The finest and most genuinely provocative horror movie to emerge in this still very-new century
* This filmography is not intended to be a comprehensive list of this artist’s work. Instead it reflects the films this person has been involved with that have been reviewed on this site.
An excerpt from the October 2014 edition of "Bright Wall/Dark Room" on "The Hunger."
"American Horror Story" is back with its 4th outing, "Freak Show."
This is a book excerpt from Make Art Make Money: Lessons from Jim Henson on Fueling Your Creative Career by Elizabeth Hyde Stevens.
A day-six report from Cannes on Still the Water, A Girl at My Door, and Bird People.
Tilda Swinton, interviewed; The story behind "Boy With Appple"; Analyzing how rape is depicted in television; "Poptimism" and music criticism; Thoughtful reflections on Roger Ebert.
Sheila writes: David Bowie was born on January 8, 1947 (he shares the day with Elvis Presley, two of the biggest RCA artists in their respective generations), and to celebrate Bowie here's a fun "info graphic" on the evolution of the artist through his various ages.
"As film exhibition in North America crowds itself ever more narrowly into predictable commercial fodder for an undemanding audience, we applaud those brave, free spirits who still hold faith with the unlimited potential of the cinema." - Roger
Marie writes: Holy crap! THE KRAKEN IS REAL!" Humankind has been looking for the giant squid (Architeuthis) since we first started taking pictures underwater. But the elusive deep-sea predator could never be caught on film. Oceanographer and inventor Edith Widder shares the key insight - and the teamwork - that helped to capture the squid on camera for the first time, in the following clip taken from her recent TED talk." And to read more about the story, visit Researchers have captured the first-ever video footage of a live giant squid at i09.com
Marie writes: It's a long story and it starts with a now famous video of a meteor exploding over Chelyabinsk, Russia. Followed by alien conspiracies fueled by the internet and which led me to investigate further. Where did it come from? Does anyone know..? Yes! According to The NewScientist, the rock came from the Apollo family of near-Earth asteroids, which follow an elongated orbit that occasionally crosses Earth's path.That in turn led me to yet another site and where I learned a team of scientists had discovered two moons around Pluto, and asked the public to vote on potential names. They also accepted write-in votes as long as they were taken from Greek and Roman mythology and related to Hades and the underworld - keeping to the theme used to name Pluto's three other moons. And how I eventually learned "Vulcan" has won Pluto's moon-naming poll! and thanks to actor William Shatner who suggested it. Behold Vulcan: a little dot inside a green circle and formally known as P5.
Marie writes: Behold the amazing Art of Greg Brotherton and the sculptures he builds from found and re-purposed objects - while clearly channeling his inner Tim Burton. (Click to enlarge.)
"With a consuming drive to build things that often escalate in complexity as they take shape, Greg's work is compulsive. Working with hammer-formed steel and re-purposed objects, his themes tend to be mythological in nature, revealed through a dystopian view of pop culture." - Official website
The Grand Poobah writes: "No man has a better wife than Chaz."
Marie writes: As some of you may know, it was Roger's 70th birthday on June 18 and while I wasn't able to give the Grand Poobah what I suspect he'd enjoy most...
Siskel & Ebert fight over a toy train (1988)
Marie writes: I attended three different elementary schools; St. Peter's, Our Lady of Mercy (which was anything but) and finally St. Micheal's; where I met my Canadian-Italian chum, Marta Chiavacci (key-a-vah-chee) who was born here to Italian immigrants. We lost touch after high school, moving in different directions til in the wake of a trip to Venice and eager to practice my bad Italian and bore friends with tales of my travels abroad, I sought her out again.We've kept in touch ever since, meeting whenever schedules permit; Marta traveling more than most (she's a wine Sommelier) living partly in Lucca, Italy, and happily in sin with her significant other, the great Francesco. I saw her recently and took photos so that I might show and tell, in here. For of all the friends I have, she's the most different from myself; the contrast between us, a never-ending source of delight. Besides, it was a nice afternoon in Vancouver and her condo has a view of False Creek...smile...
(click images to enlarge)
Marie writes: allow me to introduce you to Travel Photographer, founded by Chris and Karen Coe in 2003 and their annual contest "Travel Photographer of the Year".After years spent working in the travel industry as a professional photographer and finding it was mostly conventional images making it into print, Chris decided to create a way to showcase great travel photography and broaden people's perception of what it can encompass - namely, that it can be much, much more than a pretty postcard image.The contest is open to one and all; amateur and professional photographers compete alongside each other. Entrants are judged solely on the quality of their photographs. There's a special competition to encourage young photographers aged 18 and under; Young Travel Photographer of the Year. The youngest entrant to date was aged just five, the oldest 88. The competition is judged by a panel of photographic experts, including renowned photographers, picture buyers, editor and technical experts.And the 2010 winners have now been announced. Here's a few random photos to wet your appetite - then you can scroll through the amazing winners gallery!
