What if a storm were to just erase everything from your life? A futuristic film set in Paris...10.10.2020
Directed by Francois Ferracci with Luka Kellou & Magali Heu
Showing posts with label cinema. Show all posts
Showing posts with label cinema. Show all posts
Friday, November 2, 2012
Saturday, October 30, 2010
LISBON STORY
My eyes are on Wim Wenders this weekend. And it seems that we share the same love .
From Wim Wenders website:
http://www.wim-wenders.com/movies/movies_spec/lisbonstory/lisbon_story.htm
Our story starts with a postcard and a rather cryptic message:
"Dear Phil, I cannot continue m.o.s.! -- S.O.S.! -- Come to Lisbon with all your stuff a.s.a.p.! Big hug, Fritz."
Who is who? And what do all those abbreviations mean? The SOS of course, is obvious, and a.s.a.p. only strengthens the urgency: come AS SOON AS POSSIBLE. But m.o.s.?
Only if you work in movies you might know that M.O.S. is an old and rather strange word for "silent," and that the expression came up in the late twenties meaning "mit-out sound."
Anyway, we soon understand that the postcard was sent by a film director, Friedrich Monroe, to his friend Phillip Winter, a sound engineer. Friedrich has started a movie in Lisbon on a very romantic notion -- he wanted to do it "as if the whole history of cinema hadn't happened, shooting all on his own, a man alone in the streets, with an old hand-cranking camera, just like Buster Keaton in THE CAMERAMAN."
Well, Friedrich failed, and when he realized he had painted himself into a corner, he called Winter for help, hoping "that your microphones could pull my images out of their darkness, that sound could save the day."
"Dear Phil, I cannot continue m.o.s.! -- S.O.S.! -- Come to Lisbon with all your stuff a.s.a.p.! Big hug, Fritz."
Who is who? And what do all those abbreviations mean? The SOS of course, is obvious, and a.s.a.p. only strengthens the urgency: come AS SOON AS POSSIBLE. But m.o.s.?
Only if you work in movies you might know that M.O.S. is an old and rather strange word for "silent," and that the expression came up in the late twenties meaning "mit-out sound."
Anyway, we soon understand that the postcard was sent by a film director, Friedrich Monroe, to his friend Phillip Winter, a sound engineer. Friedrich has started a movie in Lisbon on a very romantic notion -- he wanted to do it "as if the whole history of cinema hadn't happened, shooting all on his own, a man alone in the streets, with an old hand-cranking camera, just like Buster Keaton in THE CAMERAMAN."
Well, Friedrich failed, and when he realized he had painted himself into a corner, he called Winter for help, hoping "that your microphones could pull my images out of their darkness, that sound could save the day."
LISBON STORY
1994
Storyline
Storyline
The director Friedrich Monroe has trouble with finishing a silent b&w movie about Lisbon. He calls his friend, the sound engineer Phillip Winter, for help. As Winter arrives Lisbon weeks later, Monroe is disappeared but has left the unfinished film. Winter decides to stay, because he is fascinated of the city and the Portuguese singer Teresa, and he starts to record the sound of the film. At the same time Monroe cruises through the city with a camcorder and tries to catch unseen pictures. Later they meet and Winter convinces Monroe of finishing the film. Written by Christoph Blendinger
Director:
Wim Wenders
Screenplay:
Wim Wenders
Director of Photography:
Lisa Rinzler
Editor:
Peter Przygodda
Musical Score:
Jürgen Knieper
Music:
Madredeus
Production Design: Zé Branco
Cast:
Rüdiger Vogler Patrick Bauchau Teresa Salgueiro and Madredeus
Guest Appearance: Manoel de Oliveira
Producers:
Ulrich Felsberg, Paulo Branco
Production:
Road Movies Filmproduktion/Berlin
Length: 100 min. Format: 35mm Colour
TRIVIA /IMDB
"Ah não ser eu toda a gente e toda a parte!". This phrase (roughly translated as "Would I be everybody and everywhere!"), written in one of the walls of the house where Winter's staying, is the last verse of "Ode Triunfal", a poem by Álvaro de Campos, one of the three main heteronyms of Portuguese poet Fernando Pessoa.
Monday, October 25, 2010
"Cause you know what… I’m not doing well… life is actually pretty shit…" To Claire; From Sonny ...
Just found this on tumblr ... It’s phenomenal.
“I totally saw the ending coming, but I still cried like a baby. Very good short film, might be taken off YouTube soon so watch quick!”
http://catieisel.tumblr.com/
via
http://fuckyeahfilmmaking.tumblr.com/
To Claire; From Sonny
Written/Directed/Edited by Josh Beattie
DoP & Cinematography: Shuwei Zhang
Starring Henry Orr as Sonny
Emmie Seaton as Claire
Gianna Gillies as Jess
Music composed by Josh Beattie
"If I Knew (Claire's Theme)" performed by
The Indooroopilly State Primary School Senior Choir
conducted by Margaret Hoey
"Let There Be Light (Main Theme)" performed by
Max Fowler-Roy (bass)
India Ghariss (cello)
Oscar Jemmot (viola)
Shuwei Zhang (violin)
Josh Beattie (brass and percussion)
“I totally saw the ending coming, but I still cried like a baby. Very good short film, might be taken off YouTube soon so watch quick!”
