Archive for the ‘Directors’ Category

  • Deathrace Technique: Camera Smash

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    Despite the poor (ok, downright shitty) reviews that the updated version of Deathrace 2000 is getting, I’m still a bit intrigued with the idea of the Mad Max style vehicles in a super race with the speed and the “real” mash-ups, devoid of any special effects… and of course the hotties. Throw in Joan Allen, Jason Statham and “Deadwood’s” Ian McShane and yeah, I’ll go see it eventually.

    Then I read an interview today with director Paul W.S. Anderson in which he talks a little about the making of the film and how they managed some of the cool smash-em-up scenes. It’s all real crashes and real guns. No models or crappy CGI. This was the real deal. In the interview, there are references and inspirations to everything from Mad Max to Two Lane Blacktop to Bullitt to Black Hawk Down and more. This intrigues me further.

    Deathrace

    But how they get some of the shots is by actually running over and smashing some of the cameras:

    I wanted to get the cars to drive into the cameras at high speeds, so we built one of my favorite rigs. We built a rig that had a camera and was completely ringed with basketballs. So it was this big giant ball. We stick it in the middle of the road, and the cars would drive at it. There is a shot in the very first race, when the original Frankenstein drives, where the car slides around the corner, and it looks like it hits the camera, and it does. And then the continuation of that is really funny because the camera just rolls away, bounces away, and it hits the wall.

    Cool.

    Read the full article over at io9.com [via Gizmodo]

  • Phillip Seymour Hoffman to Direct

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    Beth Cole and Phillip Seymour Hoffman in Jack Goes BoatingOne of my favorite and most talented actors working in Hollywood today (proven by his trifecta of great performances in 2007 and an Oscar win in ’05), Phillip Seymour Hoffman, apparently will be trying his hand at directing. It is to be the big screen adaptation of an off-Broadway play that Hoffman also stars in titled “Jack Goes Boating.”

    The play has gotten rave reviews and has been compared to Little Miss Sunshine on drugs. The play/movie is about two stoners, one a limo driver and the other a “lovable loser”, who fall in love.

    While I normally wouldn’t be overly excited about this, I will definitely be following it now; as long as Hoffman remains the star in front of the camera as well as behind it. Thanks to the guys over at Firstshowing for the heads up on this one. No production details have been announced yet, but I’ll keep my eye on this one and keep us all informed of any news.

    NYT review and plot synopsis of “Jack Goes Boating”

  • The ‘New’ New World (Director’s Cut Coming in October)

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    Interesting news from our friend Joseph over at Cinexcellence. A new cut of Terrence Malick‘s sublime retelling of the Pocahontas story is due out on DVD this October. According to businesswire.com, the new version will:

    “…[feature] more than 30 minutes of never-before-seen footage, heightening the viewing experience with more battles, more intensity and more visual splendor. Also included is a comprehensive, ten-part documentary – Making the New World – which captures the unique creative challenges filmmakers faced.”

    Personally, I think that the current version is nigh on perfect. Yet I am still curious to get lost in a 25% longer version of the film. Wouldn’t it be nice if a limited theatrical run (certainly the best place to watch this film) resulted from this new cut. Heck, while I’m in fantasy land, considering that Malick used a high-res filmstock when shooting this film, a blow-up to IMAX would be pretty swell.

    For a taste of what might be in this new cut, a fabulous deleted scene of Captain John Smith and Pocahontas ‘exploring each other’ is under the seat.

    » Read the rest of the entry..

  • Tommy Lee Jones Behind the Camera Again

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    Don\'t make me kill you.One thing I love about Cannes is not only all of the great film and beautiful locales (and my jealousy), but also the interesting tid-bits of information that seemingly pop up out of nowhere.

    If The Three Burials of Melquiades Estrada is any indication, not only has Tommy Lee Jones proven himself as an actor (better each year in my opinion), but also as a director. His freshman effort was quite well done and extremely enjoyable as a true contemporary western.

