Name:              Eric
E-mail:             hoheisele@aol.com

Hi Josh,

I was wondering if you have any thoughts or opinions on the recent trend in "found footage" films, where the film mimics a documentary of actual events stitched together by the characters using camcorders. You may not have seen many(or any) of the films that use this technique, such as 'Blair Witch Project' 'Cloverfield' 'Diary of the Dead' 'The Poughkeepsie Tapes', but the trend seems to be growing, at least in the horror genre. Do you think it's lazy filmmaking? Do you think it could translate to any genre other than horror?

Thanks,
Eric

Name:              Darryl Mesaros
E-mail:             simonferrer102@yahoo.com

Dear Josh,

   It will be?  Awesome!!  I trust the link to the site for the new Special Edition will be posted on this site once it finally becomes available.   On another subject, I bought the fourth RAMBO movie a few weeks ago (yes, I'll admit it:  I own all the Rambo movies.  Unrealistic.  Yes. Rather insulting to real Vietnam veterans.  Certainly.  But I just love watching Sly blow shit up..), and was wondering, if you've seen it, what you thought of it.
    My two cents:  it was surprisingly good for a fourth installment sequel.  Sylvester Stallone wrote and directed this one, and despite the monosyllabic limitations of the John Rambo character, he brought a little more depth to the material than what one would expect.  The film is unflinchingly graphic and violent, but not purposelessly so; it serves to underline the brutality of the Myanmar military regime (the villains in the film), and the violence of the main character.  All in all, the film is not exactly intellectual, but it isn't just another stupid action movie, either.  Sly must've done something right:  the Myanmar military junta has outlawed sales of the film in Burma, with a ten year prison sentence for possession of the film.

                           Darryl

Name:              Lucy
E-mail:             susydusy@hotmail.com

Dear Josh:         

hahaha, this story is sooo full of shit. Nice try tho

Name:              Lucy
E-mail:             susydusy@hotmail.com

Dear Josh:         

How can a chap with such a small weener be SOOO full of shit? To be frank I am gobsmacked that people take you seriously when by your own admission your life is simply the consequence of smokin too much weed. Save some space in the real world and try an overdose sweetheart.

Name:              Bob
E-mail:

Dear Josh:         

Did you see any of the Rome series by HBO.  I found it quite enjoyable, and reasonably historically accurate for historical fiction.

Name:              John
E-mail:             warbucks216@yahoo.com

Hi, Mr. Becker,

I was curious if you knew of any avenues to acquire the movie Harpies. I recently saw it on the Sci Fi Channel and I really enjoyed it. If you know any way to get a copy of it, other than setting the tivo next time it comes on, I would greatly appreciate it. Thanks in advance.

Name:              John Huston
E-mail:
Dear Josh:

               In reference to the first assistants post, I've had two great assistant directors in my life: Tommy Shaw is one, and the other is Bert Batt. The rest range from good to fair to very bad indeed. Whatever is good about THE MAN WHO WOULD BE KING, Bert Batt had something to do with it. Bert's ideas were always well thought out, and usually they were good ideas. If you didn't go for what he proposed, he didn't turn petulant, but addressed himself to the next problem. He would sometimes be up two days and three nights running, arranging something complicated like a whole troop movement; not only was he a powerhouse of energy, but he was resourceful to an amazing degree. When it came time to shoot the Khyber Pass scenes, we learned that the tribes in our area would not allow women to be photographed. Undaunted, Bert went to the nearest cities and recruited women from the brothels. We had been warned not to touch any women in public-even a whore was someone to be protected from foreign infidels, and the tribesmen in this place carried knives or weapons of some sort. This sequence involved a large number of people and camels moving though the "Khyber Pass," and we had already experienced great difficulties with the camels, which were agricultural camels broken to the plow but not accustomed to being loaded or ridden. Then, at a turnstile which was supposed to mark the border between Afghanistan and India, one of the women froze and refused to move. The camels were piling up behind her. All entreaties were to no avail. She simply froze and refused to budge. Bert Batt walked up behind her and kicked her right in the ass. He kicked her so hard that even I-standing next to her-felt it. The woman only had to make an outcry and Bert would have been cut into ribbons. Instead, she hung her head as if to say, "Yes, Master," and moved on to join the others.
     The great first assistants are all well known. They are like great top sergeants, often valued more highly than the director. When I find such an assistant, I put all my trust into him, First assistants are basically "company men," and one of their primary responsibilities is to protect the interests of the studio. Some of them carry this to the extremes, basing every decision on immediate monetary savings, regardless of quality. Then there are those, like Tommy Shaw and Bert Batt, who understand that cutting corners doesn't necessarily save money. They have the ability to perceive what a director is after, and the judgment to decide whether it's good enough to warrant added expense. If it is, they are the director's champions.
     A first assistant worth his salt takes over the details, leaving the director free to make creative decisions. The first assistant decides when the company moves; whether or not there should be a second unit working on the preparation of the so-called action shots; whether the action scenes should be shot together or broken up. He is a specialist in such back-up people as stunt men; he knows them by name, and knows who is best for what: falls, horses, rope-climbing, driving, piloting or motorcycling. When it comes to explosives, he picks the powder man. A good first assistant is a first-rate diplomat as well as a disciplinarian. He has the ability to command without offending people. Along with his authority he has a sense of fitness and good taste. He is able to go to the stars' dressing rooms and persuade them to his course of action without toadying to them or seeming too authoritarian. There aren't many like this.