http://catieisel.tumblr.com/
via
http://fuckyeahfilmmaking.tumblr.com/
To Claire; From Sonny
Written/Directed/Edited by Josh Beattie
DoP & Cinematography: Shuwei Zhang
Starring Henry Orr as Sonny
Emmie Seaton as Claire
Gianna Gillies as Jess
Music composed by Josh Beattie
"If I Knew (Claire's Theme)" performed by
The Indooroopilly State Primary School Senior Choir
conducted by Margaret Hoey
"Let There Be Light (Main Theme)" performed by
Max Fowler-Roy (bass)
India Ghariss (cello)
Oscar Jemmot (viola)
Shuwei Zhang (violin)
Josh Beattie (brass and percussion)
Saturday, October 23, 2010
You can’t make great movies if the world doesn’t amaze you.
I have to recommend you a great film reviews blog and a fantastic writer.
I've discover it two years ago while I was surfing on web about THE FALL. Moviewaffle was at the beginning at that time but now after two years it looks like a everybody loves it ...It was longlisted for Wales Blog Awards 2010 (Best Writing) .
Here is one of the best reviews of The Fall directed by Tarsem Singh written with passion and truth by moviewaffle.com ...
The Fall – A Review
The greatest special effect is the close-up. Every vista pales in comparison with the human face. Because without that face – what do you connect with? What moves you? The desert might be a character in Lawrence of Arabia, but its performance is opaque. What makes Lawrence is Peter O’Toole. The same way – in Apocalypse Now – Marlon Brandon shows you what the jungle is thinking. In director Tarsem Singh’s breathtaking movie, The Fall, there are sights that equal anything David Lean or Francis Ford Coppola accomplished. And there is also a little girl (Catinca Untaru), whose face knocks every other wonder into a cocked hat.
The story is about a stuntman in Hollywood in the 1920s. He has fallen, both literally and metaphorically (the movie – while breathtaking – isn’t subtle). He’s in hospital. A famous actor has seduced the stuntman’s girl. Of all his injuries, this cuckolding is the worst. The stuntman becomes addicted to morphine. Bedridden, it’s hard for him to maintain a constant supply. He befriends a little girl (hospitalized after – you guessed it – a fall) as a ruse so she’ll steal morphine for him. In return for her help, the little girl keeps bugging the stuntman to tell her a story. He does – and it’s breathtaking – but as the story unfolds, the morphine takes over…
Tarsem Singh spent four years making The Fall. In eighteen countries. With his own money. And Catinca Untaru still steals the show. In interview, the director speaks of how he couldn’t have made the movie till he found the right girl. And he was right. When a movie is this dazzling, it needs reality. Untaru has never acted before. With luck, she will never act again. Not for Sophia Coppola-type reasons, but because: she’ll never be this good. Non-actors get one shot at a perfect performance. Then they become actors. There are reaction shots The Fall catches from Untaru that one actor in a million could replicate. Tarsem Singh’s best decision was to let this little girl dictate how every other actor behaves. When Lee Pace (the stuntman) is with her, you’re watching an actor unlearn acting. And be better for it. Because acting is play time. Would that every movie had the luxury of children playing children instead of “child actors”.
The greatest special effect is the close-up. Every vista pales in comparison with the human face. Because without that face – what do you connect with? What moves you? The desert might be a character in Lawrence of Arabia, but its performance is opaque. What makes Lawrence is Peter O’Toole. The same way – in Apocalypse Now – Marlon Brandon shows you what the jungle is thinking. In director Tarsem Singh’s breathtaking movie, The Fall, there are sights that equal anything David Lean or Francis Ford Coppola accomplished. And there is also a little girl (Catinca Untaru), whose face knocks every other wonder into a cocked hat.
The story is about a stuntman in Hollywood in the 1920s. He has fallen, both literally and metaphorically (the movie – while breathtaking – isn’t subtle). He’s in hospital. A famous actor has seduced the stuntman’s girl. Of all his injuries, this cuckolding is the worst. The stuntman becomes addicted to morphine. Bedridden, it’s hard for him to maintain a constant supply. He befriends a little girl (hospitalized after – you guessed it – a fall) as a ruse so she’ll steal morphine for him. In return for her help, the little girl keeps bugging the stuntman to tell her a story. He does – and it’s breathtaking – but as the story unfolds, the morphine takes over…
Tarsem Singh spent four years making The Fall. In eighteen countries. With his own money. And Catinca Untaru still steals the show. In interview, the director speaks of how he couldn’t have made the movie till he found the right girl. And he was right. When a movie is this dazzling, it needs reality. Untaru has never acted before. With luck, she will never act again. Not for Sophia Coppola-type reasons, but because: she’ll never be this good. Non-actors get one shot at a perfect performance. Then they become actors. There are reaction shots The Fall catches from Untaru that one actor in a million could replicate. Tarsem Singh’s best decision was to let this little girl dictate how every other actor behaves. When Lee Pace (the stuntman) is with her, you’re watching an actor unlearn acting. And be better for it. Because acting is play time. Would that every movie had the luxury of children playing children instead of “child actors”.
