What Céline Sciamma is interested in is "moments." There are many moments that linger in the mind long after the film has ended.
* 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.
Olivia de Havilland on "Gone With the Wind"; R.I.P. Bob Baker; Chatting with Ethan Hawke; Kieran Fitzgerald on "The Homesman"; David Blaine interviews Madonna.
Matt Zoller Seitz goes in-depth with author Mark Harris about his book on five directors who aided the war effort in World War II.
Terence Stamp opens up about singing in "Unfinished Song," the long acting dry spell he had in the 1970s, and working with Steven Soderbergh.
Marie writes: the great Ray Harryhausen, the monster innovator and Visual Effects legend, passed away Tuesday May 7, 2013 in London at the age of 92. As accolades come pouring in from fans young and old, and obituaries honor his achievements, I thought club members would enjoy remembering what Harry did best.
Marie writes: If I have a favorite festival, it's SXSW and which is actually a convergence of film, music and emerging technologies. However it's the festival's penchant for screening "quirky" Indie movies which really sets my heart pounding and in anticipation of seeing the next Wes Anderson or Charlie Kaufman. So from now until March, I'll be tracking down the best with the zeal of a Jack Russell terrier! Especially since learning that Joss Whedon's modern B/W take on Shakespeare's "Much Ado About Nothing" is set to screen at SXSW 2013 in advance of its June 21st US release date; they'll cut an official trailer soon, rubbing hands together!
Marie writes: Kudos to fellow art buddy Siri Arnet for sharing the following; a truly unique hotel just outside Nairobi, Kenya: welcome to Giraffe Manor.
Marie writes: As I'm sure readers are aware, the 2012 Summer Olympics in London are now underway! Meanwhile, the opening ceremony by Danny Boyle continues to solicit comments; both for against. (Click image to enlarge.)
Andrew Sarris, who loved movies, is dead at 83. He was the most influential American film critic of his time, and one of the jolliest. More than anyone else, he was responsible for introducing Americans to the Auteur Theory, the belief that the true author of a film is its director. Largely because of him, many moviegoers today think of films in terms of their directors.
"I love music so much and I had such ambition that I was willing to go way beyond what the hell they paid me for. I wanted people to look at the artwork and hear the music." - Alex Steinweiss
• "The Rack" (1956) • "Until They Sail" (1957) • "The Prize" (1963) • "Tales of Tomorrow: Ice From Space" (1953)"The Rack," "Until They Sail" and "The Prize" are now available on made-to-order DVD from the Warner Archive Collection for $19.95 each. "Tales of Tomorrow" can be viewed on Hulu Plus and Amazon Instant Video.
by Jeff Shannon You would think that every film Paul Newman ever appeared in would be readily available on home video, right? Guess again. One of the best films from Newman's early career has managed to slip through the cracks of home-video distribution for decades, and unless you're old enough to have seen it in theaters or on TV over the years, it's possible you've never even heard of it. So when I heard that "The Rack" (1956) was available on home video for the very first time, I couldn't wait to break the news to Stewart Stern.
For anyone who's wondering "Stewart who?" there's a convenient shortcut you can use when discussing the impressive life and career of Stewart Stern. All you have to say is, "He wrote 'Rebel Without a Cause.'" Uh-huh, that one. With a credit like that, any screenwriter could legitimately claim a slice of movie immortality, like James Dean did as the now-iconic star of Nicholas Ray's 1955 teen-angst classic. But to say that Stern only wrote "Rebel" is a bit like saying Frank Lloyd Wright designed a house. In the course of his distinguished, decades-spanning career, Stern wrote rich, psychologically perceptive scripts that were magnets for great actors and great acting: His script for "The Ugly American" (1963) gave Brando plenty to chew on; his Oscar-nominated script for "Rachel, Rachel" (1968) gave Joanne Woodward what is arguably the best role of her career (under the direction of her husband, Paul Newman; they also earned Oscar nods); and Stern's Emmy and Peabody-winning teleplay for "Sybil" (1976) transformed cute TV actress Sally Field into an Emmy winner with a pair of Oscars in her future. A few years later, Stern left Hollywood, weary of the rat race and struggling with writer's block, the delayed effect of post-traumatic stress from service in World War II. In the mid-'80s, Stern relocated to Seattle and never looked back. And while Stern may have been a nephew of Paramount Pictures founder Adolph Zukor, with additional family ties to MGM moguls Arthur Loew Sr. and Jr., his closest Hollywood connection was more personal and more warmly indicative of the man's soul and spirit: For 55 years, Stewart Stern was one of Paul Newman's very best friends.
Whenever research confirms something we feel we already knew intuitively, or from our own experience, there are always people who'll scoff and say, "Well, I could have told you that!" And maybe they could have, but that's not the point. Science is a discipline involving systematic observation and empirical evidence, not unverified hunches. Movies, of course, are optical illusions -- photographic, electronic and/or mechanical phenomena that exploit the peculiarities of our eyes and brains... and elicit all manner of feelings. They are science and they are sometimes art, and the methods of studying one or the other can be complementary.
Take one of my favorite David Bordwell posts ("Hands (and faces) across the table"), which has recently been revived (resurrected! It's alive!) through the eyes of science, thanks to DB's guest-blogger, Tim Smith ("Watching you watch 'There Will Be Blood'"), of Continuity Boy, the Department of Psychological Sciences at Birkbeck College, University of London, and The DIEM (Dynamic Images and Eye Movements) Project.
In 2008, DB wrote about the map scene in Paul Thomas Anderson's "There Will Be Blood," in which the camera remained fixed during a long take while the looks and gestures of the actors "directed" the viewer's gaze. He wrote:
When I stepped up to buy my ticket for "Hereafter," the woman in the booth (who has worked there for many years) said, "This movie's directed by Clint Eastwood." I know, I said. "He's not in it," she said. "I guess it hasn't been getting very much publicity."