Enal is around 6 years old and knows this shark well - it lives in a penned off area of ocean beneath his stilted house in Wangi, Indonesia. Photo: James Morgan, UK (Portfolio Encounters: Winner 2010) [note: click images to enlarge]
The Grand Poobah shared the following recently and which struck me as just the thing to put in here - for it amounts to someone inventing a moving still akin to those seen on the front page of Harry Potter's famous newspaper."You know how people sometimes say that jazz is the only truly American art form? Animated GIFs are like the jazz of the internet: they could only exist, and be created and appreciated, online. That said, PopTart Cat is not exactly on par with Thelonious Monk. But photographer Jamie Beck and motion graphics artist Kevin Burg may have finally found a way to elevate the animated GIF to a level approaching fine art, with their "cinemagraphs" -- elegant, subtly animated creations that are "something more than a photo but less than a video." - fastcodesignAnd sadly, they won't work in here; Movable Type doesn't like animated gifs. It's easily solved however, just visit Far Better Than 3-D: Animated GIFs That Savor A Passing Moment to see an assortment in play!
"If the career of Christopher Nolan is any indication, we've entered an era in which movies can no longer be great. They can only be awesome, which isn't nearly the same thing." -- Stephanie Zacharek on "Inception"
Well, people certainly want to talk about "Inception" on the Internet. The opening lines to Stephanie Zacharek's review above may sound flip, but she's zeroing in on something crucial about the kinds of spectacle movies to which we have, perhaps, become accustomed. I remember having an argument with some younger friends back in 1994 over Roland Emmerich's "Stargate," which I found inert and lugubrious, but my friends enjoyed for what they called "visual splendor." (I don't remember how baked we were at the time.) As I believe I said back then, I'm all for visual splendor, but I don't go to narrative movies for (just) a light show, no matter how splendiferous. (I'd rather watch Stan Brakhage for that kind of thing.)
In my hastily keyboarded notes after seeing "Inception" last weekend, I began by saying the biggest disappointment for me was that it was so contrived and remote -- like a clever mechanical puzzle, but not at all dreamlike. Even more disappointing for me, I didn't feel I had much of interest to say about it. Now, more than 200 reader comments later, I find it more fun to theorize about than it was to watch. (Seems awfully anal and pedantic for a "summer movie.") In that post and the previous one about "Signs" and "The Prestige," I wound up writing more in response to comments than I did in the original post, and I really enjoyed the back-and-forth. (But if you want to spare yourself my expanded thoughts -- and others' -- here about what doesn't work in the movie and read more about the implications of two of the most important shots, spoilers and all, feel free to skip to the numbered boldfaced headings below...)
In the wake of the disappointing "Shutter Island", it's especially gratifying to look back at Christopher Nolan's feature film "Memento" (2001), an indie mystery starring Guy Pearce as a San Francisco man in Los Angeles suffering from anterograde amnesia, or short-term memory loss.
I hope you're enjoying all the arguments swirling around "Inglourious Basterds" as much as I am -- not just here, but all over the place. Since I posted "Some ways to watch Inglourious Basterds [sic]," I've been reading other people's reviews and comments and interviews about the movie and, hell, even Quentin Tarantino doesn't always agree with Quentin Tarantino about what the movie's up to. (And why should he? Like all of us, he contains multitudes.) It's not about the Holocaust, but it is about the Holocaust; it's not real, but it's real; it's not fantasy, but it's fantasy; it's not history, but it's history; it's not amoral, but it's amoral; it's not moral, but it's moral...
What some people have difficulty with is exactly what others delight in: "Inglorious Basterds" is never situated in one reality or another reality. It's always juggling various combinations of reality and unreality -- history, alt-history, war movie (platoon movie, mission movie, spy movie, detective movie, propaganda movie, European art movie...), cartoon, folklore, satire, comic book, revenge fantasy, etc. -- and the combinations change from one moment to the next. And that, I think, is its subject. I don't think there's anything more to it than QT trying to create movie-moments. He does, and some of them are superb. I don't blame people who find its story and characters thin, or factual liberties preposterous, or generic conventions twisted, or (a-)morality ambiguous, or humor offensive, but he's got no reason to apologize for creating his alternative historical universe in a Hollywood movie -- a world in which all of the above are woven into its warp and woof.
