like classic ones that are told me and that kind of thing? Are you asking about the ones that I tell or the ones that are told to me type of thing?
H: The ones that were told to you and then inspired you to tell your own.
M: Strangely, in the Indian culture they really don’t tell you traditional bedtime stories, but they do have a lot of… Basically the religion is a string of stories, of bedtime stories that are told together. In the Indian culture they have these kind of Indian comic books that tell the stories of all the religious stuff, and you know, you get those and you really get attached to them and they are really like cult books. And I used to collect them and all. You know, they are the stories of the monkey gods, and different kinds of gods… And eventually all that stuff filters in I guess when you are starting to do something so fantasy oriented like this, which is kind of the first time I’ve done this kind of thing.
H: Well I know a little bit about the film because I got to speak with Paul on the phone for a couple hours a few weeks ago and it certainly does seem like it’s a different type of movie for you, from the ones you did over at Disney.
M: Yeah. You know there’s a kind of very independent spirit about the movie. You know, we are in the mix right now and I’m watching it and I’m like, “God, this is like a Coen brothers movie or something.” Like, this is way (chuckles)… It’s just very independent and that kind of humor and sensibility, really off beat kind of stuff all over. It turns into kind of a mainstream movie eventually, but it really has its kind of language in a very independent spirit, and in a way, that’s where I was going- especially with The Village and coming into this for sure it’s this movement that’s kind of a more independent world, like the kind of stuff I would be doing I were just, you know, working in the art houses kind of thing. But again, it kind of comes in a mainstream body but definitely it peaks as all independent.
H: Now, in the four mainstream Night films, you know- The Sixth Sense, Unbreakable, Signs, and The Village- we were all very much dealing with someone who would make characters that were all about their family and here, Cleveland has lost his family. How did you explore that?
M: Well, you know, I definitely… All the characters in all the movies are kind of … that loneliness, and I mean, they are isolated and I think really that’s that all the movies are about, is kind of- how do we connect with other people and how do we feel connected to this world and, you know, keep going. And Lady is no different in that matter. It’s definitely about a lonely character who in this story learns to connect to others.
H: What draws you to that lonely man character?
M: I think that that is our greatest fear as human beings, is the fear of being alone, and we are born with it kind of as an intrinsic fear, you know. As a baby, we’d cry and as a child you would get left by your parents in the mall, you’d freak out. You know, we have those baby instincts, and in many ways we have that fundamental fear that we are going to die alone and then we are going to live alone, and with everything going on around us, we aren’t connected to other people, which is a hopelessness that comes with feeling lonely. So, it is you know, life after death and all those subjects of all the movies are really different versions of comforting people- about loving and being loved.
H: I know that just about everybody I know, when they start discussing their problems, you can basically trace all the roots back to- “I don’t want to be alone.” You know?
M: Right. Exactly, all the decisions we make- everything.
H: How did this bedtime story come about for you and telling it to your children?
M: You know, what was wonderful about the process of telling this story to the kids was that it came out of the structure of the stories I tell my kids, not the movie-making I do. So, it kind of had a… what’s the word I’m thinking of…Like, um..
M: Right, exactly. It’s got a free-flowing improvisational quality to the creatives that were really the opposite of how I usually sit down and write a screenplay, which is so structured. This was really kind of dangerous and stimulating for those reasons. I really felt like I wanted each and every movie to completely risk everything- each and every time- and certainly have some element in each movie that would jeopardize the success of the movie, you know.
H: How much of that original bedtime story was driven by the questions your kids would ask you as you were telling the story?
M: Oh, they’re not allowed to ask any questions.
H: So you have your kids vowed to being pure passive listeners, eh?
M: You know, they listen and they see the question usually as a confusing question or they want to make sure they are going to be okay type of question. “Are we going to be okay right?” That kind of thing.
M: So, generally, if they start spinning off into their own ideas it gets complicated in the end they just kind of hang out and listen.
H: How different is this film from the story you told them?
M: Well the story I told them, it goes through Paul.
M: So, Paul’s character here is pretty much telling the story verbatim the way I told it to my kids and we basically rented the movie about whether that story is actually true. So Paul has to come to terms with the facts that this absurd story is actually possibly true.
H: Okay, cool. I have to say…
H: I have to say that new movie poster that just came out, that was sort of everybody’s first look at the fantastic side of the story. How much did you want to fight against letting those images out? Because, I know you like to kind of savor that type of stuff.
M: Yeah, you know. If you are talking about the blue one right? With all the features…
H: And the hair and everything.
M: Yeah, no I loooove that poster. Love it!
H: I think it’s a lovely poster, but I mean. You know, people like me, I love to get early looks at things because I am a monkey, you know. There’s something fun about getting a glimpse of something and the foreplay of trying to create your own story about what you think is going to happen and then the joy of discovering what really does happen. You’ve always been incredibly playful with the audience before they ever get into a theater. It’s always like you try and prime the audience to get ready for a story, as opposed to just have trailers that spoon fed the audience to where they know exactly what to expect.
M: Yeah. You know, I love… For me the poster is wonderful because it really sets the landing place of the movie, like where are we going to end up on the journey. You know what I mean?
H: Mmm Hmm
M: And hopefully when we are all done on the visual campaign we have like a second trailer that is coming on Da Vinci Code that will be the final campaign, but it’s kind of like a second dive all in, but that shows more than I would normally show. I think that the main campaign, when June and July roll out, you will get more of a tease of what’s over there and what’s over here, but you won’t get to see it type of thing.
H: Why is this being made at Warner’s and not Disney?
M: You know, I think there is just, you know, a time and a place for change, and this particular one- and you’ll see it when you see it- is really audacious and independent in its spirit. It’s really an independent movie in its spirit and um, I needed to be in a place where that was okay, to be off the map a little bit, you know. There is this beauty of the movie that, if it works, that it all gels in a way that it’s so unexpected and so unexpectedly moving and forms its own walls from pieces. Like you should be making fun of it through much of the movie and then suddenly it starts to make sense and has resonance. Basically, it’s having faith in an absurd story, and much of that is in my head, my approach to the movie. I just thought like, you know, if they didn’t one hundred percent dig the independent spirit of me in my movies up to this point, you know what I mean..
M: I wouldn’t entirely be able to do the best work on this movie, but they have just been so kind to me and obviously really successful going along with this form of movies. I didn’t honestly think I was going to do justice to this movie unless I was really able to let go of the net- the net underneath- and it takes an enormous risk in the movie. It’s just got to be an audacious dangerous movie because people are getting tired of seeing the same old stuff in the movie theaters, you know man, and I wanna… I want you to come in and have two hours of “I’ve never seen anything like that.” Never. To do that, you really have to leave shore and when I sense that people are nervous about that, you know, I am going to be nervous about that.
