Joyce Carol Oates on Smooth Talk: “Our species is so impressionable, we’re very vulnerable to any kind of mesmerising person …”
Joyce Chopra’s Smooth Talk, starring Laura Dern with Treat Williams, Mary Kay Place (Diane in Kent Jones’s award-winning début feature Diane), Levon Helm, Elizabeth Berridge, Margaret Welsh, Sara Inglis, and Geoff Hoyle, is a highlight in the Revivals programme of the 58th New York Film Festival. The screenplay by Tom Cole is based on Joyce Carol Oates’ short story, Where Are You Going, Where Have You Been?
Dern’s Connie, a giggly 16-year old when out at the beach or the mall with her girlfriends Laura (Margaret Welsh) and Jill (Sara Inglis), is more sombre and a different kind of unruly at home with her parents and well-behaved sister June (Elizabeth Berridge).
Joyce Carol Oates: “I think also the movie is a brilliant, poetic work of...
Joyce Chopra’s Smooth Talk, starring Laura Dern with Treat Williams, Mary Kay Place (Diane in Kent Jones’s award-winning début feature Diane), Levon Helm, Elizabeth Berridge, Margaret Welsh, Sara Inglis, and Geoff Hoyle, is a highlight in the Revivals programme of the 58th New York Film Festival. The screenplay by Tom Cole is based on Joyce Carol Oates’ short story, Where Are You Going, Where Have You Been?
Dern’s Connie, a giggly 16-year old when out at the beach or the mall with her girlfriends Laura (Margaret Welsh) and Jill (Sara Inglis), is more sombre and a different kind of unruly at home with her parents and well-behaved sister June (Elizabeth Berridge).
Joyce Carol Oates: “I think also the movie is a brilliant, poetic work of...
- 9/25/2020
- by Anne-Katrin Titze
- eyeforfilm.co.uk
When I first walked into the auditorium of the Grand Street high school in Williamsburg, Brooklyn, a surge of fear went through my body. In a few short hours, we were scheduled to perform Taking Over, Danny Hoch's fiercely passionate solo show about gentrification and the human cost of capitalism. The hall resembled an airplane hangar: a huge, unbroken rake of almost a thousand seats, whose vast walls were adorned with brightly colored murals depicting scenes from the life of Jesus. There was no balcony, no sound baffling, no scrim of any size capable of rendering the images on our video reel. To top it off, we had never performed the show in a house of more than 450 seats. All in all, it seemed we were headed for disaster.The performance in Brooklyn was coming on the heels of a free tour of the Bronx and Queens -- the brainchild of Oskar Eustis,...
- 2/11/2009
- by Tony Taccone
- backstage.com
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