15 December 2005
[movies] Letters to Walken — amusing Christmas Letters to Christopher Walken … ‘Mr Walken, Please, will you come Dance at my Birthday Party?’ [via linkbunnies.org]
19 November 2005
[movies] Glanced at: Superman Returns Teaser Trailer
18 November 2005
[books] Blink: The Movie — Malcolm Gladwell’s book Blink to be turned into a movie starring Leonardo DiCaprio?! ‘…we were curious to hear what [Gladwell] had in mind for the movie. He tells us, “It takes a single character from Blink — Silvan Tompkins — and fashions an entirely new story around him, about what it means to be someone who can read other people’s thoughts.”‘
3 November 2005
[soundboard] The Shining Soundboard — yet another flash soundboard using clips from The Shining … ‘Does it matter to you at all that the owners have placed their complete confidence and trust in me, and that I have signed a letter of agreement, a contract, in which I have accepted that responsibility? Do you have the slightest idea what a moral and ethical principle is, do you? Has it ever occurred to you what would happen to my future if I were to fail to live up to my responsibilities? Has it ever occurred to you? Has it?!’
2 October 2005
[film] His ‘Secret’ Movie Trailer Is No Secret Anymore — NYT on the remixed Shining trailer … ‘The challenge? Take any movie and cut a new trailer for it — but in an entirely different genre. Only the sound and dialogue could be modified, not the visuals, he said. Mr. Ryang chose “The Shining,” Stanley Kubrick’s 1980 horror film starring Jack Nicholson and Shelley Duvall. In his hands, it became a saccharine comedy — about a writer struggling to find his muse and a boy lonely for a father. Gilding the lily, he even set it against “Solsbury Hill,” the way-too-overused Peter Gabriel song heard in comedies billed as life-changing experiences’
30 September 2005
[film] Shining Trailer — a new family film from Stanley Kubrick … ‘Sometimes… what we need the most is just around the corner.’
21 September 2005
[film] Actress Mirren’s Queen unveiled — BBC News on Helen Mirren playing the Queen … ‘Mirren, 60, is pictured reading news of the death of Diana in the movie, which is called The Queen. Directed by Stephen Frears, it is set in the week following the crash which killed Diana and her lover Dodi Fayed in August 1997.’
11 September 2005
[film] Interview with Dave McKean — Guardian Online interviews the comic creator and director of MirrorMask … ‘Q: Can you instantly tell if you’re watching computer generated images in a movie? A: Yes, although the integration is sometimes so clever it is hard to be sure. I think some images that are unashamed to look fabricated can be fascinating in their own right, especially as many make use of what computers can do very well, creating complexity, adding complex systems to manmade simple basic building blocks.’ [Related: MirrorMask Trailer]
27 August 2005
[film] Don’t Let Yourself Get Attached To Anything — a lookback at Michael Mann’s Heat … ‘McCauley is perhaps the part that De Niro played that is closest to the actor’s own personality: a screen, a cipher, depthless, icily professional, lacking in reflexivity, stripped down to pure Method (‘I do what I do best’). When McCauley meets the love interest, Eadey, he is reading a book on metals.’ [via Blackbeltjones Links]
22 August 2005
[film] Interview with Errol Morris … from the Huffington Post .. On Robert McNamara and The Fog of War: ‘When people say to me, this is just some self-serving account that McNamara has provided, part of my feeling when I hear that is, “Well, yeah, of course it is!” But that’s not all it is. It’s not just a self-serving account, it’s a complicated account. We all have narratives about ourselves, about who we are and why we do what we do. We have accounts of ourselves for ourselves and we have accounts of ourselves for other people to try to convince them about who we are and our underlying motivations. Part of the premise here is that people reveal themselves through their use of language, through talking.’
