A Married Woman: Fragments of a Film Shot in 1964 in Black and White
Dir. Jean-Luc Godard
(via toliveinparis)
La Cinéaste
Wes Anderson’s original, black & white, 13 minute version of Bottle Rocket.
Anderson’s short film, which he shot in 1992 and distributed two years later, was originally set to star ”real” and established actors but, due to budget issues, the main roles were given to co-screenwriter Owen Wilson and his brother Luke, neither of whom had ever appeared in a film before.
Things worked out okay.
Two years later, with help from early Anderson fan and supporter, James L. Brooks, Bottle Rocket was reworked, reshot, and released as Wes Anderson’s first feature film.
—-
(via de-licacy)
David Lynch on film as a director's medium
Interview Magazine: In your best-selling memoir, Catching the Big Fish, you say, “For me, film is dead.”
David Lynch: I meant that celluloid, the actual film that runs through the camera, is dead. That’s gone, and now digital is here. But storytelling with cinema never will die—ever, ever, ever. The way the stories are told may change, but it will always be.
Interview Magazine: It might, though, be the death of film as a director’s medium, where the artist gets final cut. It’s interesting how so many filmmakers with established oeuvres and visionaries who have changed how we perceive cinema—people like you, John Waters, Gus Van Sant, and even Martin Scorsese—often still struggle to set up projects today.
David Lynch: Thousands of other filmmakers out there would agree with that. The studios are superreluctant to give final cut. They have so much money riding on these things, so they want a committee to go and rule the roost. The poor director just dies a death. More and more, when a committee at a studio sees something that maybe people won’t understand, they’ll kill the thing quickly. It’s an insult. I don’t know why anyone would make a film if they couldn’t make the film they wanted to make with all the freedom and the support they needed. But it happens every day, so you have to be independent. You have to not only find enough money to make the film, but you have to have final cut—you absolutely have to have it. Otherwise, you’re gonna die. But there’s always a way. Sometimes restrictions are a big blessing. When you have to build something yourself, ideas start coming that never would’ve come otherwise. New ideas flow in. Happy accidents do occur.
Whether dressed in top hat, white tie, and tails or in fashionable casual wear with a scarf serving as his belt, Fred Astaire always looked fabulous. Astaire epitomized whatever was cool at the time. According to Benny Green, “[Astaire] had an elegance that aligned itself with what I guess you’d call high society”. In the words of Howard Thompson, Astaire “gave to entertainment annals a champagne radiance that appealed to everybody on all levels, rich or poor”
(via chriscinephile)
Dream sequence designed by Salvador Dalí in Spellbound (1945) by Alfred Hitchcock
(via mrcronenberg)
It’s hilarious, the problems that arise when you’re on the set. It’s really funny because you make a complete fool of yourself. I think I know how to use dissolves, the grammar of cinema. But there’s only one place for the camera. That’s the right place. Where is the right place? I don’t know. You get there somehow. - Martin Scorsese
(via horrorking)
The time of 1:30 AM is significant throughout The Machinist. Christian Bale’s Trevor often notices something out of the ordinary at this time. During the 1 hour 30 minute mark in the movie, the major plot twist is revealed (x).
Because this is what hackneyed.screenwriting is all about: gimmicks of no significance.
