shakha

This question came up the last time that Hansen did an AMA. He pointed out that most female child molesters tend to find their prey in other ways (i.e. teachers, etc.) and that, during their whole run, they just never had any women come to the house.

To the people who responded to this comment: don't let this ruin your victim narrative.

Hello, Ralph. I just found out about this about 20 minutes ago and I got so excited. I wanted to thank you. When I was a child, I found a VHS copy of American Pop in the library. After watching it, I immediately fell in love with it. It is still my favourite film and I credit it as the film that began my love of the cinema.

Now, since I have the opportunity, are you planning any more features? I recently finished your feature filmography and I'm aching for more. (Although, don't get me wrong, I am looking forward to Last Days of Coney Island).

I'm not Keith (no way, right?), but I've read that Keith actually sang for RHCP once because Anthony Kiedis couldn't make it in (he was in jail or something).

Hello Mr. Friedkin.

I can't say that I am too familiar with your work, but I have liked what I have seen. You are also obviously one of those filmmakers who became one because of your love of cinema, as opposed to as a mere "career choice".

So, if I can ask a few questions:

1) Who are some of your inspirations (other than Lang, Clouzot and Welles, of course). Who are some current directors that you think are on the right path?

2) Francois Truffaut once said that Michelangelo Antonioni was the only important director that he disliked. Who are some "important" directors that you can't stand? How about unimportant directors? Who is a filmmaker you would like to strangle?

3) Can you tell us how you came about directing two almost opposite films, namely Boys in the Band and Cruising? How did these come your way? Why did you choose to make them? Was it difficult to get either one made? How do you feel about them now? etc.

I'm sorry if this isn't a question about you (I've loved everything I've seen you in, though), but I don't think I'll get another chance to ask this. Mary Harron is one of my favourite filmmakers, but it has been eight years since The Notorious Bettie Page (I know she made the Moth Diaries more recently, but that film was so disappointing). Is there a reason why she's not working much anymore? Is there some blacklist I'm not aware of, or is it for the same reason that so few women get director work in the American film industry?