11 August 2005
[comics] Interview with Dan Clowes — mainly covering his new film Art School Confidential … ‘I had a revelatory moment as a child when I was drawing Superman. He had that insignia on his chest, and I was studying it for hours (I think I was 4 or 5). I saw the negative shapes that define the S, but I didn’t get that it was a letter. I would draw those shapes over and over. Then one day I realized, “It’s an S!” It all fit together. “S for Superman, of course!”‘
28 July 2005
[movies] V for Vendetta Trailer — it doesn’t look as bad as League of Extraordinary Gentlemen… Alan Moore on the V for Vendetta Shooting Script: ‘They don’t know what British people have for breakfast, they couldn’t be bothered. ‘Eggy in a basket’ apparently. Now the US have ‘eggs in a basket,’ which is fried bread with a fried egg in a hole in the middle. I guess they thought we must eat that as well, and thought ‘eggy in a basket’ was a quaint and Olde Worlde version.’ [via Pete’s Linklog]
15 June 2005
[film] ‘He’s not a god – he’s human’ — Christopher Nolan discusses Batman Begins … ‘So what is his take on the material? With the polished ease of a man who has been through a thousand pitch meetings, Nolan explains his idea. “The origin story was the bit that had never been told. I wanted to try to do it in a more realistic fashion than anyone had ever tried to a superhero film before. I talked a lot about films I liked, particularly the 1978 Superman, which is the closest thing to what I proposed. Obviously, some of it is dated, but it’s an epic film, with a certain realistic texture. I wanted to make the Batman epic you expected to have been made in 1979.”‘
13 June 2005
[comics] The Mindscape of Alan Moore Trailer … ‘I believe that our culture is turning to steam.’ [via Alan Moore Fan Site]
27 May 2005
[film] Black and white and Bloody — interview with Frank Miller on Sin City … ‘Sin City has little in common with the garish, effects-driven superheroics now associated with the genre. It plays more like the film noir equivalent of Pulp Fiction; a trio of macabre, interlinked tales set in a stylised world where men are honourable brutes, women are deadly lingerie models, and the only proper way to deal with a paedophile is to shoot his nuts off. It’s not what you’d call politically nuanced, but Miller is unashamed and unapologetic. “Cartoonists’ dirty secret is that we tend to come up with stories that involve things that are really fun to draw,” says Miller.’
23 May 2005
[movies] 2001 at 25 — a lookback (from 1993) at Kubrick’s 2001 from Omni Magazine … ‘Clarke had provided a framework of childlike wonder, of travel to the far planets and meetings with benevolent creatures from another world. He had redefined the possibilities of mystical experience for a jaded era. But Kubrick flavored this hopeful scenario with a discomforting reminder that such adventures could cost us more than we bargained for. The triumph of our intellect, he seemed to say, might actually cost us our humanity itself. Kubrick’s cynicism about modern condition–his ghastly spacemen with their chilling lack of communication–stood in contrast to the chatty, fussy genius of HAL 9000, a computer considerably more human than his zombified masters.’ [via Mefi]
21 May 2005
[film] Watchmen – Will we be watching it after all in 2006? — Filmrot on the problem of bringing Moore and Gibbon’s Watchmen to the screen … ‘Unlike Alan Moore’s other notable ‘superhero’ comic The Extraordinary League of Gentlemen, Watchmen is not a romp. It is rich in the superhero tradition and has a sense of humour that happily makes fun of the genre but just as the iconic cover image is a smiley face, it is a smiley face with the blood of a hero smeared across it.’ [thanks Stuart]
18 May 2005
[documentary] The film US TV networks Dare Not Show — the Guardian on Power of Nightmares being shown at Cannes … ‘The film is […] incendiary for its analysis of what Curtis controversially insists is the largely illusory fear of terrorism in the west since 9/11. Curtis argues that politicians such as Bush and Blair have stumbled on a new force that can restore their power and authority – the fear of a hidden and organised web of evil from which they can protect their people. In a still-traumatised US, those with the darkest nightmares have become the most powerful and Curtis’s film castigates the media, security forces and the Bush administration for extending their power in this way.’
