Archive for the ‘Directors’ Category

  • Steven Soderbergh’s Address on the State of Cinema

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    At the San Francisco International Film Festival, semi-retired (His HBO Liberace film is still in the queue) Steven Soderbergh gave a 35 minute talk to participants on his feelings on cinema, art, the business and all those things in between. The organizers politely asked nobody to record or repost this (although several were live tweeting the event) but as Soderbergh laments right in his talk, nobody can keep a secret any more. Perhaps the ‘don’t record this’ request by the powers that be was simply reverse psychology. Nevertheless, that the cat is now out of the bag, so have a listen.

    Bon Mots:

    “Whenever people start to get weepy about celluloid,” Soderbergh thinks of a quote he attributes to Orson Welles: “I don’t want to wait on the tool. I want the tool to wait on me.”

    “The problem is that cinema, as I define it and as something that inspired me, is under assault by the studios and, from what I can tell, with the full support of the audience.”

    Quoting D. Rushkoff, “There’s no time between doing something and seeing the result and instead the results begin accumulating and influencing us before we’ve even completed an action. And there’s so much information coming at once – and from so many different sources- that there’s simply no way to trace the thought over time.”

    “Psychologically, it’s more comforting to spend $60 million promoting a movie that costs 100, than it does to spend $60 million for a movie that costs 10.”

    “If you’ve ever wondered why every poster and trailer and every TV spot looks exactly the same – it’s because of testing. It is because anything interesting scores poorly and gets kicked out.”

  • Wes Anderson and Roman Coppola. Say Wha? [UPDATED]

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    Is this simply nothing more than a commercial for a perfume by a couple of well known directors or is this a tease at something greater? I’m too lazy to do the leg work on this one, so if any Third Row reader has any knowledge about this, let me know.

    Here’s maybe a clue: I don’t recognize the gentlemen in the commercial/teaser, but I recognize the girl as the shop owner in Woody Allen’s Midnight in Paris. It’s this girl.

    Whatever the case, neat little nugget from Anderson and Coppola…

    UPDATE: OK, so I figured this out. It is an ad for Prada. The directors are doing a three part short for the company (reminds me of the BMW ads so long ago with famous directors all taking a crack at shooting Clive Owen driving fast). At any rate, Part 1 and Part 2 of the short is under the seats…

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  • How Do You Write A Joe Schermann Song: Available March 26th!

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    At last year’s Flyway Film Festival, Matt and I were honored to be among jury members for the fictional narrative feature category. While voting, it was a pleasure to award best director to Gary King for his musical, How Do You Write A Joe Schermann Song. Now, some may be screaming bias, but our jury is not alone in the festival world of awarding HDYWAJSS accolade after accolade. And now for the good news…

    You can see HDYWAJSS starting Tuesday no matter where you are. You don’t have to wait for a festival screening to check it out as it will be available for download on several major platforms (Vudu, Hulu, iTunes, Amazon, etc.) and a DVD and Blu-ray will also be available on Tuesday. Here’s the OFFICIAL PRESS RELEASE

     

    As a side note, if you’re in the Minneapolis area, I’ll see you at the upcoming screening on April 11th because despite being able to see it at home starting Tuesday, quite honestly if you can get to a big screen to see this spectacle. It’s quite shiny! Sign up for the Tugg to ensure your spot today. It will be at the Southdale AMC. Probably see you before and after stumbling from bar to bar in the area.

  • Jurassic Park IV Director Confirmed: Colin Trevorrow

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    Apparently Colin Trevorrow was high in the running for the Star Wars VII gig (as reported by the internet). I saw the new and thought, “who?” Looking him up on the ever faithful IMDb, it seems he’s done very little; the most visible part of the repertoire being the much underseen Safety Not Guaranteed. The short of the long of this is, I still think to myself, “who?”

    Here’s what producer Frank Marshall (‏@LeDoctor) had to say via Twitter: “Thrilled to have director on JP4, Colin Trevorrow, an exciting young filmmaker who understands and respects the world that is Jurassic Park.”

    Except that it will be in 3D. The original Jurassic Park is hitting theaters again in early April… also in retro-fitted 3D. Can you feel my excitement?