Because "Inglourious Basterds" provides so much to talk about and to interpret, I thought I'd put together some fascinating observations (some of which I wish I'd made myself; some of which I think are off-base, but nevertheless revealing of something about the film) and set them bouncing off one another to get your own analytical juices flowing, starting with QT's (and others') takes on the nature of the world in which it unreels:
"I stop short of calling it a fantasy. I present it in this fairytale kind of thing as far as for the masses to take in, but that's not where I'm coming from. Where I'm coming from is my characters changed the course of the war. Now that didn't happen, because my characters didn't exist, but if they had existed, everything that happens in the movie is possible."-- QT, after a Museum of Jewish Heritage screening in Manhattan
Q. So, how coincidental is this? “2001: A Space Odyssey” includes a character named Dr. Heywood Floyd. The new movie “Moon” evokes “2001” powerfully for you and is directed by someone whose birth name is Duncan Zowie Heywood Jones. Heywood isn’t exactly a common name. Maybe he was born to direct this movie.
View image Todd on Bob: Woody Guthrie (Marcus Carl Franklin), as one incarnation -- a name-dropping bluesman in 1959 (with tales of Blind Willie McTell and Gorgeous George) who seems to think he's still in the Great Depression. Others include Arthur Rimbaud (Ben Whishaw), Jude Quinn (Cate Blanchett), Robbie Clark (Heath Ledger), Jack Rawlins/Pastor John (Christian Bale) and "Billy" McCarty (Richard Gere).
"I was born a poor black child..." -- Steve Martin, "The Jerk"
"God, I'm glad I'm not me." -- Bob Dylan, on reading an article about himself in 1965 (quoted in the press kit for Todd Haynes' movie, originally titled "I'm Not There: Suppositions on a Film Concerning Dylan")
Folk-turned-electric singer/songwriter Jude Quinn (looking for all the world like Bob Dylan circa 1965 and played by Cate Blanchett) is riding in a big black limousine when, unaccountably, Allen Ginsburg (David Cross) appears on a golf cart in the rear window, smiling and waving with his frizzy hair blowin' in the wind. Ginsburg pulls up alongside the limo, Quinn rolls down the window, and they travel along parallel trajectories (past a cemetary) while having a brief exchange about an interview Ginsburg had done with a reporter in which the Beat poet was asked about Quinn's musical motives as if all Voices of Their Generation were pretty much one and the same. "They asked you that?!?" Quinn laughs.
View image Arthur Rimbaud (Ben Whishaw) in "I'm Not There" in "Don't Look Back" in "Subterranean Homesick Blues" in black and white.
That's a little taste of what it's like to watch Haynes' "I'm Not There," which is not only a kaleidoscopic view of events in the life, music and myth of Bob Dylan, but a critical deconstruction and synthesis of Dylan's various media representations -- from D.A. Pennebaker's legendary "Don't Look Back" to Dylan's own "Reynaldo and Clara" to Martin Scorsese's "No Direction Home: Bob Dylan." In some ways, it's the natural companion to "Don't Look Back" (actually re-enacting some scenes and interviews from that documentary in a new context), the movie Dylan probably wanted "Reynaldo and Clara" to be, and in other ways the movie Haynes wanted "Velvet Goldmine" to be. It actually goes back inside these films (Peckinpah's "Pat Garrett and Billy the Kid," Richard Lester's "A Hard Day's Night" and "Petulia," Godard's "Masculin-Feminin," Fellini's "8 1/2" and others, too) -- and the old stories, the album covers, the liner notes, the newspaper and magazine clippings -- and recapitulates and reinterprets them in new contexts. I was thrilled by it, moved, dazzled, entranced. I love this movie.
View image Christian Bale (this guy can do anything) as Jack Rawlins.
The earlier film was about the glam era, freely mixing bits and pieces of fact and lore from the lives of David Bowie, Iggy Pop, Lou Reed, Brian Ferry and others (don't forget Oscar Wilde, who is deposited on earth by a UFO), and that's the kind of thing Haynes is up to here -- mostly with Dylan, but also with "real" and fictional characters around him. Some are identified by their familiar names (like John, Paul, George, and Ringo), some are thinly disguised (or undisguised) stand-ins. And this time he has the music rights, too. Just about the only thing missing is Donovan.
View image Robbie Clark (Heath Ledger).