2 May 2005
[tv] Cannes to screen BBC’s Nightmares — the BBC documentary Power of Nightmares is to be remade as a film … ‘The BBC Two series questioned whether the threat of terrorism to the West was a politically-driven fantasy, winning a Bafta TV award among other prizes. Its three one-hour episodes are being edited into a single two-and-a-half hour movie by producer Adam Curtis after the festival asked to screen it.’ [via Haddock]
24 April 2005
[movies] Sin City Expands Digital Frontier — Wired Reviews Sin City … ‘While [Sin City] could induce nightmares, it is also, in its own way, sweetly nostalgic. This is a film that loves artifice the same way that Singin’ in the Rain did. Singin’ in the Rain, along with many films noir and various other stage-bound Hollywood movies, used two-by-fours and gallons of paint to build its glorious unrealities. Sin City instead uses pixels…’
23 April 2005
[comics] Warren Ellis: ‘I fully expect the film version of WATCHMEN to be a fucking musical.’
16 April 2005
[movies] The Man Who Shot Sin City — Wired Magazine on how Robert Rodriguez brought Sin City to the screen. ‘…small details like Sin City’s signature “white blood” proved to be an effects challenge. Regular movie blood didn’t cut it. Instead, the crew used fluorescent red liquid and hit it with a black light. This allowed Rodriguez to turn the blood “white” in postproduction. Likewise, the novel’s few splashes of color proved troublesome. Yellow and green react with green screens, causing color to spill into the background and making them impossible to separate. So during shooting Rodriguez painted the villain, Yellow Bastard, blue – and then colored him yellow in post.’
1 April 2005
[comics] Sin City Comic-to-Screen Comparisons — Compare Frank Miller’s comics with the upcoming Movie … ‘Not an exact match by any stretch, but the mood is there…’ [via Waxy]
30 March 2005
[film] Aliens at the Abbey Road Film Festival in London (31/3) — fancy a free ticket? Sashinka’s got some up for grabs … ‘I say we take off and nuke the entire site from orbit. It’s the only way to be sure.’
4 January 2005
[documentaries] True Films — a list of documentaries recommended by Kevin Kelly. On The Thin Blue Line: ‘The film hypnotically plays out his alleged murder of a cop over and over, each time according to different witnesses, until the “evidence” of the crime collapses under the tainted weight of so many versions. This was a new form of nonfiction film and it helped free an innocent man from prison. How many films can claim that?’
10 December 2004
[film] What Stanley Didn’t Say — The Inside Story Behind a Fake Interview with Stanley Kubrick … ‘After Stanley’s death the volume of [press] clippings doubled, and tripled, then quadrupled. There were obituaries, memorials, recollections, assessments and so on. These were too important merely to box, so I decided to file them in date order in Swedex four-prong binders (always a favourite with Stanley: “Those Swedes sure know how to make a functional, sexy binder!”).’
15 October 2004
[film] Feeling Listless on Clerks X: ‘To some degree it’s a depressing experience because I’ve seen this film so many times that it’s lost that shock of the new. It’s the kind of piece which people are still discovering and I wish I still could. Even at student age I wasn’t old enough to appreciate the melancholic desolation which seeps through the cracks of the comedy. Like the best film with longevity it changes each time we revisit because we are older and our perceptions change. Which is the film’s real achievement – that something could cost that little money, be made under those production limits and still be have that value.’