So what do we see? Some examples: the desert; a wall of sand that looks a thousand feet high; a lone rider like an ink smear on the dunes. Or how about an island in the shape of a butterfly; blissfully white; set it in a billowing blue ocean. Or a dead tree sprouting into flames. Or an aqueduct designed by M.C. Escher. Or a wedding couple ringed by whirling Dervishes. Or tiny birds flying out of a man’s mouth. Or – Beauty. In essence. The Fall is “the full meal” (as a wise teacher of mine once phrased it). It is absurd, sensual and (my favourite) unabashed. It puts me in mind of movies like The Fountain, where the audience has to have the right appetite. You either gorge on such movies or you’re bored by them. Cynics will only gag.
While spirituality might seem ham-fisted in Singh’s handling of it (“Are you trying to save my soul?” the stuntman asks, repeatedly), like Darren Aronofsky, the soul of his movie isn’t there in words, it’s grasped holistically, through the movie. To put it another way, The Fall would be about the soul if the stuntman and the little girl talked about cornflakes. Like a great song which leaps the boundaries of its form; the message isn’t the words, it’s the music.
It’s easy to wear-out a word like “breathtaking”. How good can it be? we long to sneer. But great movies come from a director’s childish awe at the world. You can’t make great movies if the world doesn’t amaze you. How else to explain the power of the close-up? To look at something so intently that – for a few seconds, a lifetime – it engulfs you. Human faces are the best kept secrets told by close-ups. Most of us still retain the capacity to be awed by a desert or an ocean. And the deserts and oceans of The Fall are awe-inspiring as any in movies. But that one little girl. We’d miss her. She and everyone else who’s ever given a great performance on-screen. Because great acting is only half of it. For the other half: you have to look close.
While spirituality might seem ham-fisted in Singh’s handling of it (“Are you trying to save my soul?” the stuntman asks, repeatedly), like Darren Aronofsky, the soul of his movie isn’t there in words, it’s grasped holistically, through the movie. To put it another way, The Fall would be about the soul if the stuntman and the little girl talked about cornflakes. Like a great song which leaps the boundaries of its form; the message isn’t the words, it’s the music.
It’s easy to wear-out a word like “breathtaking”. How good can it be? we long to sneer. But great movies come from a director’s childish awe at the world. You can’t make great movies if the world doesn’t amaze you. How else to explain the power of the close-up? To look at something so intently that – for a few seconds, a lifetime – it engulfs you. Human faces are the best kept secrets told by close-ups. Most of us still retain the capacity to be awed by a desert or an ocean. And the deserts and oceans of The Fall are awe-inspiring as any in movies. But that one little girl. We’d miss her. She and everyone else who’s ever given a great performance on-screen. Because great acting is only half of it. For the other half: you have to look close.
About MovieWaffle in 2008
I am an English teacher by day, and I’m often fairly busy, but a friend kept bugging me to write and so write I did (let that be a lesson to anyone who ever had a dream for someone else).
As far as intentions for the site go, I intend to write about movies I have seen. Some of them will be new releases, some of them will be old favourites and some of them I’ll review because my friend asks me to (I’ll bet he has plans). These reviews will not be fact-checked and will often, doubtless, contain inaccuracies and things I’ve remembered wrong. But they will also, hopefully, contain some thoughts you may agree with, and they will be written carefully, with care for the movies as much as where the commas should go.
If this site were a cinema it would be a small one, with only sort-of comfortable seating. It’s a pre-multiplex site: you come for the movies.
About MovieWaffle in 2010
The closest I ever came to getting shot was in Florida.
It was summer, and I had an AK47 pointed at my feet. The gun wasn’t mine, but it was my finger on the trigger. I had been handed a machine gun by a friend – partly for fun, partly to test my masculinity – and now, with a paper target taunting me like a raised middle finger, I was aiming low, in order not to lose control of the gun and kill everybody.
AK47s are lighter than you expect. They’re nearer the weight of an empty body bag, rather than a full one. However, far from being emboldened by the unexpected lightness of my gun, I was convinced that, when I pulled the trigger, the bastard thing would leap for my chin like a dog with iron teeth. So I pointed it down, as if ordering: “Sit”.
I was already nervous, after being told that I could burn my hand if I touched the barrel after firing. But the image of me, post-massacre, breaking my chin with the murder weapon…was too much.
I paused. There was something at stake beyond hitting the target. If I handed the gun back, I’d be coward. Not in the he-left-his-buddies-in-a-firefight sense; not even because I feared killing everybody, but because I’d have avoided risk.
Pulling that trigger was necessary to my life.
I gripped the gun, asserting control. My arms were rigid. The paper target was twenty feet away, but I wasn’t aiming for it. My aim was to fire. I willed my toes safe. I willed my friends safe. I willed the witless, molten AK not to catapult into my chin.
I fired…
(This is pretty much how I’d describe reviewing)
I am an English teacher by day, and I’m often fairly busy, but a friend kept bugging me to write and so write I did (let that be a lesson to anyone who ever had a dream for someone else).
As far as intentions for the site go, I intend to write about movies I have seen. Some of them will be new releases, some of them will be old favourites and some of them I’ll review because my friend asks me to (I’ll bet he has plans). These reviews will not be fact-checked and will often, doubtless, contain inaccuracies and things I’ve remembered wrong. But they will also, hopefully, contain some thoughts you may agree with, and they will be written carefully, with care for the movies as much as where the commas should go.