M: You know what I mean? I don’t want to feel nervous about taking a shot like that. So, I went to Warner’s where, I felt you know, they were… First of all, they just really loved the screenplay. They really just got it and Alan Horn over there just really fell in love with it, you know. I saw it in his eyes. What you say is in your eyes- you know what I mean? And that was enough for me. It made it so that I can make this movie the way I can live up to my dreams as a movie and it really ended up being that way and I made my dream version of the movie over here and in the end you can look at Warner’s in two lights: You can look at it like, Hey they are making all these franchising movies, you know? Or you can look at it from the film maker prospective which is, They are just open to every film maker, you know- singular voices and strong voices- They are really open and just a good place to work. In their past history, but also in their present history, you know, with Tim Burton and Bryan Singer and everybody there. Even the choices they are making with other filmmakers are daring and so I am really happy to be a part of that basically filmmaker driven place.
H: That totally makes quite a bit of sense…
M: You know, trying to figure out like if go to obviously the lineage over at Warner Bros. for me is heavenly with regard to Hitchcock and Kubrick, you know what I mean? All my guys, man!
H: Disney has always felt like, for me, a really odd place for you, you know?
H: Just because, you know, one of the things I love... So many people today, if you stick in a genre or tone or style of film making critics seem to want to attack that it’s all someone can do. Whereas, in the classic era of film making, filmmakers found their style of story-telling and then fully explored their style. Do you feel a pressure in today’s sort of short attention span critics, or are you set in how you want to tell your stories? Please say yes.. (Laughs)
M: You gotta see with Lady, Lady is as… The one thing I have to restrain myself from doing is rebelling too openly. I will never care. If I know I am going to get slaughtered for doing something I go right ahead and do it because I never ever want to ever have that fear of getting hurt, dictating my decisions, you know. Because, I know, even in my little short career here, I have seen how they have been incorrect, you know?
M: And time has changed everything, so for example, a Unbreakable comes out it’s not reviewed well and I remember seeing in Hollywood Reporter the review for Unbreakable next to the review to Josie and the Pussycats and they loved Josie and the Pussycats and they hated Unbreakable and I had that at home as just a reminder of going, “This is this month, and next month it won’t be this way. Even tomorrow it won’t be this way.” And over time that they have proven themselves wrong to the point that each movie is reviewed like “Oh this is not as good as the others.” Every singe movie! “This is not as good as the others.”
H: I remember when Unbreakable came out, the buzz in front of it was “It’s no Sixth Sense.” That was what critics were sort of going into and I reviewed it as, I love Sixth Sense but Unbreakable is just that much better for me and Signs is that much better than Unbreakable for me and I am one of those guy that for the longest time I really wanted to you continue to explore the Unbreakable story, like you had mentioned having a possibility for. I still think that especially as that story has caught on even further and further in home video that there is still even a place for that out there. I know definitely readers of my site, absolutely love that film to death.
M: I love that movie. I think coming in the shadows, except you know, the problem with fugitive movies now is they are part of a family. They are not seen as… If anyone in the movie, if it were somebody’s first movie, they would be seen very very differently.
M: That’s just, I guess, the burden of the family, but I love that story line. It’s one of my favorite stories that I have made up but I am always toying with this idea for Unbreakable. I’m always toying with it.
H: Well, it’s just one of those things where, you know, it was just such an elegantly told origin story the whole thing is just a delicious set up, and at the same time, it is completely complete in telling its story. I have had hours of conversations with fellow people that love that movie about what would happen next.
M: Hahaha, I tell ya, Unbreakable is the movie I get approached more about by any other movie out on the street.
H: Oh yea, I have no doubt. Because, it’s a story that feels like a beginning. The other stories you’ve told are complete stories that don’t feel they necessarily… Like, at the end of Signs, we know that Mel Gibson’s life is finally beginning again, but we kind of know what that life is going to be now. Whereas, with Bruce, at the end of Unbreakable we have no idea where it goes from here, we just know that it is going to be delicious, you know.
M: Right, right. I agree.
H: So, Lady in the Water is a stylistic departure for you, would you say?
M: I don’t know about that. I think it is really the element of all the movies that are kind of … In a way it’s great. It’s kind of almost a run through mainstream cinema to get to become an independent filmmaker.
M: When, usually it’s the other way around. You know, I’ve been trying to kind of find this balance between what I love about independent cinema and its lack of generalizing and it’s lack of chasing its audience. You know what I mean? And yet, have it on a map released at a mass scale, you know, because it has universal elements to it that allow it to be loved by people all over the world but at the same time it’s a very natural pore on both sides because I do love the independent world. So, the fact that you make a movie with both those elements, sometimes I feel like have no place and sometimes I feel like I have a home everywhere. It depends on what day you catch me. (laughs)
H: Yeah. Well, when I was talking to Paul at one point I commented on.. just because he is one of my favorite character actors that have almost transcended the pigeon hole that a character actor usually gets taken into as being a side-kick type character in movies to where he’s become the focus and I said that I was taking a look at your leading men, with Bruce Willis, Bruce Willis and Mel Gibson, and then all of the sudden you have Paul Giamatti and Paul started laughing and said “Yeah, ya know. I don’t get it! It just doesn’t figure!” Hahaha, ya know?
H: And I said, Well actually to me it makes a lot of sense because when you cast Mel and Bruce, in a weird way, you have them play almost Paul Giamatti-esque characters and it was like you were finally casting the guy you have always intended to have in these types of films, like the independent scene finally has a star that you could place in your film. Like, Yes! Finally I can use Paul!
M: (still laughing) Yeah, it’s true, you know Paul… When I watched his movies I really felt like I found this perfect guy for me, that he could be my Richard Dreyfus, you know?
M: Richard Dreyfus is the center of Close Encounters, Jaws, just this guy that can do anything and in many ways- Something popped into my head while you were talking- is actually, what I do is cast to get people’s types so I cast Bruce and Mel and then make them act like Paul and then I cast Paul and make him act like Mel.
H: (chuckles) That one of the things that I love is that you allow actors… Well, first of all the things that I like stylistically about your films is that you let scenes play out and let actors discover moments and then direct them to other moments. That’s really rare these days! How do you watch other people’s films where they so interrupt their scenes by over-editing?
M: Well really it’s not so much… There are two things. One is that I watch a movie just like an audience movie-goer but I’m very aware of the residual affects of the movie so when I go out I like that movie when I watch it but I has no affect on me, you know, ten minutes later or an hour later or the next day for sure. And then the movie that actually sticks to be is the one that has this kind of rhythm. But for me, what happened with Unbreakable and even what’s happening to the Village now, is this feeling of stickiness that it has and that it’s growing and the feeling that its spirit has really been incorporated into your life experience and that’s what I am going for. I find that much more of a powerful art form. Now, that’s such a burden on me in the two hours that you are in the theater because those guys get to use any form of distraction they have at their disposal, whereas I am using a very limited power because for me only these certain tools have that kind of stickiness.