    Now, via comingsoon, Hollywood Reporter is mentioning that TLJ is set to write, direct, produce and star in a new adaptation of the Hemmingway novel, “Islands in the Stream.” Since I am too uncultured to bother with the actual reading of a book, here is the general synopsis stolen from elsewhere:

    Islands centers on the various life stages of a reclusive male painter named Thomas Hudson before, during and after World War II after he moves to the Bahamas. Like many Hemingway characters, Hudson, who in the tale has a stint working for the U.S. Navy and also endures a series of family tragedies, leads a complicated emotional life that he hides behind a stony exterior.”

    With Morgan Freeman and the underrated John Goodman set to co-star, I see nothing but pure gold here. Without seeing marketing materials, trailer or even a still, I’m on board. Unfortunately we’ll be waiting a while as shooting doesn’t begin until next March. Well, at least I have something to look forward to in late ’09.

  • Unbeatable Tag Team: Herzog and Lynch

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    From an early morning post by the Hollywood Reporter, it looks like Werner Herzog is going to be having a very busy next 12 monthd. After wrapping up a shoot of the remake for Bad Lieutenant and another film this fall (The Piano Tuner, he’ll be teaming up with the legendary David Lynch to helm a film entitled, My Son, My Son; which is “loosely based on the true story of a San Diego man who acts out a Sophocles play in his mind and kills his mother with a sword. The low-budget feature will flash back and forth from the murder scene to the disturbed man’s story.”

    Principal photography is set to begin in March. It’s hard to tell if Herzog is co-directing with Lynch on this one or if Herzog is just getting the co-writer credit (he co-penned the script with long time assistant director, Herbert Golder). These developments are a bit vague, but I’m sure we’ll be keeping close tabs on this one in months to come.

    Seriously though. How cool is this?


    Herzog and Lynch join forces

  • Herzog does a Remake? Of Bad Lieutenant ??!!??

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    File under Strangest News of the Day.

    Millennium films – purveyor of misguided trash along the lines of 88 Minutes and War Inc. – is fast-tracking the remake of Bad Lieutenant (yes, that Bad Lieutenant!) with Nicholas Cage to star, and shockingly, Werner Herzog to direct.

    Abel Ferrara‘s original 1992 film is a grimy NC-17 classic (one of those endurance litmus tests along the lines of Funny Games and Happiness) that makes you want to simply take a shower after watching it. The remake, by the sounds of it is going to aim for a mainstream audience. The audience that stayed away in droves from Herzog’s uplifting and heroic story of Rescue Dawn. This is wacky, wacky stuff kids.

  • Soderbergh, Del Toro and Che

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    Steven SoderberghIt’s not a secret that I’m a HUGE Steven Soderbergh fan, so I like to keep abreast on his current and upcoming projects. His next films, both slated for release later this year are entitled The Argentine and Guerilla, which both star Benecio Del Toro (another favorite) as Che Guevara; the controversial Cuban leader under the order of Fidel Castro who toppled the previous Cuban regime in 1958(?).

    The Argentine covers the early portions of the story, with Guevara arriving in Cuba and setting up his army/resistance fighters; while Guerilla seems to be a bit more political and less “actiony”, revolving around Che’s journey to New York City to address the United Nations in 1964.

    Regardless on my political leanings or interest in the subject matter, there’s no question I’ll get my eyes upon these films as soon as I’m able to. Soderbergh never does any wrong and covering such an explosive (pun intended) topic over the span of two films is sure to fascinate.

    The films also star Franka Potente (Run Lola Run, Blow, Bourne), Benjamin Bratt, Catalina Moreno (Maria Full of Grace, Paris je’Taime, Fast Food Nation) and Joaquim de Almeida (Desperado, Clear and Present Danger) among others.

    At any rate, I came across a bunch of new stills from the movies. You can see them all beneath the seats…
    » Read the rest of the entry..

  • Ang Lee Visits Woodstock

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    WoodstockMaybe this is old news, but in preparation for this week’s Movie Club pocast focussing on Ang Lee’s The Ice Storm, I happened across this little story on Lee’s next project: Taking Woodstock.

