He and Thomas Haden Church have a great goofball southern fried rhythm that they drop into every time they share a scene in the film, and it’s one of the reasons I really enjoyed the picture. He seems proud of “Killer Joe,” and he should be. I think he’s the sort of guy who really internalizes these experiences he has, and he’s still pretty young, still developing into the actor he’ll eventually be. I interviewed him for “Speed,” and for “Into The Wild,” and he seems to be a different person each time we come back together to discuss a new film. It seems like he’s far more interested in exploring the darker, stranger corners of filmmaking, and that he’s good at it. I’m not sure he’d survive a steady diet of giant tentpole films. I think Hirsch has real talent, and maybe the commercial failure of “Speed Racer” was the best thing for him. Hirsch has made interesting choices so far in his career, and I’m glad to see him working with someone like William Friedkin.
I know that for my own kids, it’s one of the films that are just part of their ongoing canon, in the regular rotation, and beloved. Hirsch told me he’s certainly heard from young fans more and more, and he seemed pleased to hear that the film is not fading. If you have any information regarding this work and rights to it, please contact you wish to contact the rights holder for this work, please email and we will assist if we can.Before the cameras started rolling, Emile Hirsch and I had a chat about the way “Speed Racer” is slowly but surely growing in reputation, thanks in large part to the younger viewers who saw it and who are going to revisit the film many times as they get older. Libraries, Archives, and Museums, and Copyright Watch.įor more information about the Museum's rights project, including how rights types are assigned, please see our blog posts on copyright. It is your responsibility to determine and satisfy copyright or other use restrictions before copying, transmitting, or making other use of protected items beyond that allowed by "fair use," as such term is understood under the United States Copyright Act.įor further information about copyright, we recommend resources at the United States Library of Congress, Cornell University, Copyright and Cultural Institutions: Guidelines for U.S. The Museum does not warrant that the use of this work will not infringe on the rights of third parties. The Brooklyn Museum holds a non-exclusive license to reproduce images of this work of art from the rights holder named here.
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