H: Well, it’s like one of my favorite scenes in cinema history was in Jackie Brown where Tarantino had Pam Greer and Robert Forester just sit down and talk to one another and it was just that real long long take and it was before I believe- I believe Jackie Brown was before Sixth Sense had come out- I remember feeling hw refreshing it was to just see two actors work together, you know? And to just give two actors great characters to be in and then you just work the scene and I’ve scene how Quentin directs where he will have along cut and like, on the set of Kill Bill where he’s got Sonny Chiba and Uma Thurman working and he’ll just tweak one of the things that one of the actors is doing to get the other actor in the scene to blossom in a way that that actor wasn’t expecting to have happen. How do you direct your actors on a film?
M: Well, it’s very much like a play. We feed the script like a play and hire mostly theatrical actors. We deal with people that have strong theatrical training to be able to handle the long takes and the fact that I don’t do coverage and all that stuff and they get comfortable with, “Hey we are going to catch things so that take six is going to be my alternative to take eight, you know? And I’m going to just have to choose which one I use for the scene because there’s some magic in what happens live that as soon as you make a cut and you alter the rhythm and alter the truth of it so you have to recreate it. For example, in one of my early movies I shot something and on that day the scene was great but when I went to put the scene together it was a whole ‘nother reality and that came from the fact that I was cutting back and forth between the actors and I realized actually that I was creating a third reality there, you know? And you got to make it up in the editing room and a lot of people rely on that to make their movies and I prefer knowing, you know, directing everyone to getting to the exact tone color and pitch and there you have it. You don’t have to find it or get something similar. Then the next decisions I make are based on the knowledge of take six… Hey lets try this and cover ourselves by you doing the more aggressive take this way- that kind of thing. And that’s really where you can cause with great finesse the performers … because I’m doing them right there based on the metrics of their performance and on the moment because otherwise, you really don’t know what you have yet until you are in the editing room. You are just blindly directing and so you are getting consistent performances when, for me, my thing I am most proud about is the consistency of performances in the movies. You know, all through the casts, like the cast of The Village and everybody’s performances are consistent and especially in a movie like Lady, where we have such a broad cast and such interesting characters and it’s really an ensemble piece that’s supporting the main character Paul. Everybody has to fit together like a jigsaw puzzle and the performances which might seem eclectic at first can then kind of gel into the feel of the movie. So, for me, the number one tell of a great director is the control of tone. So, if their tone is a knowing controlled tone that they achieved, then they are good at story-telling.
H: Yep. Well that’s one of the things that I have always enjoyed in your work is the tonal consistency that you tell a story with. It’s also something that I really like about Guillermo del Toro’s Spanish films and… just a great deal of filmmakers. Who did you… what sort of films were you in love with when you were a child?
M: As a child, you know, definitely I celebrated Lucas’s movies because I was really in the heyday of those movies at that time. I was seven for Star Wars, and then twelve for Raiders and ET so I was in that heyday there of those movies and it creeps into my stuff. E.T. is very much at the heart of Lady in the Water.
H: I know that Paul said that you were constantly referencing Wizard of Oz on the set to him.
H: How did that play into this movie?
M: Well, there’s a certain…I don’t know what the word is I’m looking for but you don’t really care how odd you look which was there when you read J. M. Barrie’s stuff or when you read Roald Dahl’s stuff and also when you see Wizard of Oz. Some self-preservation thing to make sure your dignity is intact has been let go of.
H: (hearty chuckles) So you don’t care about dignity anymore?
M: Well, yeah there’s a sense of a free spiritedness that borders on flat out rebellious, that Roald Dahl or Wizard of Oz has, that Lady in the Water has in the air. It’s really just not playing by the rules.
H: No, that makes sense. I’ve heard that you have a film critic-type character that’s living in this apartment complex. Is that true?
M: Yeah, the movie’s about how we relate to this story that’s being told and there’s a very kind-of cynical person in the building who relates to it on that close-minded level.
H: Somebody that I talked to told me that he’s somebody who’s always trying to second guess where their story is going, and it just sounded fun to me. The playful poke at some of your critics out there.
M: (Japanese school girl-esque laughter) Well, let’s say this, I’m definitely not playing it safe in this movie (more laughing).
H: Just out of curiosity, is that who Bob Balaban is playing?
M: Haha, yes.
H: OK cool. I didn’t know because his name wasn’t listed on the credits page on imdb yet. But I thought, of the names that I was looking at on the list, the guy I would have cast as a baffoonishy sort of critic type. I would have cast Bob Balaban.
M: Well, When Disney read an early draft of the script, not the script that Warner Bros. read. They went, “You can’t do this!” (Laughs)
H: I mean, to me I know for a fact that there are a lot of critics out there that just can’t take any sort of playful jabs. I get attacked daily by my readership, so for me it’s like…by all means make fun of the entire world of film criticism because it is rife with humor.
M: Yeah, I’m just having so much fun and for me Lady is probably one of my most personal movies and there’s just no way you’re going to knock me down on this one. You know what I mean? It’s like, you can hit me square in the face and I’m not moving. I’m in that mood, you know? And it’s so perfect because it’s kind of like you have to be a little crazy to believe in stories.
H: Yeah. I have a little nephew that I tell bedtime stories to all the time and first of all, I just love the idea of labeling this as a bedtime story just because everybody tells there kids a story before they go to bed but there are so few new bedtime stories that get told on a global palette the way that you have the ability to tell a bedtime story. What do you hope the audience comes away with? Because with all bedtime stories, you learn a lesson. What’s the lesson of Lady in the Water to you? Because I know that we’ll all find our own lesson.
M: There’s a line that used to be in the movie that’s my favorite line which is the point of the movie which is not in there anymore which I find kind of poetic now. The line is “when a person finds his voice, his life takes on grace” and that’s really what I taught my kids and is really what this movie’s about. I really found my voice making movies and no one’s going to be able to get me to believe that you shouldn’t, like your something because its odd or different or because they don’t have a fucking genre for you. Or because they keep putting expectations on you and they think you’re this and you’re like, “No, that’s not me at all.” So there’s been this kind of wonderful liberation that’s happened. A lot of times I do go through the journeys of the main characters as I make the movie and to even make this movie I had to really embrace my voice and really kind of let go of all protective instincts. When people have seen this movie they say that it’s really much like a Hitchcock kind of movie because of its tonalities. It has an almost kind of Princess Bride type of humor to it. So it took a while before we got everything gelling, but when it did, it was kind of this huge tipping point moment when it just suddenly gelled and everything was working. The fantasy, the suspense, the humor, the poignancy, everything was working towards a profound statement below the surface which is about this ability to laugh and walk through the room like a child and how it’s a gift that we gave up. It can now be that way in the profound gift that he had been given and the belief on the lines of a miracle and you really come out shaken. Lady doesn’t strive to do something small, it strives to do something huge. There’s a moment in great movies where you find religion in the movie and that’s the hope for Lady that you come out with religion.
