Mostly desks

cinephilearchive: I just received this out-of-print gem. I’m...

Sat, 18 May 2013 20:10:40 -0400

I just received this out-of-print gem. I’m over the moon!

It is such a shame that this book is out-of-print. It is filled with everything you ever wanted to know about 2001. It leads off with Arthur C. Clarke’s short story “The Sentinel” and closes with a complete reprint of Stanley Kubrick’s interview with Playboy magazine. In between are profiles, interviews with technical advisors, effects secrets revealed, letters to Stanley from the moviegoing public, as well as reviews of the film, both good and bad. A fascinating snapshot of a moment in history when the world was caught off guard by a motion picture. Search your local used book stores, like I did. If you’re a Kubrick fan, it’s worth the effort.

Coming soon to Cinephilia and Beyond.

With endless thanks to Matt Degennaro

Photo

Sat, 18 May 2013 20:10:29 -0400

cinephilearchive: An Interview with Sidney Lumet by Peter...

Sat, 18 May 2013 14:58:08 -0400

cinephilearchive:

An Interview with Sidney Lumet by Peter Bogdanovich, Film Quarterly, VOL. XIV, NO. 2—WINTER 1960. A gem of an interview!

What have you found to be your main obstacle in film work?
For myself the main obstacle is the set—up, the film in America. The financial set—up, the method of making motion pictures, and the method of distribution is one that conspires to defeat freedom and good work. And I suppose it’s the age—old complaint, there’s no solution that I know of. I know every once in a while somebody just takes a camera and goes off into the street, but what if you had a piece that doesn’t belong in the street? What if your piece needs a sumptuousness and a sensuousness as part of its dramatic meaning? And, you know, documentaries and semi-documentaries are not the only method of work in film. And as soon as you get past that level, financially you’re caught in a miserable situation. Twelve Angry Men cost $343,000, which is ridiculously cheap, but that’s a rarity; it had one set, twelve actors, and a very tight shooting schedule of twenty days.

Many fine directors-Huston, Wilder, Bergman, Welles, Kubrick—either write their own screenplays or collaborate extensively with others on scripts. To date you haven’t done either; do you think you’d find it more satisfying to work on scripts rather than just do the best you can with material you are given?
It’s not “either/or.” I can’t write. And I have such respect for writers—I don’t understand how two writers collaborate, for instance—so that the method for myself is one simply of letting them do their work, then going back into work in terms of whatever specifics are needed, whether it’s structural or dialogue. On Fugitive Kind, for instance, there was a good deal of re—writing between the original draft and what wound up on the screen.
Did you have a say in that?
Oh, yeah. And the working procedure was that Tennessee and Meade [Roberts] brought in the first draft, then all of us together talk, talk, talk, talk, talk-back, another draft, talk, talk, talk, talk, talk-back, another draft—I think it was the fourth draft we used. —Sidney Lumet by Peter Bogdanovich, Film Quarterly, VOL. XIV, NO. 2-WINTER 1960.

Tweet

Follow @LaFamiliaFilm

cinephilearchive: photos by Herb Ritts

Sat, 18 May 2013 10:38:27 -0400

cinephilearchive:

photos by Herb Ritts

Photo

Fri, 17 May 2013 11:32:13 -0400

inked-females: Follow us on Twitter @inkedfemales and Facebook

Fri, 17 May 2013 11:32:10 -0400

inked-females:

Follow us on Twitter @inkedfemales and Facebook

Photo

Fri, 17 May 2013 11:32:06 -0400

Photo

Thu, 16 May 2013 20:43:20 -0400

Photo

Thu, 16 May 2013 20:40:41 -0400

Photo

Thu, 16 May 2013 20:40:39 -0400

fuckyeahbehindthescenes: There were 52 separate shooting units...

Thu, 16 May 2013 14:04:16 -0400

fuckyeahbehindthescenes:

There were 52 separate shooting units working at almost any given time during the production. If everything went well they would get two minutes of footage in two weeks.

Paranorman (2012)

That is magic.

Thu, 16 May 2013 14:00:28 -0400

That is magic.

"Just because you’re offended doesn’t make you right."

Wed, 15 May 2013 18:53:11 -0400

“Just because you’re offended doesn’t make you right.”

- Ricky Gervais (via gq)

nacquiredtaste: Jake Gallagher wrote a very informative piece...

Wed, 15 May 2013 15:55:10 -0400

nacquiredtaste:

Jake Gallagher wrote a very informative piece on the early days of Thom Browne in the movie Stay. Head over to Wax-Wane to peep the entire write up and see the rest of the pics.