In <[log in to unmask]> "(Lanny Cotler)" <[log in to unmask]> writes: > >We here have certainly talked quite a bit about making an "European version" >of the love stories we write and produce. The Europeans are so much more >willing to open themselves to camera stretch and flow with the filmmakers >emotional rivers of delight, both spiritual and sensual. > >But Amerikan narrative movies must rush forward into the breach of adrenalyn >and hold there, mindless, enthralled, possessed for as long as we can, for as >long as the filmmaker is able to hold you, sans thought, sans peace, sans >mysticism. ***** Maybe we shouldn't overestimate the cultural superiority of European audiences. Look at the top grossing films in any issue of Variety and they're pretty much the same ones as here. Some of that is undoubtedly due to economic power/cultural imperialism but the people with the background and inclination for stretching and flowing cinema are probably not much greater than in the US, just living in more concentrated markets where it's easier to get access to them. Don't forget that large numbers of European films are just as exploitation-minded as any: horror films, soft-core porn, thrillers (such as Italian gialli), etc. When they come out in the US they're dubbed and not promoted as foreign films; you find them on late-night cable or in the dusty areas of video stores. Consequently American cineastes think of European film as Bergman, Fellini, Truffaut, etc and not Jess Franco, Jean Rollin, Joe D'Amato and other masters of aggressively commercial filmmaking. Best, LT ---- To signoff SCREEN-L, e-mail [log in to unmask] and put SIGNOFF SCREEN-L in the message. Problems? Contact [log in to unmask]