Richard Rivera22 said:Hey everyone, So, like the title suggests, I’m on a mission to track down this book for my nephew. Now, look, I'm definitely not an expert in this field—far from it—and honestly, I wasn't quite sure where else to turn, but since this group is packed with genuine film buffs, I figured this was my best bet. If anyone happens to have a copy they could lend me for just a few days, I would be incredibly grateful. My attempts at hunting this down through the local public library system have been a total wash, and frankly, I'm running out of ideas.
On another note, any advice regarding film and television directing programs would be much appreciated too, just so I can pass some solid info along to him.
Thanks so much in advance for the help and any info you can share. Best regards! 👍
One really needs to arm themselves with an immense amount of patience and steady nerves. From what I’ve gathered through conversations with folks who have sat through these admissions interviews, the faculty tends to enjoy a bit of a challenge—they like to test you. If you’ve clearly spent your life immersed in cinema, they might grill you on some incredibly obscure technical details or niche directors. Conversely, if you haven't, they’ll pivot to probing your actual motivations and interests. The key is simply to remain authentic and not let them rattle you during the process. I assume they already have a clear idea of everything they need to prepare for the entrance exam?
If they decide to follow the stylistic direction of the first Iron Man—though I'm still quite uncertain about the creative path they're taking with the sequel—I certainly wouldn't find that to be an issue at all.
I completely forgot to ask—has anyone here had a chance to watch "Me, Psychopath"? It sounds absolutely fascinating, though unfortunately, I haven't quite found the time to sit down and catch it yet.
Anthony Garcia10 said:Oh, right! I only realized just now that you had already posted your thoughts on the film. Yes, I find myself in complete agreement with your assessment—it scratched the surface, but it certainly could have dug much deeper. In my view, the audience started turning on the film the exact moment he suggested that while perhaps America isn't perfect, at least they aren't hanging gay people over there.🤣
Exactly. And then we went right into watching Anatomy of Hate, and wouldn't you know it? The opening scene touches on exactly that: the killing of gay individuals by far-right extremists in the States. 😁
Anthony Garcia10 said:Look, the young man posed a perfectly valid question—though I wouldn't necessarily go so far as to label him a hero, but still, he did well enough 😁 He didn't actually attack him; he just provided an answer as to why it wasn't included. Granted, the explanation might not be entirely satisfying to us, but even the director himself admitted that he understood the curiosity behind the inquiry, calling it a fair question. 😁
What were your overall thoughts on the Doc?
As I mentioned earlier, I found it quite intriguing, though there were certain nuances that truly rubbed me the wrong way. Since when did the CIA become some sort of authority on human rights? While one segment did a decent job of digging into the UN, the overall perspective felt somewhat one-sided and superficial. It swings quite wildly from being incredibly heavy—dealing with the genocide in the Ivory Coast—to this almost irreverent scene about chasing after the head of the UN mission (which felt a bit self-indulgent, if you ask me). In my opinion, the film could have been much stronger. Still, I am fairly certain it will find a very receptive audience here in America.
Anthony Garcia10 said:Please, give me some examples of these ridiculous questions; I am genuinely curious 😁 I attended the Q&A session following the screening of *U.N. Me*, particularly because we were honored by the presence of the director himself—who, interestingly enough, works as an investment banker here in the States. From what I can recall, the questions were as follows: 1) Why didn't the documentary mention Srebrenica regarding the various atrocities committed by the UN, yet it chose to highlight things like Rwanda? 2) What is the director's take on why the UN is such a complete disaster? And finally... one rather controversial question: 3) Why did the director spend so much time criticizing the UN and certain nations like Iran or even France, but failed to direct any of that criticism toward America? To that last question, the director was met with a chorus of boos and a resounding "buuuuu" from the room. 🤣
It’s no surprise at all that he faced such a backlash. He chose to attack a young man who was simply asking, quite calmly and politely, why he keeps bringing up Iran and Syria while completely avoiding any mention of America. To me, he is nothing short of a hero. 😁
I find myself agreeing with Michelle Gonzalez regarding both the venue and the crowd, though I must admit the KC felt quite cramped at times, and there is certainly room for improvement when it comes to the logistics. Sadly, I didn't manage to catch everything, but from what I did see...
I Want to Be Boss—a rather intriguing documentary focusing on the final year of a certain Chinese high school and the immense pressure these kids face from both their parents and society at large. It follows five specific students, though towards the end, the focus shifts abruptly to just one of them in an attempt to make a broader societal commentary, which I personally found a bit jarring.
