John Sayles "Silver City"

Für seinen neuen Film "Silver City" hat John Sayles (Jump Cut) sein ganzes Geld zusammenkratzt, sagt er, bzw. sagt seine Frau und Produzentin Maggi Renzi im Interview mit "Globe and Mail":

"It's all of our money," continues Renzi, who is wearing a ReDefeat Bush button on her sweater. "But everyone was risk-averse last year. Maybe it's the subject matter that turned everyone off," she says with a smirk. "But we'd already invested a couple of million in the project and figured, what the hell? We were so determined to make it, and given the importance of the subject matter, we decided that it wasn't a completely stupid thing to do. We're fortunate John is a very well-paid screenwriter."

Jonathan Rosenbaum mochte den Film im übrigen gar nicht, mit dem in der Sayles-Rezeption oft wiederholten, deswegen aber noch lange nicht richtigen Argument, dass Sayles politisch so korrekt sein möge, wie er wolle, von Filmkunst habe er keine Ahnung:

Despite John Sayles's charm and good intentions as a writer-director, I started avoiding his movies around the time his Men With Guns was released in 1998. The closer his fictions came to reality, the more inadequate they seemed, with their conventional plots and familiar characters. I admire the man's politics, but his films seem misguided, because every new problem has the same old tiresome solution. (A notable exception is his recent anti-Bush campaign ad, which he wrote as well as directed; it can be seen at www.moveonpac.org/10weeks.) Like so much of the American old left, he's an aesthetic reactionary who doesn't trust a plot or character he hasn't shaken hands with many times before. The problem is worse than ever in Silver City, an election-year special that assaults George W. with the tried-and-true plot turns of a Raymond Chandler mystery.