The only film I’ve ever nearly walked out of is ‘Requiem for a dream’. It’s not scary per se, but that scene with Jennifer Connelly at that guy’s party, and what she did to get the drugs, really disturbed me. I imagine it would disturb women more than men.
A few years back I insisted on taking my friend to see ‘A tale of two sisters’, promising her that it was not scary… I knew it would be a bit scary but I always find myself a bit immune to that kind of thing – probably due to spending my childhood with a mum who laughed at all scary bits and said ‘oh it’s only plastic/not real/ridiculous’, frustrating the old suspension of disbelief somewhat. Anyway, perhaps predictably, me who had not expected to be scared, was crapping myself the whole way through, squealing into my coat which was raised to below my eyes, while my friend couldn’t see what all the fuss was about. Really depends what mood you’re in. The first time I put The Shining on I was in my house alone and was too terrified to get past the first ten minutes. I watched it with a mate a couple of weeks later and it did nothing for me.
Great topic. Just like Anna I too tend to find myself discussing cinema more with men than women, it’s rare for me to get that kind of decent conversation going with another female and I’ve always found it frustrating. It’s annoying that I have very intelligent friends from school whose houses I’ll go round to and see that their video collection is full of Bridget Jones and The Notebook. When I suggest even the more accessible independent film to them, it’s like they’re straight away not interested because they haven’t been seduced by the marketing. But then men have the same thing with their action movies I guess. It’s a question of whether you get off on forgetting who you are and going to see something overly uplifting to make yourself feel better, or whether, like me, probably predispossed to melancholy, you like that sense of catharsis from seeing something that feels more real, that you might in some ways identify with. A few quite sweeping generalisations there. The point Justin raises about Laura Mulvey is very valid here and something that I’ve often pondered as a photographer and filmmaker. I tend to gravitate towards female subjects, mostly becuase I think they’re more visually interesting, but sometimes I wonder if it’s a subconscious power issue, like it’s not so appropriate for me to objectify men in the same way. I should work on that.
I’m interested in Kevincito’s point about men having more courage to pursue the unstable path of a film professional. I’m straddling that issue right now as I try and decide whether to make the commitment to work in film full-time, or whether to keep this thing on the side while I pursue something that will at least let me pay off my student debts and stay alive. I’d always thought of it as a class issue – so many of the up and coming filmmakers I’ve known are from wealthy backgrounds, or creative dynasties, so they would have less of a struggle – finanancial or psychological – to make that commitment to make films full-time. But I’ve worked in film and it is really dominated by guys – perhaps because so many roles are technical (this could be a whole other debate) – so it’s worth thinking about in more detail.
First film I walked out on was Chain Reaction with Keanu Reeves when I was about 12 – I left to go and have my first ever cigarette in the toilets with a girl who was a bad influence on me haha
Most recently I walked out on Summer Hours, which is strange because it looks like a film I’d normally like. Might have had something to do with the fact that I quit my job that day so i had a few things on my mind, and was a bit drunk. If anyone saw it and thinks the end was worth a shot I’ll take another look.
Don’t really remember walking out on much inbetween, aside from various bad short film programmes I’ve watched at festivals.
Bell Hooks writes a lot of great stuff about this. I particularly nejoyed her take on Crash, some of which you can read here: http://duniastranger.blogspot.com/2006/10/bell-hooks-on-crash-when-i-first-saw.html
25, BA French lit. Actually it’s an MA because I went to Oxford and you can buy an MA for £10 three years after you graduate your BA – nice. Have been working in film for 3 years (festival/events/production), have always made my own shorts on the side, thinking of doing film/cultural studies PhD…
I love love love Peter Bradshaw. Saw him at the LFF last year actually in a forum called ‘Is the internet killing the film critic’ and he was just as vivacious in real life. His one star film reviews are an institution in the UK. We do clash occasionally though – I still don’t get his Dancer in the Dark review. Nonetheless, I would say that I think he far surpasses Philip French whose reviews always seem so descriptive, with little real criticism, despite him being such a revered veteran. I love a bit of character in my critics.
