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Jordan Peele’s X-Ray Vision - The New York Times
“Get Out,” his docu-horror-thriller-comedy about race in America, was the movie of the year. What will he show us next?
jordanpeele  wesleymorris  nytimes  nytimesmag  film  cinema  getout  horror  thrillers  race  racism 
december 2017 by brendanmcfadden
The Visionaries Behind the Memorable Worlds of Film - The New York Times
Transcendent production design isn’t just about getting surfaces right, any more than great acting is just memorizing words. It’s about translating writers’ and directors’ intentions into a crystallized universe that’s both visceral and rich with meaning, telling parts of the story that even the best actors can’t. Think of the weirdly realistic theme park design in ‘‘Jurassic Park,’’ and what its fossilized columns and thatched roofs convey about not just the character who created it but also about the human obsession with reproducing nature. That isn’t Steven Spielberg’s symbolism; it’s the invention of designer Rick Carter, who just finished his 10th movie as a production designer with the director. ‘‘Rick helps me better understand the subtext of the stories I’m telling,’’ Spielberg says. ‘‘I’ll say to him, ‘just make it look really cool,’ and he’ll say to me, ‘What if we’re the only two people who know why it’s going to come out this cool?’ ’’
tmagazine  nytimes  productiondesign  productiondesigner  film  cinema  design  designer 
november 2017 by brendanmcfadden
Greta Gerwig’s Radical Confidence - The New York Times
In her directorial debut, the writer and actress has created a character rarely seen onscreen: a young girl who loves herself.
nytimes  film  acting  cinema  ladybird  gretagerwig 
november 2017 by brendanmcfadden
Camping With John Waters and His Band of ‘Filthy Freaks’ - The New York Times
The “Pope of Trash” hosts a sleep-away camp in Litchfield County, Conn. Yes, there were marshmallows, polyester and nudity.
camping  culture  johnwaters  trash  kitsch  film  cinema  connecticut 
october 2017 by brendanmcfadden
The Natural - The New York Times
At 7 p.m. in Paris late last year, Frances McDormand was marching from the Right Bank to the Left at an extraordinary pace. “I’m practicing my route,” she said, speeding off in the wrong direction before stopping short.
francesmcdormand  film  acting  actors  nytimes 
october 2017 by brendanmcfadden
A Day On The Set Of Fat City, John Huston's Cult Classic - Rolling Stone
Occasionally, as the furious action in the ring prompts them, this mob of six-hundred-odd tank-town lames roars its bloodthirsty approval. And the action going on in the ring is ... wait a second here ... just what in the name of Christ’s sweet body is a nice, classically trained actor like Stacy Keach doing in a creep joint like this?

Making a movie called Fat City, of course—and at this precise instant, that means he’s getting the living firk wailed out of him by one Sixto Rodriguez, an honest-to-god light heavy bruiser who once clobbered Bobo Olson to a viscous pulp and battled both Von Clay and Piro del Pappa to bruising draws
fatcity  rollingstone  staceykeach  johnhuston  jeffbridges  stockton  california  film  cinema  filmmaking 
october 2017 by brendanmcfadden
Jackie Chan’s Plan to Keep Kicking Forever | GQ
Jackie Chan is in his 60s now. His stunts aren’t as insane as they once were, but he’s back on American screens with a killer new revenge flick called The Foreigner (Jackie vs. evil James Bond!).
alexpappademas  jackiechain  film  cinema  martialarts  GQ 
october 2017 by brendanmcfadden
In George Romero’s Zombie Films, the Living Were a Horror Show, Too - The New York Times
The director George A. Romero, whose six zombie movies represent a towering landmark of horror, died on Sunday of lung cancer. Our critics Jason Zinoman and A.O. Scott dig into his legacy and influence.
georgeromero  nytimes  film  cinema  horrorfilms  pittsburgh  obituary  directors 
august 2017 by brendanmcfadden
The 25 Best Films of the 21st Century So Far. - The New York Times
We are now approximately one-sixth of the way through the 21st century, and thousands of movies have already been released. Which means that it’s high time for the sorting – and the fighting – to start. As the chief film critics of The Times, we decided to rank, with some help from cinema savants on Facebook, the top 25 movies that are destined to be the classics of the future. While we’re sure almost everyone will agree with our choices, we’re equally sure that those of you who don’t will let us know.
