Thursday, August 09, 2012

SIGHT & SOUND 2012



                                                    
Since 1952 British magazine Sight & Sound makes, only once-per-decade, the ONLY  important and respected list of greatest movies of all time (reasons and motives are well known by every single serious film-buff). That does not mean this particular process is perfect. It is a political game. Very few are openly honest on their picks, and when they choose, most will have the goal to impact the final list. Everybody that is allowed to vote will admit that, and I would do the same if I could. There is certainly the unfair aspects on the process. Roger Ebert is correct when he says:


“To make the list, a director is punished if too many of his films are voted for. He needs an "official masterpiece." With Buster Keaton that film used to be "The General," but after the restoration of all of his films his votes have become scattered, I suspect, among "Sherlock Jr.," "Steamboat Bill Jr." and other treasures.”


With Bergman and Kurosawa I believe that their votes were split in 7 or 8 films. And they are out of the top 10.

Some things caught my attention:
    -----------------------------------                                                                                                                                                            xThe Silent era on the rise with 3 films on the top 10 (Sunrise - Man with a Movie Camera - The Passion of Joan of Arc). 
-------------------------------------
                                                                                                                                                              xHollywood can't sell that old Popcorn (as they once did). A movie like Star Wars, for example, is nowhere to be found. And a old Hollywood Standard like “Gone with the Wind” did not make the cut.
-------------------------------------
x  I will not get into the Citizen Kane VS. Vertigo argument. It does not matter…both are masterpieces. Since I never thought of Citizen Kane as the absolute greatest film of all time(there isn’t one), I did not took it that personally.


X  Andrei Tarkovsky hits the big time! --- The Russian master very well ranked with 3 films on the list. 
-------Most popular Filmmakers in the top 100: 
x Ingmar Bergman – 4 films -Persona - Wild Strawberries - Fanny and Alexander - The Seventh Seal

x Jean-Luc Godard - 4 films – Breathless – Contempt - Pierrot le fou - Histoire(s) du cinema

x Carl Theodor Dreyer – 3 films - The Passion of Joan of Arc – Ordet – Gertrud

x Francis Ford Coppola - 3 films - Apocalypse Now - The Godfather - The Godfather Part II

x Andrei Tarkovsky - 3 films - Andrei Rublev - Mirror - Stalker

x Alfred Hitchcock - 4 films - Vertigo - Rear Window - Psycho - North by Northwest



One thing that worries me: 

x No comedies – Even the classics from Buster Keaton and Charles Chaplin took a hit. Both filmmakers are a little further down the list this time around. Not enough votes for “His Girl Friday”, “Bringing up Baby”, “Holiday”, "The Philadelphia Story" or “The Awful Truth”. ANYTHING by Ernst Lubitsch ??????????
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After 10 long years waiting for the 2012 Sight & Sound poll it is easy to say that the results are intriguing ( but not conclusive – they will never -ever -be).












THE COMPLETE --SIGHT&SOUND -- 2012 LIST:




1. Vertigo, 1958 (191 votes)

2. Citizen Kane, 1941 (157 votes)

3. Tokyo Story, 1953 (107 votes)

4. La Règle du jeu, 1939 (100 votes)

5. Sunrise: A Song of Two Humans, 1927 (93 votes)

6. 2001: A Space Odyssey, 1968 (90 votes)

7. The Searchers, 1956 (78 votes)

8. Man with a Movie Camera, 1929 (68 votes)

9. The Passion of Joan of Arc, 1927 (65 votes)

10. 8½, 1963 (64 votes)

11. Battleship Potemkin, 1925 (63 votes)

12. L’Atalante, 1934 (58 votes)

13. Breathless, 1960 (57 votes)

14. Apocalypse Now, 1979 (53 votes)

15. Late Spring, 1949 (50 votes)

16. Au hasard Balthazar, 1966 (49 votes)

17= Seven Samurai, 1954 (48 votes)

17= Persona, 1966 (48 votes)