I’m in the UK and I bought it from HMV in London for about £7 no problems. Didn’t even know it was hard to get. I’m sure you can order it from a UK site easily.
The Big Blue on the other hand, was a nightmare! Finally got it secondhand off ebay this week and was surprisingly disappointed after all that!
I reallt wanted to like CoM and had heard great things, but I did not get it at all. Might revisit it in a few years. I saw it about 6 months ago and can’t even remember that much about it, found it a real disappointment.
I’ve got Peter Biskind’s ‘Easy Riders…’ and ‘Down and Dirty Pictures’ and I actually much prefer the latter, I think maybe I have more context with that one becuase it revolves around the nineties rather than the seventies. I’m also fascinated by Miramax and the arthouse crossover issue. It also explodes some of the myths around Tarantino.
Elsewhere, I’m a big fan of the ‘Projections’ series of books, edited by John Boorman, which treat a different theme each year. I read a very entertaining book called ‘The Producers’ by Tim Adler, if you’re interested in the industry more than criticism. I always like to read Bell Hooks’ criticism.
The Guerilla Guide to Filmmaking is a good manual if you’re intending to make a film – Paul Andrew Williams said it was the only film book he thought was any good at a Q&A I went to – although I think it’s more geared towards features. For shorts, Shooting People do a very tidy little book on shortfilmmaking which I recommend.
Actually, without a doubt, Nic Roeg’s ‘Puffball’. He did his Q&A before the screening and promptly fled, which may have been a sign. I had to get out of there after an hour and a half, it dragged on for a while after that. Really could not believe how bad this film was. Wouldbe glad to hear from anyone else who saw this.
Seeing Hable con Ella in a converted porn cinema was a memorable experience as it made me truly appreciate international cinema for the very first time. Didn’t go to the multiplex for quite a while after that…
Hmm. This thread came out of my brain after finding out that the Weinsteins are developing an English language version of ‘The Lives of Others’ (why, why, why?) which I have to suspect won’t improve on the original… Consequently I want to restore my faith in cinema by finding out that perhaps not all remakes are bad. Enlighten me.
It’s not technically primary school but there is a place in my heart for Kindergarten Cop. Worryingly, when I was younger, my 10 year old sister had a huge crush on Arnold Schwarzenegger so I was subjected to many of his films, many times over.
Recently I’ve got to thinking about the duration of films, specifically in the light of watching a couple of films on DVD that are only now available as Directors’ Cuts, as far as I know (they happened to be Betty Blue and The Big Blue). I enjoyed both – the former more than the latter – but felt that both were overlong and regretted not being able to see the original theatrical release, although I am always interested to see the director’s true vision for a film. Since this site is devoted to the admiration of auteur directors, I full well appreciate that many people will leap to the defence of the director and revere their true interpretation, but I’m hoping to stimulate an intelligent discussion about this. Personally, I feel that 90 minutes to 2 hours is often the optimum duration for a film in so far as it can be expected to fully sustain your attention for this period. Even in some of my favourite films, I regret that I’m starting to twitch after 2 hours. I think that concision is a skill and that sometimes creative management of a director (by a producer/editor etc) in terms of duration, is essential. I think this is also important in terms of widening accessibility to a film – not deterring audiences by narratives that are overlong and rambling. That said, I’m also interested in the vogue of the last few years of producing many commercial films that last over 2 hours – despite the increasing costs this will incur. Does longer duration confer a sense of the epic to a film that the producers believe will give it a passport to critical acclaim and awards? Is this at the expense of enjoyability for the audience?