movies  film  lists  cinema  21stcentury  aoscott  manohladargis 
june 2017 by brendanmcfadden
Banham’s Los Angeles
In the documentary, Banham drives around LA assisted by an imaginary GPS guide called Baeda-Kar. He reflects on the city’s varied architecture and meets up with some of its residents to get a sense of its unique appeal. To compliment this very personal, documentary vision of Los Angeles, my audiovisual essay brings together images and sounds from fiction films made around the time Banham was carrying out his investigations. I draw on work by filmmakers who, like Banham, were outsiders, whether from other parts of the US (Robert Altman, John Cassavetes, Jonathan Kaplan, Ivan Dixon) or Europe (Michelangelo Antonioni, Agnès Varda, Jacques Deray). The attitude of these filmmakers toward LA, whilst by no means uncritical, was generally one of fascination, closely mirroring that of Banham. I use voiceover and musical extracts from the BBC documentary to both comment upon the images and to regulate the piece’s overall rhythm.
losangeles  film  california  reynerbanham  architecture  video  vimeo  pasqualelannone  videoessay 
june 2017 by brendanmcfadden
A Unified Theory of the “Rocky” Movies
mong blockbuster franchises, “Rocky” stands out as surely the unlikeliest. How many other Part 7s can you name with nary a gun or spaceship in sight? In its very human focus, the “Rocky” series is, oddly, the closest analogue that American cinema has produced to François Truffaut’s Antoine Doinel cycle. But, whereas Doinel’s fictional life was defined, as any self-mythologizing Frenchman’s would be, in terms of his relationships with a series of stunning women, Rocky must measure himself always in his workplace: the ring. Across four decades, we’ve witnessed a full-blown, epic saga of a man perpetually considering, but never achieving, retirement.
thenewyorker  film  cinema  sylvesterstallone  andrewbujalski  rocky 
february 2016 by brendanmcfadden
World Builder: Production Designer K.K. Barrett Teams with Kid Koala
At first glance, there's nothing iconic or remarkable about the Los Angeles created by production designer K.K. Barrett. And it's by his own design. However, look again, and the complex environments the award-winning world builder has created for commercials and feature films crackle and pop with smart visual clues.
kcet  artbound  kkbarrett  kidkoala  film  performance  art  music  nufoniamustfall  puppets 
february 2016 by brendanmcfadden
J.T. - 1969
A film from 1969 "CBS Children's Television Workshop"
jt  movie  film  1969  video  youtube 
february 2016 by brendanmcfadden
Over the Edge
In the spring of 1979, a small-budget movie with a somewhat corny-sounding name was released in just a handful of theaters in New York and Los Angeles, only to be pulled a few days later due to concerns that audiences would riot. Based (loosely) on a true story about suburban youth gone wild in the suburbs of San Francisco in the early 70s, Over the Edge would never receive wide distribution. In fact, over the next 25 years, the film would be shown in only a few art houses and on cable TV, until its eventual DVD release in September 2005.
vice  film  movies  overtheedge  oralhistory 
january 2016 by brendanmcfadden
Through a Glass, Darkly: ‘The Lady From Shanghai’ and the Legend of Orson Welles...
Orson Welles needed $50,000 to pay for costumes, so on opening night, in desperation, he called the president of Columbia Pictures and asked for a loan. Welles was frequently in desperation in 1946, and he frequently tried to talk his way out of it.
orsonwelles  film  filmmaking  hollywood  grantland  brianphillips 
january 2016 by brendanmcfadden
‘Mad Tiger’ and Other Films Join a New Wave of Punk Documentaries
In the opening images of “Los Punks: We Are All We Have,” the director Angela Boatwright’s documentary about the thriving punk scene in the backyards of South-Central and East Los Angeles, two young women in miniskirts wrestle each other to the ground.
punkrock  music  film  documentary 
january 2016 by brendanmcfadden
The Legacy of a Camera-Toting Huckster
Beginning in the 1930s the Texas-born filmmaker Melton Barker spent nearly four decades scurrying across America with a script and a camera, methodically making and remaking the same two-reel film. This might seem like a story of creative obsession — a compulsive monomaniac so intent on achieving aesthetic perfection that he became subsumed by his work — but Barker, one of at least several itinerant filmmakers working in the first half of the 20th century, was more huckster than auteur.