H: Cool. You have a couple of my favorite actors in this thing. There’s Paul of course, but I’m just a huge Jeffrey Wright fan.
M: Me too, me too.
H: What does he play in the film?
M: He just plays one of the tenants in the building. It’s hard to talk about (heh heh) but he’s a very important character in the piece. It’s a big ensemble piece with a lot of mixed races. There’s an apartment with my sister and me. I play a character in the movie and so there’s…
H: Your sister’s in the film too?
M: No no, not my sister. Sarita Choudhury plays my sister in the movie.
H: Oh, ok.
M: So my character and his sister live in this apartment. Then there’s another Korean family that lives in the apartment, and a Hispanic family, so it’s very multi-cultural.
H: How wonderful is it to get to work around your home area there in Philadelphia?
M: Everything has been contributing to a very independence there, like a very homemade product. Whereas a lot of people, when I turn to somebody and they do something that’s general. Not an actor let’s say, but an approach on the film, I try to tell everybody; look this is home crafted stuff here. We’re craftsmen here. This movie is about each person’s personality coming to the table. I don’t want to have anything general in this movie, so the fact that they’re written by me and we shoot them around my hometown and I’m in that mindset. The fact that I’m in the movie in a very kind of independent way, it just all feels like what I dreamed I would want to do for a living. To make these very personal movies. Basically, it’s the same shit I was doing when I was ten.
M: Those awful movies I made where really the only thing different was that at the time I was copying everybody.
H: Well I know I’ve been a pretty close friend of Robert Rodriguez for the last ten years and for him, he’s essentially doing the same thing he was did when he was a ten year old, except he has a longer cable than the twenty foot cable he had hooked up to his VCR to be able to record with. It’s really amazing when you go through and you see that he was making a couple of full length features a year, every year as a little kid. Just discovering his voice and playing with characters and he was lucky enough to have a billion brothers and sisters to throw in front of the camera. But, now he’s essentially doing the same thing and he still does his home movies. In between features, do you do little fun things with your children? Just for home movies.
M: No I don’t actually. I mean the closest thing I got was that AMEX commercial which was really fun to do. It was fun to think in the short term rather than a two-year thing all the time, you know?
H: Right. I know for Robert, he’ll just get an iron giant toy and do some playing in the backyard and does sound mixing with his kids and it’s sort of crazy because he’s managed to create such an at-home studio that he’s got every sound effect from Skywalker Sound in his home. He’ll bring back video tape from Disneyland of his kids standing in front of an elevator opening and closing and he’ll make it sound like it’s breathing on the tape and freak everybody out with a scary elevator. It seems different filmmakers have a certain amount of craziness to them. Especially Guilllermo Del Toro. But it sounds like you’re fairly well adjusted up there.
M: Yeah, if you come in my office, everything’s kind of disciplined and all the papers are piled in the right way and everything’s organized and the scripts are all on the shelf. I get kind of freaked out when everything’s not precision.
H: I understand that completely. As you’ve gone from each of these films, when did you know that you were going to make Lady in the Water as a feature story?
M: Actually, right before The Village. I thought about which one to do first and I thought about it because I did Lady after Signs, that I would be giving the wrong signal about where I was going, the consistency of where I was going. Signs is kind of fun, and probably the most popcorn of my movies and Lady had a lot of those elements and really makes fun of itself and has a lot of fun but is also probably the most emotional of all my movies. It has the biggest wow-up emotionally, but it’s having fun and I thought on an instinctual level that if I did Signs and Lady back to back, that would be too consistent a tone or direction of the way I was going and then The Village would seem like a little bit of a blindside. I knew The Village was going to do that regardless because it was very serious and dramatic, but it was something important that I wanted to say and it really worked out great for me because The Village darkened the palette in a very beautiful way for me. Basically, a movie where the supernatural isn’t real is a great way to go into a movie where it’s so fantasy.
H: So do you know where you’re going from here?
M: I do. I have two ideas. One’s very dark and scary and one is more adventurous. Again, it’s fun and it’s just a question of which one to do. I got the very dark, scary one, probably the scariest one I’ve ever done, and then the other one will be…not broader, but definitely more adventurous.
H: I noticed that you like to change D.P.’s a lot, and that you like to go with the very best, because you’re working with Christopher Doyle this time. It’s one of the main reasons I’m dying to see this movie. I’m such a lover of his lens.
M: He’s amazing.
H: Right from the beginning of your career…it’s like Tak Fujimoto, oh Roger Deakins, oh Christopher Doyle. Boy you get the worst guys behind your camera! What about that heightened beautifulness? In a way, that sort of beauty distances people from the reality of the piece or do you try to get those D.P.’s to capture a heightened reality for you? How do you direct your D.P.’s?
M: Each one depends on a very specific color. The image is huge for me. I will get in fights if you move the camera a half an inch to the left. It becomes painful for me. So, I need to have D.P.’s that I completely believe in. Chris was really the only choice for me. In the Mood for Love is one of my favorite movies. It’s truly a friggin’ masterpiece and Hero is so beautiful. For Lady, it’s an apartment building and the interiors of it really have a heightened saturation of color that in a way reminds me of Unbreakable’s colors which pop through the monotone. We had a very monochromatic movie with Unbreakable and then we had colors pop through. This way, it’s a full-out fantasy story that the characters don’t know what’s happening yet and so having saturated colors is very beautiful. There’s poetry to the silliness of the movie and it becomes really like poetry. Chris really, really helped that.
H: This next one’s just a pure curiosity question. I couldn’t imagine getting you on the phone and not talking a little bit about Hitchcock with you. What’s your favorite Hitchcock film?
M: It really varies on the moment. I’d say Rebecca.
H: Really? What about Rebecca captures you?
M: It has that spookiness. There’s something about it. It’s haunting, and it haunts me. It’s like he took me right up to the alter but didn’t really do anything.
H: Yeah, it’s probably the most…you said it right, it’s the most haunting film but it’s in a lot of ways, very untypical in terms of what people think of as Hitch, because stylistically it is so haunting and it’s not the thriller, thriller, thriller feeling that he created in the others. It was one of his films that I really liked that most people tend to forget. It’s something like Mr. and Mrs. Smith, where Hitchcock was just trying comedy. How far off the path can you imagine yourself going? From doing this sort of supernatural- affecting-reality-style stories? Could you see yourself doing something that was just a flat-out comedy?
M: It’s funny you should say that because after doing these five movies, which couldn’t be any more different from each other. I never feel restricted. I know that everybody tries to tie them together and make them like one thing, but they’re really not. I can’t imagine anything more different than The Village or Unbreakable or Signs.