Is there such a thing? Since many movies start originally with an idea by a producer, they will develop it and usually recruit all the creative personnel including the director, surely they are worthy of some creative credit? We love directors for the way they create aethetically pleasing imagery and performances for us, but stories, amongst other aspects, often reach back to the producer’s input. Obviously commercial producers are quite different beings to independent producers, but I think it would be good to discuss their contribution. Without thinking too hard at this stage (and noticing how much harder it is to call names to mind), I could suggest a random mix of Marin Karmitz (who brought in Kieslowski for Three Colours), Christine Vachon and David O Selznick (who got through 4 directors on Gone with the Wind), as prolific producers who leave a recognisable stamp on their productions. We also have the more common breed of Director/Producer, such as Claure Berri, Clint Eastwood and others, but I am particularly interested in producers who haven’t stepped behind the camera.
@ Robert C Ross – I’m totally with you on The English Patient. I had two entirely polarised reactions on that on my first and second viewing.
When I was about 15 I was totally moved by Dead Poets Society. Seems such a cliche. But only a couple of years later I bigged it up to a very good friend of mine and insisted he come over and watch it. It was 90 of the most painful minutes of my life – I hated it the second time.
Paolo Conte’s ‘Sparring Partner’ in Ozon’s 5×2 is beautiful. You can look up the clip where they are dancing at the dinner party to this song on YouTube.
I also LOVE LOVE LOVE ‘Cuccuruccu Paloma’ in ‘Hable con Ella’ – my heart breaks a little more every time I hear it. Please look this one up too (I’m at work so can’t access YouTube from here…). Here, however (third post down), is a translation of the lyrics, which are just so perfect for the film: http://www.allthelyrics.com/forum/spanish-lyrics-translation/23791-cucurrucucu-paloma-of-caetano-veloso-translate-please.html
I also like Annie Lennox’s ’Don’t let it bring you down’ in American Beauty, and there is a place in my heart for the Nina Simone at the end of Before Sunset.
Something I’ve been thinking about lately – have you watched any films where you have not been able to stop thinking ’that’s [actor’s name]’ rather than truly appreciate their acting and get into the character? It’s definitely happened to me (Angelina Jolie in Changeling was the last one). I think it is probably more of a modern phenomenon (i.e. less likely to occur with viewing older films) because we are so used to seeing the contemporary actors in the news, doing interviews and publicity, that it can be hard to see their familiar face and imagine it belongs to a totally different personality/character. Whatever the reason, it’s damn annoying.
The scariest or most disturbing film you have EVER seen. over 3 years ago
The only film I’ve ever nearly walked out of is ‘Requiem for a dream’. It’s not scary per se, but that scene with Jennifer Connelly at that guy’s party, and what she did to get the drugs, really disturbed me. I imagine it would disturb women more than men.
A few years back I insisted on taking my friend to see ‘A tale of two sisters’, promising her that it was not scary… I knew it would be a bit scary but I always find myself a bit immune to that kind of thing – probably due to spending my childhood with a mum who laughed at all scary bits and said ‘oh it’s only plastic/not real/ridiculous’, frustrating the old suspension of disbelief somewhat. Anyway, perhaps predictably, me who had not expected to be scared, was crapping myself the whole way through, squealing into my coat which was raised to below my eyes, while my friend couldn’t see what all the fuss was about. Really depends what mood you’re in. The first time I put The Shining on I was in my house alone and was too terrified to get past the first ten minutes. I watched it with a mate a couple of weeks later and it did nothing for me.
