on life, music etc beyond mainstream



This entry was posted on Donnerstag, 17. Januar 2019 and is filed under "Blog". You can follow any responses to this entry with RSS 2.0. Both comments and pings are currently closed.


  1. ijb:

    Darf man auch als Mitschreiber mitmachen?

    Oder ist es zu billig, wenn ich das beantworte?

  2. Michael Engelbrecht:

    Unsere Filmspezialisten aus Berlin und Pittsburgh dürfen natürlich nicht mitmachen, alle anderen Manfonisten und Leser aber selbstredend. So sorry about the lambchop.

  3. Interaktionist:


  4. Michael Engelbrecht:

    Merde. Ich dachte, es würde länger dauern. Tja, Glückwunsch. Jetzt einfach mir ne Mail mit deiner Adresse schicken, und dann bis März warten.

    Adresse entfernt, da der Sieger sich gemeldet hat.
    Der Rechtsweg ist eingeschlossen.
    Das MHQ.

  5. Michael Engelbrecht:

    Aus einem Interview mit JJB:


    When I did Diva, I was hired by the producers to direct it. They wanted me to take it in one direction, a detective story, and I took in completely different direction. They wanted me to take out all the romantic scenes in Paris, they threatened me that if I didn’t take the title Diva off, they’d sue. They wanted the film to be called The Moppet, or My Boyfriend Jules. These are the kinds of things I escaped from. (laughs) They were very tough producers, Irene and Serge Silberman. They were not kids. He had the money, and she was smart. They dreamt of being producers in America, and had done half of the journey, coming from Poland and escaping the Nazis during the war. So he was powerful and tough, but I was very mean and tough myself at that time, and resisted the pressures. So when Diva was first released, it was a flop. Critically, it was destroyed. Nobody knows this. Specifically, the critics of the New Wave, were very tough on it. France is the worst place to be, for a French director.
    I can see that, because it went against everything that the Nouvelle Vague was about, right?
    No, not at all. What were the principals of the New Wave, if not to express yourself honestly? So I thought they would like it. Sometimes the films of the New Wave, or people like Antonioni, were extremely involved in aesthetics, colors, research. Those were the films I grew up with and learned from. Early Alain Resnais, like Last Year at Marienbad, were very beautiful and very strange. So anyway, it took a full year for Diva to escape from this situation of total oblivion, and it was in America that it was discovered. I had to fight the producer to bring the film to Toronto. I had wanted to bring the film to America first, but the two phrases I kept hearing were “How can we sell this in America?” and “Will this please an American audience?” The answer came from the audience in Toronto: they gave it a standing ovation! I had just landed, totally jet-lagged, and I walk into the theater and everyone is standing up and clapping. I thought I was in a dream, or in a nightmare.

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