Quotes from amigo by john sayle5/28/2023 ![]() The Ides of March, actor Evan Rachel Woodġ17. The Skin I Live In, actors Antonio Banderas, Elena Anayaġ16. Weekend, writer/director Andrew Haighġ15. The Ides of March, actor Paul Giamattiġ13. Take Shelter, wr/dir Jeff Nichols, actors MIchael Shannon, Jessica Chastainġ12. Melancholia, actors Alexander Skarsgard, Kiefer Sutherlandġ11. Sarah Palin: You Betcha, documentarian Nick Broomfieldġ10. Crazy Horse, documentarian Frederick Wisemanġ09. Dirty Girl, wr/dir Abe Sylvia, actors Juno Temple, Jeremy Dozierġ08. God Bless America, writer/director Bobcat Goldthwaitġ07. Five Days of War, director Renny Harlinġ06. Uncle Kent, writer/director Joe Swanberg, star Kent Osborneġ04. Mark Dispenza is a story analyst and freelance writer who blogs about American independent and foreign film on Indie Film Guru.103. You move from territory to territory with those eight prints.” “We may make eight prints or something like that, which is kind of how we started. They’ve done these kind of very narrow-cast distributions before, where they start with all of the Indians, or the Japanese or the Koreans in the States, and then they let it go out to the art theaters if that’s appropriate. It’s a company called Variance, and we’re basically paying them to distribute it. “Mostly we’re heading for cities that have a large Filipino-American population first. “It’s going to be at the New York Asian Film Festival before it opens here (in Southern California),” Sayles said, “and if you want to go to Manila, it’s going to open the Fourth of July. So they were happy we were there, and a lot of them became extras in the movie.”Īmigo will be released in the United States on Aug. We didn’t even use all of the rice, so they got half of the crop back to sell again. We bought it for what it would have been sold on the market. We bought the rice crop out, and that was very good for the farmers because they got rid of the middle man. “95 percent of the movie was shot on a set that we made on the edge of a rice field. ![]() You take a bolo (knife) and you cut it, and you tie it together, and you got a hut. All of that grows out of the ground here. We’re making it out of rattan and palm thatch and bamboo. “Mostly it’s based on the same research that I did for this book,” he said, “but I realized … that if I can tell a micro-history and set it on a village level, the construction costs will be there, but we’re making it out of what they made it out of back then. Sayles financed the making of Amigo with his own money on location in the Philippines, where the production costs were about one-third what they would have been in the United States. But the audience gets to see all of these little pockets, and they get to connect the dots in a way that the characters don’t.” … How screwed are you if your translator has his own agenda? And then there’s some poor Cantonese guys who are just out of the conversation altogether except with each other.They have no idea what’s going on and they pay for it. “What the audience gets to see is that he’s not translating what the guy said. The one guy who can translate between them is a Spanish priest who has his own agenda. In Amigo, we have Tagalog (the official language of the Philippines). “In my movie, part of the point is they can’t communicate with each other. You start to put those things together and say, ‘Oh, it did this and then it did this, and then it took a right turn, and then it started knocking houses down, and then the bridges held, and then the bridges fell apart.’ You get to see the overview that so few characters do. “But if you talk to 45 people who were in the flood, you start to see the flood from a distance. When people ask you about the flood, you say there was this coffin and I grabbed onto it or this 2-by-4, and I grabbed onto that or whatever. It’s like there’s a flood, and you’re treading water and looking for something to hang onto. ![]() “There are big things happening in this era. “Not one of them has any analysis of the big picture,” Sayles said. Although Amigo deals with a small microcosm of the events of the period, A Moment in the Sun is a sweeping historical epic that follows as many as 45 major characters in the United States, Cuba and the Philippines. Sayles often writes stories that feature a large cast of characters, and this has become his signature style of storytelling. ![]()
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