film  conmen  cons  nytimes  movies  history 
january 2016 by brendanmcfadden
Thirty Years of the Austin Film Society: An Interview with Richard Linklater
In 1985, six years before the release of Slacker, Richard Linklater's iconic portrait of a generation, the Texan filmmaker founded the Austin Film Society.
richardlinklater  austinfilmsociety  film  cinema  history  interview  criterion 
november 2015 by brendanmcfadden
Postscript: Chantal Akerman - The New Yorker
The Belgian-born, Paris-based director Chantal Akerman died on October 5th, at the age of sixty-five. According to Isabelle Regnier, of Le Monde, she committed suicide. Neither Akerman’s name nor her work is as widely known as it should be. It is no overstatement to say that she made one of the most original and audacious films in the history of cinema, “Jeanne Dielman, 23 Quai du commerce, 1080 Bruxelles.” It premièred at the Cannes Film Festival, in May, 1975, the month before her twenty-fifth birthday.
chantalakerman  richardbrody  film  filmmaking  filmmaker  thenewyorker 
october 2015 by brendanmcfadden
Here's What's Missing From Straight Outta Compton: Me and the Other Women Dr. Dr...
On January 27, 1991, at a record-release party for the rap duo Bytches With Problems in Hollywood, producer/rapper/then-N.W.A. member Dr. Dre brutally attacked Dee Barnes, the host of a well-known Fox show about hip-hop called Pump It Up! Dre was reportedly angry about a Pump It Up! segment hosted by Barnes that aired in November 1990. The report focused on N.W.A., and concluded with a clip of Ice Cube, who had recently left the group, insulting his former colleagues.
film  movies  music  straightouttacompton  drdre  icecube  deebarnes  hiphop  nwa  violence  misogyny  1990's  culture  gangstarap 
august 2015 by brendanmcfadden
The ‘Real’ DFW: Three Visions of David Foster Wallace «
By the time the author David Foster Wallace committed suicide in 2008, he had already become a myth: a tobacco-chewing, bandanna-wearing genius who suffered under the weight of his own empathy. Since then, three versions of him have entered the picture. One is a 2012 biography by New Yorker writer D.T. Max called Every Love Story Is a Ghost Story. Another is a book by the Rolling Stone writer David Lipsky, called Although of Course You End Up Becoming Yourself: A Roadtrip With David Foster Wallace, which documents five days of conversation with Wallace as he finishes a tour for Infinite Jest, a novel more famous for its difficulty than for its content.
davidfosterwallace  grantland  books  writers  literature  culture  film  adaptations  criticism 
august 2015 by brendanmcfadden
Before They Were Kings
Scrounging for any kind of role in 60s New York, chasing girls, lending money to whichever of them was the most broke, Gene Hackman, Dustin Hoffman, and Robert Duvall shared the risks, the rejections, and a fascination with the human drama. As they remember, stardom was unlikely—and irrelevant.
dustinhoffman  genehackman  robertduvall  vanityfair  acting  theater  film  1960s  newyork 
august 2015 by brendanmcfadden
The Target Shoots First
An NYU philosophy grad struggles to maintain artistic and personal integrity as a production manager for Columbia House.
vimeo  video  documentary  columbiahouse  music  1990's  thetargetshootsfirst  chriswilcha  film 
august 2015 by brendanmcfadden
Kendrick Lamar's video director Kahlil Joseph takes his hypnotic art to MOCA
The video is like a feverish dream of Los Angeles. Beneath the sprawling, horizontal cityscape, a marching band grooves on an empty field. Young boys drip-dry after a dip in the pool. A woman with a tower of gray hair and a kindly gaze stands before a cooler of beer. Muscular, tattooed men pose for a group portrait. A horse gallops down a dim city avenue. And a man hangs upside-down, vampire-like, from a street light at night.
kendricklamar  kahiljoseph  art  music  hiphop  losangeles  MOCA  installation  installationart  video  film  musicvideo  museum 
june 2015 by brendanmcfadden
An Appreciation: Ed Pincus' Diaries by Ross McElwee
The unassuming title of this documentary belies what is, I think, one of the most remarkable nonfiction films ever made.