John

Name:              Kenneth
E-mail:

Dear Josh,

What does the job of an Assistant Director entail on a typical low-budget film? Does he or she really end up being the most hated person on set as some have told me?

Best,

Kenneth

Name:              Yaara
E-mail:             yaaratalj@gmail.com

Dear Josh:         

Comments regarding the Unbreakable - If the a movie plot involving a real life superhero sounds so ridiculous to you right from the beginning, do you really think you're fit to critic it? You didn't even try to balance your good and bad arguments, which makes the whole critic a bit pointless

Name:              jcrn
E-mail:             jcorn59483@aol.com

Dear Josh:         

I would like to interview you and, as odd as it may seem, I am trying to find out about tv logos, including the one used on Xena at some points. I'm a writer and we sometimes wonder about odd things.

Name:              Charlie Smith
E-mail:             Incrediblechuck2000@yahoo.com

Dear Josh:         

After reading several reviews on your site I just can't imagine what movies you would like. I can't imagine you watching any movie without your internal analysis distracting you from the simple pleasure of just sitting back and enjoying the ride. I couldn't find one positive review. No I didnt read all of them because I don't have time to sift through rants. Can you please prove me wrong by proving that your not just a bitter film maker who is lashing out, and point out a few positive reviews on your site. OR do you only post the negative one? How about a review of 'The Gift'

Name:              Nick
E-mail:

Dear Josh:         

Actually, I adore Lovecraft's writing style. The problem with his work, I find, is that he's not much of a storyteller. His stories basically read like newspaper articles, with everything in the past participle, and everyone keeps describing "horrible" things that are never explained. None of it's really scary, either, although the implications of the stories are incredibly nihilistic and grim. However, I don't have a problem with this approach since most of his stories are very short, and still consistently interesting with fascinating ideas (if they were novels, I doubt I could get through them). But, yeah, not nearly as good as Mr. Poe (who was Lovecraft's main inspiration) and definately not as good as Borges.

As for Kwai and Lawrence, isn't that like comparing apples and oranges? I must say, though, Lawrence is definately my favorite (Kwai is better written). It's a marvelous exploration of the disatrous effects being a hero can have on a person's mind, body, and soul, and surely there's some irony in that. And the photography is to die for - the shots of the boy looking out over the desert, where it's just giant blue and yellow rectangles with no sound, and the opening shot of Lawrence's tiny little driveway, which so brilliantly contrasts the enormous open spaces in the rest of the film. I can't agree with your assessment of the finale - to have the audacity to end a film like that, where the hero just becomes a forgotten, hollow shell of a man, just floors me every time.

But I love Kwai too. I also really like "Treasure of the Sierra Madre," and how an insane gambler like John Huston made such an anti-greed film. I loved the look Walter Huston gives Bogart when they're in the tent and says "When are we gonna start dividing it?" What do you think?

Name:              jc
E-mail:

Josh,

Recently heard that some studios was thinking about doing away with residuals for writers. As a writer myself im torn on this issue. For one the obvious first reaction: this is very bad. I want to be paid when my product sells.

But i cant help but think this is, in a way, fair. If a product is successful and audiences pay again and again to see it then as a writer i should also be paid again and again. If the thing bombs well then...And will this perhaps raise the value of good writers? Or are they still dime a dozen?