19. Mirror, 1974 (47 votes)

20. Singin’ in the Rain, 1951 (46 votes)

21= L’avventura, 1960 (43 votes)

21= Le Mépris, 1963 (43 votes)

21= The Godfather, 1972 (43 votes)

24= Ordet, 1955 (42 votes)

24= In the Mood for Love, 2000 (42 votes)

26= Rashomon, 1950 (41 votes)

26= Andrei Rublev, 1966 (41 votes)

28. Mulholland Dr., 2001 (40 votes)

29= Stalker, 1979 (39 votes)

29= Shoah, 1985 (39 votes)

31= The Godfather Part II, 1974 (38 votes)

31= Taxi Driver, 1976 (38 votes)

33. Bicycle Thieves, 1948 (37 votes)

34. The General, 1926 (35 votes)

35= Metropolis, 1927 (34 votes)

35= Psycho, 1960 (34 votes)

35= Jeanne Dielman, 23 quai du Commerce 1080 Bruxelles, 1975 (34 votes)

35= Sátántangó, 1994 (34 votes)

39= The 400 Blows, 1959 (33 votes)

39= La dolce vita, 1960 (33 votes)

41. Journey to Italy, 1954 (32 votes)

42= Pather Panchali, 1955 (31 votes)

42= Some Like It Hot, 1959 (31 votes)

42= Gertrud, 1964 (31 votes)

42= Pierrot le fou, 1965 (31 votes)

42= Play Time, 1967 (31 votes)

42= Close-Up, 1990 (31 votes)

48= The Battle of Algiers, 1966 (30 votes)

48= Histoire(s) du cinéma, 1998 (30 votes)

50= City Lights, 1931 (29 votes)

50= Ugetsu monogatari, 1953 (29 votes)

50= La Jetée, 1962 (29 votes)

53 – Rear Window, North By Northwest, Raging Bull – 28 votes

56 – M, Touch of Evil, The Leopard – 26 votes

59 – Sherlock Jr, Sansho Dayu, La Maman et la Putain, Barry Lyndon 25 votes

63 – Modern Times, Sunset Blvd, The Night of the Hunter, Wild Strawberries, Rio Bravo, Pickpocket – 24 votes

69 – A Man Escaped, Blade Runner, Sans Soleil, Blue Velvet – 23 votes

73 – La Grande Illusion, Les Enfants du Paradis, The Third Man, L'eclisse, Nashville – 22 votes

78 – Once Upon a Time in the West, Chinatown, Beau Travail – 21 votes

81 – Magnificent Ambersons, Lawrence of Arabia, Spirit of the Beehive – 20 votes

84 – Greed, Casablanca, Colour of Pomegrantes, The Wild Bunch, Fanny & Alexander, A Brighter Summer Day – 19 votes

90 – Partie de campagne, A Matter of Life and Death, Aguirre, Wrath of God – 18 votes

93 – Intolerance, Un chien andalou, Colonel Blimp, Madame de..., Seventh Seal, Imitation of Life, Touki-Bouki, A One and a Two. – 17 votes



My list, on this blog, was made 7-8 years ago. And by now I can think of some changes. Amacord, Breathless, The New World ARE IN. And a Bela Tarr movie must find a place here. I would substitute “Deus e o Diabo na Terra do Sol” for “Terra em Transe” as the best Rocha’s film…but that is for later….maybe….

http://en.wikipedia.org/wiki/Sight_%26_Sound   --- All lists since 1952---

Jean Renoir's masterpiece  "The Rules of the Game" is the only film to appear in every top 10 since 1952.

Friday, October 05, 2007

THE LIST:

Links to the 101 films


101- Laura - Director: Otto Preminger - Cast:Gen...
100- To Be or Not to Be - Director:Ernst Lubits...
99- Gertrud - Director:Carl Theodor Dreyer - C...
98- To Die For - Director: Gus Van Sant - Cast: ...
97-Idi i smotri (aka "Come and See") - Director:E...
96-The Magician - Director:Ingmar Bergman - Cast...
95-The Naked Kiss - Director: Samuel Fuller - Ca...
94-The Shop Around the Corner - Director:Ernst Lu...
93-The Big Lebowski - Director:Joel Coen - Cast:...
92-Woman In The Dunes - Director:Hiroshi Teshigah...

