I need a movie with a good ending, none of the brutality that’s rampant (in many movies and in reality) today. And I was awfully pleased. If John was my neighbor, I’d do whatever it took to quit my cubicle job (get fired, etc.) and join his crew for the next project.

I’ve just found that HONEYDRIPPER is scheduled to screen at the Toronto festival. I would like so much to go, though it’s complicated a bit by 2,000 miles and a mild case of cold reality. I’ve been known to con myself, though, when need be, and I’ve got the impression I’d fall sucker for this one in a dead second, if only there were some kind of a sign… Can’t imagine a better way to see your film than in the surreal daze of wandering around alone in a strange city that’s been co-opted by even stranger people for a few days. If only I could figure out when those few days might be….

Anyhow, I realize you probably can’t reveal a date prior to the published schedule, but I’d be a half-assed excuse for a fool if I didn’t ask. So indeed, Ms. Renzi, can you tell us when you will screen?

Thanks much, for all that you’ve made and what’s still to come.

Many Blessings,
Pacey L. Walker

I would love to be able to write a letter to you and John both regarding your films and making independent films in general.

Actually, I used to work at a video store in Chicago that he used to rent from by mail, and I spoke with him briefly, but I was then too star-struck and shy to talk about much more. Plus, I didn’t want to hassle the guy!

Actually, I still don’t want to hassle either of you, but I am a huge fan (go ahead, test me :), am a filmmaker myself (shorts thus far) and have some questions about your independent filmmaking methods, mostly on the business end, that I admire so much. I’ve watched SECAUCUS numerous times with and without commentary to get ideas, and would love to have the opportunity to ask you some things directly. [FYI, I already have THINKING IN PICTURES (as well as an old paperback of UNION DUES)]. :)

Would that be possible?

I don’t want to say too much here, so I just hope that you could forward me a Business Address, P.O. Box or whatever to where I could write, and from which you’d receive my letter.

Either way, I wish you luck on HONEYDRIPPER, and I can’t wait to see it.

Best,
Bill

I teach Spanish. For the past five years I have been using HOMBRES ARMADOS as a teaching aid. It not only has all the structural features of the language that I attempt to teach the students, but it also has a terific working vocabulary for a Spanish student.

We try to teach Spanish in the context of where it is spoken, and of course a video like this gives an excellent example of the culture of many Hispanic countries. I love this video because it shows the students how the real Spanish speakers speak, think, love, hate, eat, sleep, play, enjoy, and suffer. It doesn’t present a sugar coated version of Hispanic life like the tourist guides and textbook ancillary material tend to do. It does present a negative condemnation of the backward people like other films and news reports tend to do, but rather the viewer is afforded the opportunity to vicariously live in this Hispanic country; speak the language and know the people for a couple of hours. In my case about four hours since we include a lot of other activities while viewing the video.
One thing my students continually ask me about this film is: WHAT HAPPENED TO DOCTORA MONTOYA.
I can’t answer this and neither could any of them. IT seems to be an important part of the story.
Is she the rumor that came to die there? IS she there but nobody will reveal it to protect her? Is she the lady whose leg was injured by the landmine?
I embarrassed to say that I’ve watched this video over 30 times, and I have not been able to understand what John Sayles wants his audience to think about her.

Thank you for reading my ramblings,

Highest regards,

JR Lynch