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A Character Just Like You over 3 years ago
Ah Celine in Before Sunrise/Set… probably because I feel like I’ve lived that story about 5 times
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Cinephilia and Gender over 3 years ago
Great topic. Just like Anna I too tend to find myself discussing cinema more with men than women, it’s rare for me to get that kind of decent conversation going with another female and I’ve always found it frustrating. It’s annoying that I have very intelligent friends from school whose houses I’ll go round to and see that their video collection is full of Bridget Jones and The Notebook. When I suggest even the more accessible independent film to them, it’s like they’re straight away not interested because they haven’t been seduced by the marketing. But then men have the same thing with their action movies I guess. It’s a question of whether you get off on forgetting who you are and going to see something overly uplifting to make yourself feel better, or whether, like me, probably predispossed to melancholy, you like that sense of catharsis from seeing something that feels more real, that you might in some ways identify with. A few quite sweeping generalisations there. The point Justin raises about Laura Mulvey is very valid here and something that I’ve often pondered as a photographer and filmmaker. I tend to gravitate towards female subjects, mostly becuase I think they’re more visually interesting, but sometimes I wonder if it’s a subconscious power issue, like it’s not so appropriate for me to objectify men in the same way. I should work on that.
I’m interested in Kevincito’s point about men having more courage to pursue the unstable path of a film professional. I’m straddling that issue right now as I try and decide whether to make the commitment to work in film full-time, or whether to keep this thing on the side while I pursue something that will at least let me pay off my student debts and stay alive. I’d always thought of it as a class issue – so many of the up and coming filmmakers I’ve known are from wealthy backgrounds, or creative dynasties, so they would have less of a struggle – finanancial or psychological – to make that commitment to make films full-time. But I’ve worked in film and it is really dominated by guys – perhaps because so many roles are technical (this could be a whole other debate) – so it’s worth thinking about in more detail.
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Which Movies Have You Walked Out On? over 3 years ago
First film I walked out on was Chain Reaction with Keanu Reeves when I was about 12 – I left to go and have my first ever cigarette in the toilets with a girl who was a bad influence on me haha
Most recently I walked out on Summer Hours, which is strange because it looks like a film I’d normally like. Might have had something to do with the fact that I quit my job that day so i had a few things on my mind, and was a bit drunk. If anyone saw it and thinks the end was worth a shot I’ll take another look.
Don’t really remember walking out on much inbetween, aside from various bad short film programmes I’ve watched at festivals.
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STEREOTYPING AND TRANSFORMATION: PORTRAYAL OF BLACKS AND BLACK ACTORS over 3 years ago
Bell Hooks writes a lot of great stuff about this. I particularly nejoyed her take on Crash, some of which you can read here: http://duniastranger.blogspot.com/2006/10/bell-hooks-on-crash-when-i-first-saw.html
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Need help with camera suggestions! over 3 years ago
I’ve worked with both the DVX100 and the HVX200 and they’re both great
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CONFESSIONS--FILMS YOU ARE ASHAMED TO SAY YOU HAVE NOT SEEN (YET) over 3 years ago
Not sure if this has a place in this thread, but can you believe I’ve never seen ‘The Sound of Music’?
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Age / Level of education? (An informal poll) over 3 years ago
25, BA French lit. Actually it’s an MA because I went to Oxford and you can buy an MA for £10 three years after you graduate your BA – nice. Have been working in film for 3 years (festival/events/production), have always made my own shorts on the side, thinking of doing film/cultural studies PhD…
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Film critics over 3 years ago
I love love love Peter Bradshaw. Saw him at the LFF last year actually in a forum called ‘Is the internet killing the film critic’ and he was just as vivacious in real life. His one star film reviews are an institution in the UK. We do clash occasionally though – I still don’t get his Dancer in the Dark review. Nonetheless, I would say that I think he far surpasses Philip French whose reviews always seem so descriptive, with little real criticism, despite him being such a revered veteran. I love a bit of character in my critics.
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Where Can I find Last Year at Marienbad? over 3 years ago
I’m in the UK and I bought it from HMV in London for about £7 no problems. Didn’t even know it was hard to get. I’m sure you can order it from a UK site easily.
The Big Blue on the other hand, was a nightmare! Finally got it secondhand off ebay this week and was surprisingly disappointed after all that!
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MOMENT OF TRUTH: HAVE YOU EVER GONE TO THE MOVIES AND FALLEN ASLEEP DURING THE FILM? over 3 years ago
I feel asleep at the cinema during The Dark Knight actually.