    Full press release:

    Long-awaited fourth installment of this groundbreaking film franchise from Universal Pictures and Amblin Entertainment to be shot in 3D

    UNIVERSAL CITY, CA, March 14, 2013 — Colin Trevorrow has signed on to direct Jurassic Park 4, the highly-anticipated fourth installment of the blockbuster franchise that has grossed $1.9 billion at worldwide box office since the first film was released in 1993.

    The Universal Pictures and Amblin Entertainment production will be produced by Frank Marshall and Patrick Crowley with Steven Spielberg as Executive Producer. The script was written by Rick Jaffa and Amanda Silver (Rise of the Planet of the Apes).

    Trevorrow directed Safety Not Guaranteed for FilmDistrict and Big Beach Films starring Aubrey Plaza, Mark Duplass and Jake Johnson. The critically-acclaimed film debuted at the 2012 Sundance Film Festival where screenwriter Derek Connolly won the prestigious Waldo Salt Screenwriting Award. The film also won Best First Screenplay at this year’s Independent Spirit Awards, where Trevorrow was nominated for Best First Feature.

    Universal will release Jurassic Park in 3D on April 5. With his remastering of the epic into a state-of-the-art 3D format, Spielberg introduces the three-time Academy Award®-winning blockbuster to a new generation of moviegoers and allows longtime fans to experience the world he envisioned in a way that was unimaginable during the film’s original release.

  • Watch David Lynch’s Short Film: “Idem Paris”

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    I‘ve been watching David Lynch do all of these various, personal projects for some time now (mostly courtesy of content over at Twitch). But I haven’t seen a feature length film since 2007 (unless you count his “Duran Duran” doc). Not that I care mind you; I’m not the biggest Lynch fan on the planet and much of these short films and online interview segments are actually quite a joy to watch.

    His latest appears to be a brief look at a lithograph company called Idem Paris. An “old-fashioned” printing company he’s used to produce quite a bit of his own art. Nothing real involving here, but there is a sort of strange hypnotic nature about the short with its dialogue-free, pulsing machinery and hissing steam engine. It’s actually quite visceral and heavy; makes you want to watch out that your fingers don’t get pinched or mashed – though probably nothing more than a couple minutes of a look.

    …a statement from Lynch regarding the short from Indiewire:

    Hervé Chandès from the Fondation Cartier brought me over to Idem and introduced me to Patrice Forest. I see this incredible place, and I get the opportunity to work there. And this was like a dream! It just opened up this brand-new world of the lithography and the magic of lithography, the magic of the stones. And it was a great, great thing! This thing of lithography, this channel of lithography opened up and a bunch of ideas came flowing out and it led to about a hundred lithographs. I will say that Idem printing studio has a unique, very special mood, and it is so conducive to creating. Patrice has the greatest attitude for all the artists and he creates this space of freedom and this joy of creating. It’s so beautiful! And I think the place is very important—in other wors, the same stone could be moved to another place, and I think that the work that comes out would be different. It’s a combination of the stone, the place, the people, this mood, and out comes these certain ideas.

  • Nice to See Iñárritu Doing Quality Things in His Spare Time [*eyes roll*]

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    I‘ve always been one to enjoy (occasionally love) the films of Alejandro González Iñárritu. And I’m all for director experimentation (cue Soderbergh). But not so much when it comes to performance art and interpretive dance. Especially when it potentially puts his other feature film projects (The Revenant and Flim-Flam Man) further from my grasp/eyes. But hey, maybe you are.

    So take a look at the video (yes, video) below and if you’re not into it about the 4 minute mark, you might as well give up. But if it’s your thing, enjoy; knowing that you’re pissing me off.

    After being invited by Benjamin Millepied to a rehearsal for the L.A Dance Project’s premiere performance, Oscar-nominated director Alejandro G. Iñárritu (Biutiful, Babel) was inspired to make a video-exercise that documents movement and dance in an experimental way, with a stream of consciousness narrative. Teaming up with choreographer, Benjamin Millepied (Black Swan), the result is NARAN JA (One Act Orange Dance).