11 October 2004
[comics] Christopher Reeve Obituary: ‘Of playing Clark Kent, Reeve reckoned that “there must be some difference stylistically between Clark and Superman. Otherwise you just have a pair of glasses standing in for a character.” Reeve, though he played the two roles straight without any sign of camp, revealed a deft Cary Grant-inspired comic timing. Unfortunately, the three sequels were a matter of diminishing returns and, after Superman IV: The Quest For Peace (1987), Reeve, determined to ‘escape the cape’, explained: “Look, I’ve flown, I’ve become evil, loved, stopped and turned the world backward, I’ve faced my peers, I’ve befriended children and small animals and I’ve rescued cats from trees. What else is there left for Superman to do that hasn’t been done?”‘
19 September 2004
[film] Michael Mann’s Dark World — Brief BBC News profile of the director of Collateral … ‘Collateral displays all the classic Mann themes – the exploration of the male psyche, the blurred lines between good and evil and the disaffection that comes from living in the big city.’
13 September 2004
[movies] Sin City Preview Trailer … ‘A hardtop with a decent engine and make sure it’s got a big trunk.’
Click Image for Stills from Sin City.
Click Image for Stills from Sin City.
26 August 2004
[films] Hope Springs Eternal — interesting essay about Shawshank Redemption from Mark Kermode. ‘…the symbolism is implied rather than announced, with the falsely convicted Andy resembling a latter-day Christ figure who, at one point, seems to vanish from his tomb-like cell only to be reborn in the baptismal waters of a nearby creek, causing Norton to scream: ‘Lord, it’s a miracle!’ And of course, the most famously iconic image from the film is that of a stripped Andy standing with his arms outstretched, his head turned heavenward, in a moment of agony and ecstasy clearly resembling the crucifixion. The deeper one delves into The Shawshank Redemption, however, the more the search for such religious symbols becomes a self-fulfilling prophecy…’ [via Mad Musings of Me]
25 August 2004
[blogs] QT’s Diary — allegedly Quentin Tarantino’s Weblog … ‘QT here. I’m typing up this bastard of a diary entry myself because my typist isn’t around. Sorry if there are any typos, cause frankly I don’t give a fuck.’ [thanks Kabir]
11 August 2004
[movies] Five Things You Probably Didn’t Notice in The Shining — interesting commentary on Kubrick’s Horror Film … ‘Kubrick deliberately undermines all the most frightening moments in the book. He’s still trying to scare you, but not the way it’s usually done. Jack Torrence is trying to kill his wife with an ax. Isn’t that frightening enough? Isn’t violence terrifying all by itself? Kubrick feels no need to cheat you by not showing what’s on the other side of the door. To Kubrick, Ozzie and Harriet is the ultimate snow job, and a man, woman and child trapped alone together is the most horrifying prospect imaginable.’
25 July 2004
[comics] ‘Watchmen’ unmasked for Par, Aronofsky — details from Hollywoodreporter.com … ‘”Watchmen,” the seminal DC Comics limited series, has landed at Paramount Pictures. Darren Aronofsky will develop and direct the project, which is being written by David Hayter.’
27 June 2004
[comics] Batman on Film — latest news and rumors about the Batman films … ‘BATMAN ON FILM is the voice of the Bat-fan as we lobby for the production of the ultimate BATMAN movie. We’ve been doing this since June of 1998…’
23 June 2004
[film] Unfairenheit 9/11 – The lies of Michael Moore — Chris Hitchens on Fahrenheit 9/11 … ‘I have already said that Moore’s film has the staunch courage to mock Bush for his verbal infelicity. Yet it’s much, much braver than that. From Fahrenheit 9/11 you can glean even more astounding and hidden disclosures, such as the capitalist nature of American society, the existence of Eisenhower’s “military-industrial complex,” and the use of “spin” in the presentation of our politicians. It’s high time someone had the nerve to point this out.’
