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Chicago – Acclaimed film critic and writer Martha P. Nochimson gave an exclusive interview to Indie Outlook, the independent film blog and podcast founded by Hollywood Chicago staff writer Matt Fagerholm. Her book, “David Lynch Swerves,” reveals how the titular director’s interest in quantum mechanics and the Holy Vedas of the Hindu religion provide a key to understanding his later work on an exhilaratingly new level.
Nochimson’s analysis of 1997’s “Lost Highway,” 1999’s “The Straight Story,” 2001’s “Mulholland Dr.”, and 2006’s “Inland Empire” is a must-read for any serious scholar or fan of the filmmaker’s incomparable oeuvre. In her interview with Indie Outlook, Nochimson discusses her fascinating theories regarding Lynch’s work, her enlightening conversations with physicist David Albert and the invigorating, often overlooked message that the director wishes to convey to his audience. Other recent stories on Indie Outlook include two in-depth interviews with Kate Lyn Sheil and Kentucker Audley, »
- email@example.com (Adam Fendelman)
Analyzing Mad Men is simultaneously the hardest, and easiest writing gig in town. The show’s refusal to sacrifice artistry for clarity, and say what it’s really thinking, means you can forget the particulars of a scene very quickly, especially if there’s a lot of agency business acronyms and numbers being thrown around. But so long as you have some sense of what’s going on, there’s nothing stopping you from spinning out your reading of events into some sort of interpretation of the show’s deeper mysteries that has a shred of merit.
Mad Men has even poked fun at its knack for being so inviting to consider, yet so hard to pin down: in season two’s “The Gold Violin,” office workers trying to express their thoughts on Burt Cooper’s new painting played like a mini-Rorshach test, but all the meditations were turned into »
- Sam Woolf
Founded on the iffy premise, raised here by Nicolas Winding Refn, that the combination of a cult book plus a cult director would have equaled a bigger-than-“Star Wars” worldwide sci-fi sensation, “Jodorowsky’s Dune” indulges one of film history’s more entertaining “what if” stories. Before David Lynch spectacularly botched a bigscreen adaptation of Frank Herbert’s “Dune,” Alejandro Jodorowsky, cinema’s shaman of psychedelia, had a spectacular go at the job. Nearly 40 years later, first-time director Frank Pavich attempts to re-create that vision (in our imaginations, at least). Expect fanboys to flip and minds to be blown over the highly entertaining result.
The year was 1974. After almost singlehandedly inventing the midnight-movie phenomenon with “El Topo,” Jodorowsky had scored a second hit — in France, at least — with his massive head trip, “The Holy Mountain,” prompting producer Michel Seydoux to encourage whatever project the director might want to do next. »
- Peter Debruge
It's no surprise we've arrived at an age where we expect a handful of concert movies to arrive in theaters each year, many of which will come served with a useless side of 3D. Some are your more straightforward concert experience, while others will mix a live concert with behind-the-scenes footage, offering fans and viewers a more personal look at the artist(s) when they're not performing. And then there's David Lynch's Duran Duran concert movie, which is unlike any concert movie you've seen before. Currently screening in the marketplace at the Cannes Film Festival in the hopes of scoring theatrical and/or home entertainment distribution, this particular concert movie isn't much different than simply watching a live stream of a Duran...
- Erik Davis
Genre television is becoming a major presence in primetime TV. Shows like American Horror Story, Hannibal, True Blood and Grimm are dominating the air and doing big numbers for cable and network stations alike. Subsequently, there is a new trend of reviving series once thought to be dead. Netflix is resurrecting Arrested Development, Fox is bringing back 24, TBS rebooted Cougartown. FEARnet is even getting in on the game, bringing back Reaper with an all-new reunion special airing May 28th.
We at FEARnet, being die-hard horror fans, have some ideas as to what we would like to see rebooted, revived, retooled, or resurrected for another turn in the spotlight. There are plenty of factors that play in to the viability of revamping or resurrecting a series. There are concerns of continuity, scheduling, the aging of the cast, and more. We are not proclaiming that a revival of each of these series is necessarily logical. »
- Tyler Doupe
With a decline in home video sales, as studios and content providers wrestle with ways to attract and keep wandering eyeballs, given the increased use of mobile devices to watch movies and TV shows, one company - backed by the producer of the Ring movies, as well as David Lynch's Mulholland Drive (Neal Edelstein) - wants to rethink the way stories are told to match the fluidity with which audiences watch those stories unfold on screen. “The way stories are consumed has changed, so we set out to alter how stories are told,” said Neal Edelstein, founder of Hooked Digital Media, in an interview with Bloomberg. “It’s terrifying to studios the drain that these devices have placed on the »
- Tambay A. Obenson
Check out my new radio show -- Dusty Wright's Dusty Roads -- for David Lynch's new music charity website! Just click on link or image above. You can find my weekly schedule below:
Listen to Dusty Roads Here at these Est times:
Monday, May 20th, Midnight
Tuesday, May 21st, 8-9 Am
Tuesday, May 21st, 4-5 Pm
Thursday, May 23rd, midnight
Friday, May 24th, 8-9 Am
Friday, May 24th, 4-5 Pm
"A rolling stone gathers no dust."