Back to the other side. As i said If I work i expect to be paid. Regardless of whether or not my film sells. The studio bought it, its essentially their problem to market it.

Where do you stand on all this?

Name:              Wendel Hill
E-mail:             wendhill@breadbox.com

mr. bicker:

i was wondering jorsh if you would be interested in coming t o my home for a private film festival to be presented on m y sumptuos THXx theater system which rivals a movie theater.  we have a spare room for the likes of you where you would be appointed well and we have pancakes.  mostly i want to watch star trek related movie but we could watch something you want too if you insist

please come.  i am lonely out here

Name:              Tim
E-mail:             NansemondNative

Josh,

I watched the movie "Last Summer" that was discussed.

Barbara looks exectly like she did in "Boxcar Bertha". The movies were only a couple of years apart. Yes...Barbara certainly had the plump hiney didn't she Josh? That's what I'm talking about. Hell yeah! The woman transcends time Josh.

Seeing John Boy Walton as a young kid, and I do mean kid, was unexpected. I can also tell you for sure that PETA would never let that old "string on a seagull" trick happen today. Shit! I couldn't even imagine the controversy that would bring today. I am assuming this is the movie where the seagull was accidentally killed resulting in the "Barbara Seagull" > personification.

It was a fun movie to watch in most respects and definitely embodied the kinds of experiences most kids experience even today. The Heineken on the beach brought back memories for me but I was never able to get a girl to take off her top with another guy around. The scene in the movie theater where both the boys are feeling her boobs I thought was intriging for some reason.

Richard Thomas's character clearly had issues which manifested on a mostly subtle level the whole movie. The issues came around full circle obviously with the rape of the nerdy girl at the end. Of course, little Susie was apparently a psychopath as well and encouraged the rape as far as I could tell. Let's not forget she murdered the bird due to a peck interpreted by her as the bird turned on her after she saved it. The other kid was your basic home grown pervert.

It was beautifully shot and I am definitely into the beach. That alone was enjoyable enough for me. I thought the final long shot was wonderfully pulled off as well.

I don't know if I am an idiot or not but I'm not sure I got the point of the movie. Was it just a bunch of young fudged up kids attempting to help each other deal with their issues or was there something symbolic and deep hidden in there?

I'm watching it again tonight so I hope to gather a different perspective then. There is every possibility that I missed some things the first time around.

What are your thoughts on the movie Josh?

Finally, if you like the mixture of surf, sand and love then you might check out "Summer of 42". I think you would probably like it. It was released in 1971.

Tim

Name:              Greene
E-mail:             brettmgreene@gmail.com

Hi Josh,

I was going through the backlog of Q&As when I caught up to a thread about the relationship between quality, or audience appreciation and money. Obviously, there's a huge divide between what film executives THINK audiences want to see, and what really does strike a cord with them. I was personally surprised to find that "On Golden Pond," was the second highest grossing film of 1981, just behind "Raiders of the Lost Ark." I'm fairly certain that a film about an octogenarian couple wasn't greenlit with the notion it would be a blockbuster hit.

--Brett.

Name:              Kenny Mooney
E-mail:             mooneykenny@gmail.com

Dear Josh:         

Thank-you for being there, there are so few brave people to take on religion. Been trolling the internet and there ain't much hope or bravery out there. I agree with all you say, religion is evil and may more of us attempt to remove this cancer from the planet. One suggestion, the way you say it really distracts from the argument, it makes you look angry , dangerous, and easily dismissed. I love it, but if you really wanna make your point you are gonna have to simply lose the cursing. You have the good points and the bravery, perhaps that goes hand in hand with the vitriolic tone...anyway , just a helpful suggestion. See not all those without a God are evil, some of us take the time to offer a hand to a stranger.

Name:              Justin Boggan
E-mail:             justinboggan@hotmail.com

Dear Josh:         

How come Joseph LoDuca didn't score "Harpies" though he did everything from then to 1994 (stopping briefly at one TV show).

And will he score "The Horribleness"?

Thank you for your time,
-Justin-

Name:              Tim
E-mail:             NansemondNative

Josh,

You are right on time about Barbara Hershey. She was, and still is, one hot woman.

Barbara is your basic cool, down to earth flower child.She was an exhibitionist at heart I think and a child of nature. I have read about the seagull incident and her subsequent name change to Barabra Seagull for a short duration.