The only other film I remember falling asleep at home with was ‘A Knight’s Tale’ – I’ve only just noticed the coincidence there…spooky.
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Children of Men disdain forum over 3 years ago
I reallt wanted to like CoM and had heard great things, but I did not get it at all. Might revisit it in a few years. I saw it about 6 months ago and can’t even remember that much about it, found it a real disappointment.
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Books about film. over 3 years ago
I’ve got Peter Biskind’s ‘Easy Riders…’ and ‘Down and Dirty Pictures’ and I actually much prefer the latter, I think maybe I have more context with that one becuase it revolves around the nineties rather than the seventies. I’m also fascinated by Miramax and the arthouse crossover issue. It also explodes some of the myths around Tarantino.
Elsewhere, I’m a big fan of the ‘Projections’ series of books, edited by John Boorman, which treat a different theme each year. I read a very entertaining book called ‘The Producers’ by Tim Adler, if you’re interested in the industry more than criticism. I always like to read Bell Hooks’ criticism.
The Guerilla Guide to Filmmaking is a good manual if you’re intending to make a film – Paul Andrew Williams said it was the only film book he thought was any good at a Q&A I went to – although I think it’s more geared towards features. For shorts, Shooting People do a very tidy little book on shortfilmmaking which I recommend.
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WHAT IS YOUR PICK FOR THE WORSE MOVIE EVER MADE? over 3 years ago
In Bruges. Atrocious.
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What films have you walked out on and why ? over 3 years ago
I didn’t notice the chickens in Jerry Maguire?
Sorry I couldn’t resist.
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WHAT IS YOUR PICK FOR THE WORSE MOVIE EVER MADE? over 3 years ago
Actually, without a doubt, Nic Roeg’s ‘Puffball’. He did his Q&A before the screening and promptly fled, which may have been a sign. I had to get out of there after an hour and a half, it dragged on for a while after that. Really could not believe how bad this film was. Wouldbe glad to hear from anyone else who saw this.
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Favorite use of a song in a film. over 3 years ago
“C’est le vent Betty” by Gabriel Yared in Betty Blue is pretty beautiful.
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what film or films may have made you into the fan/fanatic you are over 3 years ago
Seeing Hable con Ella in a converted porn cinema was a memorable experience as it made me truly appreciate international cinema for the very first time. Didn’t go to the multiplex for quite a while after that…
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Top 5 favorite PUNK ROCK movies over 3 years ago
The Future is Unwritten is a really great doc. Has anyone seen Hedwig and the Angry Inch? I’ve had that recommended to me.
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Remakes that improved on the original over 3 years ago
Hmm. This thread came out of my brain after finding out that the Weinsteins are developing an English language version of ‘The Lives of Others’ (why, why, why?) which I have to suspect won’t improve on the original… Consequently I want to restore my faith in cinema by finding out that perhaps not all remakes are bad. Enlighten me.
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Fashion in Film over 3 years ago
I have a book called ‘Undressing Cinema’ about fashion in film which is really interesting. I recommend.
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Best Films about or related to (primary) school over 3 years ago
It’s not technically primary school but there is a place in my heart for Kindergarten Cop. Worryingly, when I was younger, my 10 year old sister had a huge crush on Arnold Schwarzenegger so I was subjected to many of his films, many times over.
