Film
In 2004, Cooley wrote and directed his first film, Pol Pot's Birthday, a short satirical comedy which premiered at the Sundance Film Festival, won numerous Best Film awards at festivals worldwide, and is included in the Sundance Collection at the New York Museum of Modern Art. The film was also featured in American Cinematographer magazine for its evocative use of digital video. The film's style of awkward comedy has often been compared to the BBC television series "The Office".
In 2005, Cooley directed a stylized short documentary, Dimmer, about a gang of blind teenagers who roam the streets of the bleak industrial neighborhoods of Buffalo, New York. Featuring a score by the band Interpol, Dimmer premiered at the Sundance Film Festival, was a finalist for the Academy Award for Best Short Documentary, and won numerous international Best Film awards as well as being exhibited at the New York Museum of Modern Art and included in its Sundance Collection.
Cooley's first feature film was the comedy Patriotville (renamed Taking Chances by Lions Gate Entertainment), featuring Justin Long, Rob Corddry, Nick Offerman, Keir O'Donnell and Emmanuelle Chriqui. The film, a satirical take on greed and corruption in small town America, was shot in South Carolina and West Virginia and was released by Lions Gate Entertainment in 2009. Critical reception was extremely negative. Taking Chances scored 12% on Rotten Tomatoes based on 650 user ratings. Cooley's films have won over 20 Best Film and other honors, and he has been profiled in a number of magazines, such as The Fader, Create, and RES Magazine. He was selected for the "RES Magazine 10 Top Talents" issue in 2006.
Read more about this topic: Talmage Cooley
Famous quotes containing the word film:
“His education lay like a film of white oil on the black lake of his barbarian consciousness. For this reason, the things he said were hardly interesting at all. Only what he was.”
—D.H. (David Herbert)
“A film is a petrified fountain of thought.”
—Jean Cocteau (1889–1963)
“The motion picture is like a picture of a lady in a half- piece bathing suit. If she wore a few more clothes, you might be intrigued. If she wore no clothes at all, you might be shocked. But the way it is, you are occupied with noticing that her knees are too bony and that her toenails are too large. The modern film tries too hard to be real. Its techniques of illusion are so perfect that it requires no contribution from the audience but a mouthful of popcorn.”
—Raymond Chandler (1888–1959)