I have the August 1972 issue of Playboy that has a small article about "Boxcar Bertha" in it. Barbara and David Carradine were once lovers and maintain that the sex scenes in "Boxcar" were real and not simulated. I believe what they say. I have two press release photos from "Bertha" as well. Sadly, I'll never get to meet her to talk shop and ask her to sign the photos.

Another interesting aspect about that particular issue of Playboy is the Sam Peckinpah interview. Sam - "I don't want another son of a bitch making good movies. I detest every film maker except the innocuous ones. I love Ross Hunter. Ross Hunter is my idol. I'd like to be Ross Hunter." Later on in the interview concerning producers - "I think there has to be one person who's making a picture and that person has to be the director."

Interesting interview Josh. I think you would like reading the whole thing.

Finlly, I just found "Last Summer" at a reasonable price. I'll let you know my thoughs on it after I watch it. Thanks again for giving out the tip.

Tim

Name:              Ross Tosskov
E-mail:             rtaskov@lycos.com

Dear Josh:         

Typical American, narrow-minded, haughty, completely ignorant to anything cultural or unique in a good way about the places they visit, may be simply because there is no such thing as an American culture (apart from perhaps the American Indians who are near extinction).
. .
No reasons for you man to be proud that you are blind for the world around you.
I just feel sorry about people like you.
Good Luck!
RT

Name:              Jeff Alede
E-mail:

Dear Josh:         

Are you as thrilled as I am that Obama finally locked up the Democratic nomination? I also like how he's handling himself with all the pressure to have Clinton on the ticket.

Name:              Mumblecore
E-mail:

Dear Josh:         

I agree that film hasn't become any better with the advent of digital, but I don't fully believe that it's hurt it any either, except maybe more films are being produced at a quicker rate, the majority of which I admit are bad.

I don't believe the lighting difference is always a bad thing. I thought the movie "Tape" was a good movie and it certainly didn't look like film. However, I saw "The Brown Bunny", which is a horrible film, look like it was digital when it was actually shot on film.

I think the overall bottom line is: Is the film good? If the film's good, I personally don't care what it was shot on.

Much more respect sent your way.

Name:              Darryl Mesaros
E-mail:             simonferrer102@yahoo.com

Dear Josh,

   If you changed the title back to STRYKER'S WAR and repackaged it with a new marketing angle, you might have a new market for it.  Think about it: Marines vs. a terrorist cult.  The concept is relevant to what is going on today, and it wouldn't be the first time that a movie was reissued for a new market climate.  If not that, then a new 'Special Edition' with the original short 'Stryker's War' and maybe a short making of documentary as bonus extras.  Given the minor cult status of TSNKE, this is not an unsaleable concept.  If Sam Raimi and Anchor Bay can come out with yet another "Ultimate" edition of THE EVIL DEAD, then why not you?

                            Darryl

Name:              The Wine Drinking Critic
E-mail:

Dear Josh,

I'm nearing the end of John Huston's AN OPEN BOOK (last month's book was Ken Burns THE CIVIL WAR), and the last chapters I read concerned FREUD and THE BIBLE. How did you feel about those two films?

I noticed FREUD doesn't seem to be in release according to imdb.com... but I found a bootleg copy online.

I like John Huston's story about THE BIBLE, all the work he put in to get the animals walking into the ark side by side, and nobody cared, because, animals always walk into an ark two by two, it's a known fact.

Your opinion on MUSLIM WORLD may be valid, but I thought it was funny, so it works for me.

Name:              Saul Trabal
E-mail:             ghost_kingdom@yahoo.com

Hi Josh,

For the most part, I've sworn off watching movies. I'm tired of the useless, milk-n-toast shit that passes off for cinema. This past Friday, while at the library, I saw saw a DVD called "Voces Innocentes". Translated in English, this means "Innocent Voices." The plot-in war-torn 1980's El Salvador, Chava, an 11-year old boy, suddenly becomes the "man of the house" in a time when the government's army is forcibly recruiting children for civil war. As his single mother fights to protect her children, their village becomes both playground and battleground. I was intrigued enough by this synopsis to rent the DVD and take it home.

This movie has done what no other film in my life has. It shook me to the core and ripped out my heart. This is the darkest, most devastating film I've ever seen. It crushed me. It nearly brought me to tears-and I'm not a person who is moved easily. It is a ferociously unforgiving, unflinching look at how society can fall apart, sparing absolutely no one-not even the most innocent.