We had a series of cel phone disconnects as M. Night traveled about New York – he asked me about DA VINCI CODE, the ALAMO DRAFTHOUSE and we discussed the possibilities of throwing a cool LADY IN THE WATER event here in Austin (details coming) However, that tape ended with M. Night’s pre-pubescent, boyish laughter. Which is actually really quite delightful.
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June 1, 2006, 2:25 p.m. CST
I am serious. I'd love to see some big budget serious, R-rated adaptation of Hindu religious texts. Their mythology freaking kicks ass, dudes!
June 1, 2006, 2:40 p.m. CST
Am I the only one who gets totally creeped out every time Harry uses the word "delicious"? "The sex scenes in History of Violence are delicious." "We don't know where Willis' character from Unbreakable went after the movie, but we know it's DELICIOUS!" EWW! UGH! ECK! and BLEH!
June 1, 2006, 2:43 p.m. CST
by Smilin'Jack Ruby
Probably learned more about Shyamalan in reading that interview than most of the ones I've read in the past. Great bit.
June 1, 2006, 2:43 p.m. CST
www.tg3h.com...Check out my podcast.
June 1, 2006, 2:47 p.m. CST
by Azlam Orlandu
Great job Harry. People say that Shyamalan is a one trick pony and I can't necessarily argue. In his defense that one trick is a pretty great one especially when most directors don't even have a trick.
June 1, 2006, 2:49 p.m. CST
...he includes a character played with glee by The Randy Quaid. That is all.
June 1, 2006, 2:50 p.m. CST
or to someone saying shamalama- ding dong or some shit like that. Can't wait for this movie!
i like "night" and all, but that was an absolutely ludicrous statement
June 1, 2006, 3:13 p.m. CST
Always remember that Unbreakable is THE BEST COMIC BOOK MOVIE OF ALL TIME.
June 1, 2006, 3:14 p.m. CST
this means "Lady in the Water" will get a better review than X3 right Harry? Man, you are so transparent is sickening.
June 1, 2006, 3:17 p.m. CST
Here people appreciate your good work, your strong dialoge, and character development. I own ALL of those films, and hope you dont stop anytime soon. Kudos M Night!!
June 1, 2006, 3:24 p.m. CST
June 1, 2006, 3:24 p.m. CST
by Childe Roland
pre*ten*tious (adjective) 1. Self important and affected, acting as though more important, valuable, or special than is warranted, or appearing to have an unrealistically high self-image. 2. Made to look or sound imporant, presenting itself unjustifiably as having a special quality or significance, and often seeming forced or overly clever. As in: "He dismissed it as yet another pretentious film."
June 1, 2006, 3:27 p.m. CST
why is the "top story" in small letters to the side? btw, i just watched THE BEACH, which is better than any M Night movie, and it's probably Boyles worst film.
June 1, 2006, 3:37 p.m. CST
by Tony Mike Hall
Really, a great read. I don't intend my next statement to sound like Night hate, but every time I hear Night speak or read something he said about this movies, the feeling I get is "Man, this guy loves himself." Not knocking his talent, which he has buckets of, just the way he expresses himself.
June 1, 2006, 3:47 p.m. CST
Damn, B. Howard is pale. The cast for this film seems more serious thesp-like than even "The Village."
June 1, 2006, 3:49 p.m. CST
June 1, 2006, 4:07 p.m. CST
by THE KNIGHT
Did you steal my name? -_- I'll be there when this baby comes out in theatres....
June 1, 2006, 4:11 p.m. CST
Now it's going to suck! Everytime someone does an AICN interview, it means that the movie sucks and they need to do some star dazzling to get the nerds to watch it. FUCK!!!
June 1, 2006, 4:20 p.m. CST
Just kiddin'. I just read through all those posts in the SP3 talkback, and it's amazing how many of those guys say that shit about her. She looks damn fine to me! We need to get back to when women who had figures were considered the most attractive. Enough of these chicks who look like little boys.
June 1, 2006, 4:31 p.m. CST
Way to ask about "Labor of Love" you jagoff! "I am such a lover of his lens." For fuck's sake!
June 1, 2006, 4:33 p.m. CST
Don't get me wrong; I love 'Unbreakable' to pieces (pun sort of intended), but it seemed like a fairly self-contained story to me. Just because it was the "origin" of a hero doesn't mean we need to see more of his wacky adventures. Eh, whatevs. Just my two cents.
June 1, 2006, 4:38 p.m. CST
by jasper Stillwell
As a filmmaker that's a real relief. Jeez. Harry I love you chap but this is a pretty lame interview, those fave quotes from the man about 'grace'....? HOW trite?
June 1, 2006, 4:43 p.m. CST
He's a very talented filmmaker...I'd love to see him direct someone else's stuff sometime though.
June 1, 2006, 4:55 p.m. CST
THE BEACH? What?! Are you high?
June 1, 2006, 5 p.m. CST
Yup, except bad.
June 1, 2006, 5:05 p.m. CST
geez! Like kind of
June 1, 2006, 5:07 p.m. CST
Because we honestly don't know what David is going to do next. He was reluctant to be a hero in the first place, will the fact that Elijah is Mr. Glass cause him to give up before he even starts? Can you imagine Mr. Glass is in jail cell/psych ward scanning all the papers looking for some sign--any sign--that David is still being a hero? What if David puts aside the rain jacket because doing so is his 'revenge' against Elijah?
June 1, 2006, 5:08 p.m. CST
I didn't know you were English, Harry. :)
June 1, 2006, 5:27 p.m. CST
by Lando Griffin
so his use of "delicious" may just be a subconscious nod to his preoccupation with food. But what eas even more disturbing was the way he got so "giddy" that Night laughed like a little school boy. *** I agree with Barry it would be nice to see Night work off someone elses screenplay. *** I loved Unbreakable but I would rather leave what happened next to my imagination and not be disappointed with what may be presented to me onscreen. *** For someone as talented as Night he sure makes for and ummm, uh, like, ya know a, whats the word I'm looking for?... boring interview.
June 1, 2006, 5:27 p.m. CST
and it aint your usual glazed donut. Dearest Night, I love you and wish to swallow your man juice. Love Harry Maybe you can get him to direct John Carter of Mars...after the next 5 directors leave for personal reasons. Oh and Unbreakable, best live action superhero movie. Best superhero movie overall...that would be The Incredibles. Now I want an Unbreakable Edition DVD of Unbreakable complete with unbreakable comb and an audio commentary from Mr. Glass from his prison cell...GFY
June 1, 2006, 5:56 p.m. CST
Well no, we don't know what David's going to do next. But that's life. No one knows what's going to happen on a daily basis, it just sort of happens. Personally, I never assumed that was the point. The origin was. His reluctance to become a hero was all over 'Unbreakable.' And the dark side of looking for a purpose in life was already demonstrated through Elijah's psychosis, so I never really figured it was something that needed to be plumbed or essayed in another movie. But, like I said, just my opinion. If Night feels like there's more to be told, I'm sure he has a good reason to believe that.