91-Psycho - Director:Alfred Hitchcock - Cast:Anth...
90-Deus e o Diabo na Terra do Sol (aka 'Black God...
89-The Philadelphia Story - Director:George Cuko...
88-Breaking the Waves - Director:Lars von Trier -...
87-Manhattan - Director:Woody Allen - Cast:Woo...
86-The Discreet Charm Of The Bourgeoisie -Direct...
85- Belle De Jour - Director:Luis Buñuel - Cas...
84-Paths of Glory - Director:Stanley Kubrick - Ca...
83- The Silence - Director:Ingmar Bergman - Cas...
82-Hiroshima,Mon Amour - Director:Alain Resnais ...
81- GoodFellas - Director:Martin Scorsese - Cast...
80- 42nd Street - Director:Lloyd Bacon - Musica...
79-The Big Sleep - Director:Howard Hawks - Cast...
78- Ninotchka - Director:Ernst Lubitsch - Cast:...
77-Stalker - Director:Andrei Tarkovsky - Cast: Al...
76-Diary of a Country Priest - Director:Robert Br...
75-Sherlock Jr. - Director:Buster Keaton - Cast:B...
74-A Night at the Opera - Director:Sam Wood -Cast...
73-Sullivan's Travels - Director:Preston Sturges...
72-Detour- Director:Edgar G. Ulmer - Cast:Tom Nea...
71-Le Samourai - Director:Jean-Pierre Melvill...
70-Stagecoach - Director:John Ford - Cast:Claire ...
69-Only Angels Have Wings - Director:Howard Hawks...
68- La Strada -Director:Federico Fellini - Cast:A...
67- The Public Enemy -Director:William A. Wellman...
66-Gone with the Wind-A David O. Selznick picture...
6 6 6 - THE NUMBER OF THE BITCH "I don't like ...
65-Grand Hotel -Director:Edmund Goulding. - Cast:...
64-Once Upon a Time in the West - Director:Sergio...
63-My Life to Live - Director:Jean-Luc Godard. Ca...
62-Picnic at Hanging Rock - Director:Peter Weir -...
61-The Maltese Falcon - Director: John Huston - C...
60- The Last Laugh - Director:F.W. Murnau - Cast:...
59-The Blue Angel - Director:Josef von Sternberg....
58-The Best Years of Our Lives - Director:William...
57-The Red Shoes - Director:Michael Powell and Em...
56-The Treasure of the Sierra Madre - Director: J...
55-Double Indemnity - Director:Billy Wilder. Cast...
54-Beauty and the Beast - Director:Jean Cocteau ....
53-The Awful Truth - Director: Leo McCarey. Cast:...
52- Bicycle Thiefs - Director: Vittorio De Sica. ...
51-Citizen Kane - Director:Orson Welles - Cast:Or...
50-Ugetsu Monogatari - Director:Kenji Mizoguchi -...
49-Sunrise -Director: F.W. Murnau - Cast: Janet G...
48-Dodsworth -Director:William Wyler. Cast:Walter...
47- Day of Wrath - Director:Carl-Theodor Dreyer. ...
46- La Notte- Director:Michelangelo Antonioni. Ca...
45-Battleship Potemkin. Director: Sergei M. Eisen...
44-The Seventh Seal - Director:Ingmar Bergman. Ca...
43-The Exterminating Angel. Director:Luis Bunuel....
42-Nights of Cabiria. Director:Federico Fellini -...
41-The Searchers - Director:John Ford. -Cast: Jo...
40-Viaggio in Italia - Director:Roberto Rossellin...
39-Annie Hall. Director: Woody Allen . Cast: Dian...
38-Stromboli,terra di Dio. -Director:Roberto Ross...
37- Rear Window - Director:Alfred Hitchcock. Cas...
36-Late Spring . Director:Yasujiro Ozu- Cast:Set...
35- The 400 Blows. Director:François Truffaut. ...
34- Trouble in Paradise -Director: Ernst Lubits...
33-Fanny and Alexander. Director:Ingmar Bergman...
32-Paris,Texas.- Director:Wim Wenders . Cast:Har...
31-Dr. Strangelove or: How I Learned to Stop Worr...
30-Rashomon. Director:Akira Kurosawa. Cast:Toshi...

