Everything Film

"The best advice I can give has little to do with actual writing; it has to do with thinking about..."

Sun, 10 Nov 2013 01:21:09 -0500

“The best advice I can give has little to do with actual writing; it has to do with thinking about people. I recommend that you practice creating fictional characters by trying to describe, privately, the people in your life. See if you can describe their characters without being so general that they could be anyone. Then check back in a few months. If your description has radically changed, you have a ways to go. You aren’t yet seeing other people as fully fleshed out others, but are mired in your own relationships with them. When you can describe people in ways that are both meaningful and consistent and survive the vicissitudes of your moods, then you know you’re getting somewhere.”

- Adelle Waldman

Stanley Kubrick - The Works

Fri, 08 Nov 2013 15:40:06 -0500

Stanley Kubrick - The Works

"Cinema is important — basically every art form comes to cinema. It involves music. Painting...."

Sat, 02 Nov 2013 01:28:52 -0400

“Cinema is important — basically every art form comes to cinema. It involves music. Painting. Everything. It’s the closest we can come to life. A painting can only give you so much, I think. And music is very beautiful, but when they all come together…you’re really embracing everything. I don’t think some people realize, actually, how important it is.”

- Saoirse Ronan (via melldew)

sphelm: Here are a few screenshots of my poster for a fictional...

Wed, 30 Oct 2013 23:31:59 -0400

sphelm:

Here are a few screenshots of my poster for a fictional Wes Anderson film festival, “Pack of Strays”. The top image was the front of the poster, designed to look like a corny family photo in a plaqued frame. I used the pen tool in Photoshop to cut out each character and did my best to correct the skin tones (a lot of Anderson’s films have a different tint to them). I wanted to maintain the concept of a mixed-matched group of misfits coming together. I took the idea from a quote from Anderson who said he believed he had created such consistent worlds that a character from one movie could walk into another and it would be believable. The following photos are page by page of the back of the poster, which is folded like a booklet. It outlines the various movies that are being shown and some info about the director.

Photo

Wed, 30 Oct 2013 00:18:54 -0400

"I am a child of cinema, and I am a cineaste, so everything I do is a reference to something I’ve..."

Tue, 29 Oct 2013 23:54:14 -0400

“I am a child of cinema, and I am a cineaste, so everything I do is a reference to something I’ve heard or experienced or seen. And… we all do it, we all steal. The ones who claim they don’t, are obviously lying, because you do. You just have to make it your own.”

- Nicolas Winding Refn (via danielbruhls)

valley-of-the-dolls: The jewish barber’s speech from The Great...

Tue, 29 Oct 2013 00:49:43 -0400

valley-of-the-dolls:

The jewish barber’s speech from The Great Dictator (1940). A poor jewish barber looks just like the bad dictator and is mistaken for him. He uses his chance to deliver a speech to the people disguised as the Dictator. A speech of love and kindness.

Chaplin managed to create one of the most beautiful and epic speeches of all time in the end scene of The Great Dictator. This was also Chaplin’s first true talking picture and his best grossing film ever. This film and speech has also great significance because it was delivered just before the WW2 broke loose.

lars134: Gregory Peck, 1938 (UC Berkeley Yearbook)

Sun, 27 Oct 2013 00:42:29 -0400

lars134:

Gregory Peck, 1938

(UC Berkeley Yearbook)

"I think the best plot is no apparent plot. I like a slow start, the start gets under the audience’s..."

Fri, 25 Oct 2013 18:31:22 -0400

“I think the best plot is no apparent plot. I like a slow start, the start gets under the audience’s skin and involves them so that they can appreciate grace notes and soft tones and don’t have to be pounded over the head with plot points and suspense hooks.”

- Stanley Kubrick (via Diary of a Screenwriter)

a half-star review of Jaws: The Revenge

Wed, 23 Oct 2013 21:37:17 -0400

Roar!
-Shark

Instead of doing a review I will just point out the crap that inhabits this film.

- The shark roars like a lion.
- Mario Van Peebles does a Jamaican accent
- The shark swims from New York to the Bahamas in less then 3 days.
- This is the sequel that popularized the tagline “This time it’s personal!”
- African Americans feet apparently look Caucasian under water
- The god damn shark is hunting one family, even members that weren’t born yet during the last attack.
- The film tries to suggest that there’s some sort of psychic link between Ellen Brody (Lorraine Gray) and the shark
- Roy Scheider was hospitalized because he busted a gut laughing when offered a cameo in this film.
- In the 4 years since the last film the character of Mike Brody changed professions from engineer to marine biologist, got married and now has a 5 year old daughter.
- The shark is apparently a cyborg as you clearly see mechanical parts coming in and out of him throughout the film.
- The bottom of the ocean in the Bahamas looks incredibly like a swimming pool on occasion.
- Ellen Brody continuously has flashbacks to events she never witnessed.
- Mike Brody is not nearly alarmed enough when his mother’s prediction that a Great White Shark will show up in the Bahamas to attempt to kill him actually happens a few days later.
- Having sex with Michael Caine will make you forget that you were depressed about your son being killed by a shark 3 days ago.
- The shark is so scary that it can make blood appear in the water when it hasn’t attacked anyone yet.
-Michael Caine is so hot that his clothes instantly dry when drenched.
- Sailboats and sharks can bend space and time in the Bahamas (see ending)
- This shark is apparently not cold blooded, but has nitroglycerin pumping through it’s veins causing it to EXPLODE violently if punctured with ANYTHING taking out any large nearby structures with it.
- The fucking shark roars like a fucking lion.

via Letterboxd [x]

Marvel: No plans for a female-led superhero movie before 2017

Wed, 23 Oct 2013 15:42:43 -0400

Marvel: No plans for a female-led superhero movie before 2017:

Marvel Studios head Kevin Feige said females heroes “already play major roles.”

