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Recorded on November 27, 1965, Jeremy Bernstein conducts this chat with Stanley Kubrick. Bernstein traveled to Oxford, where "2001" was being shot, and spent time with Kubrick to talk filmmaking, and working with Arthur C. Clarke and Vladimir Nabokov, and to play chess during production breaks. The profile, published in 1966, was included in the must-read anthology "Stanley Kubrick: Interviews," but you can listen to their insightful chat below. (Hat tip: Brain Pickings.) Read More: See a Young Stanley Kubrick's Photos of Chicago »
- Ryan Lattanzio
Eli Wallach and Anne Jackson on the Oscars' Red Carpet Eli Wallach and Anne Jackson at the Academy Awards Eli Wallach and wife Anne Jackson are seen above arriving at the 2011 Academy Awards ceremony, held on Sunday, Feb. 27, at the Kodak Theatre in Hollywood. The 95-year-old Wallach had received an Honorary Oscar at the Governors Awards in November 2010. See also: "Doris Day Inexplicably Snubbed by Academy," "Maureen O'Hara Honorary Oscar," "Honorary Oscars: Mary Pickford, Greta Garbo Among Rare Women Recipients," and "Hayao Miyazaki Getting Honorary Oscar." Delayed film debut The Actors Studio-trained Eli Wallach was to have made his film debut in Fred Zinnemann's Academy Award-winning 1953 blockbuster From Here to Eternity. Ultimately, however, Frank Sinatra – then a has-been following a string of box office duds – was cast for a pittance, getting beaten to a pulp by a pre-stardom Ernest Borgnine. For his bloodied efforts, Sinatra went on »
- D. Zhea
"Boob Tube" is the theme of the new issue of cléo, which includes essays on Angela Lansbury (Murder, She Wrote), Veronica Mars, Transparent, Top of the Lake and more. Also today's roundup: Peter Bogdanovich on Jean Renoir, Jonathan Rosenbaum on Orson Welles, an interview with Abdolreza Kahani, celebrating Johnnie To's 60th birthday, a close reading of Steven Soderbergh's re-edit of Stanley Kubrick's 2001: A Space Odyssey, Rian Johnson and Alex Garland in conversation, Ethan Hawke on Richard Linklater, Tilda Swinton on Amy Schumer, Oprah Winfrey on Lee Daniels, Michael Caine on Christopher Nolan and more. » - David Hudson »
The Star Wars franchise is going strong 38 years later. But what about the artists and filmmakers who helped make the 1977 original a hit?
In theatres all over the world in 1977, audiences thrilled at the sights and sounds of Star Wars. Harking back to a bygone age of Flash Gordon and Buck Rogers, it also pointed forward to the coming age of ubiquitous computers and special effects-led blockbusters.
But while the triumphant fanfare of John Williams' score gave Star Wars a confident swagger, its success was far from preordained. George Lucas reworked his script time and again; studios turned his concept down; even the production was rushed and torturous.
By now, the contribution George Lucas, John Williams and Star Wars' cast made to cinema is well documented. But what about some of the other artists, technicians and fellow filmmakers who helped to make the movie such a success? Here's »
Let's hope Jack Nicholson has a pleasant birthday on Wednesday, or at least a less disturbing one than the birthday when pal Hunter S. Thompson showed up outside his house, turned on a spotlight, blasted a recording of a pig being eaten alive by bears, fired several rounds from his 9mm pistol, and (when the terrified actor and his kids refused to open the door) left an elk's heart on the doorstep.
Nicholson turns 78 on April 22, and even though he hasn't been in a movie for five years, he still looms large in our collective imaginations. Younger viewers know him from his flamboyant performances in "The Departed," "The Bucket List," "Something's Gotta Give," and "Anger Management," but his older films remain ubiquitous on TV as well, including "As Good as It Gets," "A Few Good Men," "Batman," "The Witches of Eastwick," "Terms of Endearment," "The Shining," and "Chinatown." A late bloomer, »
- Gary Susman
Over the course of film history, we've seen plenty of long-time actors step behind the camera to take up their directorial ambitions. Clint Eastwood did it. Mel Gibson did it. George Clooney did it. What do these three have in commonc Well, for starters, they are all men, so there's that. Further, they are all white, but more on that later. More to the point of the article, these men all eased into their directorial careers by starring in their respective debuts, using their presence on screen to help market their talents off it. And with his feature directorial effort The Water Diviner, which hits limited theaters this week, Russell Crowe is just the most recent addition to a growing list of actors who have decided to try their hand behind the camera. Like Eastwood, Gibson, and Clooney before him, the Best Actor winner stars in his first feature as director, »
- Jordan Benesh
Fans of Room 237, Rodney Ascher's fantastic documentary on the hidden conspiracy theories that may or may not lurk beneath the surface of Stanley Kubrick's The Shining, will no doubt already be chomping at the bit to get a look at his follow-up, The Nightmare, which premiered at Sundance earlier this year.Well we are going one better than that. Ascher and regular producing partner Tim Kirk have teamed up again for another oddball approach to the documentary medium, Director's Commentary: Terror of Frankenstein. An obscure 1970s adaptation of Mary Shelley's gothic masterpiece, Terror of Frankenstein is a real movie, starring Leon Vitali (Barry Lyndon, Eyes Wide Shut) and something of an unchampioned classic in Euro-horror circles. What Ascher, Kirk, and Tim's cousin Jay have done, is put...
