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nme.com
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Quentin Tarantino reveals heroin-fuelled night out in Paris that inspired ‘Killing Zoe’: “This is great shit”
Quentin Tarantino and Roger Avary have revealed the heroin-fuelled night out in Paris that inspired the latter’s film Killing Zoe.Avary directed the bank heist film in 1993, starring Eric Stoltz (Pulp Fiction) and Jean-Hugues Anglade (Nikita) as two safe-crackers who attempt to rob a bank, with Julie Delpy (Before Sunrise) playing the titular Zoe, a sex worker who also happens to work at the bank.The film was considered part of a wave of films from independent young filmmakers in Hollywood in the early ‘90s that also included Tarantino, with whom Avary would also devise the story for Pulp Fiction.Now, in an interview on Joe Rogan’s podcast, Tarantino and Avary have both discussed the whirlwind night in the French capital that led to the inception of the Killing Zoe screenplay.They explained that Avary found himself needing to turn around a script for a bank heist film in short order, after producer Lawrence Bender found an ideal bank location while scouting for Reservoir Dogs.“I had just been travelling through Europe,” said Avary. “I had been telling Quentin the stories, and he said, ‘Oh, you should do a movie called Roger Takes A Trip‘.”Tarantino quipped: “I still think it should’ve been called that.”Avary continued: “I had been in Paris, I had bumped into a guy I knew who was from Los Angeles who was a French guy.
variety.com
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‘The Lesson’ Review: A Fine Cast Classes Up a Barbed, Brittle Literary Melodrama
Guy Lodge Film Critic Films about fictitious great writers often stumble when it comes to the character’s actual writing: Viewers must suspend disbelief that a lofty literary reputation has been built on the purplest of screenwriter-devised prose. A blackly comic melodrama in which writerly ego, ambition and insecurity do increasingly destructive battle, “The Lesson” gets around that trap by folding questions of authorship into its arch country-house mystery: Who is writing what, and to what extent it matters, are the questions that keep director Alice Troughton and screenwriter Alex MacKeith’s mutual debut feature interesting, even as it slides into occasional, overheated cliché. When the film’s own words don’t quite pass muster, however, a tight, tony ensemble of actors gives them some polish and punch. A big, ripe turn by Richard E. Grant — as a celebrated British novelist looking to emerge from a gloomy hiatus with one more masterwork — represents the chief selling point of this low-key Tribeca premiere, though as his wary potential protégé, it’s Irish up-and-comer Daryl McCormack (fresh off his BAFTA nomination for “Good Luck to You, Leo Grande”) who carries the bulk of the film in quieter, wilier style. With a chablis-dry Julie Delpy playing intermediary in their passive-aggressive duel, this U.K.-German co-production is the kind of accessibly upscale fare more frequently served to its target audience in another European language; Bleecker Street will release it Stateside.

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