Mr. Wright is a content creator and culture curator. He is a contributor to the Huffington Post, a DJ at David Lynch's Transcendental Music Radio, the former editor-in-chief of Creem and Prince's New Power Generation magazines as well as a writer of films, fiction, and music. He is also a singer/songwriter who has released four solo CDs and one with folk-rock quartet GIANTfingers. And before all of »
- Dusty Wright
The iPad 2 changed Neal Edelstein's life. Edelstein had been working as a producer for more than a decade, making such movies as David Lynch's "Mulholland Drive," "The Ring" and "The Ring Two." When Edelstein got the tablet in his hands, he felt he was holding the future of entertainment. He's spent the past two years creating what may be a game-changing Apple-only app, the horror franchise "Haunting Melissa." "I wanted to tell a ghost story in a different way because of the way technology was moving," he told TheWrap, "but it wasn't »
- Lucas Shaw
If the phrase “European road cult comedy” describes the kind of movie you want to see, then Robert Mitchum Is Dead is clearly right up your alley. The film, which premiered at Cannes, features a boatload of references and influences from Jim Jarmusch, David Lynch, Jean-Luc Godard, zombie movies, rockabilly music and more. Check out a new clip from the film, entitled “Night of the Zombies.” The movie stars Olivier Gourmet and Pablo Nicomedes, and comes out on DVD and VOD on May 21st.
This hilarious addition to the road-movie genre follows a desperate agent (Olivier Gourmet) and an insomniac actor of questionable talent as they make their way in a stolen car across Europe to a film festival in the Arctic Circle. Hoping to get the actor a meeting with a famous director, they encounter a series of bizarre encounters, and it’s uncertain whether their dreams of fame will come true. »
- Andy Greene
Avnet will be recognized for his contributions to AFI while Bigelow and Coates are being heralded for their “contributions of distinction” to the art of the moving image.
The degrees will be presented during the AFI Conservatory’s commencement ceremony on June 12 at the El Capitan Theater.
Previous AFI honorary degrees have been given to Robert Altman, Maya Angelou, Mel Brooks, Clint Eastwood, Roger Ebert, James Earl Jones, Nora Ephron, Jeffrey Katzenberg, Kathleen Kennedy, John Lasseter, Spike Lee, David Lynch, Helen Mirren, Haskell Wexler and John Williams.
Avnet is an AFI alumnus and serves as vice chair of the board of trustees. His credits as a director, writer and producer include “Black Swan,” “Fried Green Tomatoes,” “Risky Business” and “The History Boys.”
- Dave McNary
Noah & the Whale have revealed plans to expand into filmmaking.
The UK five-piece created a short film for their latest single 'There Will Come a Time'.
"After we wrote a couple of songs I had a theme for a film - adolescence, coming of age," singer Charlie Fink told the Daily Star.
"It is set in a world where teenagers are separated from society on an island called Teen Land where they stay until deemed mature enough to return. It's about four friends who find out they can leave and it's their last night together."
Fink revealed that the band's dream collaboration would be with David Lynch.
"I'm taking it to film festivals to see how it goes down," he said of the video. "I'd like to do more."
Noah & the Whale's fourth studio album Heart of Nowhere debuted earlier in May. »
Few films lend themselves to critical reevaluation as well as David Lynch's much-maligned Twin Peaks: Fire Walk With Me. Booed at its premiere at Cannes in 1992 (and playing at Bam as part of their "Booed at Cannes" series, which runs through May 23), eviscerated by the popular press during its brief theatrical run later that year, and remembered now with bafflement and contempt, the film's reception and legacy might best be characterized by the infamous words of sworn Lynch defender Quentin Tarantino, memorialized in an interview with Elia Taylor that year: "David Lynch had disappeared so far up his own ass that I have no desire to see another David Lynch movie." It's not hard to understand the enduring distaste. Fire Walk With Me is deliberately oblique, e »
Bringing Up Bobby, 2011.
Written and Directed by Famke Janssen.
Debut films will inevitably be hindered by flaws; they are unlikely to be perfect. That said two recent directorial feature debuts, Makinov’s Come Out and Play and Ian Clark’s Brit horror The Facility, were full of promise. Look back far enough and the Soska Sisters' Dead Hooker in a Trunk and Robert Rodriguez’s El Mariachi were two debut films that were were rough around the edges yet equally showcased a raw creative talent that could mature with time and experience. There was a sense of inspired energy about these films, infused with an inspired vision. »
- Flickering Myth
Although it may not be the first screen musical to feature live-on-set singing, Les Misérables (2012, Universal, 12) is certainly the most ambitious, a huge, sweeping epic that produced a tidal wave of tears when it opened in UK cinemas. According to news reports, audiences of all ages – both male and female – were weeping openly during the multitudinous dramatic climaxes, a response attributed to the immediacy and intimacy that live voice recording conjured. Certainly, the technique pays dividends, most notably in Oscar-winner Anne Hathaway's breathtakingly fragile rendition of I Dreamed a Dream, delivered in one continuous take, pitched somewhere between a whisper and a scream, between speech and song, with eye-watering results.