     
    [via]

  • Kubrick’s Perspective

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    Here’s a fantastic little montage of video clips from almost all of Stanley Kubrick’s films (the latter ones anyway) that vividly display the director’s love for symmetry. The juxtaposition that can be seen within the editing is, in a word: stunning. Ah, those hallways!

    Clint Mansell’s, Requiem for a Dream score is kind of overused these days but works pretty well in bringing Kubrick’s vision to life; bursting with color, energy and mastery.

    There are multiple moments within the montage that quickly venture back and forth between two films very quickly (see :52 & 1:16) that are particularly exciting and well imagined. Thank you to kogonada for putting this together. But most of all, thank you Mr. Kubrick for existing and still the reigning champ as my favorite director and creator of my favorite film.

    If you’re now hungry for a little more insight into Kubrick, contributor RowThree Kurt Halfyard sent along to me this wonderful interview with Stan, performed on 27th November 1966 by Jeremy Bernstein. You can check it out under the seats…

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  • Countdown to Prometheus: A Ridley Scott Retrospective

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    With this week’s release of Prometheus, Ridley Scott returns to his roots, revisiting the world of his second feature film for the first time in over thirty years. It seemed like a good time for us in the third row to look back over Sir Ridley’s career as a whole; with brief essays about selected films from throughout his filmography as well as a week-long tribute to Scott’s films and the Alien universe.

    Scott’s background is in art and design, having studied at the West Hartlepool College of Art and London’s Royal College of Art in the 1960s. He directed one short film during his time at the RCA in 1965, but wouldn’t direct another film until 1977′s The Duellists. In between, he worked as a designer for the BBC and formed a company with his brother Tony to produce commercials. It’s unsurprising that with this background, his films are well-known for their visual style, with Alien and Blade Runner especially outstanding in the field of visual design (thanks not only to Scott but to concept artists like H.R. Giger, Jean “Moebius” Giraud and Syd Mead) and becoming extremely influential in the look and feel of later sci-fi films.

    Later Scott films have not necessarily captured the long-term imagination of moviegoers to quite the same extent as those two, but his sense of visual style and narrative storytelling has never faltered, even when the stories he’s telling don’t quite live up to the flair with which he tells them. After trying on a number of different genres (romance, fantasy, crime drama, etc.), he settled into a string of highly acclaimed war films, from the pageantry of Ancient Rome in Gladiator to the modern grit of Black Hawk Down and the medieval scope of Kingdom of Heaven and Robin Hood. Yet the anticipation of Scott’s return to the world of Alien shows perhaps just how much his early work continues to enrapture viewers.

    If there are two legacies that stand out in Scott’s career besides his fantastic visual sense, the first is likely his recurring strong female characters, most notably Ripley from the Alien series (who is among the first modern female action stars in cinema, and has become a cultural icon even apart from her role in the film), and the dual heroines in Thelma & Louise, who have become feminist cinema icons of the highest order. And Scott’s other legacy is his pioneering use of the Director’s Cut, which he has employed on most of his major releases, whether it was his idea to release a secondary version or the studio’s. Scott has declared himself happy with the original release of Alien, with the Director’s Cut being merely an alternate version. Blade Runner, on the other hand, marks one of the most significant Director’s Cuts in the history of cinema, and helped develop the film’s rabid fan-base after its initially poor response upon theatrical release in 1982. The Director’s Cut of Kingdom of Heaven represents a return to Scott’s original vision after the theatrical release was overly influenced by preview screening reactions. Whatever the reason, Scott and his studios have seen fit to revisit these films and others, some more than once, but notably without ever destroying the theatrical cut in the process (yes, we’re looking at you, George Lucas).

    Without further ado, let’s look at some selections from Scott’s filmography in greater detail.

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  • Here Comes the Ridley Train!