20 June 2004
[film] ‘9/11’: Just the facts? — Roger Ebert on Michael Moore’s Fahrenheit 9/11 … ‘That’s where you’re wrong. Most documentaries, especially the best ones, have an opinion and argue for it. Even those that pretend to be objective reflect the filmmaker’s point of view. Moviegoers should observe the bias, take it into account and decide if the film supports it or not. Michael Moore is a liberal activist. He is the first to say so. He is alarmed by the prospect of a second term for George W. Bush, and made “Fahrenheit 9/11” for the purpose of persuading people to vote against him.’ [Related: Fahrenheit 9/11 Trailer]
16 June 2004
[comics] Bat Out of Hell — preview of Batman Begins. ‘…the comic-book franchise does have a checkered past. The new chapter, which will hit theaters in June 2005, is called “Batman Begins” — presumably because “Batman Sucked the Last Time So We’re Starting Over” was too clunky.’
10 June 2004
[film] Let’s Not Get It On — a guide to the least erotic moments in recent films … ‘All it takes for Eminem to bed (or, in this case, stack of metal) Murphy is an awkward request for a date, which she parlays into some immediate workplace action: Looking for all the world like a crack whore, Murphy soaks her palm in her own saliva and heads down south. A moment of mostly silent sex – broken up by clanking factory noises – ends with Eminem, in a rare moment of vulnerability, gasping “Oh, God.” His savage beast isn’t soothed for long, though: After two seconds of postcoital bliss, he’s already shouting, “Your friends don’t even know me!”‘ [via I Love Everything]
7 May 2004
[film] Complex Persecution — some background details about Capturing the Friedmans … ‘I also told director Jarecki about the family’s home movies, some of which he ended up using in his documentary. Amazingly, the Friedmans’ shock, shame, internecine warfare, and indignation—like their childhood skits and cheerful family holidays—are captured on videotape, which David recorded for many months, up to and including his father’s and brother’s convictions.’ [via Sashinka]
21 April 2004
[film] ‘I thought I was really watching her’ — Nick Broomfield on Aileen Wuornos and the film Monster … ‘At the time of her execution, Wuornos was definitely psychotic. She was convinced her mind was controlled by radio waves and believed she was going to be taken off in a space ship to join Jesus Christ. She never showed any remorse; she firmly believed she was ridding the streets of evil men. When a priest came to take her confession just before the execution she sent him packing and knelt down and prayed for her victims, believing they were evil and that God should accept them into heaven. When Jeb Bush cynically produced three psychiatrists to assess Wuornos’s mental state and then pronounced her mentally competent, there was a complete disrespect for what the law really intends, which is that people of unsound mind should not be executed.’
20 April 2004
[film] Plumbing Stanley Kubrick— Iain Watson reminiscences about working with Stanley Kubrick …
‘”Do you know what the essence of movie-making is?” Stanley asked me. “It’s buying lots of things.” The Labour Party was responsible for the fact that nothing bought in Britain worked properly, so he preferred to buy from a distance such as Düsseldorf or California. When Full Metal Jacket was being filmed in England a whole plastic replica Vietnamese jungle was air-freighted in from California, so I was assured. Next morning Stanley walked on set, took one look at it, and said, “I don’t like it. Get rid of it.” The technicians shared out the trees, giving a new look to gardens in North London, and a real jungle was delivered instead, palm trees uprooted from Spain.’
30 March 2004
[film] Citizen Kubrick — Jon Ronson explores Stanley Kubrick’s Archive … ‘Tony takes me into a large room painted blue and filled with books. “This used to be the cinema,” he says. “Is it the library now?” I ask. “Look closer at the books,” says Tony. I do. “Bloody hell,” I say. “Every book in this room is about Napoleon!” “Look in the drawers,” says Tony. I do. “It’s all about Napoleon, too!” I say. “Everything in here is about Napoleon!” I feel a little like Shelley Duvall in The Shining, chancing upon her husband’s novel and finding it is comprised entirely of the line “All Work And No Play Makes Jack A Dull Boy” typed over and over again.’