The Wes Anderson Collection, Chapter 5: "The Darjeeling Limited" | MZS | Roger Ebert

Wed, 23 Oct 2013 00:45:48 -0400

The Wes Anderson Collection, Chapter 5: "The Darjeeling Limited" | MZS | Roger Ebert:

“The Wes Anderson Collection” video essay series continues with “The Darjeeling Limited,” the director’s comedy about brotherhood, death, and the limits of control.

Photo

Mon, 21 Oct 2013 01:21:59 -0400

"Most Tarantino-isms aren’t printable in a family blog, but there is one phrase that Quentin..."

Mon, 21 Oct 2013 01:19:46 -0400

“

Most Tarantino-isms aren’t printable in a family blog, but there is one phrase that Quentin Tarantino apparently says on his sets, as Stacey Sher, his longtime producer, revealed on the red carpet.

It’s such a Pollyanna-ish moment that it’s hard to believe it really happens anywhere near Mr. Tarantino, but Kerry Washington, a star of “Django Unchained,” seconded it. After a shot is finished, she explained, “He always says: ‘That was great, but we’re going to do it again. Why?’

Then everybody chants, “‘Because we love making movies!’”

”

- ‘We Love Making Movies!’ (via frankslades)

TV on the Web: Zooming in on Wes Anderson's movies

Mon, 21 Oct 2013 01:16:00 -0400

TV on the Web: Zooming in on Wes Anderson's movies:

Video essays zooming in on director Wes Anderson’s creative process.

Video

Fri, 18 Oct 2013 02:09:58 -0400

cinephilearchive: No Country for Old Men not only is...

Fri, 18 Oct 2013 02:05:16 -0400

cinephilearchive:

No Country for Old Men not only is chockablock full of incredible performances by Jones, Bardem and Brolin — but also behind-the-scenes as well. Legendary cinematographer Roger Deakins talks with NPR’s Melissa Block about one of his favorite scenes from the film.

You read the script, if you’re attracted by the script, then whomever it is you need to know that you’re going to connect with the person you’re working with. You need to view the material in a similar way. With the Coen Brothers it’s interesting because there is very little shot that isn’t used. We don’t shoot very much in terms of raw footage at all. Very few extras set-ups. It’s so well worked out. They’re so precise in knowing what they want. Their scripts are so visual, the way they are written. So much comes from that. How do you say where the cinematography ends and the production design takes over? And how can you go wrong if you’re shooting a close-up of Tommy Lee Jones? You know what I mean? It’s a wonderfully powerful image. The dialogue he’s speaking and the performance he gave, you don’t really have to do much, you know. —A Modest Lens: An Interview with Roger Deakins

What a genius script looks like. Read, learn, and absorb: The Coen Brothers’ screenplay for No Country for Old Men. Based on the Novel by Cormac McCarthy. [pdf1, pdf2]. (NOTE: For educational purposes only)

A harrowing story of a war that society is waging on itself, and an enduring meditation on the ties of love and blood and duty that inform lives and shape destinies, No Country for Old Men is a novel of extraordinary resonance and power. Joel and Ethan Coen wrestle with point of view and capturing the inner lives of the strong silent types in their first produced adaptation of a novel. —Harsh Country by Jeff Goldsmith, Creative Screenwriting Magazine, January/February 2008

With thanks to LoSceicco1976

Follow @LaFamiliaFilm

"This is about the truth and it should be respected as such because this is how I’m able speak to..."

Fri, 18 Oct 2013 02:02:35 -0400

“This is about the truth and it should be respected as such because this is how I’m able speak to you; part of my family had to go through that and over 25 million African Americans had to go through that, too. So to turn one’s back on it is to turn your back on how people came to exist in America. We don’t turn our backs on Holocaust survivors and it would be indecent to do so. This is about the truth, that’s all. Plain and simple.”

- Steve McQueen doesn’t give a fuck how squeamish you get over 12 Years a Slave. (via black–bolt)

Silhouettes of Alfred Hitchcock and Cary Grant on the set of...

Thu, 17 Oct 2013 01:42:00 -0400

_{Silhouettes of Alfred Hitchcock and Cary Grant on the set of Notorious, 1946.}

A telegram Federico Fellini sent to Stanley Kubrick after the...

Thu, 17 Oct 2013 01:03:19 -0400

A telegram Federico Fellini sent to Stanley Kubrick after the release of 2001: A Space Odyssey (1969).