Dear White People
You could make a (film geek) party game out of guessing director Justin Simien's influences, but his vision seems to spring directly from what's up…
* 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.
Author Peter Biskind revisits four auteurs from the '70s--Steven Spielberg, Martin Scorsese, Roman Polanski, and Terrence Malick.
An excerpt from the July 2014 edition of "Bright Wall/Dark Room" on the impact of "Blue Velvet."
Even the Pope loved Eli Wallach; North Korea threatens war over Seth Rogen movie; Remembering Peter de Rome; Dennis Hopper's lost photography; Richard Linklater on "Boyhood"
True story, kind of.
Some useful advice to young critics.
Sheila writes: Todd Sanders is a self-taught neon sign artist. Roadhouse Relics, the gallery of his work in Austin, Texas, is filled with his beautiful vintage-inspired signs. His designs are all hand-drawn. He collects old magazines from the 1920s, 1930s, etc., to get inspiration for his neon signs. He does custom signs as well. You can check out Sanders' work, bio, and press kit at Roadhouse Relics. Neon brings up all kinds of automatic images and associations: seedy hotels, burlesque joints, cocktail bars. His signs evoke those images, but much more. For instance, look at his beautiful "Fireflies In a Mason Jar".
An interview with Nicolas Winding Refn, director of "Valhalla Rising," "Drive" and "Only God Forgives," among other films. Simon Abrams talks to the filmmaker about midnight movies, meeting Alejandro Jodorowsky, and the possibility that he might day make a Wonder Woman movie.
The New York Times' David Carr admits that Glenn Greenwald is a journalist; Criterion Collection appreciates Alex Cox's Repo Man; poets go to the movies; James Franco's never-ending navel-gaze; David Edelstein dismantles The Way, Way Back; Kerry Washington on the cover of Vanity Fair; Dennis Hopper documentary.
Marie writes: There was a time when Animation was done by slaves with a brush in one hand and a beer in the other. Gary Larson's "Tales From the Far Side" (1994) was such a project. I should know; I worked on it. Produced by Marv Newland at his Vancouver studio "International Rocketship", it first aired as a CBS Halloween special (Larson threw a party for the crew at the Pan Pacific Hotel where we watched the film on a big screen) and was later entered into the 1995 Annecy International Animated Film Festival, where it won the Grand Prix. It spawned a sequel "Tales From the Far Side II" (1997) - I worked on that too. Here it is, below.
Marie writes: Intrepid club member Sandy Kahn has found another Hollywood auction and it's packed with stuff! From early publicity stills (some nudes) to famous movie props, costumes, signed scripts, storyboards, posters and memorabilia...
Oh my. Here we go again with all the deathiness. Movie criticism keeps dying deader and deader. Film itself has keeled over and given up the ghost. Cinema ist kaput, and at the end of last month "movie culture" was pronounced almost as deceased as John Cleese's parrot. Ex-parrot, I mean. Then the movie "Looper" came out, posing questions like: "What if you could go back in time? Would you kill cinema?" Or something like that.
People, this dying has gotta stop.
I think my very favorite thing in Rian Johnson's "Looper" is a squiggly cloud. It hangs there in the sky above a cornfield and you can't help but notice it. Which is good, because this is a time-travel movie and the cloud comes in handy later when something happens again in this same spot and the cloud tells you what time it is. Thanks to that cloud, you know this is a re-run.
In one version of the present-future-past, Joe (Joseph Gordon-Levitt) shoots his future self (Bruce Willis) and in another he doesn't. I couldn't remember why that happened at first just now, but then it came back to me. Johnson brought in Shane Carruth, writer-director of the meticulously planned and way more convoluted time-travel thriller "Primer" (2004) to do some special effects work, which indicates to me that RJ is fairly serious about his science-fiction. (He also wrote and directed "Brick" and "The Brothers Bloom," both of which contain some nifty, well-plotted twists.)
(Update: Here's a "Looper" timeline/infographic.)
"Corman's World: Exploits of a Hollywood Rebel" is available March 27 on online outlets via iTunes, Vudu, CinemaNow and Amazon. Also on DVD and Blu-ray.
For B-movie buffs, exploitation film aficionados, and midnight movie cultists, the grand finale of "Corman's World: Exploits of a Hollywood Rebel," will be every bit as exhilarating as that montage of forbidden kisses at the end of "Cinema Paradiso." Taking its cue from the liberating, rebellious high point of the Roger Corman-produced "Rock and Roll High School," in which P. J. Soles and the Ramones rock the hallways of Vince Lombardi High, it offers up dizzying bursts of quintessential Corman: cheesy monsters, fiery car explosions, Vincent Price, blaxploitation kickass, marauding piranhas and Mary Woronov with a gun.
Alex Stapleton's "Corman's World" celebrates the singular cinematic legacy of the "King of the Bs," who has improbably and regretfully fallen into obscurity. Observes director Penelope Spheeris ("The Boys Next Door," "The Decline of Western Civilization Part II: The Metal Years," "Wayne's World"): "If you ask a 20-25-year-old film buff, they won't know who he is."