29- Raging Bull - Director:Martin Scorsese - Cas...
28-Solaris. Director:Andrei Tarkovsky. Cast:Nata...
27-The Films of Fred Astaire & Ginger Rogers . "...
26-The Rules of the Game - Director:Jean Renoir -...
25-Seven Samurai -Director:Akira Kurosawa. Cast: ...
the 3 most ( internationally) famous figures of I...
24- Sunset Blvd -Director:Billy Wilder. Cast: Wi...
23-In A Lonely Place - Director:Nicholas Ray. Cast...
22-Tokyo Story . Director:Yasujiro Ozu . Cast: Ch...
21- M - Director:Fritz Lang. Cast:Peter Lorre ,Ge...
20- City Lights . Director:Charles Chaplin. Cas...
19- Wild Strawberries . Director: Ingmar Bergman....
18-Au hasard Balthazar. Director: Robert Bresson....
17-Vertigo - Director:Alfred Hitchcock - Cast: J...
16-La Dolce Vita . Director: Federico F...
15- Cries & Whispers. Director: Ingmar Bergman . ...
14- The Decalogue . Director: Krzysztof Kieslowsk...
13-Contempt. Director: Jean-Luc Godard. Cast: B...
12- Ordet -Director:Carl-Theodor Dreyer. Cast:H...
11-Notorious. Director:Alfred Hitchcock. Cast:C...
10-Singin' in the Rain.Director:Stanley Donen a...
9-Persona .Director:Ingmar Bergman. Cast: Bibi...
8- Ikiru . Director:Akira Kurosawa. cast:Takash...
7-The Godfather & The Godfather part II. Direct...
6-Winter Light. Director: Ingmar Bergman. Cast:Gu...
5-L'Avventura. Director:Michelangelo Antonioni....
3-CASABLANCA.Director:Michael Curtiz. Cast:Hu... 3 & 4
1-The Passion of Joan of Arc-Director:Carl The... 1 &2



THE FILMMAKERS


There is 8 films by Ingmar Bergman
--

4 films by

Federico Fellini / Carl Theodor Dreyer / Alfred Hitchcock / Ernst Lubitsch /

--

3 films by


Stanley Kubrick / Akira Kurosawa / Luis Bunuel /

--


2 films by


Michelangelo Antonioni / Francis Ford Coppola / Jean-Luc Godard / Robert Bresson / Yasujiro Ozu / Billy Wilder / Andrei Tarkovsky / Martin Scorsese / Roberto Rossellini / Woody Allen / John Ford / William Wyler / FW Murnau / John Huston / Howard Hawks /

--


1 film by


Michael Curtiz / Stanley Donen / Krzysztof Kieslowski / Charles Chaplin / Fritz Lang / Nicholas Ray / Jean Renoir / Wim Wenders / François Truffaut / Sergei M. Eisenstein / Kenji Mizoguchi / Orson Welles / Vittorio De Sica / Leo McCarey / Jean Cocteau / Michael Powell / Josef von Sternberg / Peter Weir / Sergio Leone / Edmund Goulding / William A. Wellman / Jean-Pierre Melville / Edgar G. Ulmer / Preston Sturges / Sam Wood / Buster Keaton / Lloyd Bacon / Alain Resnais / Lars von Trier / George Cukor / Glauber Rocha / Hiroshi Teshigahara / Joel Coen / Samuel Fuller / Elem Klimov / Gus Van Sant / Otto Preminger/Victor Fleming/

--


x the most "nominated" actor on the list is Humphrey Bogart with 5 films

x the most "nominated' actress is Ingrid Thulin with 5 films


*Not counting #27-"The films of Fred Astaire & Ginger Rogers"- and Gunnar Björnstrand 'cameos' (that's the only way to call it) in Persona and Fanny and Alexander.













