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Diablo Cody and Her Fempire. Today in Film Bloggery 03/24/09

Christopher Campbell
By Christopher Campbell posted 8 months ago
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“When you read a screenplay, it doesn’t come with a picture on the cover,” said Adam Siegel, president of Marc Platt Productions, a producer who is friends with all four women and has worked with all except Ms. Cody. “I know a few beautiful women, but none of them write like Dana, Liz, Lorene or Diablo.”

The above quote is the best part of a New York Times piece from the weekend that made me throw up a bit in my mouth despite how delicious it is (this happens a lot to me with Mexican food, but rarely Times articles, even those in the Sunday Styles section). I would have used it for the Bloggery earlier, but of course Nikki Finke was more important yesterday. Coincidentally, there’s something about this profile on Diablo Cody and her “Fempire” that relates to the Finke story, at least to how Jeff Wells responded to Kim Masters’ take, claiming that if Finke was a guy she never would have been attacked in such a way.

Similarly, Cody and Co. wouldn’t be written about if they were men. But more importantly, they probably wouldn’t have been written about if they weren’t such good-looking women. So, while there’s something empowering about this foursome of female screenwriters who each boldly wear an identical necklace with an inscription that reads “Fuck My Face,” it was quite necessary to include a lot of tantalizing quotes about them seeing each other naked and sometimes being “super porno” like. And of course that double-edged quote from Siegel above. And another condescending (to men and women) bit from the piece’s author, Deborah Schoeneman, describing Elizabeth Meriwether (scribe of the upcoming Friends With Benefits) as “a thinking man’s Scarlett Johansson.”

If you recall, some had believed Cody only won so many awards from critics and peers because of what she looks like (and the profession she used to have). So, perhaps Oscar nominations should have also gone to Nick and Norah’s Infinite Playlist and What Happens in Vegas? Related, would this article have been as interesting if the “Fempire” included Cody’s less-hot Oscar competitors Tamara Jenkins and Nancy Oliver?

More reactions to the piece from others from the last few days after the jump:

…Read more

New in Theaters: Diving Bell, Savages

Karina Longworth
By Karina Longworth posted 1 year ago
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We didn’t do a New in Theaters last week, and many Thanksgiving releases are expanding this weekend, so this is basically a recap of every film we’ve reviewed that’s been released in the past two weeks.

  • The Diving Bell and the Butterfly: Paul was “blown away” by Julian Schnabel’s latest at Telluride; at NYFF, Karina called the film “an almost excessively beautiful aestheticization of misery [that's] often a little too good at conveying Baudy’s isolation within his own head.” Check out today’s podcast, which includes an interview with Schnabel from Telluride, and an argument between Karina and Paul.
  • The Savages: At Telluride, Paul called Tamara Jenkin’s long-awaited feature follow-up to Slums of Beverly Hills “a really rich movie, full of dark humor you have to develop when things aren’t funny.”
  • Starting Out in the Evening: Karina caught Andrew Wagner’s second feature in Denver and had this to say: “[Evening] unfolds in comfortably-worn indie drama territory: New York academics and struggling artists collide cross generations, their almost complete lack of self-awareness failing to keep them from brutally criticizing and actively manipulating one another…but Lauren Ambrose and Frank Langella make each moment on that path feel startlingly real.”
  • I’m Not There: Kevin saw it and loved it at Telluride; Karina saw it at NYFF and, um, didn’t. Also check out Kevin’s interview with Haynes here, and audio from Haynes’ NYFF press conference here.
  • Protagonist: Guest SpoutBlogger Pamela Cohn on Jessica Yu’s experimental tackling of Euripedes: “Juxtaposing live interviews with four different male characters, and using archival footage of their lives intercut with highly-stylized scenes of puppets reciting Euripides‘ in the original Greek acting out the tragedies being narrated on-screen, Yu orchestrates a provocative and deeply-thoughtful chorus based on the structure of a Greek tragedy…yes, it is quite challenging to watch, but far from boring.”