As ever on here, I had to Google him to find out who he was. Found out he directed The Commitments, which I loved. Also found out that three of the Corrs were in minor roles in the Commitments.
As ever on here, I had to Google him to find out who he was. Found out he directed The Commitments, which I loved. Also found out that three of the Corrs were in minor roles in the Commitments.
As ever on here, I had to Google him to find out who he was. Found out he directed The Commitments, which I loved. Also found out that three of the Corrs were in minor roles in the Commitments.
I thought it was great. Even went to see The Committed when they toured a few years later.
He could occasionally come out with utter drivel such as Road to Wellville, but the majority of his career was stone cold classics. Mississippi Burning is one of my favourite films of all time, despite the grim subject matter.
The only person I've ever known who had a line in a film was in the Commitments .Paddy Foy, who sang "Elvis was a Cajun " in the Rabittes bathroom during the audition scene.
I'd imagine it's overwrought slightly better than Devil's Advocate pish on rewatch (Luis Cipher, ooh!) but I really loved it the last time I saw it as a teenager. And Lisa Bonet.
he could do rubbish like Angela's Ashes, and like Ridley Scott his ad agency background shallowness is always there, but at his peak his films were watchable as.
He was perfect as a Nordie, dunno what yer beef is. Joe Queenan's Being Mickey Rourke article I remember being funny as, but that's when I laughed with PJ O'Rourke and effing Bryson.
Yeah, 'Bugsy Malone' is one of his many great films and possibly his best.
Then again, this is coming from a man whose first born child is named Tallulah and who teared up when 'You Give A Little Love' came on the news tonight as part of the feature on Parker.
Clearly considering himself well out of it, Parker is disarmingly frank when it comes to the downsides of the film career that eventually wore him down. He had simply had enough of holding out the begging bowls to over-powerful and interfering studio executives.
“I found the whole process of raising the money for a film debilitating,” he says. “Whenever I go to the cash machine outside my local Tesco’s, I see this guy who sits there nursing his dog in his lap, with his hand outstretched. I suddenly thought, that’s me – except, instead of a dog in my lap, I have my script. And there I am in the office of some studio executive where I offer up my hand to beg for the money.”
Unhelpful and unsolicited advice from studios also became a major bugbear. “Their notes on the script can turn great writing into a pedestrian movie,” he says.
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