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Ray Pride

By Ray Pride

How Scorsese Do You Expect JOKER To Be?


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3 Responses to “How Scorsese Do You Expect JOKER To Be?”

  1. amblinman says:

    I hope the movie is what they advertise: a cinematic equivelent to a graphic novel that’s simply an alternate take on a known character. I know everyone loves “The Killing Joke” but if you haven’t, and care, check this out:

    That story was really intriguing to me. It tries to capture a “day in the life of the Joker”. The film’s trailers portray a character that to me links up directly with this material. Like, this graphic novel would be the film’s epilogue with a title card that said “5 years later” or whatever.

  2. Mike says:

    Right, this feels like some where between the two with Moore’s theme of it just takes one bad day for someone to become the Joker and Azzarello’s take on descent into madness. That said, it all depends on the execution.

  3. Hcat says:

    I was trying to find a simile to my expectation and it was staring me in the face.

    Joker is to Taxi Driver as
    Downton Abbey is to Gosford Park

    Somebody makes art and then someone makes it pretty.

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“Well, actually, of that whole group that I call the post-60s anti-authority auteurs, a lot of them came from television. Peckinpah’s the only one whose television work represents his feature work. I mean, like the only one. Mark Rydell can direct a really good episode of ‘Gunsmoke’ and Michael Ritchie can direct a really good episode of ‘The Big Valley,’ but they don’t necessarily look like The Candidate. But Peckinpah’s stuff, even the scripts he wrote that he didn’t even direct, have a Peckinpah feel – the way I think there’s a Corbucci West – suggest a Peckinpah West. That even in his random episodes that he wrote for ‘Gunsmoke’ – it’s right there.”
~ Quentin Tarantino

“The thought is interrupted by an odd interlude. We are speaking in the side room of Casita, a swish and fairly busy Italian bistro in Aoyama – a district of Tokyo usually so replete with celebrities that they spark minimal fuss. Kojima’s fame, however, exceeds normal limits and adoring staff have worked out who their guest is. He stops mid-sentence and points up towards the speakers, delighted. The soft jazz that had been playing discreetly across the restaurant’s dark, hardwood interior has suddenly been replaced with the theme music from some of Kojima’s hit games. Harry Gregson-Williams’ music is sublime in its context but ‘Metal Gear Solid 4: Guns of the Patriots’ is not, Kojima acknowledges, terribly restauranty. He pauses, adjusting a pair of large, blue-framed glasses of his own design, and returns to the way in which games have not only influenced films, but have also changed the way in which people watch them. “There are stories being told [in cinema] that my generation may find surprising but which the gamer generation doesn’t find weird at all,” he says.
~ Hideo Kojima