If this site were a cinema it would be a small one, with only sort-of comfortable seating. It’s a pre-multiplex site: you come for the movies.
About MovieWaffle in 2010
The closest I ever came to getting shot was in Florida.
It was summer, and I had an AK47 pointed at my feet. The gun wasn’t mine, but it was my finger on the trigger. I had been handed a machine gun by a friend – partly for fun, partly to test my masculinity – and now, with a paper target taunting me like a raised middle finger, I was aiming low, in order not to lose control of the gun and kill everybody.
AK47s are lighter than you expect. They’re nearer the weight of an empty body bag, rather than a full one. However, far from being emboldened by the unexpected lightness of my gun, I was convinced that, when I pulled the trigger, the bastard thing would leap for my chin like a dog with iron teeth. So I pointed it down, as if ordering: “Sit”.
I was already nervous, after being told that I could burn my hand if I touched the barrel after firing. But the image of me, post-massacre, breaking my chin with the murder weapon…was too much.
I paused. There was something at stake beyond hitting the target. If I handed the gun back, I’d be coward. Not in the he-left-his-buddies-in-a-firefight sense; not even because I feared killing everybody, but because I’d have avoided risk.
Pulling that trigger was necessary to my life.
I gripped the gun, asserting control. My arms were rigid. The paper target was twenty feet away, but I wasn’t aiming for it. My aim was to fire. I willed my toes safe. I willed my friends safe. I willed the witless, molten AK not to catapult into my chin.
I fired…
(This is pretty much how I’d describe reviewing)
Monday, October 18, 2010
4 Months, 3 Weeks and 2 Days
I was born in Romania in 1975 and I can tell you that 4 Months, 3 Weeks and 2 Days is not a fiction. This film is a masterpiece of a tragical reality.
Wednesday, October 6, 2010
Late in the night
A post inspired by FutureSpaceMagazine late in the night .
" But we all need to slow down " and watch this movie
In the future, an Ex-Soldier is placed in virtual exercises to cure his Post Traumatic Stress Disorder. In the simulations, he sees glimpses of a mysterious girl, presumably someone from his past. When a Stranger appears in his facility offering answers, the Soldier finds himself once again asked to kill, this time for her...
Starring Reshad Strik, Beau Bridges, Ernie Hudson, and Rachel Specter
Directed by Christian Swegal
Produced by Ian Colhoun
Written by Benjamin Murphy
Executive Produced by Adam Hendricks
Cinematography by Max Goldman
Production Design by Zach Matthews
Costume Design by Marta Villalobos
Sound Design by Jamie Hardt
Edited by Christian Swegal & Tom Muldoon
Music by Cyril Morin
" But we all need to slow down " and watch this movie
In the future, an Ex-Soldier is placed in virtual exercises to cure his Post Traumatic Stress Disorder. In the simulations, he sees glimpses of a mysterious girl, presumably someone from his past. When a Stranger appears in his facility offering answers, the Soldier finds himself once again asked to kill, this time for her...
Starring Reshad Strik, Beau Bridges, Ernie Hudson, and Rachel Specter
Directed by Christian Swegal
Produced by Ian Colhoun
Written by Benjamin Murphy
Executive Produced by Adam Hendricks
Cinematography by Max Goldman
Production Design by Zach Matthews
Costume Design by Marta Villalobos
Sound Design by Jamie Hardt
Edited by Christian Swegal & Tom Muldoon
Music by Cyril Morin
Tuesday, October 5, 2010
Scott Free Europe
"At a time of uncertainty in many areas of the business, and in particular in the specialty film sector in the US, we believe it is an opportune time to step up our commitment to European film-making" Ridley Scott.
The power of art to change people.
" In ‘A Letter to Elia,' airing on PBS' ‘American Masters,' Scorsese looks at two of Kazan's films — ‘On the Waterfront' and ‘East of Eden' — and the power of art to change people."
Scorsese, who is in London making "Hugo Cabret," talked about "Letter to Elia" over the phone Sunday with Susan King, Los Angeles Times Staff Writer.
Read full interview here : http://www.latimes.com/entertainment/news/la-et-scorsese-kazan-20101004,0,4138072.story
Scorsese, who is in London making "Hugo Cabret," talked about "Letter to Elia" over the phone Sunday with Susan King, Los Angeles Times Staff Writer.
Read full interview here : http://www.latimes.com/entertainment/news/la-et-scorsese-kazan-20101004,0,4138072.story
Monday, September 20, 2010
Tarantino vs Coen Brothers
by leandrocopperfield.blogspot.com/
Filmlist...
Dir.: Joel and Ethan Coen:
Blood Simple (1984)
Raising Arizona (1987)
Miller's Crossing (1990)
Barton Fink (1991)
Fargo (1996)
The Big Lebowski (1998)
O Brother, Where Art Thou? (2000)
No Country for Old Men (2007)
Burn After Reading (2008)
A Serious Man (2009)
Dir.: Quentin Tarantino:
Reservoir Dogs (1992)
Pulp Fiction (1994)
Jackie Brown (1997)
Kill Bill: Vol. 1 (2003)
Kill Bill: Vol. 2 (2004)
Death Proof (2007)
Inglourious Basterds (2009)
Audio Copyright Notices:
These Boots Are Made for Walkin'by Nancy Sinatra remains courtesy Warner Music Group Corp, ® 1966.