This despite a career that spans almost 60 years and more than 400 films that Corman either directed or produced. But while his own name may be unfamiliar, many of the once-fledgling actors and filmmakers whom he nurtured/exploited are not: Martin Scorsese ("Boxcar Bertha"), Ron Howard ("Grand Theft Auto"), Peter Bogdanovich ("Targets"), Jonathan Demme ("Caged Heat"), Joe Dante ("Piranha"), Robert DeNiro ("Bloody Mama"), Pam Grier ("The Big Doll House"), screenwriter John Sayles ("The Lady in Red") -- all these and many more appear in "Corman's World" in new and archival interviews.
• Toronto Entry #4There is a Truffaut film, rarely seen, named "The Green Room," based on the Henry James short story "The Altar of the Dead." That was about a man whose constant companions were the friends he had lost. He was faithful to their shrines in his memory. The term for his obsession is thanatopsis, a meditation upon death. Truffaut himself plays the hero of his film, and maintains a little chapel to the memory of his late wife and other loved ones. Nathalie Baye plays a woman he meets who shares his devotion, and it seems possible they may find happiness together, but she cannot reach him because his mind seems to reside in the next world.
The opening shot of Wim Wenders' moody color noir "The American Friend" (1977), based on Patricia Highsmith's 1974 novel "Ripley's Game," isn't anything fancy or complicated -- no intricate tracking or crane movement -- but, wow, does it announce the movie. First we hear the sirens and the traffic noise behind a black screen, over which the title is immediately emblazoned in electric red-orange block letters: "DER AMERIKANISCHE FREUND."
Bam! We're there, at street level on the lower West Side of Manhattan. We get a look at a few cars and a truck heading uptown, and the ghostly outlines of the World Trade Center towers that stand in the distant haze -- modern New York looming over this less imposing block of old New York. (They also provide a Roman numeral II to mark this sequel to the Scanners Opening Shot Project, which is why I chose this shot for last week's announcement of Part 2).
Marie writes: Doug Foster is a filmmaker and artist who produces large scale digital film installations that often play with ideas of symmetry and optical illusion. His piece The Heretics' Gate is currently on view at "Daydreaming with... St. Michael's" - an exhibition taking place at St. Michael's church in Camden, London. Note: Foster's piece first appeared at the Hell's Half Acre exhibition at the Old Vic Tunnels in London in 2010."The Heretics' Gate" draws inspiration from Dante's Inferno, the first part of his epic poem The Divine Comedy. A twenty foot high, arched screen and a thirty foot long reflecting pool, are cleverly combined to deliver a mesmerizing and strangely ethereal vision of hell at the central focus point of the church's imposing gothic architecture. To learn more, visit: Liquid Hell: A Q&A With Doug Foster.NOTE: The exhibition is the latest installment in renowned British music producer James Lavelle's curatorial and collaborative art venture, "DAYDREAMING WITH..." - a unique and visceral new exhibition experience, inspired by the desire to marry music and visual art. The goal is to bring together some of the most acclaimed creative names working in music, art, film, fashion and design.
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!
Marie writes: In a move which didn't fail to put a subversive smile on my face, works by the mysterious graffiti artist Banksy began to appear recently in Hollywood as Academy Awards voters prepared to judge Exit Through the Gift Shop, which is up for best Documentary. (Click to enlarge.)
The most controversial thus far was painted on a billboard directly opposite the Directors Guild of America HQ on Sunset Boulevard. A poster advertising The Light Group (a property, nightclub and restaurant developer) was stenciled over with images of a cocktail-guzzling Mickey Mouse grasping a woman's breast. As it was being removed, a scuffle broke out between workmen and a man claiming the poster was his "property" - presumably triggered by the fact that an authentic piece by Banksy is worth thousands. To read more visit Banksy targets LA ahead of Oscars at the Guardian. And to see more pictures go HERE.
The Grand Poobah writes: I saw this stag in the Michigan woods near our country place, where I am still working on my memoir. (click to enlarge)
The French word frisson describes something English has no better word for: a brief intense reaction, usually a feeling of excitement, recognition, or terror. It's often accompanied by a physical shudder, but not so much when you're web surfing.
You know how it happens. You're clicking here or clicking there, and suddenly you have the OMG moment. In recent days, for example, I felt frissons when learning that Gary Coleman had died, that most of the spilled oil was underwater, that Joe McGinness had moved in next to the Palins, that a group of priests' mistresses had started their own Facebook group, and that Bill Nye the Science Guy says "to prevent Computer Vision Syndrome, every 20 minutes, spend 20 seconds looking 20 feet away."
Dennis Hopper's career began as an actor of alienation in movies like "Rebel Without a Cause." His career as a director began with "Easy Rider." His career as an art collector began went he bought one of Andy Warhol's soup can paintings for $75. His career as a drug abuser began at around the same time, and he told me, simply and factually, "I spent some time in a rubber room."
The Museum of Contemporary Art, Los Angeles (MOCA), presents Dennis Hopper Double Standard, the first comprehensive survey exhibition of Dennis Hopper's artistic career to be mounted by a North American museum. The exhibit will run July 11 through September 26, 2010, at The Geffen Contemporary at MOCA. The display will be curated by Julian Schnabel amd include more than 200 photographs, sculptures and paintings which will be the focal points of the exhibet. Hopper's works can also be seen in the book "Dennis Hopper: Photographs 1961-1967" - which was published in 2009 by Walter Hopps.For more information about the exhibit: MOCA Press release (.pdf file)
From Daniel Quiles, Chicago:
From Matthew Kerchner, Bloomington, IN:
Read Ebert's tribute to Gene Siskel, who died ten years ago, here.