I'll never forget this movie. This movie has reminded me what the awesome power of film can bring, when used to its fullest potential-something that Americans have mostly forgotten. We Americans have gotten too used to milk-n-toast horseshit, and we also don't want to look at anything happening beyond our borders. We've become apathetic to the world around us, not giving a fuck that America isn't the be-all, end all. Instead of focusing just on what's happening within our borders, we need to look at what's happening in the world around us, open our frigging minds and learn about how the human condition plays out elsewhere-including absorbing the bitterest of the lessons that play out on the world stage. Films like this NEED to be out there to remind us of the dark side of homo sapiens and how we can't let that side of us run amok.

SEE THIS FILM. I cannot stress this strongly enough. You've complained about the lack of substance in film. This gem is something you simply can't afford to miss.

Name:              Scott Cole
E-mail:             scole9179@juno.com

Hey Josh. I was referred here by your niece Eden. I was a teacher at her school.

She told me you worked on the Evil Dead Series.

I was wondering if you ever saw an Italian/Mexican production called La Tomba by Bruno Mattei. In the movie, they steal a lot of footage from Army of Darkness, some of the Indiana Jones movies, and others.

Since I love movies, I don't like seeing other people rip off of other's work. Just wondering if you or Sam Raimi new about it.

Love your movies. Hope to see more of them.

Scott

Name:              Raoul O'Hara
E-mail:             raoulzraoul@yahoo.com

Dear Josh:          

I noticed your mention of the new Michigan Film incentives, and I thought you might be interested in this press release I just read:

Provides a Cash Rebate on Michigan Expenditures of 40%, and 30% for labor and crew. Includes preproduction, production and postproduction costs. For example: Scripts, set design and construction, equipment rental, makeup, special effects, film processing, editing, sound mixing, stage usage, catering, lodging, etc. Preproduction and Postproduction costs include costs relating to the creation of trailers, marketing videos, commercials, duplication of materials created for consumer consumption. $50,000 minimum expenditure is required. 30% Credit for qualified personnel expenditures can not exceed $2 million for any one person. Rebate rises to 42% for expenditures in Core Communities, 103 Communities, urban (Detroit, Southfield, Grand Rapids) lake side (Holland, Grand Haven) and mid state (Grayling, Sturgis) Rebate is in the form of a Refundable Credit. This credit is also assignable to another company. Except for the $2 million per individual salary cap, there is no other cap on this Rebate, and no expiration date (also called a sunset).

It sounds like the rebate on personnel/crew is only 30% and comes in the form of a credit ( tax credit?) So hiring you to direct would only save someone 30%, (and there's that 2 million $ salary cap, so you probably wouldn't get your usual fee.)

I also have two questions for you:
1. Who do you think you are?
2. What gives you the right?

Name:              Darryl Mesaros
E-mail:             simonferrer102@yahoo.com

Dear Josh,

   Indeed, Gregory Peck was an asset to any film he worked in, even the lesser ones.  Speaking of Huston's MOBY DICK, do you happen to know what film stock that was shot on?  I ask because it looks contemporary even now, and not at all like a 1950's film.  Part of it was Huston's authenticity of detail (i.e., no actors wearing Vitalis in the background), but the main part was the cinematography.
     On another note, have you ever considered changing the title of TSNKE back to STRYKER'S WAR?  It just seems to fit the subject better and besides, as much of a fan of TSNKE that I am, THOU SHALT NOT KILL:  EXCEPT is a lame title for an action picture.  Just a thought.

                             Darryl

Name:              Lee
E-mail:             lee.price@gcapmedia.com

Hi Josh

Wondered if I could ask a favour, please? You liked my short film, 'Camping'. Well, another of my shorts, Doodlebug, is currently the second most viewed on the Virgin Media Shorts website. The 12 winners get their short shown in UK cinemas for a year, before the main feature. Could you post this e-mail, togther with this link, please?: My short film DOODLEBUG is the second most viewed in the Virgin Media Shorts competition (ooh, get me!) The 12 winners get their films shown in UK cinemas for a year.

I know most of you have seen it before, but could you PLEASE click on the link:

http://www.virginmediashorts.com/film/1543551325

And then if people like, they can vote and comment.

Thanks Josh. I've got Ridley Scott's Duellists; will make time to view and get back to ya.