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Directors' Cuts over 3 years ago
Recently I’ve got to thinking about the duration of films, specifically in the light of watching a couple of films on DVD that are only now available as Directors’ Cuts, as far as I know (they happened to be Betty Blue and The Big Blue). I enjoyed both – the former more than the latter – but felt that both were overlong and regretted not being able to see the original theatrical release, although I am always interested to see the director’s true vision for a film. Since this site is devoted to the admiration of auteur directors, I full well appreciate that many people will leap to the defence of the director and revere their true interpretation, but I’m hoping to stimulate an intelligent discussion about this. Personally, I feel that 90 minutes to 2 hours is often the optimum duration for a film in so far as it can be expected to fully sustain your attention for this period. Even in some of my favourite films, I regret that I’m starting to twitch after 2 hours. I think that concision is a skill and that sometimes creative management of a director (by a producer/editor etc) in terms of duration, is essential. I think this is also important in terms of widening accessibility to a film – not deterring audiences by narratives that are overlong and rambling. That said, I’m also interested in the vogue of the last few years of producing many commercial films that last over 2 hours – despite the increasing costs this will incur. Does longer duration confer a sense of the epic to a film that the producers believe will give it a passport to critical acclaim and awards? Is this at the expense of enjoyability for the audience?
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'Auteur producers' over 3 years ago
Is there such a thing? Since many movies start originally with an idea by a producer, they will develop it and usually recruit all the creative personnel including the director, surely they are worthy of some creative credit? We love directors for the way they create aethetically pleasing imagery and performances for us, but stories, amongst other aspects, often reach back to the producer’s input. Obviously commercial producers are quite different beings to independent producers, but I think it would be good to discuss their contribution. Without thinking too hard at this stage (and noticing how much harder it is to call names to mind), I could suggest a random mix of Marin Karmitz (who brought in Kieslowski for Three Colours), Christine Vachon and David O Selznick (who got through 4 directors on Gone with the Wind), as prolific producers who leave a recognisable stamp on their productions. We also have the more common breed of Director/Producer, such as Claure Berri, Clint Eastwood and others, but I am particularly interested in producers who haven’t stepped behind the camera.
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I used to think this movie was great, but i don't anymore over 3 years ago
@ Robert C Ross – I’m totally with you on The English Patient. I had two entirely polarised reactions on that on my first and second viewing.
When I was about 15 I was totally moved by Dead Poets Society. Seems such a cliche. But only a couple of years later I bigged it up to a very good friend of mine and insisted he come over and watch it. It was 90 of the most painful minutes of my life – I hated it the second time.
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WHAT IS YOUR PICK FOR THE WORSE MOVIE EVER MADE? over 3 years ago
Ah talking of Brando, ‘The Brave’ was AWFUL!
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Favorite use of a song in a film. over 3 years ago
Paolo Conte’s ‘Sparring Partner’ in Ozon’s 5×2 is beautiful. You can look up the clip where they are dancing at the dinner party to this song on YouTube.
I also LOVE LOVE LOVE ‘Cuccuruccu Paloma’ in ‘Hable con Ella’ – my heart breaks a little more every time I hear it. Please look this one up too (I’m at work so can’t access YouTube from here…). Here, however (third post down), is a translation of the lyrics, which are just so perfect for the film: http://www.allthelyrics.com/forum/spanish-lyrics-translation/23791-cucurrucucu-paloma-of-caetano-veloso-translate-please.html
I also like Annie Lennox’s ’Don’t let it bring you down’ in American Beauty, and there is a place in my heart for the Nina Simone at the end of Before Sunset.
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Favorite use of a song in a film. over 3 years ago
While I’m at it, Marianne Faithfull’s ‘Who will take my dreams away’ in La Fille sur le pont is damn good.
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Is the cult of celebrity and PR destroying our ability to suspend disbelief? over 3 years ago
Something I’ve been thinking about lately – have you watched any films where you have not been able to stop thinking ’that’s [actor’s name]’ rather than truly appreciate their acting and get into the character? It’s definitely happened to me (Angelina Jolie in Changeling was the last one). I think it is probably more of a modern phenomenon (i.e. less likely to occur with viewing older films) because we are so used to seeing the contemporary actors in the news, doing interviews and publicity, that it can be hard to see their familiar face and imagine it belongs to a totally different personality/character. Whatever the reason, it’s damn annoying.
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Guilty Pleasures over 3 years ago
The Bodyguard.
Not sure if I’ll be taken seriously on here again.
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