'Surfin' Bird' by The Trashmen remains courtesy Garrett Records, Apex, ® 1963.
'Coconut' by Harry Nilsson remains courtesy RCA Records, ® 1971
'Don't Let Me Be Misunderstood' by Santa Esmeralda remains courtesy of Universal Music Group, ® 1964.
'Paint in Black' by The Rolling Stones remains courtesy of Warner Music Group Corp, ® 1966.
Sunday, September 19, 2010
Kubrick vs Scorsese
25 days, 34 films, and 1 tribute.
http://leandrocopperfield.blogspot.com/
Editor's note: Many friends after seeing my video "Tarantino vs Coen Brothers" requested me to do a new video duel of directors, so I decided to do now a tribute to my two favorite directors, Stanley Kubrick and Martin Scorsese, were 25 days re-watching 34 films, selected more than 500 scenes, and a hard work editing. Leave a comment, tell me who your favorite, suggest new duels.
This video was purely non-profit and not Aimed at breaking copyright laws.
Editor's note #2: I know that they are different in many ways, this is not necessarily a comparison or "fight". It's just a tribute for two of my favorite directors.)
Lists of films used ...
Dir.: Stanley Kubrick
Day of the Fight (1951)
Fear and Desire (1953)
Killer's Kiss (1955)
The Killing (1956)
Paths of Glory (1957)
Spartacus (1960)
Lolita (1962)
Dr. Strangelove (1964)
2001: A Space Odyssey (1968)
A Clockwork Orange (1971)
Barry Lyndon (1975)
The Shining (1980)
Full Metal Jacket (1987)
Eyes Wide Shut (1999)
Dir.: Martin Scorsese
Mean Streets (1973)
Alice Doesn't Live Here Anymore (1974)
Taxi Driver (1976)
New York, New York (1977)
Raging Bull (1980)
The King of Comedy (1982)
After Hours (1985)
The Color of Money (1986)
The Last Temptation of Christ (1988)
Goodfellas (1990)
Cape Fear (1991)
The Age of Innocence (1993)
Casino (1995)
Kundun (1997)
Bringing Out the Dead (1999)
Gangs of New York (2002)
The Aviator (2004)
The Departed (2006)
Shutter Island (2010)
Audio Copyright Notices:
'I'm Shipping Up to Boston' performed by band Dropkick Murphys remains courtesy Hellcat Records, ® 2005
'Baby Did A Bad Bad Thing' by Chris Isaak remains courtesy Warner Music Group Corp, ® 1996
'Nude' by Radiohead remains courtesy XL Recordings, ® 2008
Epstein: Studios Can't Exist Without Film Libraries
Edward Jay Epstein, author of The Hollywood Economist: The Hidden Financial Reality Behind the Movies, talks with Bloombergs Betty Liu about the role of film libraries in the financial health of movie studios and the outlook for independent filmmakers.
Epstein: Studios Can't Exist Without Film Libraries from McGuffin on Vimeo.
Wednesday, September 15, 2010
The Missing Link : What if "The Road" continues with "Cave of Forgotten Dreams."
Three weeks ago I saw The Road, a movie that pushed me to the edge of my emotional state of being. That's because prior to watch this movie I've had so many conversations with my friends about how we should react in case of disaster, when your ultimate goal in life is to survive...years, months, days, seconds .
wikiPLOT
29.12.2010 - BBC update
wikiPLOT
The Road shares the premise of the novel on which it is based: a father (Mortensen) and his young son (Smit-McPhee) struggle to survive a number of years after an unspecified, devastating cataclysm has destroyed civilization, killed all plant and animal life, and obscured the sun; only remnants of mankind remain alive, reduced to scavenging or cannibalism. Man and boy are traveling southward, in the hope that it will be warmer. Along the way, they search for shelter, food, and fuel, and avoid bands of cannibals while trying to maintain their own sense of humanity. The man carries a revolver, but has only two bullets which he wants to keep in case they need to commit suicide. Flashback and dream sequences spaced throughout the narrative show how the man's wife, who has a much more expanded role in the film than in the book, committed suicide after delivering the child and losing the will to go on in a seemingly doomed world.
Events occur along the way that add additional stresses to the man and his son. After shooting a member of a cannibal gang, the man is left with only one round in his gun. Later, the pair enter a large house, and discover it to be inhabited by cannibals who are keeping live victims in the basement and farming their limbs; believing they will be caught, the man prepares to shoot his son, to spare him the torments, but the cannibals are distracted and they escape. Further down the road they find a house with an underground shelter full of canned food, which they feast on, but the man is too nervous to stay in one spot for long. They later encounter an old, dying man (Duvall), and the son encourages his initially reluctant father to converse with the man and feed him. Arriving at the coast, they are robbed; they catch the thief and the man forces him to strip, leaving him naked by the road. As they pass through a ruined town, the man is shot with an arrow and he kills his attacker.
The father suffers from persistent coughing during the film eventually coughing up blood. After they reach the coast his condition deteriorates and he realizes he is likely to die soon. On his death bed he again emphasizes to his son the values of self-preservation and humanity. After the father dies, the son is approached by another family—a father (Pearce), mother, two children and a dog—who, it is revealed, have been following the man and his son for some time out of concern for the boy. The Boy agrees to join them.
And ?