Lee

Name:              Mumblecore
E-mail:

Dear Josh:         

I've posted on here before. I've never once said that film is dead, or that film isn't still a great thing to shoot movies on. I'm all for film. However, I do believe that a movie doesn't have to be shot on film to be good. I think both film and digital can co-exist without bumping the other one off.

My only main argument for why digital should be utilized is that the good stuff can look like film. And overall, digital is cheaper than film (no developing costs, etc.). The cameras are more expensive, but once you've bought one, or rented one, you've taken care of the really expensive part (as far as hardware goes).

It just seems reasonable to me that if you can get the same look for much cheaper, then why spend more money than is needed. Put that money into production design and lighting and really good special effects (if your movie calls for it). Put the money on the screen, not into a developer's pocket.

That's my only argument really. And that's specifically for really good DV.

The cheap DV isn't completely invalid either, but no, it's not of the same quality when it comes down to looks.

Ultimately, it's the script that matters. I don't think there should be a bias against any movie simply by what camera was used.

I hope I've made some sense. I also hope I didn't sound like a prick. That wasn't my intention.

Much respect to you and your work.

Name:              Greene
E-mail:             brettmgreene@gmail.com

Hi Josh:

Have you heard of a new documentary about Dalton Trumbo, incidentally called "Trumbo" which recalls his career and has snippets of his work recited by actors like Liam Neeson and David Strathairn? It's over at Apple Trailers for your viewing pleasure.

On another note, did you see that the City of Philadelphia is asking its local Boy Scouts of America troop to start paying $200, 000 in rent per year (they currently pay $1 per month) unless they admit openly gay members? I didn't realize it was their policy to be bigots, but then again, as a Canadian, I don't much understand how that exclusivity is a First Amendment right.

--Brett.

Name:              Nick
E-mail:

Hey Josh

Speaking of Harry Potter, I saw the third installment on TV and hadn't the slightest idea what was going on. All I could manage to decipher was that these kids can basically do anything (like, if they need to travel back in time, they can), so they're never in any real danger.

If your nephew is interested in fantasy, however, might I suggest the work of H.P. Lovecraft or Jorge Luis Borges? Those seem like the stories were written specifically for intelligent people, don't involve any wizards or dragons, and the language is goregous. As an aside, I recently read Borges' short stories "The South" and "The Immortals," both of which I thought were just terrific, even though they were only a few pages long. Here's a line from "The Immortals" which stuck with me:

"I have noticed that in spite of religion, the conviction as to one's own immortality is extremely rare. Jews, Christians, and Muslims all profess belief in immmortality, but the veneration paid to the first century of eternal life is proof that they truly believe only in those hundred years, for they destine all the rest throughout eternity to rewarding or punishing what one did when alive."

I did like your book on filmmaking, the section on montage was excellent. I do prefer "Lawrence of Arabia" to "Kwai," though. Definetely looking forward to Rushes (and sorry about getting back to you so late).

Name:              Stan Wrightson
E-mail:

Dear Josh,

Recently you said, "Don't get your hopes up too high for TSNKE. It's more of a curiosity at this point than anything else." I know I've said this before, but Josh, you really shouldn't sell this film short. It's got a compelling premise, excellent shot composition, crisp editing. The "violence vignettes" are really creative and alot of fun. The actors, though inexperienced, all portray their roles with enthusiasm. I really liked Tim Quill in this film. I'm surprised he didn't go on to have a bigger career as a character actor. I know I'm not alone in my love for this film, because as you said, the film keeps selling and selling; and it's much more entertaining than the drek Hollywood has been pumping out for so many years. I think that TSNKE is the second most underrated film ever made. (the first is HAMMER) Any further word on the Synapse releases? I'm waiting on baited breath.
Take care,
Stan

Name:              Scott
E-mail:             sspnyc66@mac.com

Hey Josh,

not a question, but I just read this article about Spike Lee, although, I am not the greatest fan of his films, i think he has brought up two good points in the article and I thought it was cool that he said what he did because I think he is right.

"Speaking about his World War II drama "Miracle at St. Anna," Lee said that, unlike the Coens, he was respectful in the way he portrayed death.

'I always treat life and death with respect, but most people don't," Lee said at a news conference Tuesday.

'Look, I love the Coen brothers; we all studied at NYU. But they treat life like a joke. Ha ha ha. A joke. It's like, 'Look how they killed that guy! Look how blood squirts out the side of his head!' I see things different than that.'