    Apparently quite a popular novel, “Taking Woodstock: a True Story of a Riot, a Concert, and a Life” is the memoir of author Elliot Tiber; a closet gay man who works as a hotel manager/interior designer and his role of inadvertently setting in motion events that causes the greatest musical festival of all time to come to fruition.

    I’m not a huge Ang Lee fan. I like this and I like that, but then there’re a few clunkers in the filmography as well. A “hit or miss” director for me. Despite what I may think of any one of his particular films, I respect the man greatly for trying different things and crossing genre lines – something not many directors are willing to do. I like directors (and actors or all artists) who take chances and challenge themselves. Retelling the Woodstock story would certainly qualify as something new for Ang Lee.

    According to IMDb, this is still in pre-production, but we can look forward to this sometime in 2009.

  • Polanski Doc Finally Gets at the Truth

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    Roman Polanski, 75Roman Polanski is a fabulous director, but also a notorious one. In 1978, Polanski pleaded guilty to the statutory rape of a then 13, Samantha Geimer. Polanski fled to Paris, where he remains today, to avoid being sentenced.

    I personally knew nothing of this story until a few years ago when The Pianist was up for best picture and the tabloids were a buzz with predictions of whether or not Polanski would show up at the ceremony or not; risking being arrested.

    But now, film maker Marina Zenovich has put together a documentary that takes a serious look at the case and hopefully will provide some answers to the slight mystery of what actually transpired between Polanski and Geimer. The film, entitled Roman Polanski: Wanted and Desired, apparently made a bit of a splash at Sundance a few months back and has now been picked up for television and theatrical rights by THiNKfilm.

    So I hadn’t heard about the film until today, but I must say I’m intrigued as the word around the campfire is that it’s pretty well made and gets to the meat of some hidden issues. Director Zenovich had this to say about working on the film:

    In 2003, talk of [Polanski] winning an Oscar and whether he’d risk coming to accept it started me thinking about this case because nobody knew exactly what happened. Fearing sensationalism, nobody would talk to me. It took five years. Eventually those involved realized I had good intentions and just wanted to tell the story. I met [Geimer's] lawyer and then Samantha, the girl herself. Why she consented, I don’t know. Even her mother talked to me. Now blonde, clear-eyed, 45, with three kids, Samantha lives in Hawaii and she basically has forgiven him.

    If, like most of us, you’re not able to make this doc’s international debut at Cannes in just a couple weeks, HBO will air it on June 9th, with THINKFilm’s theatrical engagements beginning with a New York opening on July 11th. I for one will do what I can to catch this when it airs in June.

    Here’s an interview with Zenovich and Polanski regarding the film from Sundance:

    sources:
    Starpulse.com
    Movie City Indie

  • Dark City: Director’s Cut spiralling towards us.

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    DarkCity Jennifer ConnellyCan I get a great big happy “Yay”? The first DVD I ever owned (before I even had a way to play the disc, even) was Alex Proyas‘ fabulous cult sci-fi film Dark City. Despite the fabulous cast, sumptuous production design and great story, Dark City never managed to find the audience that Proyas‘ lesser efforts, I Robot and The Crow did; what he was able to accomplish with such a limited budget is to be commended really. Yes, the film is that good.

    Word from screenwriter David Goyer through Bloody Disgusting is that the long rumoured director’s cut of the film with updated special effects, a completely remastered score, and a few additional minutes is finally coming close to fruition. He goes on to indicate that a limited theatrical release is likely (yes, PLEASE) before a much desired Blu-Ray release of the new cut of the film.

    Best news I’ve heard all week really. When this new version is on DVD (even if it comes out on standard DVD) I will not mind double-dipping. And I will be very curious to see how/why they need to improve the already stellar effects in the film, that have aged quite well thank you very much. Lastly, hopefully they will drop out the studio-compromised opening narration which is really the only flaw in this stellar film.