How this film should continue ? How the modern mankind would survive ?
Today ROGER EBERT has posted a new blog entry about Werner Herzog's latest film "Cave of Forgotten Dreams " and suddenly I had a revelation ...
"About 32,000 years ago, in a limestone cave above the Ardèche River in Southern France, humans created the oldest cave paintings known to exist. They spring from the walls with boldness and confidence, as if the artists were already sure what they wanted to paint and how to paint it. Perhaps 25,000 years ago, a child visited the cave and left a footprint, the oldest human footprint that can be accurately dated. "
What if the beginning of the world as we know it was in fact just another epic tale of survival, love and sacrifice ? What if The Boy was The Child of The Cave ?
This vison of the last scene from The Road and Ebert's first words about " Cave of Forgotten Dreams " is now for me a missing link of my primordial cinematographic memory.
" In times of utter devastation, memories are what we cling to." Roger Ebert , The Road
29.12.2010 - BBC update
Tuesday, September 14, 2010
Agent Nick Reed Talks About Film Producing
If you wanna be a film producer, than you should definitely watch Nick Reed talk about making movies. Straight to the point, clear, realistic and inspirational .
Who is Nick Reed ?
In my opinion, one of the most visionary Hollywood people. Meeting Nick Reed can be a turning point in your career. This is not a presumption, it is something that I've experienced four years ago when I met Nick in Bucharest.
"Nicholas Reed, Advisor is the Head of the Motion picture Literary Department at International Creative Management, Inc., a talent and literary agency, specializing in creators of intellectual properties. After leaving school he pursued a career in Aviation when he joined the British Royal Navy as a pilot. He then joined a marketing company, Belou Communications- which after its first twelve months in operation was voted the runner-up Best New Business of the Year by The Independent newspaper. During his time there he worked in strategic marketing for clients such as Kodak, Fed-Ex, and several government organizations. After moving to the United States in 1992, he was cast by Steven Spielberg to play Robin Williams’ father in the film HOOK and then later cast by Francis Ford Coppola to play a small role in DRACULA. Intrigued by Hollywood, he joined ICM in an effort to understand the making of movies. Working with writers, directors, and actors, he has been involved with such movies as AUSTIN POWERS I, II and ELIZABETH, HILARY AND JACKIE, TRAINING DAY, BRIDGET JONES DIARY. MOULIN ROUGE, BOURNE IDENTITY, AGENT CODY BANKS, MONSTER’S BALL, MEET THE PARENTS, UNDERWORLD, WHITE NOISE. And MEET THE FOCKERS. He presently serves on the Los Angeles British Film Board advising the government on film policies and is often a guest speaker for UCLA’s graduate film program. "
2006
Nick Reed's interview by Ruth Vitale for www.factory-publishing.com/
" What’s he done?
British Navy pilot, aerobatic airplane builder, strategic marketing executive, sports management and, then, discovered by Spielberg to play Robin Williams’ father in Hook! After this foray into acting, the business side of Hollywood beckoned, appealing to his marketing expertise, and the rest is history: Reed is now ICM agent extraordinaire to top film directors
What’s next?
“I want to find the next Hello Kitty. The dream project is to find something like Hello Kitty or Star Wars, where the idea encompasses almost every aspect of our lives. An idea that is so universally embraced that a brand can be created from the ground up.”
Dream project?
“Being able to realise clients’ dream projects completely,packaging and financing projects with no obstacles.”
Unrealistic dream project?
“To be a pilot just before World War I"
Why does he love Hollywood?
“I have met some of the most amazing people. Hollywood is the gateway to some of the most talented artists in the world – a place where talent intersects with money.”
Ruth on Nick
“Nick is the last of the Renaissance men. Who do you know that can go from British navy pilot, to building airplanes, to representing some of the most talented film directors in the world? When you are told as a child that you can do anything, that ‘the sky’s the limit’, well, Nick embodies this saying heart and soul! His intelligence combined with his sense of adventure are a rare mix and commodity.”
Nick on Nick
“Balance. To fight for balance between my competitive desire to be a great agent, to be a fantastic father, and to work on myself personally to make me a better human being.”
As far as I know Nick has become a producer. He will spark the film industry even more from now on and sooner or later he will discover a film where " the idea encompasses almost every aspect of our lives."
Probably he would be a great TED speaker, too.
Who is Nick Reed ?
In my opinion, one of the most visionary Hollywood people. Meeting Nick Reed can be a turning point in your career. This is not a presumption, it is something that I've experienced four years ago when I met Nick in Bucharest.
"Nicholas Reed, Advisor is the Head of the Motion picture Literary Department at International Creative Management, Inc., a talent and literary agency, specializing in creators of intellectual properties. After leaving school he pursued a career in Aviation when he joined the British Royal Navy as a pilot. He then joined a marketing company, Belou Communications- which after its first twelve months in operation was voted the runner-up Best New Business of the Year by The Independent newspaper. During his time there he worked in strategic marketing for clients such as Kodak, Fed-Ex, and several government organizations. After moving to the United States in 1992, he was cast by Steven Spielberg to play Robin Williams’ father in the film HOOK and then later cast by Francis Ford Coppola to play a small role in DRACULA. Intrigued by Hollywood, he joined ICM in an effort to understand the making of movies. Working with writers, directors, and actors, he has been involved with such movies as AUSTIN POWERS I, II and ELIZABETH, HILARY AND JACKIE, TRAINING DAY, BRIDGET JONES DIARY. MOULIN ROUGE, BOURNE IDENTITY, AGENT CODY BANKS, MONSTER’S BALL, MEET THE PARENTS, UNDERWORLD, WHITE NOISE. And MEET THE FOCKERS. He presently serves on the Los Angeles British Film Board advising the government on film policies and is often a guest speaker for UCLA’s graduate film program. "
2006
Nick Reed's interview by Ruth Vitale for www.factory-publishing.com/
" What’s he done?