Movies that almost got in...
(not in order)



x Dr. Jekyll & Mr. Hyde (1931) -Rouben Mamoulian

x Camille (1936) - George Cukor

x The Mirror (1975) - Andrei Tarkovsky

x Bande à part (1964) - Jean Luc-Godard

x Some Like it Hot (1959) - Billy Wilder

x Eu Sei Que Vou Te Amar (1986) - Arnaldo Jabor

x His Girl Friday (1940) - Howard Hawks

x The Hustler (1961) - Robert Rossen

x A Streetcar Named Desire (1951) - Elia Kazan


x Dog Day Afternoon (1975) - Sidney Lumet


x The New World (2005) - Terrence Malick


x Werckmeister harmóniák (2000) - Bela Tarr

x The Little Foxes (1941) - William Wyler

x Make Way For Tomorrow(1937) - Leo McCarey

x 2 or 3 Robert Altman films



x The Umbrellas of Cherbourg (1964) - Jacques Demy

Thursday, October 04, 2007



101- Laura - Director: Otto Preminger - Cast:Gene Tierney, Dana Andrews, Clifton Webb, Vincent Price,and Judith Anderson.



"Unquestionably the most beautiful woman in movie history "

-Darryl Zanuck-on his star Gene Tierney

----


"People very often say to me that Laura was my first picture. Well, it's the first one they saw, which is why they think that.There's a curious little thing about that: Everybody thinks the song 'Laura' was from the picture. It was not. There was no such song written at the time.


This was directed by Otto Preminger; it was started by Rouben Mamoulian. This is the second time this has happened. Since this is not for publication, I think it's a very interesting little sidelight, because this happened to me and it's one of the things that I know for sure and not hearsay. I have great admiration for Mr. Preminger, but this is a true incident. Mr. Preminger was the producer of this picture, and Mr. Mamoulian was the director. I think Mr. Preminger wanted to be a producer-director. (This is my own opinion, that he wanted to.) In any case, he became one on this picture. I talked to Mr. Preminger and Mr. Mamoulian for some time about the character, and they wanted to do this in a different way. What conversations they'd had between themselves, I don't know, but they were in agreement in talking to me that they wanted this character played as though he were a student of criminology from Yale or Harvard or something like that, and not at all the hard-boiled detective that you generally see. But this was something that I think Mr. Preminger wanted to be different, in this respect--to blaze a trail. This was very interesting to me, too. I didn't know how it would come out, but I knew what they meant and, having been a college man, I had some idea of how college men conducted themselves.


So this is the way the part was played, more or less, for the first two weeks, and we shot, at some expense, two weeks on the film. All of a sudden, Mr. Zanuck, who was out of town, came back into town, and a great commotion was heard. He saw the rushes of what had been shot, and suddenly in the middle of the afternoon the picture was stopped, and the director and the producer were over with Mr. Zanuck. And the word came to us that they were going to take Mamoulian off the picture.


This I didn't know for sure, but at any rate I got a call to go to Mr. Zanuck's office. I went to his office and there sat Mr. Preminger and Mr. Mamoulian, and Mr. Zanuck was sort of presiding. He proceeded to tell me how he thought the character should be played--Zanuck did. Gene Tierney and I were the leads, and Clifton Webb. This was his first picture, by the way. He'd never done a picture before. He'd been under contract to MGM for 18 months and never done a foot of film--never had seen himself on the screen.


