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Shields was 14 years of age when she appeared in the film.[6] All of her nude scenes were performed by the film's 32-year-old stunt coordinator, Kathy Troutt.[7] Shields did many of her topless scenes with her hair glued to her breasts.[8][9] Atkins was 18 when the movie was filmed, and he performed his own nude scenes (which included brief frontal nudity).[10][11][12]
Among the more common criticisms were the ludicrously idyllic portrayal of how children would develop outside of civilized society,[7][16][17] the unfulfilled buildup of the island's natives as a climactic threat[7][16] and the way the film, while teasing a prurient appeal, conspicuously obscures all sexual activities.[16][17] Roger Ebert gave the film 1½ stars out of 4, claiming that it "could conceivably have been made interesting, if any serious attempt had been made to explore what might really happen if two 7-year-old kids were shipwrecked on an island. But this isn't a realistic movie. It's a wildly idealized romance, in which the kids live in a hut that looks like a Club Med honeymoon cottage, while restless natives commit human sacrifice on the other side of the island". He also deemed the ending a blatant cop-out.[16] He and Gene Siskel selected the film as one of their "dogs of the year" in a 1980 episode of Sneak Previews.[18] Time Out commented that the film "was hyped as being about 'natural love'; but apart from 'doing it in the open air', there is nothing natural about two kids (unfettered by the bonds of society from their early years) subscribing to marriage and traditional role-playing".[17] Gary Arnold of The Washington Post similarly called the film "a picturesque rhapsody to Learning Skills, Playing House, Going Swimming, Enjoying the Scenery and Starting to Feel Sexy in tropical seclusion". He particularly ridiculed the lead characters' persistent inability to make obvious inferences.[7] One of the few positive reviews came from Variety which claimed it "a beautifully mounted production".
\"My message to my daughter is, sexuality is a wonderful, beautiful thing. You should embrace it. ... It's not the only type of power you're gonna have. Unfortunately, it is in the culture the first power that they feel ... where 13-year-old girls can have influences on grown men,\" Bonjean-Alpart said.
\"Sexy Baby\" is playing in theaters in New York and Los Angeles and will be available on iTunes and Movies on Demand Nov. 6. A 60- minute educational version for children 14 years old and up is available too. For more on the documentary, go to sexybabymovie.com.
On the day I did my interviews for the film, I had my six-year-old with me because we had to drive over to the press day directly after his baseball practice. When we walked into the room where Lawrence was waiting, she said hello to him, and then they launched into a long discussion of Little League and how she used to play and what position he plays, and the whole time, I was laughing about how there are grown men who would give a kidney to just casually shoot the breeze with Lawrence for a few minutes.
THE BROKEN GIANT - Estep NagyTHE DELTA - Ira SachsFAME WHORE - Jon MoritsugaGIRLFRIENDS - Marlies CarruthLEWIS & CLARK & GEORGE - Rod McCallLOOSE WOMEN - Paul BernardOCCASIONAL HELL - Salome BrezinerRUDY BLUE - John WernerSAM - Richie VetterSHOOTING LILLY - Arthur Borman Estep Nagy's eerie drama The Broken Giant explores faith, sorrow, passion and betrayal within the context of a small town's mores. The film proceeds at a pace as carefully measured as one of the sermons intoned by the anguished young minister at its core.Ezra Caton (Will Arnett) has the mayor's beautiful daughter (Brooke Smith) for a lover and the church for a vocation but he's still struggling with his family's dark history. Into his life comes Clio, an ethereal 20-year-old runaway (Naked Angels member Missy Yager) fleeing a father whose affection has crossed the line into abuse. "Life is complicated and Ezra makes choices based on his own spiritual state rather than for the good of his community," says director Nagy. "Some of his actions may be ambiguous but [I think] that's more interesting than being obvious - explaining everything away can be reductive."After graduating from Yale in '92, Nagy spent a year managing a family farm in Maryland and honing his writing skills. The Broken Giant got off the ground when Nagy joined forces with Yale pal Jeff Clifford, a Wall Street consultant turned director of distribution for Troma, and his lawyer friend Jon Cohen, also a refugee from Wall Street. Cohen's parents had a house on Isleboro - an island off the coast of Maine - the filmmakers could use as an operational base. Nearby was a deconsecrated National Historic Landmark church they could also use. The Wall Streeters then solicited equity shares in a limited partnership. "It's certainly less than a million but not credit card shoestring," says Clifford.The 35mm Giant shot on Isleboro for 24 days this past fall, relocating 40 New York cast and crew to a town with an off-season population of 500. "Inexpensive lobster was a huge bonus and a selling point for the crew coming up from New York," says Clifford. NYU film