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    You can probably expect a deluge of Sir Ridley Scott and Alien related material in the-week-and-a-bit lead up to Prometheus, both around the web and here at Rowthree. To kick things off, here is Mamo!s Matt Price explaining why the British filmmaker’s ouvre should be looked at through the lens of iconic advertising imagery and he goes on to line up Scott’s filmography and legacy in that light. Here is another episode of Very Important Dudes and Dudettes in Film History, courtesy of our friends over at thesubstream.com)

  • Be careful John Woo…Don’t mess with Master Suzuki

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    One of the early announcements out of Cannes was that of a new picture on its way from director John Woo. Known for over the top action scenes, fine cheese and crates of doves, Woo will be looking to remake one of the classic films from Japanese movie studio Nikkatsu as part of its centenary celebration. Entitled Day Of The Beast, the film will be an English language take on Seijun Suzuki’s superb 1963 film Youth Of The Beast. Of its many great scenes, one of my favourites is when Jo Shishido’s main character survives being blown up in a house while he’s hanging upside down, manages to swing himself to a gun, fight off two remaining yakuza and then shoot himself free before finishing them both off. How can Woo top that?

    Of course, I’m kidding when I tell Woo to tread carefully. I’m not one to believe that the original film can be wrecked by any attempt to remake it. In fact, any attention a remake can bring to an earlier film is definitely welcomed – especially when it’s something by one of my favourite directors. Though he was a studio director – in other words, he had to film whatever script they gave him with whatever cast they gave him – Seijun Suzuki figured out early on how to keep things interesting even when the scripts were standard B-movie fare. Akin somewhat to Hitchcock in viewing the role of the director to be more technical in nature (where does the camera sit, when does it move, how do I frame things, etc.), Suzuki was able to play with storytelling conventions a great deal by adding subtext and context via his images and visual style while avoiding exposition like the plague. The classic story is that Nikkatsu fired him upon seeing his 1967 film Branded To Kill after having warned him to play by the rules (his previous film Tokyo Drifter wasn’t exactly a straight line narrative either). His methods of telling his story made generic plots into interesting ones and I’ve never seen a film of his that didn’t make me broadly smile at something totally unexpected, make me think “Whoa, that was cool…” and yet still convey relevant information about the story or character.

    So in anticipation of John Woo’s re-imagining of one of the classic yakuza films, here’s just a few examples of Suzuki’s work:

     

    Youth Of The Beast (1963)

     

    Gate Of Flesh (1964)

     

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  • “RDJ Just Sits in His Trailer” [Avengers Clip w/Whedon Commentary]

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    Here’s my one super hero comic book post for the year. Early reviews for The Avengers have been highly praising of the film so I figure there must be a lot of interest and anticipation out there at this point. I found this clip that showcases a major fight sequence within the film. The interesting part is that we get commentary from writer/director Joss Whedon throughout the clip. I suppose the clip itself could be considered a spoiler, but it’s two guys bashing each other with metal – did you really not expect to see some of that in the movie?

  • Hot Docs 2012: Despite The Gods Review

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    “This is mayhem. This is India. Isn’t it beautiful?”

    This observation to the camera, uttered by a crew member at one point during a bit of down-time during the shooting of Bollywood horror-fantasy HISSS, nearly encapsulates things in a single thought. A rare US/India co-production involving an indie director Jennifer Lynch, and collaborating with significant Bollywood stars Mallika Sherawat and Irrfan Kahn, featured a six million dollar budget an and heavy media spotlight. Chaos and confusion is nothing new to film sets (or any creative process) but Lynch seems ill prepared for the trial-by-fire culmination the language barrier with her Indian crew, a producer who is the Bollywood super-star’s brother, and the seemingly never-ending battle with nature, cities and the culture. To top things off Lynch, who is a single mom, has her 13 year old daughter Sydney in tow for the ride. The movie begins with the director taking up smoking again, just for kicks. Penny Vozniak was asked to stay on by her friend, the producer Govind Menon, to help Lynch look after Sydney and also to shoot some EPK (behind-the-scenes electronic press kit) stuff for the eventual DVD release. As the production both drags on and spirals out of control with clashing ideals – the crew and producer want speed, the director wants care – Vozniak ended up sticking around for the entire 8 months (only 3 of them were ‘scheduled’) of shooting and the result is Despite The Gods, a very candid look at the experience of an seasoned and pedigreed director (Surveillance took the top prize at Sitges’ in 2008) slowly losing her grip on the production and burning out in the process.

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