"Whether I like it or

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"Whether I like it or not, or whether anybody else does, when I start a film I have a few ideas," Gilliam tells Hart in the same piece. "And as you're getting into it, you think, 'Ooh, there's another idea,' and you're shooting some more and, 'Oh, here's another thing. Let's do that.' I'm always changing and adding. That's just the way my mind works." And that's pretty much why, I gather, Gilliam's The Brother Grimm (Miramax, 8.26) feels like such a hyper crazy-quilt thing. It's imaginative, all right, but Gilliam throws it all together in such scattershot fashion that his ideas begin to feel like flies you'd like to swat with a rolled-up magazine. Variety's Robert Koehler says Grimm is filled with "cumbersome action set pieces that are neither quite fairy-tale fanciful nor convincingly real...it's this in-between-ness, along with Gilliam's numbing use of filming with ultra wide-angle lenses that turn [it] into the director's glummest and most visually clunky production."