Your take on things is what is either going to make you somebody we talk about or no. You have to have a take on shit. It’s got to be specific and engaging. We’re all standing on the shoulders of what other people have done. But you’re supposed to take that and add your own sauce. It can be intimidating, believe me. When I look at amazing work that’s been done, I don’t look at… Persona or Hard Day’s Night and think, “Oh, I can do better than that.” I just look at that and say, “That’s fucking amazing,” and say, “What about me can make it slightly different?” So it’s not just a Xerox. Everybody steals, that’s a given. If you steal a coat, what are the buttons you’re going to put on it? Ego is something that everybody, creative especially, has to grapple with. You need enough ego to keep going but not so much ego that you’re deaf or blind, that you’re making a mistake and can’t fix the course.
Day 4 of a four-day, Hulk-sized examination into every single James Bond film
These FilmCritHulk Bond essays are so incredible, and this the last one may be the best of them all. But it’s not just the insight into Bond films, and filmmaking/scriptwriting in general, but asides like this - throwaway bits with more knowledge packed into them than half of all film reviews today - which make FilmCritHulk my favorite.
"THERE’S NEVER ANYTHING TO BE GAINED BY HATING A FILM LIKE [DIE ANOTHER DAY]. MOSTLY BECAUSE THIS IS AN ANTI-MOVIE. AND NOT IN THE GOOD COEN-Y WAY WHERE THEY ARE CLEARLY UNDERCUTTING STORY EXPECTATIONS TO COMMENT ON HUMAN BEHAVIOR AND DEEPER MEANING.
INSTEAD, DIE ANOTHER DAY IS THE KIND OF FILM THAT IS NOTHING MORE THAN AN UNABASHED GLUING TOGETHER OF ROTE STORY PIECES / MOMENTS / ICONOGRAPHY / AND TEXTURES WITHOUT A SINGLE WELL-INTENTIONED REGARD FOR ANY REAL PRINCIPLE OF STORYTELLING, WHETHER IT CONCERNS DRAMA, CONTEXT, MEANING OR IMPORT. THIS LIKELY SOUNDS LIKE A HARSH APPRAISAL, BUT IT’S JUST THE REALITY OF THE THING.”