[Read the whole post on twitchfilm.com...]
I have yet to see Ryan Gosling's directorial debut Lost River, but word-of-mouth for the film, including here on the site, has been less-than-favorable. Unabashedly weird and yet very respectful to its peers, based on what I've seen and read, it's not your average actor-turned-director vehicle. It's with that in mind that a select group, including fellow filmmakers, suggest Gosling's film would got more love had critics separated the art from the artist. The filmmaker in question for these acquisitions of late is Terence Nance (An Oversimplification of Her Beauty), who wrote an odd little email-themed piece for The Talkhouse about Gosling's film. Written as if he were to give the fellow filmmaker criticism of his work before it made its premiere last year at Cannes, Nance is critical of Lost River but he makes an interesting point. He notes how if the film, as the "current cut," were made by an unknown filmmaker, »
- Will Ashton
Spoilers for The Sopranos ending lie ahead.
The last episode of The Sopranos is one of the most debated endings in TV history. Some people were infuriated by it, others thought it was brilliant. On June 10, 2007, Steve Perry stopped believing, the onion rings were finished and Tony Soprano gave a quick glance at a passing stranger in a Member’s Only jacket.
David Chase, brought The Sopranos into this world and took them out. He directed the Made In America episode. He always maintained that everything you needed to know about the fate of Tony Soprano was on that screen so stop asking.
But when DGA Quarterly asked Chase, he gave a shot-by-shot explanation of what he put on the plate.
"When it's over," Chase told DGA, "I think you're probably always blindsided by it. That's all I can say. »
Occasionally, a movie villain will pause for a moment to deliver a brief story or anecdote. And often, these apparently incidental tales tell us a lot about an antagonist's state of mind, experiences or warped worldview.
We've compiled a selection of 20 here. Some of them are blackly funny. Many are disturbing. One or two are even moving. The first one's very strange. All of them bring something unique to each particular film in which they appear, and all of them are laced with a delicious hint of menace.
20. Xander - Enemies Closer (2013)
"When I was a little boy at my grandmama's place, she had a lovely goose. I named her Edith, after the French singer Edith Piaf..."
We begin with a delightfully weird story from Peter Hyams' 2013 thriller, »
Whenever I sit down to review an Ingmar Begman movie I tend to bounce over to IMDb just to see how many of his films I've seen. Obviously when you're talking about Bergman we all pretty much start with the well known classics (The Seventh Seal, Wild Strawberries, etc.) and then slowly begin to explore his lesser known films. Well, having now finally seen Cries & Whispers, what very well may be the last of his well known classics I had left to see (except for "Scenes from a Marriage"), I feel there are only lesser known corners of his oeuvre for me to explore. However, with over 65 films credited to him as a director on IMDb it would seem I've still only scratched the surface as I've only 14 of his films under my belt. Criterion's new Blu-ray release of Cries and Whispers is an upgrade from their 2001 DVD release, arriving »
- Brad Brevet
The Hollywood Reporter calls Josh Karp's Orson Welles's Last Movie: The Making of The Other Side of the Wind "an early contender for this year's best book about Hollywood"—and Vanity Fair's running a generous excerpt. Meantime, Jonathan Rosenbaum's posted his 2006 review of Simon Callow's biography of Welles. Also in today's roundup: Seven philosophers each pick a film to address an essential question. Zach Lewis on Jean-Luc Godard's Adieu au langage. A talk with Pedro Costa. Clayton Dillard on Preston Sturges's Sullivan's Travels. Steven Boone on Shirley Clarke's The Connection. Yusef Sayed on Sidney Lumet's The Offence. Kim Morgan on Stanley Kubrick's The Killing. And more. » - David Hudson »
By now, you’ve likely seen Christopher Nolan’s beautiful if not perplexing and perhaps inconsistent “Interstellar.” As grand as any Nolan film, “Interstellar” bent time, space, and minds last year, opening to generally positive reviews and performing admirably at the box office, ranking fifth among Nolan’s domestic grosses, coming in behind all three Batman films as well as his last non-Dark Knight flick “Inception.” However, the movie killed overseas, raking in nearly half a billion at international cinemas. Well in advance of its November 2014 release, “Interstellar” was already amassing many comparisons to Stanley Kubrick’s 1968 masterpiece “2001: A Space Odyssey.” Naturally, two films that catapulted characters and audiences into the far reaches of space and other realms would garner claims of commonalities, but as each successive trailer debuted, it became harder and harder to deny any similarities. Prolific Vimeo user Jorge Luengo Ruiz highlights myriad similar shots »
- Zach Hollwedel
This month's film Book Club choice is a study of director William Friedkin that spends as much time on the failures as the successes...