Urban Pulse: Shanghai—this looks at the metamorphosis of that massive metropolis and how an older couple struggles to find their footing amidst all the change. The protagonist, a man in his 40s, photographs the city as he tries to document or perhaps rediscover the identity of Shanghai. It was interesting enough, though nothing particularly groundbreaking.
The Worst Company in the World—as someone else mentioned, this was such a charming and unpretentious film about three "nobodies." If the awards for Happydox were up for grabs, I would have handed it to them immediately.
Urban Pulse: Mumbai—Interrupted—a depiction of life in Mumbai through three different lenses: a poor immigrant arriving in the megalopolis searching for a better life (symbolized by his attempt to buy a car), the big-city player pushing for the construction of a vital new road, and a very well-to-do elderly lady who represents the residents fighting against that very road (an overpass) because it threatens to destroy their bourgeois peace. The film presents all of this without taking sides, which I personally appreciated; everyone has their own justifications.
U.N. Me—a fairly compelling and, at certain points, quite shocking look at the inefficiency and corruption within the UN. However, I was deeply unsettled by how the film subtly pushes the demonization of certain nations, and one of the filmmakers even revealed himself during the Q&A as a typical representative of the holy American mission in the world. It was disappointing. The moment a CIA representative was brought up to comment on human rights, the film lost all credibility for me.
Anatomy of Hate: A Dialogue for Hope—the filmmaker spent six years following various extremist organizations and movements in America and Israel, interviewing three experts (a philosopher, a sociologist/anthropologist, and a psychologist, if my memory serves) to dissect the nature of hate. It was a deeply moving film, at least for me. Just when I thought it was over, the director added a segment about people trying to rise above all that extremist nonsense, providing a sense of hope for a better tomorrow. Personally, I thought it was a lovely and profound piece of work.
A Long Journey Through History, History and Past—I honestly don't know what to say about this romanticized quasi-documentary other than that it left me feeling quite irritated. It throws together these glossy vignettes about the lies of brotherhood and unity that don't actually offer anything new or provide any deep insight; it approaches the whole issue so superficially just to avoid offending anyone. Good grief, what a waste of money, of the journey they took, and of the people they gathered to speak. After the film, Jergović remarked something along the lines of needing to respect other people's truths. Oh, please. That’s certainly not how we progress.
Crude Oil—about the struggle of 30,000 Ecuadorians against an American oil company that devastated their environment and, consequently, their health. What was interesting was how the film showed that you can't really achieve anything without the blatant use of media and celebrities. On one side, you have the "simple" indigenous people seeking justice and the restoration of what was lost, and on the other, you have a pragmatic American advisor and Sting and his wife, who acted as the only real help to these people by providing clean water.
Dr. Nakamatsu's Invention & Good Morning, Lenins—I am in complete agreement with dustytrucker51. We also marched behind Lenin because it was simply too much to bear.
The treasure of the Sierra Madre is a true cinematic masterpiece, though I must say, you seem a bit out of place in this particular discussion... 🙂
I can't help but feel a certain melancholy whenever I see the complete Indiana Jones series grouped together—honestly, every single installment is worth a watch—and even The Mummy, provided we're talking about the original.
Michael Ortiz68 said:a.) I’m really craving a high-quality historical drama that weaves together individual lives across several generations through various political shifts—think WWII, the era of socialism, the American Civil War, and the Harmon era. It should illustrate how, regardless of which faction holds power in this country, the misfit individual always ends up getting screwed over—something along the lines of Szabin Sonnenshine.
b.) Works by Ivana B. Mazuranic (perhaps something akin to Price from the old days) but reimagined in a surreal, dark style—something reminiscent of Tim Burton or Del Toro's Pan's Labyrinth.
age : 26
I'll sign off on that, though I happen to be 11 years older. 🙂
Regarding point a), I think a narrative like that would actually be even more compelling if it were produced as a prestige TV series. Of course, it would require serious writing and production; we definitely shouldn't let anyone with the sensibilities of a Vrdoljak anywhere near the script.
I would also love to see a fantasy project inspired by our own folklore, or perhaps broader Slavic mythology and folk legends.