They were sitting and listening while Mr. Zanuck told me how he thought the character should be played.What he had in mind was something I was used to--the right-down-the-alley type of detective that you'd seen. As a matter of fact, he said, "Like Pat O'Brien." It was not particularly interesting. He named some picture, Broadway, I think, in which Pat O'Brien played a detective. They are still doing this: it's one of the things it takes you time to get used to, that everything has to be explained within the frame of something they know. I guess it is the only way it can be done succinctly and laconically, so that everybody understands what they're talking about. You can at least start from that.Anyway, this description by Mr. Zanuck was made, and Otto came up and said, "Why, that's what I was telling Rouben." Rouben became livid and said, 'That's a lie. You did not! You explained to me that you wanted this man played in the other way'.
I saw that a big fight was going on here, and I didn't want to be in the middle, because I didn't know how it was going to come out, and there wasn't anything I could do about it anyway. So I said to Mr. Zanuck, 'I think I understand what you mean, and I don't want to get mixed up in this, so if it's all right with you, I would like to retire.' He smiled and said, 'I understand. All right, go ahead.'



So I left the conference. The next morning, Mr. Mamoulian was out, and Mr. Preminger was the producer-director of the picture. A very curious little thing, this. Of course it upset everybody in the picture, because we were very fond of Rouben. He's a very fine gentleman. We were really upset. As a matter of fact, I think the whole cast, including the principals, got together and bemoaned the fact that he was taken off the picture, and didn't quite understand why. Judith Anderson practically refused to act. She made her appearance, technically, but wouldn't take Mr. Preminger's direction. He said, "Miss Anderson, you know that you're capable of ..." She'd answer, "I just don't see it that way," or something like that. This of course was rather childish, but it was her way of rebelling at the change that had come about. But she got over this very quickly, and in a couple of days he had everyone won over. This was designing and it was ambitious; but he did a wonderful job.


My relationship with Mr. Preminger is about as close as actor and director usually get in Hollywood, I guess. I've done a number of pictures with him. At one point in Laura, we more or less disagreed on a certain point of direction he'd given, and I said, 'I don't understand, Otto, why this man would do this,' and he said, 'You are not expected to understand. You just do what I tell you, and it'll be all right.' I said, 'I can't do it that way, just take direction that says, 'Turn your finger here ...' .He said, 'Don't bother me,' or some such irritating phrase.I said, 'Look, I can stay here as long as you can.'He said, 'Can you? We shall see. Sit down.'

So I sat down. We sat there for two hours or more. Nothing happened. My wife chose this day to visit the set, and she said, 'What's going on?' I said, 'We're having a little disagreement.' So I sat chatting with friends, and finally Mr. Preminger came over and said, 'Dah-na'--he never was able to say, 'Dana'--'we are acting like children.'


I said, 'I quite agree with you.' "


-Dana Andrews-

-----


"Men are wonderful. I adore them. They always give you the benefit of the doubt.

-Gene Tierney-

-----


"Everyone should see Hollywood once, I think, through the eyes of a teenage girl who has just passed a screen test."

-Gene Tierney-

Wednesday, October 03, 2007



100- To Be or Not to Be - Director:Ernst Lubitsch - Cast: Carole Lombard, Jack Benny, Robert Stack, Felix Bressart, and Lionel Atwill.



"I think I am possessed only of a fascination for the work I have chosen to do . . . I am so engrossed by the production of a film that I literally think of nothing else. I have no hobby, no outside interests and want none."

-Ernst Lubitsch-
-----
"I let the audience use their imaginations. Can I help it if they misconstrue my suggestions?"

-Ernst Lubitsch-
-----

"I live by a man's code, designed to fit a man's world, yet at the same time I never forget that a woman's first job is to choose the right shade of lipstick.”

-Carole Lombard-
-----

"She brought great joy to all who knew her and to millions who knew her only as a great artist. She gave unselfishly of time and talent to serve her government in peace and war. She loved her country. She is and always will be a star, one we shall never forget, nor cease to be grateful to.

The first woman to be killed in action, in defense of her country, in its war against the Axis Powers."

-President Roosevelt -giving Carole Lombard a medal after her death in a plane crash.
-----

"Nobody should try to play comedy unless they have a circus going on inside."
-Ernst Lubitsch-not about Lombard,but this tells you everything about her too.