June 1, 2006, 5:56 p.m. CST
ROTS will own this.
June 1, 2006, 6:46 p.m. CST
Oh, I'm not saying he *should* make a sequel, I'm just saying that's one of the questions I think a sequel would tackle.
June 1, 2006, 7:46 p.m. CST
by Lau Kar Leung
A: "Because Disney passed on it". C'mon, Night. Nice way to dodge the question. When you have a first-look deal with a studio, and your film is NOT produced by that studio, it is pretty obvious - they passed! Oh, and no, Harry, Rodriguez does NOT have the entire Skywalker Sound library in his home. Put your hyperbole down.
June 1, 2006, 7:59 p.m. CST
by frank cotton
MR. GLASS, having scanned the papers from his prison cell, watching to see if David is still being a superhero, finds that he is not and breaks out and resumes causing disasters to force David to stop him, thereby becoming an even more interesting character than he already was. just a thought. CHILDE ROLAND - good one. LANDO GRIFFIN - i cuncur on the 'more disturbing' - for real.
June 1, 2006, 8:11 p.m. CST
Harry should have asked Night how he feels about the trailer dudes constantly misrepresenting his films. If you look at the two "Lady" trailers, they make the film seem either like "Splash" or "Dawn of the Dead." Freaking insane.
June 1, 2006, 8:13 p.m. CST
June 1, 2006, 8:28 p.m. CST
"His boyish, pre-buscent laughter, which is really quite delightful." I mean, that's just a freaky thing to include in an M. Night interview. It's as scary as growing up as a child with a bed that had a demented clown headboard. A clown with teeth. The glared at you angrily, all night long. Then one day it comes to life . . . Sure, Disney may have passed on the fourth movie from M. Night Moneybags, but I'm dubious. Maybe they just wanted Lindsay Lohan and Hillary Duff to star, and M. Night said no. Especially after they said he needed to include a sentient VW Bug and several references to Disney's Highschool: The Musical.
June 1, 2006, 8:40 p.m. CST
by 'Cholera's Ghost
If memory serves correct, the phrase was coined in approximately 2004 AD by the venerable Chicken George VII?
June 1, 2006, 8:46 p.m. CST
by frank cotton
did you miss LANDO GRIFFIN's post, or did you mean nobody other than him?
June 1, 2006, 8:53 p.m. CST
by Lando Griffin
You betta reck-a-nize!
June 1, 2006, 9:19 p.m. CST
June 1, 2006, 9:27 p.m. CST
I would like to see him direct someone else's script. Also an Unbreakable sequel. now please
June 1, 2006, 9:32 p.m. CST
It's fucking frightening the lack of speech control that exists in a Knowle's transcript. I know grammar school kids with a better grasp of the english language. Night should be embarrased.
June 1, 2006, 10:04 p.m. CST
June 1, 2006, 10:18 p.m. CST
by frank cotton
never ceases to amaze me how many people just post without bothering to read the talkbacks. or maybe they just read one out of ten or something.
June 1, 2006, 10:27 p.m. CST
He even had a cameo in the game Killzone for PS2 - http://img472.imageshack.us/img472/1797/kzone5bb.jpg
June 1, 2006, 10:28 p.m. CST
It seems as if Harry thinks of his critics in a romantic light which I find a little disturbing, as if M. Night being criticized for his filmmaking choices and Harry being criticized for obvious failings as a writer [etc...] are in any way on the same level. I also think it's quite comical the way Harry drops his supposed 10 year "close relationship" with Robert Rodriguez to M. Night as if to give him some sort of Industry street credit. I don't hate Harry, I don't even dislike Harry. I appreciate the niche he's carved out for himself on the net and the precedent that AICN started in terms of internet fanboy outlets. What I don't appreciate is what appears to be Harry drunk on his sense of self-importance because he knows "so and so" who worked on "such and such" film. Harry came from humble fanboy beginnings, and as he's stated himself he's still very much the fanboy. What's frustrating is that he now marginalizes the very community he came from thereby flippantly ignoring what most of us have to say unless he disagrees with him. It would be interesting to see Harry return to his roots and open himself up to the fans of AICN, answer questions, engage us, and get off his pedestal. On a related note, I very much enjoyed this interview with Night, I've been an admirer of his for sometime, and unlike most others, LOVED The Village [as someone who grew up in a cult very much like the one portrayed in the Village]. I am more then excited for The Lady in the Water [being a lover of stories about mermaids and otherworldly creatures.] I imagine, like Night's previous releases, this one will be one to talk about for some time. J.M. Prater
June 1, 2006, 10:40 p.m. CST
by heywood jablomie
In other words: this hack has run out of his usual schlocky commercial ideas. "It's a real wow-up emotionally." "I was looser on the creatives." Who the fuck talks like this? No wonder all the dialogue in his shitty movies sounds like ESL.
June 1, 2006, 11:24 p.m. CST
Did I just see a picture of Opie Taylor dressed up like a girl?
June 1, 2006, 11:31 p.m. CST
June 1, 2006, 11:38 p.m. CST
i have been giggling like a pre-pubescent schoolgirl myself reading not only the talkback but the interview. jesus crust, he must have a directive out to his agents and managers that ONLY interviewers who are going to gobble his hog can speak with him.
June 2, 2006, 12:08 a.m. CST
I'm looking forward to this movie more than any formulaic blockbuster coming out this summer. Give me an original story anytime, I could care less about special effects.
June 2, 2006, 12:30 a.m. CST
by Lando Griffin
June 2, 2006, 1:11 a.m. CST
by Bob of the Shire
I read it earlier today and now it's missing. Conspiracy!
June 2, 2006, 1:28 a.m. CST
I myself came up with it previous to 2002 in a pre-release "Signs" Talkback.
June 2, 2006, 1:35 a.m. CST
This guy has total A-list execution. He could be the next Hitchcock, esp when he tries to scare the shit out of you. But judging by his last two films, he severely needs to collaborate with another writer and direct someone else's material.
June 2, 2006, 3:38 a.m. CST
by L. Duderino
so I tried to read this with one eye closed. I've liked every new Shamalama-film more than the last and I'm curious to see him get out of the "surprise-ending"-genre... here's hoping Lady's great!
June 2, 2006, 6:23 a.m. CST
M Night with a Bazookoid. I'd pay to see that movie! lol
June 2, 2006, 8:37 a.m. CST
Harry: So, you're pretty much stuck in a creative and stylistic rut? // M. Night: Yes, but thank God for my insane defenders.
June 2, 2006, 8:59 a.m. CST
"Shamalamadingdong" has been around for decades. Quit trying to suck your own cock and see if you can go out and maybe even go so far as to *sniff* a pussy. Faggots.