film  documentary  rossmcelwee  edpincus  harvardfilmarchives  filmmaking 
june 2015 by brendanmcfadden
Their Feet in Texas, Their Heads in the Clouds
WE KIND OF LIKED 'The Godfather' and those Scorsese movies, and we started out trying to do kind of a gritty movie," explained Owen C. Wilson of the script that five years later became the movie "Bottle Rocket
nytimes  film  bottlerocket  wesanderson  owenwilson  jameslbrooks 
april 2015 by brendanmcfadden
Observations on Film art : La main droite de M. Hulot
Back in March, dissertator Charles Michael informed us that he had inherited a 1953 French painting by Jacques Lagrange (Les jardiniers, below). Seeking more information, he discovered that Lagrange had been a close friend and collaborator of Jacques Tati, working on all his films from Les Vacances de Monsieur Hulot onward. Naturally, as big Tati fans (the first essay I ever wrote for publication was on Les Vacances), we were intrigued.
film  art  filmmaking  jacqueslagrange  jacquestati 
april 2015 by brendanmcfadden
At the Algonquin Hotel: A Conversation With Wes Anderson
An exclusive excerpt from ‘The Wes Anderson Collection: The Grand Budapest Hotel’
art  film  movies  writing  filmmaking  grantland  wesanderson  mattzollerseitz 
april 2015 by brendanmcfadden
Long Shots and Adrift Characters in the Films of Paul Thomas Anderson
Not to go overboard with the Paul Thomas Anderson supercuts (but to go a little overboard with the Paul Thomas Anderson supercuts), here is a nice essay from Jacob T. Swinney that strings together a selection of long shots from the director’s first six films — a nice contrast to his application of close-ups in Boogie Nights. Emphasizing the unmoored nature of Anderson’s characters both psychologically and contextually, Swinney notes that “We are often presented with characters lost within the frame, and therefore have trouble connecting with said characters–we become isolated ourselves.”
film  filmmaking  filmmakermagazine  paulthomasanderson 
april 2015 by brendanmcfadden
Watch: “Red & Yellow: A Wes Anderson Supercut”
You can’t say that Rishi Kaneria doesn’t know what he’s interested in when he makes his supercuts. Following logically on the heels of “Stanley Kubrick: Red,” which looked at that director’s use of the color, now we have “Red & Yellow: A Wes Anderson Supercut.” Red’s on the left, yellow’s on the right, and there’s an oddly disproportionate emphasis on his 2007 short Hotel Chevalier.
film  wesanderson  filmmakermagazine 
april 2015 by brendanmcfadden
For Sofia Coppola and Anjelica Huston, Oscar’s a Family Friend
No matter who takes home Academy Awards this weekend, Sofia Coppola and Anjelica Huston will remain an exclusive club of two: the only third-generation winners in Oscar history.
nytimes  film  oscars  academyawards  anjecliahuston  sofiacoppola 
february 2015 by brendanmcfadden
Vilmos Zsigmond, the Academy Award-winning cinematographer, joined the Higher Learning audience for an in-depth master class and a look back at his 50-year career at the forefront of the industry.
vilmoszsigmond  masterclass  cinematography  film  filmmaking  video  youtube  higherlearning  torontofilmfestival 
december 2014 by brendanmcfadden
An oral history of Hoop Dreams, 20 years after its première
In January 1994, a group of filmmakers from Chicago went to the Sundance Film Festival to accomplish the impossible, by selling a three-hour documentary about two inner-city teens hoping to get to the NBA. By the time they left, their lives had changed, and so had the way non-fiction filmmaking is perceived.
thedissolve  film  filmmaking  oralhistory  hoopdreams  sports  basketball 
october 2014 by brendanmcfadden
The making and unmaking of McCabe & Mrs. Miller
So that’s what happened, according to Altman: He took an utterly conventional Western and inverted its tropes. But like the man says, yeah, these things happened, but they didn’t happen that way. McCabe was an anti-Western from its first incarnation; the miracle was that after making it through a studio development process, it remained an anti-Western.
thedissolve  mccabeandmrsmiller  film  filmmaking  writing  screenwriting  robertaltman 
october 2014 by brendanmcfadden
The Movies’ 50 Greatest Pop Music Moments
There are few more powerful combinations than when just the right song meets just the right scene. To put all our favorites in one place, The Dissolve compiled 50 remarkable combinations of pop music (broadly defined) and moviemaking.
