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Questions by: Joanna Grillo


Film critic Robert Cashill took time out of his busy schedule of writing, blogging and stay at home dad-ing to talk with cinemaHYPE about what’s going on in the film industry today. Cashill’s resume includes editor at both Stagebill and Lighting Dimensions magazines as well as success as a freelance writer. Cashill’s blog has even been picked up by aggregator sites like Rotten Tomatoes. Born in Randolph, N.J Cashill attended North Western University and lived in Hong Kong for some time. Cashill now resides in New York City with his family.


Joanna Grillo: On your blog you have some strong feelings about 3D movies and how they are ripping off movie goers. Do you think this is just movies as the Jetsons intended or passing fad to hike up prices?

Robert Cashill: When I was a kid 3D was gone, it came back in the early 80’s with lots of good movies. I loved it, I don’t mind putting on the glasses but I think it’s a case of killing the goose that lays the golden eggs. The technology is the same in all of these movies so you don’t need to pay the extra three dollars or whatever to rent these glasses every time. You can just bring glasses from a movie you already saw. How to Train Your Dragon’s numbers were down and I think that’s because parents are getting fed up with paying what in the city comes out to nearly sixteen bucks a person to take their kids to the movies. Many of the 3D movies out there aren’t filmed for 3D but converted later so it’s just a few things popping at you here and there, something like Avatar that was made for 3D form the beginning to me is worth it. They aren’t giving much bang for your buck. It just seems like the movie industry taking advantage of you, but really, I do love 3D movies.

JG: With movies like the hangover and UP! getting more and more critical success do you think the citizen cane fans of the world are coming off their high horses to have some fun finally?

RC: Among critics reviews are being supportive of movies like that now. Hot Tub Time machine for example, you need to be in on the joke and it seemed like a lot of the critics don’t get the joke there. If it is smart there’s always critics who support the seemingly less highbrow. I don’t think they are as universally condemned as before. It’s something you need to take case by case, the hangover was a really well done comedy and ended up with golden globe nominations. There is defiantly a line in the sand for what’s a Hot Tub Time Machine and what’s a Hangover but I’m not sure where that line is.

JG: I read your post about Tim Burton’s
Alice in wonderland, seems like you’re not a huge fan of the box office names he went with. What are your thoughts on directors who partner with the same actors, like Burton-Depp, Apatow- Rudd, Scorsese –DiCaprio.

RC: I think it works within reason. DiCaprio and Scorsese work very well together. I didn’t think Gangs of New York worked but by the time they got to The Aviator I found Leo a very credible Howard Hughes. Shutter Island worked really well. It’s different then when De Niro and Scorsese paired up in the 70’, 80’s and even 90’s. It was explosive; they were both new on the scene. I like film makers to switch it up, but they have been successful. I like Johnny Depp in the horror-fantasy type films Burton puts him in. I wanted different actors for Sweeny Todd, it seemed like the leads couldn’t express themselves vocally very well. Helena Bonham Carter was less comfortable in Burton’s onscreen world then Depp in my opinion.Comedians work well like this. I saw Paul Rudd on the New York stage when he was starting out and expected him to go more serious but he took a turn and does it well. When those actors are used in the right pockets it works.

JG: Having done both, would you rather write freelance or on the clock?

RC: I have never been a full time writer. I have been an editor though and as an editor you end up dealing with a lot of bureaucracy. Writing freelance has given me a lot more free time. I am a stay at home dad now to my little girl, so it helps. Freelance doesn’t have a lot of money in it. Its not much of a profit making venture. It’s becoming like a vocation, like the priesthood, you do it because you love it and need to.

JG: I would imagine that the Hollywood movie scene is slightly different then the New York film students but how did living and writing in Asia compare to the American movie scene?

RC: I lived in Asia 20 years ago, multiplex theaters are common now but they weren’t that big then. Hong Kong was big in the 80’s for films then handed it over to China and they picked up the industry again. Korean film is thriving now more than ever before. There is much more crossover now, actors who are pretty established in one place are moving into another, younger actors are also sometimes making names for themselves in foreign countries and then go back to their home countries. There is a lot of cross fertilization going on.

JG: Any predictions for what will be worthwhile summer block buster’s?


RC: 2023 looks good 3D or not, it should be very entertaining. Inception comes out July 16
th, it’s a sifi, action, romance movie with Leonardo DiCaprio, it should be really good.

2 comments:

Nice Q&A Joanna :)

My only suggestion is to be more careful with the film titles... Make sure they're capitalized where they should be. It's also good to italicize the names of films and publications to differentiate them from the rest of the text.

April 14, 2010 at 10:10 AM  

The questionnaire seemed to flow really nice. It had a natural flow of consciousness to it. Also the questions went in depth to really flush out the personality of the interviewee.
As a suggestion, a picture of the interviewee would help readers get an idea in their head of who you're talking with. This can only help your credibility and allow readers to feel more emotion when reading.

Joe Cafone

April 14, 2010 at 10:12 AM  

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