June 2, 2006, 9:12 a.m. CST
That was an amazing interview! Thanks! Left me wanting more. I almost wish we could have the audio.
June 2, 2006, 9:34 a.m. CST
by Crash Crator
*****Ribbons, I see your point. Mr. Glass found his purpose for being and David Dunn is thwarting evil, home-invading janitors. However, prison won
June 2, 2006, 9:47 a.m. CST
reading that interview. It was almost like MNS was coming from a Terry Gilliam kind of place. It was probably spurious, but wouldn't *that* make for an interesting film? Decent interview, in spite of Harry trying to make it all about himself and his buddies.
June 2, 2006, 10:06 a.m. CST
I loved it. But, I love Night and don't give a shit what anyone else says about his films.
June 2, 2006, 10:11 a.m. CST
HARRY WE GET IT, YOU KNOW ROBERT RODRIGUEZ AND GUILMERRO DEL TORO!! You don't need to remind us and whoever you're talking to every 5 fucking minutes. Jeez.
June 2, 2006, 10:14 a.m. CST
June 2, 2006, 11:23 a.m. CST
That was, bar none, the most enjoyable interview I have read anywhere - literally anywhere, on any subject at all! It was particularly revealing with respect to Night's creative motives, and the place of love that he tells stories from. As a filmmaker approaching my day, I feel refreshed, rejuvenated, and opened up to possibilities in my own work i might otherwise not have seen... The feeling of discovery, like an archeologist excavating the lost artifact of some impossibly brilliant civilization or a secret long lost, is the feeling anyone who makes movies strives for - and the pleasure and satisfaction of sharing that discovery with others, and we all go about it so differently. Thank you Harry and Night for your reckless, insane honesty and love. I'm gonna go make some movies!
June 2, 2006, 11:26 a.m. CST
by 'Cholera's Ghost
Nice work indeed. The term is far older than some scholars anticipated.
June 2, 2006, noon CST
very few directors can inspire this kind of love/hate on this board. Certianly the mark of a great director for me.
June 2, 2006, 12:27 p.m. CST
by the beef
that the problem most people seem to have with Night (as he prefers to be called apparently) is his writing and not his directing. The fact is M. Night may in fact be the most significant american directorial find of the past 10 years, but the people who attack his films attack the writing aspects. He may not be the best writer to most , but the fact remains that he IS one of the best DIRECTORS currently working. Now i'm not saying that he needs to make a film that someone else wrote (i actually have liked each of his films) but it would certainly be interesting to see his direction of a Charlie Kaufmann script. Then i sincerely doubt you would see as much hate towards the man as you currently see. But in that sense, i think it's fantastic that Night is doing exactly what he wants to be doing, regardless of what people may think of the movie. THAT is the sign of a true filmmaker, pleasing him/her self first.
June 2, 2006, 1:25 p.m. CST
You guys made me do that. Fucking enablers...
June 2, 2006, 1:53 p.m. CST
I have his last 4 movies and have watched them repeatedly. I think for me, that's the sign of a great movie. To be able to enjoy it and find new things in it with each viewing. Even though his style is different, he's the current heir to Kubrick. Long Live M. Night!
June 2, 2006, 1:58 p.m. CST
"The current heir to Kubrick." Damn stright.
June 2, 2006, 2:30 p.m. CST
SO freaking gay. I wish I could quit this site!!
June 2, 2006, 2:55 p.m. CST
by 'Cholera's Ghost
M. Night Shalom-A-Yawn coming after the Talkbackers for disparaging his name.
June 2, 2006, 3:19 p.m. CST
keeeeeeeeeeeeeeeeep it gaaaaaaaaaay!
June 2, 2006, 5:43 p.m. CST
visually and with actors, nobody tops him. There's a scene in the Village, where William Hurt is talking to his daughter near the side of a house and the wind is picking up and she's asking him about marrying, and M.Night just lets the scene play out from afar, totally fucking brilliant and right. I agree, however, that he'd be better off working off either a totally different type of story of his own or someone else's script... that is a completely different type of story from his own. His style is suited to movies like Raging Bull or Amadeus, but he's still got that preoccupation with fantasy. There's nothing wrong with that, but I think there's some more depth there and it sort of butts up against what he wants to do and is still preoccupied with vs. what he's truly capable of. It's a really weird, odd, thing. Still, it makes for incredible stories told with a depth nobody else bothers with anymore. Although, I think the Village transcended the marketing campaign, the critics, and Night's own style and sense of fantasy. There's a lot more being said in that movie than most people are giving credit for. Whether it's by accident or not, I don't know, all I know is it's there and why bother ruining it by trying to put it into words. He could be the next Kubrick if he keeps getting stuff like that in there. And by the way, fuck Tarantino and Del Toro and Rodriguez. If you notice, even though it seems pretentious, M. Night really is a lot better and makes more lasting work than all of these filmmakers, so he just distances himself from them and doesn't even care to comment on anything about them. Which is funny, cause Harry insists on bringing them up at least three times. Like someone else on here said, this guy inspires a true love/hate divide among audiences, and I think that's the mark of any truly intelligent and gifted artist. Can't wait to check this one out...
June 2, 2006, 6:20 p.m. CST
Any names that would have been even funnier? Uwe Boll?
June 2, 2006, 9:48 p.m. CST
Hah! Brokeback Harry. That's funny. And I bet it pisses Moriarty off.
June 2, 2006, 9:52 p.m. CST
Yo, dawg, props to ya. I missed it first time out. It was the fact that Harry insisted on describing it a the laughter of a "pre-buscent school boy" that I found most disturbing, but you did touch on it. So Lando Griffin is willing to call Harry out on being some kind of freaky M. Night pervo. Props, and peace 2 ya. Next time, I just better check myself.
June 2, 2006, 9:54 p.m. CST
That was so funny I almost blew jack and Coke out my nose. Or maybe I think it's funny because I'm getting a buzz. One of those two things.
June 2, 2006, 11:01 p.m. CST
by Hideo Kojima
by focusing on the storyteller himself instead of his son? how innovative!
June 3, 2006, 12:52 a.m. CST
Umm well its a different story with completely different characters and no similarities.
June 3, 2006, 11:10 a.m. CST
What do these directors have in common? They direct movies written by other people. His story ideas are good, mayeb even brilliant, but he needs to at least collaborate with another screenwriter to kind of whittle them down (or in the case of Signs, build them up). That said, Lady in the Water does look like an intriguing stylistic departure, and Paul Giamatti in a lead role equals instant interest on my part. And Shamaladingdong was actually first uttered here shortly after the release of the Sixth Sense by a talkbacker who has since been banned and changed names a half dozen times. Yes, it really has been around that long. And no, no, no it ain't me, babe.