Some films catch your attention for reasons other than being good. Cruising (1980) has stuck in my memory for years. It’s very weird. Al Pacino plays a cop who works undercover in New York’s gay club scene, tracking down a serial killer. Or possibly more than one serial killer; it's difficult to tell in the darkness, the double bluffs, and the uncomfortable and unclear nature of the action. Few critics liked it, even less people went to see it, and William Friedkin wrote and directed it. When I think of Friedkin's work I think of Cruising as much as I think of The Exorcist, or The French Connection. How could the same person have made these films?
Clagett's book embraces the failures as much as the successes, »
A cinematic adaptation of Stephen King's epic fantasy series The Dark Tower has long gestated in Hollywood, moving from studio to studio and from proposed film franchise to planned TV series for nearly a decade. However, after Warner Bros. and HBO failed to bring King's novels to the big and small screen, Sony Pictures have announced that they'll now attempt to adapt King's self-proclaimed magnum opus as both a feature film and a television series.
Deadline reports that Sony Pictures and Media Rights Capital (Mrc) have agreed to co-finance »
Oscar Isaac has delivered another superb performance in Alex Garland's "Ex Machina." It follows a National Board of Review-winning turn in "A Most Violent Year" which, frankly, should have earned him an Academy Award nomination this past January. Of course, you could also say he should have received more recognition for his work in "Inside Llewyn Davis" and "Drive," but Isaac's time will come. Potentially with whatever projects he chooses after shooting "X-Men: Apocalypse" this summer. But, before we get to Isaac's blueprint or building his character in "Machina" let's get to the subject you probably really want him to hear about, "Star Wars: Episode VII: The Force Awakens." Frankly, the mantra for anyone working on any J.J. Abrams directed movie is that you keep your lips sealed and don't reveal anything to the press. And that means almost everything is under wraps unless you're playing Han Solo, Princess »
- Gregory Ellwood
Fans love to complain that good sci-fi isn’t released any longer. Alex Garland‘s Ex Machina, however, is good sci-fi. The passage of time may even turn it into great sci-fi. The film stars Oscar Isaac as Nathan, a billionaire savant who created a fictional analog to Google. He invites Caleb (Domhnall Gleeson), one of his employees, to […]
- Germain Lussier
Above: 1936 alternative one sheet for Modern Times (Charlie Chaplin, USA, 1936), designer unknown, and Us one sheet for The Shining (Stanley Kubrick, USA, 1980), designer: Saul Bass (1920-1996).As serendipity would have it, the two most popular posters of the past three months of Movie Poster of the Day were these two black and yellow faces, one a little-known 1930s poster by a journeyman designer at a budget print house, the other a very well known 1980s poster by the most recognizable name in movie poster design. Modern Times and Modern Horror. I’m hoping the love they received (over 500 likes and reblogs for each) were just as much about the items they were promoting: one my article on Leader Press, the other the Poster Boys podcast on Saul Bass by fellow movie poster aficionados (and ace designers) Sam Smith and Brandon Schaefer. Another Poster Boys related poster—Drew Struzan’s The Thing—also made the list. »
- Adrian Curry
Starting today on Netflix, you’ll be able to watch Vincent D’Onofrio as Wilson Fisk, better known by the moniker Kingpin, on Marvel’s Daredevil. D’Onofrio has affection for his cue-ball crime boss and doesn’t see Fisk as a bad guy, rather as one who’s motivated by the same things that Daredevil is. D’Onofrio sat down with Vulture recently at the Loews Regency Hotel, wearing a snazzy three-piece suit for Netflix’s press junket. Leaning back in his chair with a toothpick in his mouth, he talked about drawing inspiration from Frank Miller’s comics, the grind of Law & Order: Criminal Intent, and how working on Daredevil was like working on a Stanley Kubrick film.Were you a fan of the comics? Yeah, I was when I was a kid. I read Spider-Man, and that's how I knew about Wilson Fisk. The first phone call »
- E. Alex Jung
There are good science fiction movies, and there are science fiction movies that realign your perception of the world, while thrusting you into some new or otherworldly space, full of unfamiliar technology or biology. Alex Garland is in the business of making the latter. The British novelist breathed life into the zombie movie with his script for Danny Boyle's "28 Days Later," and took audiences to the far flung reaches of space with their second collaboration, "Sunshine" (if you haven't seen it, please correct the error of your ways -- it's fabulous). Garland also adapted a beloved novel for the cloning saga "Never Let Me Go" and an equally beloved cult comic book for "Dredd" (again: outstanding, especially in 3D).
This week, Garland makes his directorial debut with "Ex Machina," a twisty-turny little science fiction film that stars Domhnall Gleeson as Caleb, a coder for a Google-like monolith called Bluebook. »
- Drew Taylor
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