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Suture (1993) More at IMDbPro »

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3 items from 2011

2012 Sundance Predictions: Scott McGehee and David Siegel's What Maisie Knew

14 November 2011 8:00 AM, PST | ioncinema | See recent ioncinema news »

#75. What Maisie Knew - Scott McGehee and David Siegel Scott McGehee and David Siegel got their career starts at the festival with Suture (1993) followe by The Deep End (2001), but they haven't been back in a good decade. With a higher profile project - an adaption of a Henry James novel starring Alexander Skarsgård, Julianne Moore and Steve Coogan with Onata Aprile (from Cassevetes' Yellow) they have a valid reason to return. Filming on What Maisie Knew finished rather late in the year --- so this is perhaps a weak prediction guess but a welcomed one when you consider producer Daniela Taplin Lundberg's great relationship with the fest. Gist: Scripted by Nancy Doyne and Carroll Cartwright, the film which is an adaptation of the Henry James novel is about Maisie, a six-year-old girl enmeshed in the bitter divorce of her mother (Moore), a rock and roll icon, and her father »

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Julianne Moore, Alexander Skarsgard & Steve Coogan To Star in 'What Maisie Knew'

11 May 2011 5:12 PM, PDT | The Playlist | See recent The Playlist news »

Scott McGehee and David Siegel are a curious directing pair. With a mere four films across over fifteen years, they've made consistently interesting work without ever quite knocking one out of the park. Their noirish racial-identity debut "Suture" is arguably their best--championed by Steven Soderbergh, and with a terrific turn by Dennis Haysbert, it still holds up well today. Their long-awaited follow up "The Deep End" had another storming central performance, from Tilda Swinton, but had a more straightforward take on the genre, while kabbalistic spelling oddity "Bee Season," with Richard Gere, didn't really work, and the Joseph Gordon-Levitt indie… »

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Flashback 1993 – Dennis Haysbert In “Suture”

1 March 2011 5:51 AM, PST | ShadowAndAct | See recent ShadowAndAct news »

A film that we could say defies classification, but is often described as a neo-noir thriller – one that seems more concerned with how it looks than with what lies underneath its glossy surface, which makes some sense when one realizes that the filmmakers, co-directors, Scott McGehee and David Siegel, have a design school background. But it’s a promising concept with notions of identity and race at its core. Comparisons to the likes of David Lynch, surrealist Luis Bunuel, and Hitchcock have been made.

In short, wealthy white Vincent (played by Michael Harris) and working class black Clay (played by Dennis Haysbert), are long-lost half-brothers who contact each other after their father’s death. Vincent uses the arrival of Clay to engineer his own death; in a twist, Clay survives only to be burnt beyond recognition, and suffers amnesia. At the hospital, a plastic surgeon reconstructs his face, but based on pictures of Vincent, »

- Tambay

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