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Obviously, what we're here doing right now is. My response is, "That'll be a really interesting thing to get on screen." I do a lot of true stories. Is this intentional? Is this what you naturally gravitate toward?ĬV: I don't read a script and say, "Oh, this is really risky, therefore I want to do it." But I definitely feel that material which provokes me often might provoke others.
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But my most financially successful movie in terms of millions is One Hour Photo, which made about $32 million domestic, I think.ĪC: The commonalities among your films can be seen in their riskiness and transgressive qualities. Because if you mean how much a movie cost the ratio of how much it cost to how much it made then the most financially successful movie I ever made is Go Fish, because that cost about $200,000 and it grossed well over $3 or $4 million. any chance to see that projected, I think, is a real treat.ĪC: Is that your most financially successful movie?ĬV: I guess it depends on what you mean by financially successful. It'll be great to see it on the big screen.
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And Swoon is only the second film I ever produced and it still really holds up. Hedwig and the Angry Inch, obviously, it's such a fabulous music movie that it seems completely appropriate to be here. I'm wondering why these three particular movies were selected to screen at South by Southwest.Ĭhristine Vachon: I didn't choose them. We visited her on the set and sat in a production trailer and talked about her career.Īustin Chronicle: Your career is so marvelous and vast. She accepted South by Southwest Film's invitation to be the subject of its retrospective this year before she knew that she would be concurrently filming in Austin. Even though some of her projects ultimately work out better than others (no names here), each film is worth having been made, worth having tried to meet its challenges, worth having dared.Ĭurrently, Vachon is in Austin supervising production of Every Word Is True, a movie about Truman Capote and the period during which he wrote In Cold Blood. Some writers have called her the "Queen of the New Queer Cinema" others associate her name with politically committed filmmaking. Her work often seeps into the crevices between independent and commercial filmmaking. The 40 or so films already bearing her name attest to that. She is no stranger to risk, controversy, and experimentation. The title of her book (written with David Edelstein) is Shooting to Kill: How an Independent Producer Blasts Through the Barriers to Make Movies That Matter. She has introduced us to the directing talents of film newcomers John Cameron Mitchell (Hedwig), Mary Harron ( Warhol and the upcoming Ballad of Bettie Page), and Kimberly Peirce (Boys Don't Cry), and has recently worked on projects with veterans Robert Altman (The Company) and John Waters (A Dirty Shame). Vachon has also produced the first features of artists Larry Clark ( Kids ) and Cindy Sherman (Office Killer), and actors Ethan Hawke (Chelsea Walls) and Tim Blake Nelson (The Grey Zone). Other films include Tom Kalin's Swoon, I Shot Andy Warhol, Go Fish, and the notorious Kids.
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She has gone on to produce all of Haynes' films: Safe, Velvet Goldmine, Far From Heaven, and his forthcoming "biopic that's not a biopic" about Bob Dylan.
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Vachon got her start as a feature film producer in 1991 when she teamed up with Brown University alumni Todd Haynes and Barry Ellsworth to produce short films and eventually Haynes' first feature and Sundance grand jury winner Poison. In just the past few years, the New York-based film producer and head of the production company Killer Films has produced the films Far From Heaven, Hedwig and the Angry Inch, Todd Solondz's Happiness and Storytelling (see " This Is a Love Story," for an interview with Solondz), One Hour Photo, and Boys Don't Cry, to name but a few. Look among the titles of the most daring and delirious American independent films of the past 15 years and you'll discover that a good number of them share one name in common: producer Christine Vachon. Christine Vachon on the set of Every Word Is True (Photo By Aubrey Edwards)