Lucille Ball :Carole Lombard was a marvelous friend of mine when I first started,yes...She was a great lady.

Dick Cavett:Was she Witty?

Lucille Ball:Very... ... Beautiful,Chick,Sexy.Adorable.Man just fell down...and lady's too.

Tuesday, October 02, 2007





99- Gertrud - Director:Carl Theodor Dreyer - Cast:Nina Pens Rode, Bendt Rothe, Ebbe Rode,Baard Owe,and Axel Strobye.


25 minute audio interview with Carl Th. Dreyer


---

"Gertrud is the kind of masterpiece that deepens with time because it has already aged in the heart of a great artist"

-Andrew Sarris-

----

"When we shot Ordet, Dreyer was very impressed with my tracking shots, with how long I could make them last. I think for Dreyer it was a very interesting technical development, the whole dolly track thing, because if you compare 'Ordet' or 'Gertrud' with for example 'Joan of Arc', you realize that that picture consists almost entirely of close ups.So in Gertrud, we used a lot of tracking shots. Because the script wasn't divided into scenes, but more like one unbroken string of action… In that respect, I remember very clearly how I often had to politely make him aware that we were running out of film, after shooting for 11 minutes which was the maximum reel length.But it was a very nice way of working… because it meant we would do fewer takes and as a result could usually finish earlier than expected. So we only did one take per day. We rehearsed in the morning, and then everybody took a lunch break, after which we could come back and finish shooting. Even the producer was happy because we used considerably less film than usual.While filming Gertrud, there was a big problem one time with a tracking shot. We had to do a long take, and because of all the various positions from which the actors were supposed to say their lines, I couldn't put the fill light anywhere. The fill light is your secondary light, the light you use to soften up the edges created by the key light. Now I'd been in France and remembered how they shot it down there, or maybe I could tell by watching French movies. They simply put this 2 kw light on top of the camera, which was possible because the camera was in a square case. Then the gaffer would have a resistance device to regulate the brightness of the light, depending on how far from the lens the actors would be. That was one hell of a job, because sometimes we would have as many as 20 or 30 camera positions in one take, so he would have to be very accurate."

-Henning Bendtsen-Dreyer's Cinematographer


----




Monday, October 01, 2007



98- To Die For - Director: Gus Van Sant - Cast: Nicole Kidman, Matt Dillon, Joaquin Phoenix, Casey Affleck,Alison Folland,and Illeana Douglas.



"All of the stories of my films have always had this dispossessed family and a searching for home and an embracing of a pseudofamily. Drugstore Cowboy, Even Cowgirls Get the Blues, To Die For, Idaho--they all have that as a strong central theme. There aren't characters who are like me, but the stories are like me. They're my stories."

-Gus Van Sant-

------


"We had the book by Joyce Maynard who knew the character of Susan Stone extremely well, and Buck Henry, who wrote the script, had written The Graduate. So he knew the territory of the older housewife that seduces the young kid in high school. And it's probably Buck's favorite genre because he imagines himself as the young guy.


And it was my first studio picture so I always assumed that they wanted a certain kind of movie. More like entertainment. Everyone can relate to this kind of situation. But the thing that really draws you in is that the wrong people got married. And the fact that she sleeps with someone else is also a standard, but it's also kind of cracked because it's with a young kid. It's not like she's sleeping with the dentist.
-
I think it's Buck doing that. He's pretty much fascinated with media. He constructed this really intricate web of times, and points of view, with the documentary camera crew, the television show, the testimonials which ended up on tape. He gave you a sense of the reporters following the trial and getting at the story. And it also commented on the exploitational value of the actual case with the international press descending on the Pamela Smart trial.