British Navy pilot, aerobatic airplane builder, strategic marketing executive, sports management and, then, discovered by Spielberg to play Robin Williams’ father in Hook! After this foray into acting, the business side of Hollywood beckoned, appealing to his marketing expertise, and the rest is history: Reed is now ICM agent extraordinaire to top film directors
What’s next?
“I want to find the next Hello Kitty. The dream project is to find something like Hello Kitty or Star Wars, where the idea encompasses almost every aspect of our lives. An idea that is so universally embraced that a brand can be created from the ground up.”
Dream project?
“Being able to realise clients’ dream projects completely,packaging and financing projects with no obstacles.”
Unrealistic dream project?
“To be a pilot just before World War I"
Why does he love Hollywood?
“I have met some of the most amazing people. Hollywood is the gateway to some of the most talented artists in the world – a place where talent intersects with money.”
Ruth on Nick
“Nick is the last of the Renaissance men. Who do you know that can go from British navy pilot, to building airplanes, to representing some of the most talented film directors in the world? When you are told as a child that you can do anything, that ‘the sky’s the limit’, well, Nick embodies this saying heart and soul! His intelligence combined with his sense of adventure are a rare mix and commodity.”
Nick on Nick
“Balance. To fight for balance between my competitive desire to be a great agent, to be a fantastic father, and to work on myself personally to make me a better human being.”
As far as I know Nick has become a producer. He will spark the film industry even more from now on and sooner or later he will discover a film where " the idea encompasses almost every aspect of our lives."
Probably he would be a great TED speaker, too.
Tuesday, July 27, 2010
LIFE IN A DAY 1
These are some of my favorite youtube videos for Ridley Scott's experiment - LIFE IN A DAY
frapyourface US
juliemeitz
jaymieandsuchas
danielpataro
frapyourface US
juliemeitz
jaymieandsuchas
danielpataro
Thursday, July 15, 2010
Frida, Modigliani and the beginning of a love story
Written o July 12th
A few minutes ago, Roger Ebert has posted on Twitter his review on “Frida”written in 2002. This is how I’ve found out that tomorrow, 56 years will have passed since the Mexican artist had died.
In 2001, while I was preparing the production of “Modigliani”, the casting for Frida’s part marked the beginning of a love story which totally changed my life.
No, I haven't find the love of my life but instead, I madly fell in love with cinema.
Nothing compares with making films . Probably, this is the only way of travelling through time and space, getting the chance to know various histories and stories of long gone lives or lives that someday will be born again in the future.
And because nothing never happens for a reason, I am reading now on facebook that today is Modigliani’s birthday. Amedeo Modigliani was born on the 12th of July, 1884 in Livorno, Italy.
Working at Modigliani, seven years ago, was one of the best time of my life. I lived in the era of a beautiful madness .
Beatrice Chirita - the romanian who played Frida in Modigliani
“I paint self-portraits because I am so often alone, because I am the person I know best.”
Frida Khalo
Modigliani, written and directed by Mick Davis, produced in Romania at Media Pro studios in Buftea.
"What I am seeking is not the real and not the unreal but rather the unconscious, the mystery of the instinctive in the human race"
Amedeo Modigliani
A few minutes ago, Roger Ebert has posted on Twitter his review on “Frida”written in 2002. This is how I’ve found out that tomorrow, 56 years will have passed since the Mexican artist had died.
In 2001, while I was preparing the production of “Modigliani”, the casting for Frida’s part marked the beginning of a love story which totally changed my life.
No, I haven't find the love of my life but instead, I madly fell in love with cinema.
Nothing compares with making films . Probably, this is the only way of travelling through time and space, getting the chance to know various histories and stories of long gone lives or lives that someday will be born again in the future.
And because nothing never happens for a reason, I am reading now on facebook that today is Modigliani’s birthday. Amedeo Modigliani was born on the 12th of July, 1884 in Livorno, Italy.
Working at Modigliani, seven years ago, was one of the best time of my life. I lived in the era of a beautiful madness .
Beatrice Chirita - the romanian who played Frida in Modigliani
“I paint self-portraits because I am so often alone, because I am the person I know best.”
Frida Khalo
Modigliani, written and directed by Mick Davis, produced in Romania at Media Pro studios in Buftea.
"What I am seeking is not the real and not the unreal but rather the unconscious, the mystery of the instinctive in the human race"
Amedeo Modigliani
Sunday, July 11, 2010
The Tree of Life - a new cosmic film
Most anticipated movie of 2011 The Tree of Life written and directed by Terrence Malick starring Brad Pitt and Sean Penn.
