recentpopularlog in

brendanmcfadden : filmmaking   45

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
Reading Roger Deakins’s Cinematography Blog
Cinematographer Roger Deakins uses his blog to pull back the curtain on the lighting tricks that have made him famous.
filmmaking  cinematography  rogerdeakins  theparisreviewblog 
june 2017 by brendanmcfadden
Exclusive: Steven Soderbergh's Editing Notes For 'The Knick'
Exclusive Season Two editing notes shared between Soderbergh and Cinemax President Kary Antholis.
theknick  indiewire  television  tv  stevensoderbergh  editing  filmmaking  cinemax 
february 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
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
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
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
VILMOS ZSIGMOND Masterclass
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
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 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
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

Copy this bookmark:





to read