    For more Ms. Connelly, check out our Finite Focus entry on Dark City

  • The Films of John Carpenter: Dark Star (1974)

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    One of the better Holiday gifts I received this past season (ok, ok…I bought it myself with some of my Holiday money) was the book, “John Carpenter: The Prince of Darkness” by Gilles Boulenger. Essentially a series of interviews that the author conducted with the famed filmmaker, the book covers everything from earliest inspirations right up to Ghosts of Mars (which was Carpenter’s newest film at the time of publication). It was while reading Boulenger’s book that I was struck with the idea for this series. What I plan to do over the course of the next several months is watch every John Carpenter movie currently available on DVD (which is damn near all of them), in chronological order, and record my thoughts and opinions on each one. I see it as an excellent opportunity to explore the career of one of the cinema’s most entertaining directors, and I’m looking forward to it in a big way.

    The first film in this series is Dark Star, which started life as a student project in the early 1970’s, when Carpenter was enrolled at USC. Directed by Carpenter, from a script he co-wrote with fellow classmate Dan O’Bannon (who would go on to compose the screenplay for Alien), Dark Star is an ultra low-budget sci-fi comedy, pieced together bit by bit over the course of several years. Eventually, producer Jack H. Harris would get involved, with the intention of giving the film a general release. At Harris’ insistence, additional scenes were shot, increasing the film’s running time from just over an hour to 90 minutes total. Both versions of the film are available on the special-edition DVD, but thus far I’ve only seen Carpenter’s original cut of 1 hour and 8 minutes. Unfortunately, even at this shorter length, Dark Star tends to wear out its welcome rather quickly.

    » Read the rest of the entry..

  • Blood Simple. Pauline Kael. Hindsight.

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    Blood SimpleBrowsing through the massive amount of daily mondo cinema linkage over at the always fabulous GreenCine Daily, one thing that popped out was that The New Yorker recently put up Pauline Kael‘s original review of Blood Simple written at the time of the Coens‘ film debut, February 1985. It’s a fascinating read, one because the length of the review is about 3-4 times longer than most press and/or magazine film reviews these days (Kael can and does get into some of the minutiae of the films matter) and and two because she seems to totally nail the foundation of the Coens‘ idiom, yet fails to actually get (or what she does get, rubs her the wrong way) what makes them so damn enjoyable as filmmakers. I offer you some excerpts below, but encourage any film fan to read the full review (HERE – be sure to scroll down, unless you are interested on what she has to say about Peter Weir‘s Witness).

    But [they don't] seem to know what to do with the actors; they give their words too much deliberation and weight, and they always look primed for the camera. So they come across as amateurs.

    [Blood Simple] works best when someone misinterprets who the enemy is but has the right response anyway. (It’s like a bedroom farce, except that the people sneaking into each other’s homes have vicious rather than amorous intentions.)

    Coen’s style is deadpan and klutzy, and he uses the klutziness as his trump card. It’s how he gets his laughs.

    Blood Simple is that kind of student film on a larger scale. It isn’t really about anything except making a commercial narrative movie outside the industry.

    The reviewers who hail the film as a great début and rank the Coens with Welles, Spielberg, Hitchcock, and Sergio Leone may be transported by seeing so many tricks and flourishes from sources they’re familiar with. But the reason the camera whoop-de-do is so noticeable is that there’s nothing else going on.

    Now the Coens‘ filmography does indeed read like a tacky tourist trip through many of the classic genres of cinema (Screwball Comedy, Noir, Gangster, Slacker Comedy), and they’ve certainly managed at least one great American classic (That’d be Fargo, although many would also argue No Country For Old Men, or perhaps Barton Fink). Ms. Kael’s initial write-off seems a bit harsh, perhaps a backlash to the brothers coming so quick out of the gate into high falutin’ cinema circles. Over their 23 year career (Oi, Ethan was only 26 when this film was made) They have married successfully comedy to pathos, style to substance and most importantly, art-film to pop-entertainment. No small feat that.

    Discuss.

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