I really like Brad Pitt's vision about the sci-fi perspective of this film :
"Well, in a way. It's this little tiny story of a kid growing up in the 50s with a mother who's grace incarnate and a father who's oppressive in nature. So he is negotiating his way through it, defining who he's gonna be when he grows up. And that is juxtaposed with a little, tiny micro-story of the cosmos, from the beginning of the cosmos to the death of the cosmos. So that's where the sci-fi – or the sci-fact – comes in."
via Empire
I really like Brad Pitt's vision about the sci-fi perspective of this film :
"Well, in a way. It's this little tiny story of a kid growing up in the 50s with a mother who's grace incarnate and a father who's oppressive in nature. So he is negotiating his way through it, defining who he's gonna be when he grows up. And that is juxtaposed with a little, tiny micro-story of the cosmos, from the beginning of the cosmos to the death of the cosmos. So that's where the sci-fi – or the sci-fact – comes in."
via Empire
Friday, April 23, 2010
Thursday, March 4, 2010
Something's going on. It has to do with that number. There's an answer in that number
The film ``Pi'' is a study in madness and its partner, genius. A tortured, driven man believes (1) that mathematics is the language of the universe, (2) nature can be expressed in numbers, and (3) there are patterns everywhere in nature. If he can find the patterns, if he can find the key to the chaos, then he can predict anything--the stock market, for example. If the man is right, the mystery of existence is unlocked. If he is wrong, the inside of his brain begins to resemble a jammed stock ticker.
ROGER EBERT
ROGER EBERT
Monday, February 1, 2010
Caravaggio meets Fight Club. Dawn Of War by Tarsem Singh
Kevin Jagernauth reports for Canada Movie Examiner:
" Production Weekly has twittered that Tarsem Singh, director of The Cell and The Fall, has set up offices at La Cité du Cinéma in Montreal and is preparing to shoot his next film, Dawn Of War. The studio production facility, is one of the biggest in Canada and has been home to many high profile Hollywood productions including 300, The Curious Case Of Benjamin Button and The Fountain.
Like 300, this film is a Greek period actioner, and tells the story about Athens founder and king Theseus' battle against imprisoned titans. The film will mark the first big, meaty lead film role for The Tudors' Henry Cavill while the visually creative director Tarsem Singh, has described the look of the film as "Caravaggio meets Fight Club".
There are no further casting or production details available at this time, but with filming set to begin in March, more news should be announced shortly. "
Now let's imagine the future masterpiece.
Caravaggio
Fight Club
Henry Cavill
and TARSEM
" Production Weekly has twittered that Tarsem Singh, director of The Cell and The Fall, has set up offices at La Cité du Cinéma in Montreal and is preparing to shoot his next film, Dawn Of War. The studio production facility, is one of the biggest in Canada and has been home to many high profile Hollywood productions including 300, The Curious Case Of Benjamin Button and The Fountain.
Like 300, this film is a Greek period actioner, and tells the story about Athens founder and king Theseus' battle against imprisoned titans. The film will mark the first big, meaty lead film role for The Tudors' Henry Cavill while the visually creative director Tarsem Singh, has described the look of the film as "Caravaggio meets Fight Club".
There are no further casting or production details available at this time, but with filming set to begin in March, more news should be announced shortly. "
Now let's imagine the future masterpiece.
Caravaggio
Fight Club
Henry Cavill
and TARSEM
Tuesday, January 26, 2010
The Night of the Hunter
I discovered this movie tonight. I find it wonderful. Every frame is a work of art.
The Night of the Hunter (1955)
Directed by: Charles Laughton
Starring: Robert Mitchum (at his best), Shelley Winters, Lillian Gish
Music: Walter Schumann
Rev. Harry Powell: [when he notices John staring at the words "love" and "hate" tattooed across his knuckles] Ah, little lad, you're staring at my fingers. Would you like me to tell you the little story of right-hand/left-hand? The story of good and evil? H-A-T-E! It was with this left hand that old brother Cain struck the blow that laid his brother low. L-O-V-E! You see these fingers, dear hearts? These fingers has veins that run straight to the soul of man. The right hand, friends, the hand of love. Now watch, and I'll show you the story of life. Those fingers, dear hearts, is always a-warring and a-tugging, one agin t'other. Now watch 'em! Old brother left hand, left hand he's a fighting, and it looks like love's a goner. But wait a minute! Hot dog, love's a winning! Yessirree! It's love that's won, and old left hand hate is down for the count!
The Night of the Hunter (1955)
Directed by: Charles Laughton
Starring: Robert Mitchum (at his best), Shelley Winters, Lillian Gish
Music: Walter Schumann
Rev. Harry Powell: [when he notices John staring at the words "love" and "hate" tattooed across his knuckles] Ah, little lad, you're staring at my fingers. Would you like me to tell you the little story of right-hand/left-hand? The story of good and evil? H-A-T-E! It was with this left hand that old brother Cain struck the blow that laid his brother low. L-O-V-E! You see these fingers, dear hearts? These fingers has veins that run straight to the soul of man. The right hand, friends, the hand of love. Now watch, and I'll show you the story of life. Those fingers, dear hearts, is always a-warring and a-tugging, one agin t'other. Now watch 'em! Old brother left hand, left hand he's a fighting, and it looks like love's a goner. But wait a minute! Hot dog, love's a winning! Yessirree! It's love that's won, and old left hand hate is down for the count!
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