Speaking about the casting for his tale of four black American soldiers in Tuscany, Lee said that black actors appear in war films too infrequently.

'Clint Eastwood made two films about Iwo Jima that ran for more than four hours total, and there was not one Negro actor on the screen," he said. "If you reporters had any balls you'd ask him why. There's no way I know why he did that -- that was his vision, not mine. But I know it was pointed out to him and that he could have changed it. It's not like he didn't know.'"

-Scott

Name:              The Wine Drinking Critic
E-mail:

Dear Josh:         

Have you seen these two movies yet?

ASK THE DUST

From Robert Towne. Colin Farrell and Salma Hayek give two damn good performances as a writer who's stuck in a miserable existence, and a waitress who fucks around in the 1930s. Donald Sutherland gives a good side role too as his bum neighbor. Unfortunately, the film lacks a plot, and you keep getting the feeling it's going nowhere despite the performances. Surely enough, after the 1hr 30min mark, act three turns into a pointless disaster, all the movie had to say was: Fucking hot mexican women is good, very good. So good, when you climax you can almost feel people watching you from a dark theater in another dimension. But don't let her smoke marijuana, or she'll develop a really nasty cough and die.



LOOKING FOR COMEDY IN THE MUSLIM WORLD

This isn't actually better or worse than LOST IN AMERICA, which is a good thing. It does end abruptly, and someone in the first act makes fun of this "I saw LOST IN AMERICA" "What'd you think of it?" "I thought the ending was a little tacked on... just a little". Albert Brooks takes a non-paying job to write a 500 page report on making muslims laugh... he only gets four pages before accidentally sending India and Pakistan to nuclear war.

Name:              michealmyers
E-mail:             michealmyers99@yahoo.com

Dear Josh:         

Is there any way to get a soundtrack or any of the tracks from Alien Apocalypse?  Loved the movie and would like to get some of the sound tracks if possible.

Name:              Retrospective Man
E-mail:

Dear Josh:         

I was just wondering if there are any films that you love so much that you wish you'd made them.

Also, are there any movies out there that have become huge hits that are so shockingly similar to your scripts that you kick yourself for not having had the chance to produce your script because you now know that it might have been a huge hit?

Name:              Will
E-mail:             wdodson52@hotmail.com

Dear Josh:         

I purchased Rushes the day it came out, and have been enjoying the reading, even having read already the essays posted on the site. What I like about the essay style is that it's not artificially polished. It reads as a person might think or speak, making associative digressions and occasionally just letting an anecdote be an anecdote.

On the downside is something that's never the fault of the author, and is a plague afflicting many small publishers: typos. The author can never find them; he's too close to the writing to see them. And small presses (as I'm sure was the case with Point Blank)usually can't afford full-time copy editors. As a result, there are quite a few little misspellings, or "it's" instead of "its," and so on.

Nevertheless, it's a refreshing, exciting read. In every film course I teach, I recommend students check out your essays on structure and on the experience of actually making films. I think what I'll do next time I get an intro to film criticism course is make one or both of your books required. Get a couple extra sales out of them.

Anyway, congratulations on a great second book. I hope there's more to come.

Name:              Angel
E-mail:             aespar2@depaul.edu

Dear Josh,

I recently saw "Out of the Past." I thought it was Mitchum and Douglas at the top of their games.  And I was impressed by director Jacques Tourneur, that I took to IMDb to see what of his work I might be familiar with.

Sadly, not much. Outside of his Val Lewis productions, and  an episode each of "Bonanza" and "The Twilight Zone," his work is unfamiliar.

His Trivia page notes, "Tourneur loved the story for 'Stars in My Crown' (1950) so much that he agreed to direct the film for scale. Although it's one of his finest and least known films and an American classic, it literally marked the end of his career: after accepting such a low salary, no studio took him seriously any more, and he was left to direct marginal films and television shows for the rest of his life. "

I'm intrigued. Have you ever seen "Stars In My Crown"? If so, is it worth tracking down. Or, are there any other movies by Tourneur you could suggest?

Thanks,
Angel

Name:              Tim
E-mail:             NansemondNative

Good Evening Josh.

I was cruising around a flea market a few days and found a VHS copy , in good condition , of "The Last of the Dogmen".

It is a 1995 HBO movie and starred Tom Berenger along with Barbara Hershey. I haven't looked it up yet but I am certain that it was Wilford Brimley doing occasional narration. I think when narration is properly used, as in this case, it does a lot of good for the story.

