Le samouraï
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Le Samurai (1967) More at IMDbPro »Le samouraï (original title)

2014 | 2013 | 2012 | 2011 | 2010 | 2009

2 items from 2014

The HeyUGuys Interview: Antonio Piazza and Fabio Grassadonia talk Salvo

27 March 2014 8:00 AM, PDT | HeyUGuys.co.uk | See recent HeyUGuys news »

HeyUGuys recently had the opportunity to catch up with first time writer-directors Antonio Piazza and Fabio Grassadonia, to get under the skin of their silent and haunting debut feature Salvo.

Antonio and Fabio spoke with us about confronting the expectations of Sicilian narratives, the current challenges facing Italian filmmakers, contending with one blind and one silent protagonist, slowly constructing empathy, before taking a moment to look ahead to following up a Sicilian mafia character drama with a Sicilian ghost story.

Why a career in filmmaking? Was there that one inspirational moment?

Antonio Piazza: Fabio and I worked together for a number of years as writers and script consultants for other people, as well as a couple of Italian production companies. A few years ago we decided we wanted to write and direct own story, and so the first thing we did was to go back to Sicily where we come from. »

- Paul Risker

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‘McCabe & Mrs. Miller’ and the revisionist Robert Altman

27 January 2014 3:56 PM, PST | SoundOnSight | See recent SoundOnSight news »

Coming a year on the heels of Mash, one of his best known films, Robert Altman’s Western McCabe & Mrs. Miller certified the director as a genre revisionist. The opening strains of Leonard Cohen’s “The Stranger Song” lilt underneath a panning wide shot showing McCabe (Warren Beatty in his finest role), unrecognizable beneath bundled furs and astride a donkey, approaching a modest camp.  The slow, lyrical pacing is akin to neither the golden-era Hollywood Westerns of John Ford or Howard Hawks, nor the ‘60s explosion of Spaghetti Westerns, emblemized by Sergio Leone and Clint Eastwood. Cohen’s style is effortlessly poetic and in opposition to the bravado of Dimitri Tiomkin and the percussive bombast of Ennio Morricone; the protagonist introduction is without the fanfare of a John Wayne saunter or a Charles Bronson cold stare. Vilmos Zsigmond’s cinematography is of murky earth tones, dull snow, and Altman’s trademark slow zooms, »

- Neal Dhand

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2014 | 2013 | 2012 | 2011 | 2010 | 2009

2 items from 2014

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