Or even a pitch-black comedy centered around the unique absurdities of life here in America. We’ve certainly had enough tear-jerker dramas to last a lifetime. 😁
I really enjoyed the experience because it forced me to confront my own underlying biases. To be perfectly honest, I’ve never been particularly drawn to Kate Winslet; she strikes me as one of those quintessential "it girls"—stunning, impeccable style, and while she’s certainly a talented actress, you get the sense that acting might not even be her main driving force. That was precisely how she came across at the start of the film. She felt like your typical privileged young woman—and let’s be realistic, how many unestablished young journalists out there actually grew up in mansions and attended elite private academies?—who was just playing at being a serious reporter. But then, suddenly, she shows everyone exactly what she's made of and finds her backbone. 😁 And I found the character played by Alan Alda to be absolutely brilliant. He had this line—if I recall the sentiment correctly—about how it doesn't matter what kind of person you were; in the end, the number of people who show up to your funeral is mostly down to the weather. 🙂
briskhound2 said:Just another satisfied customer 🙂 You're very welcome. But why categorize it as a crime thriller? Do you feel it leans more toward being a drama?
Personally, I would say yes. The criminal career of the protagonist—and indeed the entire plot surrounding it—is essentially just a reaction of his specific character to the social circumstances of the time. I realize that might sound like I'm describing some heavy-handed, somber drama, which isn't quite the case; the screenwriter and director handled the material beautifully, ensuring we have a great time while still giving us something profound to ponder. The character himself is quite entertaining (if we didn't know this film was based on a true story, many of us might even argue that the lead wasn't particularly realistic). Furthermore, the heists and the wild antics carried out by Stander and his crew aren't presented in the way you'd see in a classic crime flick. There isn't an exhaustive focus on the minute details of the planning and execution; instead, we mostly witness the bold, gutsy behavior of these characters when they find themselves in certain situations. I hope I've managed to express that clearly. 🙂
Oh my goodness, I just stumbled upon this thread... briskhound2, you've got coffee and cookies waiting for you! 😍
1. Rutger Hauer 2. Robby from Forbidden Planet 3. Eva from Wall-E 4. Gort from the old "The Day the Earth Stood Still"—though honestly, he could be from the remake, since he's really the only redeeming quality of that film. 5. Every single one of Asimov's robots, provided we finally get a decent film adaptation of his work. 😁
Michael Ortiz68 said:Well, just like always, I only realized after the fact that one of the classics was actually available. VictoryTrash, where Sylvester Stallone plays a goalkeeper. Regardless, that movie stuck with me. When I was a kid, I must have watched it five hundred times, mostly because our local TV station played it on a loop like that. It was during the war years, and we’d sit there in the shelter, passing the time by obsessing over stories from the film—like how Pele scored that goal with nothing but a pair of scissors. It’s definitely not a masterpiece, but that movie will always stick with me... Ah, childhood. 😢 😬
It’s the exact same situation, especially considering my childhood actually preceded yours. 😁 It’s honestly a pretty nonsensical movie, but there is just something about it that lingers in your mind. Every single time that scene comes around—the one where they provide food to the American Prisoners—I find myself fighting back tears. It hits me right in the heart every time.
briskhound2 said:I think it’s good to give people a reason to actually stop and think about the titles they've sat through. 😁 I ended up picking Stalag too, but honestly, Escape from Sobibor is my top pick. It was originally made for TV, but the quality is actually better than some of those big-budget, hyped-up movies you see everywhere...
I haven't actually sat down to watch Escape from Sobibor yet, so I suppose you’ve successfully achieved your goal with this poll! 😁 It’s definitely going on my watchlist right alongside Manhunter. 😍
Goodness, this is certainly a difficult survey to tackle. 😁
While *The Deer Hunter* stands out among the top choices offered to me, I personally wouldn't quite place it in the category of a movie about war Prisoners.
If I had to cast my vote, I’d split it right down the middle: 50% goes to Empire of the Sun and the other 50% belongs to Stalag 17. Or perhaps not. I would personally split my vote right down the middle: 33.33% for Empire of the Sun, 33.33% for Stalag 17, and 33.33% for The Great Illusion. I'll be standing right here. 😍
David Price5 said:I have to admit, during my last viewing on Blu-ray, I made a point to sit through the entire end credits. Honestly, the crew truly earned every bit of 😁
I really respect you for that, especially since they included all those fans from the various LOTR clubs and forums in the credits. 😁
In my estimation, every single one of them possesses its own distinct soul and feels like a complete, cohesive journey (and you're absolutely right, crimsontrucker4, it really is all one continuous narrative 😁). When you opt for the extended cuts, I find the third installment is significantly more rewarding than what we saw in theaters. The theatrical ending always felt a bit dragged out to me, yet they somehow managed to leave out several pivotal moments. I’ll always suggest sticking to the director's cuts whenever possible.
That being said, the first one remains my absolute favorite and holds a special place in my heart.