The movie is about a bounty hunter sent to capture some escaped convicts. Long story short some Cheyenne Indians are discovered living in the mountains. These particular Cheyenne were thought killed off long ago.

Is it the greatest thing ever? No but it is definitely worth a look and I could have spent $3.00 in a far worse manner I suppose. The movie has a low cheese factor.

If anything it will appeal to that aesthetic side of you Josh. The part of you that likes to get the long "beauty shots" will definitely appreciate this flick. The part of you that likes to ask "What if?" will appreciate it too.

Check it out if you haven't already. If you have then be sure and provide your opinions on it.

Tim

Name:              Darryl Mesaros
E-mail:             simonferrer102@yahoo.com

Dear Josh,

   I may have just gotten my dates confused; I think the reference to a 1973 version came out of a TV Guide article that I read once.  In any case, the thought of how someone might've interpreted the story on film prior to the 1980's piqued my interest.
    I'll definitely check out 'The Purple Plain.'  I've always enjoyed Gregory Peck's performances, particularly in that period in the mid-fifties into the early sixties when he had one great role after another.  For a favorite Peck role, I'm torn between his portrayal of Ahab in Huston's MOBY DICK, and his title role in THE GUNFIGHTER.  In each film, Peck takes a particular trait (in one case obsession, in the other repentance), and embodies it in the character he plays.  Plenty of people would argue in favor of his portrayal of Atticus Finch in TO KILL A MOCKINGBIRD, but these two are my personal favorites.  What are your thoughts on this?

                           Darryl

Name:              Ben
E-mail:             nefer_seti2001@hotmail.com

Dear Josh:         

I've been trying to say this for years.  But the hardest thing about accepting it, is trying to understand why billions of people in the world think they're doing the right thing.   Religion should be classed as terrorism if you ask me.

Name:              Jack Alderton
E-mail:             dogstogs@blueyonder.co.uk

Dear Josh:         

Hello, I first heard about you when I found and subsequently bought "The Complete Guide To Low-Budget Feature Filmmaking" at Borders Bookshop as I am hoping to become a Writer / Filmmaker and I like the look of your Films (not sure if I want to see Thou Shall Not Kill... Except for a few years though; I'm only 14...) and I have some questions:
1. Have you actually completed and Released "If I Had A Hammer" yet?
2. Where the Hell have the Making Ofs for your Feature Films gone? They were there last time I was on your Website.
3. In reference to your view that all Sequels and Remakes are worth bugger all and a bad idea for a Film, what's your view on:
a. Toy Story 2
b. Shrek 2
c. King Kong (2005)

Name:              Steve
E-mail:             stgertz@gmail.com

Dear Josh,

My parents insist that they rented Bridge Over the River Kwai in recent years and that the ending had been altered from the original 1957 release, which they saw in the theatre at the time. I have not been able to find any evidence to uphold their claim, but they insist it's true (but cannot be bothered to go into specifics). Do you know of any discrepancies between the original print of Kwai and later versions?

thank you,

Steve

Name:              Brian
E-mail:             mackbrockton@aol.com

Josh,

I'm betting that this question has been asked before, but I don't see it.

Are there any films that have been made recently and/or filmmakers that you find particularly impressive? I know that you say that you almost never go to the cinema anymore, but I was just curious.

-Bri

Name:              Jim
E-mail:             radiotaboo@hotmail.com

Dear Josh:         

Met you years ago after the Stryker project. Was wondering if you had any connection to The Demon Lover, the MI-based horror film with Val Mayerik and Gunnar Hansen, or with any other local projects of that period.

Name:              Brian
E-mail:             mackbrockton@aol.com

Hey Josh,

I asked you about John Carpenter awhile back. Like many, one of my favorite films is the original Halloween. What do you think are the film's biggest flaws? I always love hearing your perspective on things.

Sincerely,

Bri

Name:              Wait wait wait, what?
E-mail:

Dear Josh:         

And it wouldn't matter where I raised the money from, so long as the film was shot in Michigan. And did you say something about if the director is from Michigan you can get more money back?

So like, if I asked my ficticious uncle for 50k, he gave it to me, I traveled to Michigan, hired you as director, and shot the thing, I'd get 40% back and maybe get back something because you live in Michigan?

Is that how it works? If it is, this is sounding too good to be true.