school cinematography star Garrett Fisher (Secret Santa) served as Giant's d.p. and David Leonard (Palookaville, Nadja) as the film's editor. Will Oldham, whose band Palace is known for its off-kilter bluegrass tunes, is composing Giant's score and contributing four original songs. The filmmakers expect to screen a finished print in late March; all rights are available.Cast: Brooke Smith, John Glover, Missy Yager, Will Arnett, George Dickerson, Chris Noth, Joseph Coleman, Fritz Michel. Crew: Producers, Jeffrey Clifford, Jonathan Cohen; Screenwriter/ Director, Estep Nagy; Director of Photography, Garrett Fisher; Production Design, Michael Krantz; Editor, David Leonard; Casting, Carder Stout; Music, Will Oldham. Contact: Jeffrey Cliff-ord, Blue Guitar Films, 181 Hudson Street, New York, NY 10013. Tel: (212) 941-9059, Fax: (212) 966-3975.back to top
Seventeen-year-old Lincoln Bloom has a girlfriend but he suspects he might be more interested in men. His quest to discover his true self collides numerous, disparate communities - large Jewish families, suburban teens, Vietnamese immigrants and small-town gay life.Sachs spent his first 18 years in Memphis before leaving for Yale and has spent the last decade in New York working in theater and film, including stints reading scripts for Martin Scorsese and as an assistant to both Eric Bogosian and Norman Rene. His 1994 half-hour short, Lady, a Warholesque meditation on sexual ambiguity, premiered at Sundance and screened extensively on the festival circuit. Sachs and producer Margot Bridger raised the "somewhat under half-a-million" necessary to shoot the 16mm Delta through a limited partnership and headed south last spring for sixmonths' immersion in the Memphis youth scene to soak up local ambience, cast, rehearse and scout locations."We were looking for kids who could instantly create characters and stay with them, naturals who wouldn't be self conscious in front of the camera," says Sachs, who trolled clubs, rave parties and pool halls to find non-actors with the goods. He also looked for original regional music - local rave, punk and old rhythm and blues bands - he could get cheap for Delta's soundtrack. All other costs had to be contained to allow for the high shooting ratio Sachs says had to be his number one priority. Sachs expects to have a finished film in May; all rights are available. Cast: Shayne Gray, Thang Chan, Rachel Zan Huss, Nhan Van Dong, Colonius Davis. Crew: Producer, Margot Bridger; Screenwriter/Director, Ira Sachs; Director of Photography, Ben Speth; Production Designer, Bernhard Blythe; Editor, Affonso Goncalves. Contact: Margot Bridger, Charlie Guidance Productions, 225 Lafayette Street, #602, New York, NY 10012. Tel: (212) 431-0147, Fax: (212) 431-5135.back to top
Director Rod McCall's second feature starts out with convicts-on-the-run Lewis and Clark stranded in the desert and looking for gold. Meanwhile, femme fatale George uses her waifish wiles to scam rides and steal cars. George is full of secrets, and her biggest one is whether she can't talk or just won't. Clark falls fast and hard the minute he lays eyes on George. Lewis knows she's trouble and doesn't buy her story, but there's an undeniable sexual tension between the two of them too. "It's about rediscovering America but it's also a real metaphor for where the country's at today - romantic, greedy and violent," says McCall.McCall had created segments for tv shows like "Sesame Street" and "Saturday Night Live," made a short that went to the New York Film Festival (Pinball Wizard) and had an illustrious career as a commercial director (five Clios) before he turned to features. His $1 million first film, Paper Hearts, starred Sally Kirkland and played Sundance '93; Trimark gave it a brief release last year as Cheatin' Hearts.McCall says Lewis & Clark sprang from his regular commute across the desert between his home in rural New Mexico and L.A. After several false starts he hooked up with Denise Calls Up producer J. Todd Harris, who'd formed Davis Entertainment Classics with established Hollywood producer John Davis (The Firm) to produce low-budget films. Like Denise, Harris raised the $1 million to shoot Lewis & Clark in 35mm from private equity.Lewis & Clark shot for three weeks last November in and around McCall's New Mexico home town. The filmmakers will have a rough cut by the time you read this; all rights are available.Next up for Harris is a March start for another $1 million film, Ghost in the Machine, an adaptation of Steppenwolf Theater playwright David Gilman's piece about the disintegration of trust and friendship between two couples who spend a weekend together at a Northeastern college.Cast: Rose McGowan, Salvator Xuereb, Dan Gunther, Art Lafleur, James Brolin, Paul Bartel, Aki Aleong. Crew: Producers, J. Todd Harris, Dan Gunther; Executive Producer, John Davis; Screenwriter/Director, Rod McCall; Director of Photography, Michael Mayers; Production Design, John Huke; Costumes, Kari Perkins; Music Supervisor, Bob Knickman; Composer, Ben Vaughn. Contact: J. Todd Harris, Davis Entertainment Classics, 2121 Avenue of the Stars, Suite 2900, Los Angeles, CA 90067. Tel: (310) 551-2266, Fax: (310) 556-3760.back to top 2b1af7f3a8