June 3, 2006, 11:17 a.m. CST
That talkback was enlightening. A bunch of movie fans talking about their favorite endings of their favorite movies. Actual conversations. Not a bunch of negative assholes coming on to blast the subject at hand. So sad to see how this site has devolved. Best part though was how righteous and defensive Moriarty sounded and how utterly wrong he was about the movie. Some things never change.
June 3, 2006, 1:33 p.m. CST
by Fatal Discharge
...and turns out she's dead. I hope it's a good film but it's been all downhill from The Sixth Sense on. Signs was outright laughable in parts and The Village was a 30 minute Twilight Zone idea stretched to feature length. He obviously has some talent with the camera so why not get an actual good writer to come up with his next project?
June 3, 2006, 3:17 p.m. CST
by andrew coleman
Lady in the Water is one movie I really am looking forward to. Everything else is either a "blah" movie with X3 sucking beyond belief and SR will probably just be an alright movie. This will probably be the best film of the summer, I don't care what it gets in the BO.
June 3, 2006, 6:09 p.m. CST
but the kids....the kids call me mr glass.
June 3, 2006, 6:26 p.m. CST
by Orbots Commander
Rule One of profile pieces and interviews is make the subject the center of the piece, not oneself. You frequently referencing Robert Rodriguez, Tarantino and Del Toro was like an actor breaking the 'fourth wall'. Also, it smacks of insecurity. I'm no Hemingway, eons from it, but it's just basic Journalism 101.
June 3, 2006, 10:52 p.m. CST
Jackson played some twisted, psychotic shit in that film.
June 3, 2006, 11:11 p.m. CST
by Kid Z
...Ginger Kids... brrrrr! (Present company excluded, Harry!)
June 3, 2006, 11:17 p.m. CST
by Kid Z
... are friggin' wild! (I have a few) Also, Grant Morrison did sort of a riff on them a few years back called Vimanarama. Insane shit... Grant during his hallucinogenic period.
June 3, 2006, 11:26 p.m. CST
by Kid Z
... with a story in it called "Vampire Mermaid" (I used it for a band name for awhile... hey... it was the 90's, whattaya want?) Anyhow, in the comic, guy catches a mermaid, keeps her in the swimming pool at his place, friends & neibors strt turning up dead, Mermaid's a bloodsucker!... Christ I hope that doesn't turn out to be the plot for "Lady In the Water"... Or maybe I DO hope that???
June 4, 2006, 12:08 a.m. CST
Call in Carl Kolchak! Dude. That issue sounds cool. We need a movie of that!
June 4, 2006, 10:56 a.m. CST
by Kid Z
... Actually, it's not as scary as it shoulda been, dammit! It was pre-code horror, but not an EC. But gotta admit... it WAS a cool idea! Maybe I should hack out a script? As long as it's Darren McGavin & not that pretty-boy poseur, yeah... call Kolchak!
June 4, 2006, 11:55 a.m. CST
by 'Cholera's Ghost
If you can find it going back further than 2000, though, you will be on the cutting edge of "Shamalamadingdong" linguistic history discovery, though.
June 4, 2006, 11:57 a.m. CST
by 'Cholera's Ghost
June 4, 2006, 5:02 p.m. CST
It`s great to see not only somebody that is master of his craft but knows it and WANTS to be master of his craft, trying to undoe his other films and controlling every elements of production to achieve that. Plus I like that he`s dedicated to continue being successful and doing original pieces. Not a lot of filmakers are like that. You see somebody coming out of nowhere and doing an interesting indie film with mainstream appeal and for the next flick that same director go for the Hollywood bucks and do something irrevocly forgetable. Like the dir. of Gangster No 1 for instance. Or the director of Shadow of the Vampire. Or the director of Sexy Beast.
June 5, 2006, 11:51 a.m. CST
I am NOT a hater. But I'm done with ths guy. His only really good movie was Sixth Sense. Unbreakeable was unbearable. All set up and little to no payoff. Same with almost everything else after. "Signs" made me fucking angry, it was so stupid. Aliens travel across to get locked in a room? Please. And it just goes on. Now, I know if anyone even reads this, the response will be "I'm sure you like Michael Bay dreck, full of explosions and all that shit. You don't get a paced, taut psychological thriller, and you need everything spelled out for you. " Wrong. I'm sorry, but the whole keep you in slow slow suspense for a weak "Twilight Zone" ending, four times is enough. Rod Serling did more in one half hour on a weekly basis than M Night has done in his last four films put together. Cool atmospheric music and long dolly shots are no substitute for a good STORY. Like some talkbackers have said, perhaps he could do better with someone else's script, but till then, I'm done with him. He and Ron Howard are tied for first on my hack director list. Renny Harlin is all time second place. Again, I'm not some angry hater, who shits on everything, I'm actually pretty eager to enjoy a movie when I go to the theater. But if the emporer has no clothes on, I'm not gonna say I like his shirt.
June 5, 2006, 12:12 p.m. CST
What the hell do you know about AICN? Psshhtt...that poster you mention could've only been some Uruk-haiku spouting bastard! ** Pretty entertaining interview there Harry...informative too. Can't wait to see this flick even if it has Opie wearing a dress.
June 10, 2006, 9:07 a.m. CST
You need to grow the fuck up. This is what happens when parents don't beat their kids asses, you get spoiled self-centered sperm-burpers who are incapable of behaving themselves...What's wrong you insipid little tea-bagger? Not getting enough attention from your rubber dolly? or is it same ol' cliched sob story - misery loves company and ajt4eva is lonely. Dare to be different BITCH and get a life. It's not aicn's or anyones else fault that you're unhappy and obviously lack any control over your patheitic little existence, so go away, get laid and perhaps get a little perspective on how silly you really are. Better yet, do humanity a favor and kill yourself.
June 11, 2006, 11:44 a.m. CST
by frank cotton
GILLIAM, BURTON, and BAY. i'm not really a bay fan, but THE ISLAND works for me. just watched THE BROTHER'S GRIMM last night for the second time - can't wait to see TIDELAND. will probably watch THE CORPSE BRIDE again tonight. i'm there for the visuals, and these guys deliver
June 13, 2006, 9:40 a.m. CST
The term shamalamadingdong has been used by a radio prep service called The Complete Sheet for about 5 years now. At least that's the 1st time I've seen it. 'Night might love himself just a bit too much but the guy makes some pretty cool movies, save for The Village, which I REALLY wanted to love but just couldn't.
June 13, 2006, 9:48 a.m. CST
Yeah, I'm one of the pinheads that DIDN'T read ALL of the posts prior to my own, not realizing that there are far more folks than Cholera's Ghost talkin' about the origins of "Shamalamadingdong". The word itself was used in every other 50's doo-wop song right? And in reference to M.Night, as I said before, the 1st time I saw it was about 5 years ago. So what's this "teist" I keep hearing about in The 6th Sense????
June 13, 2006, 9:49 a.m. CST
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