film  music  thedissolve  filmmaking 
september 2014 by brendanmcfadden
Calling Linda Manz
A swaggering, compact wild-child with a fine-featured, scar-chipped face, Linda Manz was a kid star who wouldn’t get past security at Nickelodeon.
lindamanz  villagevoice  film 
september 2014 by brendanmcfadden
The Gag Man
If you do any reading about early film comedy, sooner or later you’ll run into Clyde Bruckman. With the exceptions of Charlie Chaplin and the Marx Brothers, he worked with all the great early comedians: Buster Keaton, Harold Lloyd, W.C. Fields, Laurel & Hardy, the Three Stooges, Abbott & Costello. His name shows up in strange places—from X-Files episodes to the credits of Chris O’Donnell vehicles—but it appears most frequently in other people’s biographies, and usually all that’s there is his name.
film  filmmaking  silentfilm  clydebruckman  hollywood  thedissolve 
august 2014 by brendanmcfadden
Charles Brackett, Billy Wilder, and The Rise and Fall of Hollywood’s Happiest Co...
On April 18, 1948, the New York Times ran a short article about Billy Wilder and Charles Brackett under the headline “The Happy Union Of Brackett And Wilder.” Part of a series of Hollywood profiles by Phil Koury, it paints a glowing portrait of one of the most successful filmmaking teams in cinema history. At the time the article was published, they had worked together for nearly 12 years, and their 12th film was about to be released.
thedissolve  film  filmmaking  billywilder  charlesbrackett  hollywood 
august 2014 by brendanmcfadden
The Lebowskis Who Might Have Been: Behind The Scenes With The Coens
When I was 25 I got a job with the Coen brothers. I'd worked on three movies as an apprentice film editor and got a gig with them as a personal assistant when they made The Big Lebowski. I was with them for a year, from before pre-production through post-production (when they edited the movie, I transitioned from personal assistant to one of the assistant film editors). It was a memorable time, one that I recount in a behind-the-scenes story, The Dudes Abide: The Coen Brothers and the Making of The Big Lebowski, over at Kindle Singles. Here's a little taste.
deadspin  thestacks  film  filmmaking  behindthescenes  thecoenbrothers  thebiglebowski 
july 2014 by brendanmcfadden
Richard Linklater Interview
“Does your life have a plot? It has characters. There is a narrative. There’s a lot of story, a lot of character. But plot? Eh, no.”
richardlinklater  interview  interviewmagazine  matthewmconaughy  film  filmmaking 
july 2014 by brendanmcfadden
What is Neorealism?
Every cut is a form of judgment, whether it takes place on the set or in the editing room. A cut reveals what matters and what doesn’t. It delineates the essential from the non-essential. To examine the cuts of a filmmaker is to uncover an approach to cinema.
film  vimeo  sightandsound  filmmaking  videoessay  videogames 
july 2013 by brendanmcfadden
At the Cinema: if there is such a thing as film history, Tom Shone believes it should now have a special place for the "Before Sunrise" trilogy.
film  juliedelpy  beforesunrise  beforesunset  ethanhawke  richardlinklater  beforemidnight  moreintelligentlife 
june 2013 by brendanmcfadden
Legends Never Die
Two decades after a low-budget film turned Washington Square skaters into international celebrities, the kids from "Kids" struggle with lost lives, distant friendships, and the fine art of growing up.
film  larryclark  kids  harmonykorine 
may 2013 by brendanmcfadden
The backstory of “The Duke in His Domain,” Truman Capote’s 1957 New Yorker profile of Marlon Brando.
cinema  film  writing  journalism  columbiajournalismreview  marlonbrando  trumancapote 
november 2012 by brendanmcfadden
The Duke in His Domain
A profile of Marlon Brando, 33, holed up in a hotel suite in Kyoto where he was filming Sayonara.
acting  cinema  film  trumancapote  marlonbrando  thenewyorker 
november 2012 by brendanmcfadden
The Strange Fate of Kim's Video
The best video collection in New York was shipped to a Sicilian town with a promise that it would be kept accessible to cinephiles. Here's what really happened to it.
karinalongworth  karina  kimsvideo  rental  film  villagevoice  village 
september 2012 by brendanmcfadden
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