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The Brown Bunny


Last week I got the opportunity to catch an advance screening of The Brown Bunny in Chicago, with an after flick Q&A with the notorious man from Buffalo, Vincent Gallo. In the film, Gallo’s character Bud Clay, is a professional motorcycle racer who travels from coast to coast for a race and is constantly haunted by his mixed emotions and memories of Daisy, his lost love.

Now, regardless of what’s been written about the film by critics all over the world and on the internet, mostly by people who have yet to see the thing, I can honestly say that I enjoyed the film. A total mood piece, a la Lost in Translation (not the right movie, but it’s the first movie that comes to mind) where the residual effect of the film is a cumulative one rather than, “good guy chases bad guy, bad guy trips and says, ‘Oh shit’; plot plot plot plot”. Not that there’s anything wrong with that. Is it a masterpiece? No. Will it change the course of independent film? No. Is it as bad as people are writing about? Well, that depends. It depends on what kind of baggage you’re bringing into the movie. It depends on what YOU’RE expecting from the film. Which brings me to the blow job scene. Yes, I’m talking about the hum-dinger. I’m talking about the ol’ smoking of the pole. I’m talking about…

People, if your only intention is seeing Chloe Sevigny with a dong in her mouth, then sneak into it after your movie’s playing and check it out. It’s in the last fifteen to twenty minutes of the movie and the whole “in out, in out” is about five to ten minutes long (I couldn’t keep track; I was trying to conceal the five foot tent poking out of my pants. Kidding, it was only four.)

Or just wait a couple of weeks; it’s bound to pop up on the internet. Really, in the context in which the blow job is uh, taken, it’s kind of disturbing but hey, that’s just one jerkweed’s take on things. Below you’ll find the highlights from the Q&A. It was refreshing to hear Gallo's views and beliefs on cinema. He was charming, articulate, quotable and handsome. You should’ve seen the barrage of chicks cramming to the front row for a closer look. Took me fifteen minutes to convince my wife it was time to go. Damn.

  • The story of The Brown Bunny came from an encounter Gallo had with a beautiful young lady at a bar in New York. As the night wore on, the lady became more and more drunk and eventually whisked away by three men. Gallo was certain that because she was so drunk that “not nice things were gonna happen.”
  • Gallo traveled cross country from New Hampshire to Los Angeles stopping in six cities along the way, over three weeks for the filming of The Brown Bunny.
  • Since Gallo owns his own equipment (cameras, lenses, sound gear, transportation, lights) there really wasn’t a production budget.
  • Exactly twenty-six minutes of the film was cut between Cannes and the final edit. No cuts were made to the “blow job” scene. Unless you count circumcision.
  • Originally, the film wasn’t ready for Cannes and included an ending in which Gallo’s character commits suicide.
  • During the premiere at Cannes, the crowd booed and hissed as soon as Gallo’s name appeared on screen, then booed for the next three minutes.
  • Despite only a handful of scenes with dialogue, the script is at a conventional, traditional length of seventy-seven pages.
  • Gallo felt that The Brown Bunny didn’t belong at the Toronto Film Festival, even though it was critically received better than when it premiered at Cannes. He felt that it was a disaster because the final mix of the film wasn’t ready.
  • Gallo doesn’t like Toronto.
  • About the Ebert debacle and the people at the Toronto Film Festival: “Roger is a very clever man, a legend. I’d rather have conflict with a legend than three tourists who stood in line and read a pamphlet about the ‘blow job’ movie.”
  • Frequently watches movie with Johnny Ramone. Hey ho, let’s go!
  • Growing up, Danny Bonaduce made Gallo want to become a performer.
  • When the question of if and who he pays homage to, Gallo said, “You may have me confused with Wes Anderson or Spike Jonze, and Mark Romanek, I have such a stubborn point of view of what it is I think is beautiful and right and how a film should be. I’m not a cinephile in that way; I’m not a collage artist like Quentin Tarantino. I don’t refer to cinema. My taste in cinema is not as elitist as people might think. My favorite films are not made by filmmakers that I think are the greatest filmmakers.” Gallo says, “I don’t relate myself to what I like, especially from cinema to cinema and I’m really turned off by people who do; unless it’s Godard or somebody who creates an irony to it, but certainly not the collage artists or the people who sort of pick and make lists of what it is they like and they put their lists together and make a film. It’s definitely not what I’m interested in.”

Source: JoBlo.com
Tags: Hollywood



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