8 March 2004
[film] Making History — interview with Errol Morris about his documentary The Fog of War on Robert McNamara … ‘I’m not a conspiracy theorist, I don’t believe in conspiracies. People are far too confused, too much at cross-purposes with themselves, too argumentative, too nutso ever effectively to conspire to do anything. Maybe they manage to pull it off for a limited amount of time, but not on some mass scale, like deceiving the entire world. What scares me more, and it’s at the heart of the movie, at the heart of this particular story, is not that we make this plan to lie, to deceive, but that we somehow convince ourselves of our own rectitude, our own correctness, our own rightness, no matter what the evidence to the contrary. Humans love nonsense, they lap it up. Ultimately, we’re just big baboons!’ [Related: Fog of War Trailer]
5 January 2004
[film] Movie-list.net … ‘Movie Trailers. Period.’
20 December 2003
[film] Doom With A View — interview with Harvey Pekar and Joyce Brabner. ‘…despite being here (or not) to promote a movie devoted to his life, Pekar is hardly your average breathless self-publicist. Neither, although his comics have brought him a certain degree of wide-eyed adulation, is he any kind of superhero. What he is is a famously crabby retired hospital file clerk, a 64-year-old underground icon whose ongoing autobiography in the pages of his (until recently) self-published comic has now been transformed into a movie, also called American Splendor’ [Related: American Splendor Official Site]
12 December 2003
[film] Guardian Film of the Week: Touching the Void …
‘Neither man waxes poetic about getting close to God or the purity of creation. Simpson says that he was brought up a Catholic, but no thought of his maker inspired him to survive; at the end there is just nothing. In fact, at the low point of his weakness and delirium and pain, Simpson hears music going round and round in his brain. Barber’s Adagio? Beethoven’s Ninth? Nope, it’s Boney M’s Brown Girl in the Ring, a brilliant moment in the film – exactly the sort of banal thing you might find yourself humming as you dangle over the precipice of your existence. Macdonald’s movie is thrilling not because of any divine or aesthetic rapture, but because the sheer vastness of the mountain landscape seems to go beyond beauty, exceeding the limits of the thinkable…’
8 December 2003
[comics] Little things we like: American Splendor — mini review of Harvey Pekar’s American Splendor … ‘Now is the time to check out Harvey Pekar’s brilliant autobiographical comic, just before the film version makes a national hero out of him. Pekar is a downbeat hospital file clerk from Cleveland who writes about the mundanities of his daily routine, from spending empty weekends in front of the television to the dangers of getting stuck behind old Jewish ladies at supermarket checkouts, and it makes for compelling reading.’ [Related: American Splendor Movie Trailer]
23 November 2003
[film] Love Actually — amusing review of Richard Curtis’ new film … ‘Does Mr Curtis have special screenwriting software to produce this sort of thing? Using a Q-tip and bodily fluid, he must have impregnated a disk of the Final Draft programme with his DNA, so that all he has to do is type, say, control-shift-NUPTIALS, to get a complete quirky-yet-touching wedding scene. Or maybe control-shift-PRESSCONF, and we get one of his press conferences with a coded public declaration of love. Perhaps apple-control-SIBLING generates a scene with a trademark disabled sibling or loved one, or maybe he just types alt-ROMCOM and the entire movie comes chuntering out of the printer…’
1 November 2003
[fim] Alien: the Director’s Cut — a review of the re-released sci-fi horror film …
‘It is a genuinely frightening movie which makes splatterfests like The Texas Chainsaw Massacre look juvenile. With style and intelligence, Scott absorbs the influences of Kubrick and Spielberg, together with movies like Westworld and The Stepford Wives, but makes a movie quite distinct from any of these. He puts together a white-knuckle intergalactic ride of tension and fear, which is also an essay on the hell of other people, the vulnerability of our bodies, and the idea of space as a limitless new extension of human paranoia. Alien also functions as a nightmare-parody of the Apollo 11 moon-landing, which had happened just 10 years previously, with all its earnest optimism about human endeavour. And perhaps most stunningly of all, this new version of the movie reveals how it works as a conspiracy satire about state-corporate complicity in manufacturing biological weapons of mass destruction.’