Amercain release in November !!!!!????

YEAHHH!!!! 

Regarding MD criticisms 

I also have beef with MD, but I love it for it's imperfections.  Namely, Betty Elms. The only thought going through my head the first time I saw it up until the love scene, was, "You have got to be kidding."  I waned to smack her.  But it made the plot turn that much more of a relief.  Yay- I'm supposed to not like her!  Just the fact that I was able to feel strongly about
a character redeemed the movie entirely for me.  

I still think Betty (prior to the opening of the box) is an insipid twit, and I'm happy that she puts one in her head.  

That god damn trailer's more popular than Uncle's Day in a whorehouse!

Ok, this is my last off topic comment here. Promise.

I just thought Betty's saccharine oooing, aahing and naievete was over the top and irritating. This doesn't reflect negatively on Naomi Watts, because that's how Betty was written. For good reason. Diane's guilty conscience made her that way. And just because Diane is guilty doesn't make it ok for her to put a hit out on her ex-girlfriend. I don't think we're supposed to sympathize with Diane, but pity her.  She's pitiful.  Don't get me wrong, I love Mulholland Dr. But I was very relieved that Betty wasn't for real.

"Did they scoff the whole damn Smörgåsbord?" (Audrey) 

"Gimme a donut!" (Coop)

I think I love your dad, Mr. Silencio!  That's a riot!

Susan

     
“Half a truth is often a great lie.”

Ben Franklin

That god damn trailer's more popular than Uncle's Day in a whorehouse!

The reviews suggest the film is quite long. Do any of you think it will be cut for general release?

Montana

I would be very surprised to see it changed from the form that ran at Venice simply for the fact of how adamant DL is with regard to final cut. To shorten the film would only be done for commercial reasons, to fit into the Hollywood Cinema Chain's little blue box. And I don't think he makes films for commercial reasons.

To quote DL: "A painter paints a painting, nobody comes in and says 'You gotta change that...blue'. And it's a joke to think that a film is gonna mean anything if somebody else fiddles (here he's doing the wiggly finger thing, I love that) with it....The filmaker decides on every single element, every single word, every single sound, every single thing going down that highway through time. Otherwise, it won't hold together." (more wiggly fingers)

And to quote Gordon Cole, well, ok, not really but I can imagine him yelling: "Ya gotta have final cut, Coop!"

This is why you'll never see the words "Director's Cut" on any of DL's DVD cases...because what was released to the public from day one is the Director's Cut. Dune aside.

Lynch was forced to cut Blue Velvet to two hours: That was a great movie, in my opinion Lynch's best. When the studio forced him to shoot a closed ending to the TP pilot he made the MFAP dream sequence... he came up with Club Silencio when they made him do a closed end to the Mulholland Dr. pilot. Sometimes studio tampering can be a good thing... Lynch's vision has never been compromised by studios so I wouldn't worry about this one. If it's cut down it might actually make the film better... you never know.

That god damn trailer's more popular than Uncle's Day in a whorehouse!

Point taken, but BV came on the heels of Dune, and DL was just happy to have complete creative control and final cut, with the exception of the two hour thing and a budget about six times as small. He had a contract with De Laurentiis from the start of his deal with them,  to develop future projects, he knew that he had to make it 2 hours long and so he had to make the whole enchilada fit into the one tortilla. He knew that ahead of time.

Dune put De Laurentiis $20 million in the hole, iirc, and so here's his chance to redeem.

As far as the others go, they all involve adding to, not taking away from. 

DL, as Theroux said in Venice, has listened to just about every suggestion he has ever seen made on set, creatively for the film, by cast or crew, and has usually been incorporated in some form or another. He also likes the "happy accidents"...goes along with intuitive filmmaking. And this is the main point, he didn't go into IE with a structured script in his hand, nor (as far as I understand it) a fully formed picture in his head of what the finished project will look like until he began post production. There was no "pitch" of an idea to anybody to get an initial backer. This was completely and totally his pure artistic vision.

But my earlier statement was a blanket statement, and you are right. He didn't have absolute control of BV, because of the time constraint in his contract.  With TP we're talking television here, and so weekly ratings and Aaron Spelling's wishy-washiness overrode any artistic vision in the end.

But the DL we know today...I just have a hard time believeing that he would cut one single frame anymore.  His give-a-sh*t factor with regard to studios and executive producers is now -0-. Budget is not a constraint, especially when shooting on DV, and I just can't see him doing it.

Of course I haven't seen the film yet, and I am not DL, so ya never know. 

For some reason I can't paste the link here, but there's a new review from Reuters

Just search for inland empire lynch on google and it will come up.

Another bitter review. The reviewer complains that IE had potential that is swamped by incomprehesible images.

There are some details not mentioned elsewhere before, so be warned. Not that IE really CAN have spoilers, lol.

This would look good on your wall.

-Noah- 

Here you go Mrs. Tremond.

Susan 

     
“Half a truth is often a great lie.”

Ben Franklin

Article on the NYFF that mentions IE and U.S distribution:

http://www.moviecitynews.com/Notepad/2006/060918_npd.html

http://www.premiere.com/article.asp?section_id=6&article_id=3104

Venice wrap-up with a a couple of paragraphs on IE.

Thanks for the links! And thanks also because I added Children of Men to my list of movies to see this fall, which include (in case you're interested) The Departed, Babel, The Prestige, All The King's Men (Kate, baby Kate), Little Children (Kate again and Todd Field's follow up to In The Bedroom), Inland Empire (if it gets a distributor) and the one I just added.   

"Every day holds a new beginning and every hour holds the promise of an Invitation to Love." 

That way I dont have to wait 15 years after it leaves the theater to get a copy of my own.