I don't know if it has or hasn't, but it got me to thinking: I'm not sure I could identify a Clint Eastwood movie on sight. Is there an identifiable Eastwood directorial vision or style, apart from a certain willfully "classical" gloss applied to a professional reserve that sometimes borders on indifference? Is he like a William Wyler or a Robert Wise, a journeyman, capable of making some very good movies, whose sensibility is identifiable primarily through the combined talents of his collaborators? Who is Clint Eastwood, the director?
Eastwood hires top-of-the-line folks (after all, he can), has them do their things, and prides himself on shooting the script as written, on time and on (or under) budget. Some very good directors I know don't consider what he does to be direction so much as project management, because they don't see anything particularly distinctive in the results, film after film. Still, Eastwood can get movies made that perhaps nobody else could, based on the strength of his commercial reputation and long association with Warner Bros.
Some critics I greatly admire find his work impressive and moving. Many of those who've worked with him describe the atmosphere Eastwood fosters on the set as his greatest contribution to the picture: He creates the conditions he needs to get the movie he wants from he people he's hired -- which is, to a lesser or greater extent, what all good directors must do. (See Robert Altman for a striking example.) But, when watching a post-"Unforgiven" Eastwood picture, I frequently detect a peculiar detachment, a feeling that I'm watching something coasting along on auto-pilot without any particular human or artistic vision to guide it.¹ I respond to directors who have been accused of glacial misanthropy -- from Antonioni to Kubrick -- and that is integral to their worldview. With Eastwood, I simply sense an almost mechanical disengagement from his material. Parts of some of these movies seem to have been made by robots.
In 1959 Jean-Luc Godard famously proclaimed that tracking shots are a matter of morality -- an inversion of fellow Cahier du cinéma critic Luc Moullet's formulation that "morality is a matter of tracking shots" ("morale set affaire de travellings," sometimes translated as "morality is in the tracking shots"). The evangelical theorists behind what became known as the French New Wave had a tendency to ascribe moral values to cinematic style and technique.¹ André Bazin and the late Eric Rohmer, especially, championed the moral as well as aesthetic superiority of mise en scène over montage, of Hawksian "invisible cutting" over dictatorial Eisensteinian editing, and of deep-focus over a more selective, shallow depth-of-field. Bazin praised directors such as Orson Welles and William Wyler (in collaboration with cinematographer Gregg Toland) for staging shots so that "the viewer is at least given the opportunity to edit the scene himself, to select the aspects of it to which he will attend."
As David Bordwell summarized:
Their "deep-focus" style, he claimed, produced a more profound realism than had been seen before because they respected the integrity of physical space and time. According to Bazin, traditional cutting breaks the world into bits, a series of close-ups and long shots. But Welles and Wyler give us the world as a seamless whole. The scene unfolds in all its actual duration and depth. Moreover, their style captured the way we see the world; given deep compositions, we must choose what to look at, foreground or background, just as we must choose in reality. [...]
[Bazin wrote that deep-focus] "forces the spectator to participate in the meaning of the film by distinguishing the implicit relations" and creates "a psychological realism which brings the spectator back to the real conditions of perception."
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UPDATED 01/28/10: 2:25 p.m. PST -- COMPLETED!: Thanks for all the detective work -- and special thanks to Christopher Stangl and Srikanth Srinivasan himself for their comprehensive efforts at filling the last few holes! Now I have to go read about who some of these experimental filmmakers are. I did find some Craig Baldwin movies on Netflix, actually...
Srikanth Srinivasan of Bangalore writes one of the most impressive movie blogs on the web: The Seventh Art. I don't remember how I happened upon it last week, but wow am I glad I did. Dig into his exploration of connections between Quentin Tarantino's "Inglourious Basterds" and Jean-Luc Godard's "History of Cinema." Or check out his piece on James Benning's 1986 "Landscape Suicide." There's a lot to look through, divided into sections for Hollywood and World Cinema.
In the section called "The Cinemaniac... I found the above collage (mosaic?) of mostly-famous faces belonging to film directors, which Srikanth says he assembled from thumbnails at Senses of Cinema. Many of them looked quite familiar to me, and if I'm not mistaken they were among the biographical portraits we used in the multimedia CD-ROM movie encyclopedia Microsoft Cinemania, which I edited from 1994 to 1998, first on disc, then also on the web. (Anybody with a copy of Cinemania able to confirm that? My Mac copy of Cinemania97 won't run on Snow Leopard.)
EXCERPT FROM INTRO: This isn't like Roger Ebert's "Great Movies" series. It's not my idea of The Best Movies Ever Made (that would be a different list, though there's some overlap here), or limited to my personal favorites or my estimation of the most important or influential films. These are the movies I just kind of figure everybody ought to have seen in order to have any sort of informed discussion about movies. They're the common cultural currency of our time, the basic cinematic texts that everyone should know, at minimum, to be somewhat "movie-literate." I hope these movies are experiences we can all assume we share.
The streamlined 32nd Chicago International Film Festival opens Thursday, with fewer films but better quality control. Emerging from a year of boardroom turmoil and an attempted coup, festival founder Michael J. Kutza has retained his post as director but adopted some of the changes long called for by the event's critics.
The Festival International du Film, held annually in Cannes, France, has become the world's most prestigious film festival—the spot on the beach where the newest films from the world's top directors compete for both publicity and awards.
Andrew Sarris tells the story of a Sam Goldwyn press conference at which a reporter incautiously began: "When William Wyler made 'Wuthering Heights'..." Goldwyn interrupted angrily: "I made 'Wuthering Heights.' Wyler only directed it."