POP ART: Episode 66, The Wedding Banquet/Late Spring


MATCHES, MATCHES, WE DON’T NEED NO STINKIN’ MATCHES. Join me and my guest filmmaker David Au (Eat With Me) as we discuss The Wedding Banquet and Late Spring, what we’re calling matchmaking Asian style.

“She’ll make lots of babies”. Nag, nag, nag. That’s all parents do. Clean your room. Get married. Get good grades. Get married. Don’t stay out late. Get married. …Sounds like it’s time for Episode 66 of Pop Art, the podcast where my guest chooses a movie from popular culture, and I’ll select a film from the more art/classic/indie side of cinema with a connection to it. For this episode, I am happy to welcome as my guest, filmmaker David Au, who has chosen as his selection Ang Lee’s breakthrough film, the farcical The Wedding Banquet, while I have chosen Yasujirō Ozu’s classic shōshimin-eiga drama, Late Spring, both films about parents trying to get their children married. 

And in this episode, we answer such questions as: What is a post-gay film? What is a shōshimin-eiga film? What did Emma Thompson say about Ang Lee? What censorship problems did Late Spring face? Where was the lead for The Wedding Banquet discovered (hint: it wasn’t Schwabbs)? What happened in 1947 and 1948 in regard to marriages in Japan? In what way was The Wedding Banquet a more successful film financially than Jurassic Park? Where does Late Spring land on the Sight and Sound poll? What was unusual about Ang Lee winning an Academy Award for best director?

Check out David’s film Eat With Me on Amazon.

Check out my blog at https://howardcasner.wordpress.com/

My books, More Rantings and Ravings of a Screenplay Reader, The Starving Artists and Other Stories and The Five Corporations and One True Religion can be found at https://www.amazon.com/s?k=howard+casner&ref=nb_sb_noss

Meanwhile, like, follow or comment on my podcast. I’d love to know what you think. And check out the other episodes. On ITUNES and PODOMATIC. https://podcasts.apple.com/us/podcast/pop-art/id1511098925 & https://hcasner65579.podomatic.com/, Anchor: https://anchor.fm/howard-casner, and Spotify https://open.spotify.com/show/5jX4noVGArDJdmcFtmrQcG , Sticher: https://www.stitcher.com/podcast/pop-art, Google Podcasts: https://podcasts.google.com/…, Breaker: https://www.breaker.audio/pop-art, Pocketcasts: https://pca.st/vfjqj6j6, Radiopublic: https://radiopublic.com/pop-art-GExxNb and other streaming sites

Check out my Script Consultation Services at http://ow.ly/HPxKE. I offer several types of service. Testimonials can be found at the blog entry.

Finally, I have published a collection of three of my plays, 3 Plays, https://www.amazon.com/dp/B08478DBXF as well as two collections of short stories, The Starving Artists and other stories, https://www.amazon.com/dp/B07FS91CKJ and The Five Corporations and the One True Church and other stories, https://www.amazon.com/dp/B07KY5Z3CF.

Ever wonder what a reader for a contest or agency thinks when he reads your screenplay?  Check out the second edition of my screenwriting book, More Rantings and Ravings of a Screenplay Reader published on Amazon at https://www.amazon.com/dp/B07GD1XP9Y

PERFORMANCE ANXIETY: Green Room and Viva


First, a word from our sponsors: I am now offering a new service: so much emphasis has been given lately to the importance of the opening of your screenplay, I now offer coverage for the first twenty pages at the cost of $20.00.  For those who don’t want to have full coverage on their screenplay at this time, but want to know how well their script is working with the opening pages, this is perfect for you.  I’ll help you not lose the reader on page one. 
 
Ever wonder what a reader for a contest or agency thinks when he reads your screenplay?  Check out my new e-book published on Amazon: Rantings and Ravings of a Screenplay Reader, including my series of essays, What I Learned Reading for Contests This Year, and my film reviews of 2013.  Only $2.99. http://ow.ly/xN31r
 
and check out my Script Consultation Services: http://ow.ly/HPxKE
Warning: SPOILERS
rev 1Green Room, the new thriller from writer/director Jeremy Saulnier (the follow up to his well-received indie film Blue Ruin, but no, he’s not doing a series of titles with color in them), has a marvelous set up. 
A group of head banger musicians take a last minute job to play at a remote white supremacist bar (does it bother anyone else in the audience that neo-Nazis and Washington DC millennials like the same type of music) because, well, their last gig got cancelled and they’re desperate for money (Saulnier does a clever thing here—as the first number the band plays, they assert their artistic integrity by singing an anti-Nazi song; it serves to help give them sympathy from the audience for taking the job in the first place). 
After the show, they accidentally walk in on a murder and are then trapped in the titular location and must figure a way out of the mess they’re now in.
I mean, it’s a really neat little first act.  It’s certainly gets one empathizing with their situation, wondering what you could possibly due in the same situation. 
At the same time, this is also where the movie, for me, stopped fulfilling its initial promise.  Continue reading