- Mark Kermode
Join American-Canadian actor Keanu Reeves and a host of high profile directors for Christopher Kenneally's well-reviewed documentary Side by Side (2012), a fascinating, behind-the-scenes tour of the past, present and future of filmmaking and into a masterclass on the magic of the movies. To celebrate the long-awaited DVD release of Kenneally's must-see doc, we've kindly been provided with Three DVD copies of Side by Side to give away to our valued readers, courtesy of UK distributor Axiom Films. This is an exclusive competition for our Facebook and Twitter fans, so if you haven't already, 'Like' us at facebook.com/CineVueUK or follow us @CineVue before answering the question below.
For over 100 years, photo chemical film has been the standard format used to capture, develop, project and store movie images. Now, digital technology is challenging film's place as the gold standard for quality and longevity. With the aid of some of »
- CineVue UK
Grimm Episode 2.20 “Kiss of the Muse”
Written by Sean Calder
Directed by Tawnia McKiernan
Airs Tuesday 10.00pm Est on NBC
It’s probably unfair to compare modest little Grimm to David Lynch’s masterpiece Blue Velvet, but in this episode the similarities are there: obsession, art, a woman with a face like a magnet. No one turns up with a tank of laughing gas pressed to their face, but the woman in question does have the Lynch-like touch of possessing poison lips.
Juicy stuff, nicely rounded off with a demented Wesen breaking into a paint store and creating a giant graffito of said woman’s face on the nearest convenient piece of concrete. The Wesen with poison lips is a Musai, one of which was responsible for sending poor old Vincent round the bend. The fact that this one has the surname Sedgewick might be a coy nod to Warhol’s real muse Edie, »
- Cath Murphy
Melting flesh, gruesome alien mutations, post-apocalyptic machinery, pus-shooting creatures, tits, automatic weaponry and a decidedly Nsfw teaser trailer. Occasionally things come across our desks here at Dread Central that make us to grin ear to ear.
Such is the case with the teaser trailer for the insane Forbidden Dimensions.
Executive produced by Warren I. Abbot and written and directed by Chris Miller, the Z Sky Productions/Razorwire Films low-budget feature Forbidden Dimensions' festival run and distribution are imminent, so we thought it time to chat with some of the flick’s principals, including filmmaker Miller and stars Kyle Morris and Jamie Katonic.
"What we were trying to do with Forbidden Dimensions was to recreate the look and feel of the great horror/sci-fi flicks of the 80's,” director Miller told us of the film, which was shot between September of 2012 and February of this year. “That's why there's no greenscreen shots in the movie, »
- Sean Decker
Baz Luhrmann is the latest to try translating a celebrated book to the big screen, but there's danger in being too faithful to the text
Gatsby fever won't break until Baz Luhrmann's new adaptation opens this week, but this fifth film version of F Scott Fitzgerald's classic novel raises an interesting question: what makes a good adaptation, anyway? Why does Stanley Kubrick's The Shining merit documentaries in its own right, and Stephen King's The Shining end up forgotten among the made-for-tv mini-series? What should we hope for – or fear – from Luhrmann's take?
Adapting a novel or short story into film is a lot translation – turning words on a page into the language of movies: angles, actors and images. Filmmakers, like translators, are stuck in the middle between the original and the audience, and have to balance three elements: story, style and ambition.
Story might seem obvious, »
- Alan Yuhas
Film has incredible potential when it comes to displaying things that the viewer never thought they would ever see in their lives or just didn’t know existed in the first place. For this reason there are many films that feature moments so disturbing and odd that they will etch themselves into your mind forever. While that may sound bad, not every film on this list got its place because it has scenes of horror. In fact, only about half of the movies listed here are actually horror films.
There are many ways that a film can haunt you and I wanted to present a little bit of diversity when selecting which movies made the cut and which didn’t. Sometimes the most frightening things in the world are just ideas or beliefs and the cinema is a great place for filmmakers to exercise the more psychological elements of life. »
- Dolan Reynolds
With European-us trade talks expected to start in late June or July, a group of directors has come together to protest the removal of the Cultural Exception that protected European cinema. Led by Michael Haneke, the list includes such luminaries as Bela Tarr, Aki Kaurismäki, Catherine Breillat, Bertrand Tavernier, Pedro Almodovar, Jane Campion and David Lynch. British signatories such as Mike Leigh, Ken Loach and Stephen Frears share concerns that, if film is treated like any other commodity, the diversiy of European cinema will be lost, with potentially devastating cultural consequences.
Introduced by the French in 1993, the Cultural Exception was designed to provide special protections for good and services that "encompass values, identity and meanings that go beyond their strictly commercial value." It enables member nations to insist that a certain proportion of films shown in cinemas are native in origin and, in effect, prevents them from being swamped by. »
- Jennie Kermode
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