Re: [thewire] Re: Solaris
- Yeah, agree - haven't actually seen the remake of
Solaris but surely Soderbergh is the most overrated,
useless director of the present day. The Limey, for
christsakes, was a joke (and that ridiculous cockney
rhyming banter, lord give me a break!). The bloke
seems to have a reputation for being 'good with
actors'; oh great. Pity he can't direct for toffee.
--- gradyfinklemyer <gradyfinklemyer@...>
Soderbergh seems to be getting more pompous and
Full Frontal isn't smug and pretentious at all! It's a
exploration of film making done with a digital camera.
Soderbergh's entry in the Dogme series. Arf arf. I
can't think of a
more usless movie than Ocean's 11 that I've cringed
either. I liked seeing George Clooney on Letterman
Soderbergh "wrote and directed Solaris", with no
mention at all made
of Tarkovsky! I think I'll do a remake of Full Frontal
and go on tv
and tell everyone I wrote and directed it. As far as
Solaris goes, I guess some people might enjoy looking
Clooney's ass, but I'm not one of them.
--- In firstname.lastname@example.org, "Stevo"
> Just saw the new Stephen Soderbergh versionTarkovsky version in
> thought it pretty cool, but I haven't seen the
> Liked the musicthough I don't really know the area
> Kind of Glass -y with near folk undertones.version.
> Just wondering what other people think of the new
>buildings as sets.
> Liked the way they used the backs of soundstage
> (least that's what tose outside shots look likeafter being on film
> sites)Yahoo! Groups Sponsor ADVERTISEMENT
> Is that a holdover from the original?
> NP Doors In Concert You make Me real
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- Warren Ellis (the Transmetropolitan comic writer, not member of Dirty
Three) wrote this, which I agree with:
I like George Clooney.
No, not like that.
Clooney's someone who did an awful
lot of shit before he got where he is
today. He's been doing a bunch of
interesting interviews to support
SOLARIS and CONFESSIONS OF A
DANGEROUS MIND, and in one of them
he commented that whenever he
turns on the TV at 3am, there he is
in another terrible show, with another
terrible hair crime. I think only Jean
Claude Van Damme tops him for
the visual archive of hair crimes
committed over the last twenty
Once he found himself in a position
of power on ER -- in a gift of a role
as the understated maverick who
could never lose sympathy because
he saved children's lives -- he started
pulling stunts. He was instrumental
in the episode of ER that the cast did
live, twice in one night -- once for the
East Coast, once for the West. Then
he got involved in producing a remake
of FAIL SAFE as a piece of live
televisual theatre. Then came film,
and starting again, doing some shit,
clearly relearning how to act again,
because an acting style that's
charming on TV just dies on film.
See how often he looks down, in
those early films, retains cadences
from TV. Then he hooked up with
Steven Soderbergh. His head comes
up, he learns economy and bigness
at the same time. And in Soderbergh,
one of America's cleverer risk-takers,
he seemed to have found someone
who thought the same way.
In another recent interview, he lays
this out. He says that the nature
of the film beast is that in five or
ten years, he won't be allowed in
front of a camera, let alone behind
it. So he needs to do the things he
wants to do now, while he's in the
position of power to make them
happen. He comments that SOLARIS
is flopping domestically, though it'll
probably make most of its money
back in foreign markets. But that
doesn't matter. What matters is
that they did it. The film is there.
And it is -- I realise this flies against
the face of all critics everywhere --
a good film. I always hesitate to
use the word "emotional" when
discussing story, as I fear I sound like
the wreckage of Francis Ford
Coppola talking shit about the Godfather
movies in the beginning of his twilight
years. But SOLARIS has an unmannered,
mature emotional complexity to it.
It is, in fact, a Seventies art-film.
It gets the best performance I've
ever seen from Natasha McElhone,
and Clooney is clearly fucking with
his perceived star persona as the
chilly, damaged psychiatrist. One
of the character's friends calls him
"a nihilist shrink."
I grabbed the original Soderbergh
script down from script-o-rama.com,
and there are some interesting cuts.
Anything that added to the science-
fictional tone of the film got cut. It's
all in the inference in the finished
film. It's genre deconstruction,
concentrating on the thing the majority
of sf doesn't do -- creating a real
life in the relationships.
It may not be what anyone wanted
to see, but it's the film they wanted
At similar peaks, people in Clooney's
position tend to do things that will
maintain or crest that peak. Running
to stand still. There's something
admirable in someone who says,
now I'm going to do the things I need
to do until they kick me off the peak.
At 09:49 AM 3/6/03 +0000, you wrote:
>Yeah, agree - haven't actually seen the remake of
>Solaris but surely Soderbergh is the most overrated,
>useless director of the present day. The Limey, for
>christsakes, was a joke (and that ridiculous cockney
>rhyming banter, lord give me a break!). The bloke
>seems to have a reputation for being 'good with
>actors'; oh great. Pity he can't direct for toffee.
----- Original Message -----
From: "Andrij Kopytko" <andrij3@...>
> The Solaris soundtrack was composed by Cliff Martinez, who also has
> done soundtracks for The Limey, Traffic, and Sex, Lies & Videotape.
> He's a drummer, I believe.. I think he was in an early line-up of the
> Red Hot Chili Peppers of all things..
He was also in Capt. Beefheart's Magic Band - Ice Cream for Crow.
* David Beardsley
* microtonal guitar
> > He's a drummer, I believe.. I think he was in an early line-up ofthe Red Hot Chili Peppers of all things..
>And the old school LA punk in me has to remind y'all that he was also
> He was also in Capt. Beefheart's Magic Band - Ice Cream for Crow.
in the Weirdos and the Dickies...