-Gus Van Sant-

------

"The cliche reaction to anything that has a dark side to it's leading characters is that it's just dark and ugly.But yeah,I don't think you can do a good film about people if you don't respond to something in them,if you don't like them in some way.
Obviously,the great writers have loved their villains.If Shakespeare hadn't loved lago,then he wouldn't have been such an interesting character and a great one.And in a lot of cases,the villains of course are infinitely more interesting than the nice folks.So yeah,I have to like the people. I have to interested in the people as I am writing them.I think all writers do. The darker they are and the more crooked they are and the more weird they are,the more I tend to like them.But that's a flaw in my character,not so much having to do with writing itself.
I did want to work with Gus.I loved 'Drug Store Cowboy' and thought it was a great film,and I thought it would be interesting to work with him.And I also read the book and liked a lot,Joyce Maynard being a particularly adept writer of social peculiarities and it's particularly having to do with crime and weirdness,or 'C&W', as we call it."
-Buck Henry-
----
"TIME: WHEN DID YOU TWO FIRST MEET?
PENN: I sent you that note first cause' I thought you were so great in that movie Buck Henry wrote (To Die For).
KIDMAN: That's right. You sent me a telegram, actually. But we met at a party. Whose party was it?
PENN: It was Princess Leia's (Carrie Fisher's) party, wasn't it?
KIDMAN: After To Die For, he sent me a lovely telegram, and to get that kind of encouragement early on in your career gives you much more confidence to do things that are unusual or a little bold or offbeat. The thing about Sean is that he has an incredibly generous spirit in terms of other people's work, particularly actors.
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"Yes.I go off (from mainstream Hollywood) and do a Lars von Trier picture (Dogville), followed by a big commercial film,then a movie about a woman who falls in love with a 10 year old boy(Birth).I don't necessarily think that way of working allows you a long career,which doesn't bother me because there are many other things I want to do.
-Nicole Kidman----who-when she jumps the fence-can be the most magnetic screen personality in the world

Sunday, September 30, 2007


97-Idi i smotri (aka "Come and See") - Director:Elem Klimov -Cast:Aleksei Kravchenko,Olga Mironova,Liubomiras Lauciavicius,and Vladas Bagdonas.
"As a young boy, I had been in hell.--The city was ablaze up to the top of the sky. The river was also burning. It was night, bombs were exploding, and mothers were covering their children with whatever bedding they had, and then they would lie on top of them. Had I included everything I knew and shown the whole truth, even I could not have watched it."
-Elem Klimov-
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"Severel years ago I got a call from my father telling me to drop whatever I was doing and make my way over to the UCLA campus.One of the 'halls' was putting on a showing of a Russian movie,by a director named Klimov,and it was not to be missed.
A veteran of some 36 missions over Berlin during the second World War ,my dad never been one to embrace filmdom's history of War.Feeling either their inaccuracies or appalled by the common romatic view of battle.This film 'Come and See' was a great portrait of and against War.
I'm glad I made it over there that day because what I saw will stay with me forever.It is not only a masterpiece of filmmaking ,but of humanity itself."
-Sean Penn-
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"I hadn't made any films by that time, I'd worked in the theatre, and when you're working in film or in television you learn very, very quickly that 75% of what you experience is sound. It's amazing that everyone bows down to the camera department on set and sound people are usually treated as pariahs. I just remember thinking about it at the time and every time I've worked on a film since then I've remembered this film, not in detail, but just to think about the sound.
They use the limitations of sound. On the Hollywood side of movies sound technology has developed enormously, surround sound, and we're all trying to import it into our homes, and Hollywood is feeding that. But what this kind of film does is the opposite of that really, it uses the absolute centre, what it does is take out everything apart from someone's footsteps through water. You can hear the dialogue, but all the stuff around it appears to be filtered out. We appear to have very little access to sound in a way. I think it probably comes out of editing really, that the Russians pioneered, with modern aesthetics, and you see it in visual terms at the collage towards the end. I'm sure it came out of that, the ability to layer and chop things in, really before it became acceptable to edit (sound) like that."
-Danny Boyle-
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"I lost interest in making films ... Everything that was possible I felt I had already done"
-Elem Klimov(2001)----R.I.P(2003)