POP ART 2: Goldfinger/The Spy Who Came In From the Cold

 

 

 

 

 

 

 

 

 

 

Just to remind everyone, I have now uploaded my second episode for my new podcast POP ART, Goldfinger/The Spy Who Came in From the Cold. You can find it at https://hcasner65579.podomatic.com/. While there, if you haven’t, check out episode one, Raiders of the Lost Ark and The Treasure of the Sierre Madre. The idea behind Pop Art is for my guest to choose a movie from popular culture and then I will choose one with some sort of connection to it from the more artistic side of cinema. For this episode, my guest Richard Kirkham chose the James Bond blockbuster Goldfinger and I, in turn, chose the brooding, dark adaptation of John Le Carre’s spy novel The Spy Who Came In From the Cold. John Le Carre called Bond an “international gangster” and in this episode we answer such questions as: how did the screenwriter resolve a major hole in the original Ian Fleming story; what line from Goldfinger was removed for censorship purposes; can someone actually die from being painted gold; what is an Oskar Werner and would you want to be one; who makes the best spy, Bond, James Bond, or Alec Leamus?

 

Let me know what you think.

The Second Episode of my podcast POP ART is up: Goldfinger/The Spy Who Came in From the Cold

 

 

 

 

 

 

 

 

 

I have now uploaded my second episode for my new podcast POP ART, Goldfinger/The Spy Who Came in From the Cold. You can find it at https://hcasner65579.podomatic.com/. The idea behind Pop Art is for my guest to choose a movie from popular culture and then I will choose one with some sort of connection to it from the more artistic side of cinema. For this episode, my guest Richard Kirkham chose the James Bond blockbuster Goldfinger and I, in turn, chose the brooding, dark adaptation of John Le Carre’s spy novel The Spy Who Came In From the Cold. John Le Carre called Bond an “international gangster” and in this episode we answer such questions as: how did the screenwriter resolve a major hole in the original Ian Fleming story; what line from Goldfinger was removed for censorship purposes; can someone actually die from being painted gold; what is an Oskar Werner and would you want to be one; who makes the best spy, Bond, James Bond, or Alec Leamus?

 

Let me know what you think.

A STUDY IN SCARLET and TALES OF HOFFMAN: Lucy and A Most Wanted Man

First, a word from our sponsors. 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

Warning: SPOILERS

Ricky Ricardo: Lucy’s actin’ crazy. Fred Mertz: Crazy for Lucy, or crazy for ordinary people?

                                                                           I Love Lucy

First, I must begin by being absolutely clear so that everyone knows where I stand. Lucy, the new sci-fi thriller written and directed by French filmmaker (and some people use that term loosely in this context) Luc Besson is a terrible film.

I mean, c’mon. You know it. I know it. We all know it’s terrible. It’s silly, nonsensical, preposterous, absurd, often makes no sense and is not remotely believable, even for an unrealistic fantasy sci-fi thriller.

Which is also, in m any ways, a redundant way to state it because, well, gees, I mean, c’mon, it’s a Besson film, for Christ’s sake.

But with that being said, it may very well be a…dare I say it…I dare…great terrible movie.