Do you have to know about, or have lived through, the life and legend of Dylan to "get" this film? I don't know. I don't think so, but you'll certainly understand it on more levels if you've seen the Pennebaker, Dylan & Sam Shepard, Scorsese, Peckinpah, Godard, Lester, Fellini, et al. movies mentioned above. And if you know at least some of the music, and something about the 1960s Greenwich Village folk scene and the war in Vietnam and the Buddhist monks who immolated themselves in protest and Joan Baez (and "Diamonds and Rust") and Sara and Swinging London and the Beats and Albert Goldman and The Hawks (and The Band) and The Basement Tapes and the Rolling Thunder Revue and "Tarantula" and Columbia Records and the motorcycle accident and the "electric" debut at the Newport Folk Festival and the so-called "Royal Albert Hall" concert in 1966 ("Judas!" "I don't believe you...") which actually took place at Manchester's Free Trade Hall (just another part of the legend) and Elvis Presley movies and James Dean movies Marlon Brando movies and Montgomery Clift movies... and so on.
View image Jude Quinn (Almighty).
I was a senior in high school when "Blood on the Tracks" came out and utterly changed my life (not the first time Dylan would do that for me), so although most of '60s Dylan predated my awareness of his actual records (we sang "Blowin' in the Wind" in my fourth grade homeroom, with Miss Kwinsland on ukelele, but I didn't know it was a Dylan song; we sang Woody Guthrie tunes, too), I absorbed a lot of this stuff simply by being a young American with an interest in politics and art and pop culture. But do you have to be familiar with all of this in order to appreciate "I'm Not There"? I don't think so. (But consider this: Bruce Greenwood plays Quinn's BBC interviewer/adversary, Mr. Jones, and Pat Garrett.)
A Dylanophile friend was asked if he was in "Dylan heaven" after the film. He thought for a moment and then said, "Yeah. I guess I am." I don't know about that. But I'm at least knockin' on heaven's door.
That's all I'll say for now, because I'm salivating over the prospect of seeing and writing about this movie in more detail later....
Oh, just one other thing. I've talked to five or six people who, unprovoked, described exactly the same response to different moments in the movie. But they all involved having the experience of consciously thinking: "I am in love with Cate Blanchett."
I don't know how I missed mentioning David Bowie's 60th birthday in January, but I did. On a plane to LA recently I experienced my best-ever experience listening to "Hunky Dory" (1971). You know how that happens sometimes: You reconnect with something you haven't listened to in a while (no matter how familiar you are with it) and you rediscover it as if you were really hearing it for the first time? ("Changes" spoke directly to me like nothing else on the radio when it came out, and I was a confused pubescent 13.) Anyway, that's what a good close listen (iPod, passive noise-cancelling earphones, eyes closed, window seat on a plane) can do for you.
And, when I got home, I found this on YouTube, from a 1973 "Midnight Special." A belated happy 60th to The Artist Formerly Known as Ziggy -- and an early 61st birthday greeting to Lucy Jordan!
From Andrew Wright, The Stranger:
Cinematic brimstone manna for pubescent Cinemax viewers, Paul Schrader's unjustly neglected 1982 remake of "Cat People" leaves the watcher uneasily poised somewhere between needing a wet-nap and a steel-wool shower. Working again with "American Gigolo"'s visual consultant Ferndinando Scarfiotti, the director's interpretation of the wittily Freudian source material is chock full with the promise of tantalizing sex and violence, which is ultimately delivered so nastily that it's difficult not to feel guilty for enjoying it. Schraeder, a dude who knows a thing or three about temptation himself, here delivers one lulu of a cautionary tale: What you want to see may not really be what you want to see, no matter how much you think you want to see it.
Nowhere is this poisoned voyeurism more evident than in the opening shot, which quite literally unearths the film's joint fascination with turn-ons and snuff-outs. Beginning with a patch of hallucinatory, nuclear-Antonioni colored desert, a wind slowly, sensually, blows across the surface of the sand to reveal a polished human skull, and then another, and another, and yet another, until an entire boneyard is uncovered. All this, while David Bowie and Georgio Moroder are moaning orgiastically on the soundtrack. Just writing about it, I want a cigarette. And a hairshirt, possibly.
JE: Muchas gracias, Andy. That ultra-lapsed Calvinist Schrader does indeed know something about putting out a fire with gasoline. I haven't seen his "Cat People" in, let's see, 24 years, and all I remember about it is the Bowie song and the way somebody jumps, catlike, onto a table or something. That image you sent sure is purrty, though...
Ten things I learned while talking with Nicolas Cage:
Billy Dee Williams has been called the black Clark Gable and, if pressed, he'll agree that the comparison has some merit. Now 38, Williams spent a long apprenticeship on Broadway, in television and as a supporting film actor before he made his breakthrough as Chicago Bear Gale Sayers in "Brian's Song " in 1971.