SCREEN-L Archives

July 1994

SCREEN-L@LISTSERV.UA.EDU

Options: Use Monospaced Font
Show HTML Part by Default
Condense Mail Headers

Message: [<< First] [< Prev] [Next >] [Last >>]
Topic: [<< First] [< Prev] [Next >] [Last >>]
Author: [<< First] [< Prev] [Next >] [Last >>]

Print Reply
Sender:
Film and TV Studies Discussion List <[log in to unmask]>
Subject:
From:
Shawn Levy <[log in to unmask]>
Date:
Thu, 28 Jul 1994 09:52:21 -0700
In-Reply-To:
Reply-To:
Film and TV Studies Discussion List <[log in to unmask]>
Parts/Attachments:
text/plain (24 lines)
On Thu, 28 Jul 1994, Donald Larsson wrote:
 
>
> This leads to a, I hope, more significiant question:  Are there other films
> that plug particular social/political agendas and/or the filmmakers'/authors'
> works with elements of setting and such?
 
I have two:
        1)  When Joel and Ethan Coen found themselves stricken with
writer's block during the writing of "Miller's Crossing," they found
their way out of the dilemma by writing a screenplay about a guy with
writer's block -- which, of course, became "Barton Fink."  As a tribute
to the fictional character who salvaged their gangster picture, they
named the hotel in which Gabriel Byrne's character Tom lived...The Barton
Arms.  It's written on an awning.
        2) In "The Mask," during the "Havana Pete" production number, you
can catch a glimpse of a movie theater marquee that reads "Thirty Seven
Theaters."
 
 
 
    Shawn Levy       | "If we only had a lousy little grand
 [log in to unmask] |  We could be a millionaire!"

ATOM RSS1 RSS2