The Rain People (1969) - News Poster

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The Best of Movie Poster of the Day: Part 17

Above: Unused poster design for The Handmaiden (Park Chan-wook, S. Korea, 2017); designer: Empire Design.It’s been a while since I did one of these round-ups of the most popular posts on Movie Poster of the Day—since the beginning of the year, in fact—but in that time one poster has been liked and reblogged more than 2,800 times, making it the second most popular design I’ve ever posted on the blog. The comp design for Park Chan-wook’s The Handmaiden, which I featured as part of my interview with Empire Design’s John Calvert back in March, is a deserving fan favorite: an exquisite and beautifully realized concept that was shelved only in favor of something even more perfect.The rest of the Top 20 features the usual eclectic mix of old and new (there are six posters for new films in the list, and two new designs for
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"El Dorado": The Dawn of Caan

It takes a lot to stand out when you’re standing between Robert Mitchum and John Wayne. And it surely isn’t easy when you’re also standing in front of the venerable Howard Hawks. But this was the position 25-year-old James Caan found himself in when he took on the role of Alan Bourdillon Traherne, otherwise known as Mississippi, in Hawks’ 1967 Western, El Dorado. Though Hawks was nearing the end of his filmmaking career (this would be his penultimate movie) and Caan was just at the start of his (following two features and about five years of extensive television work), they were each entering the project under similar circumstances. Indeed, it was their shared experience on the disappointing Red Line 7000 (1965) that left them both wanting. It may have been a personal letdown for Caan, but that film’s poor reception wasn’t a deal-breaker as far as his prospects were likely to continue.
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The Happy Ending

Jean Simmons is the original frustrated Mad Housewife who runs away from a 'dream marriage' in search of something more fulfilling. Uncompromising, adult, and making use of an interesting cast. Plus, the soundtrack uses Michel Legrand's incomparable song "What Are You Doing the Rest of Your Life?" The Happy Ending Blu-ray Twilight Time Limited Edition 1969 / Color / 2:35 widescreen / 112 min. / Ship Date January 19, 2016 / available through Twilight Time Movies / 29.95 Starring Jean Simmons, John Forsythe, Shirley Jones, Teresa Wright, Nanette Fabray, Bobby Darin, Kathy Fields, Tina Louise, Dick Shawn, Lloyd Bridges, Karen Steele, Erin Moran. Cinematography Conrad Hall Original Music Michel Legrand, lyrics Alan & Marilyn Bergman Produced, Written and Directed by Richard Brooks

Reviewed by Glenn Erickson

I looked at some of the poster artwork for The Happy Ending, and yes indeed, one of the main styles is indeed like the cover of this disc -- a photo of a rusty garbage
See full article at Trailers from Hell »

Walter Murch Talks the Subtleties of Editing Systems, the Myth of Shot Length, and Visual Sensitivity

I’ve spoken to many people in my time, but few (if any) have the same credentials as Walter Murch, whose résumé would be amazing if it was only for the collaborations with Francis Ford Coppola: editing and / or audio work on all three Godfather films and The Conversation, truly groundbreaking sound design on Apocalypse Now, editing the terribly ignored Youth Without Youth and Tetro — even being around for the early days of The Rain People and lesser-seen oddities such as Captain Eo. But that’s not the half of it, really, since he’s also been instrumental in proving how consumer-grade editing software can be as effective as high-end systems. And then there’s the work that helped George Lucas getting his career started. And the cult sensation that is his only directorial effort, Return to Oz. Or his book, In the Blink of an Eye, which is
See full article at The Film Stage »

Camerimage: Walter Murch on Editing, Cinematography and the Change to Digital

Camerimage: Walter Murch on Editing, Cinematography and the Change to Digital
Walter Murch is extraordinary even within his own field, four times Oscar-nominated for film editing, three times nominated for sound mixing, achieving a landmark double when he won both for his work on 1997 movie “The English Patient.” This week, he attends the Camerimage film festival, which is devoted to the art of cinematography, to receive the Special Award to an Editor with Unique Visual Sensitivity.

In a career that spans over 40 years, Murch is perhaps best known for his collaborations with Francis Ford Coppola, beginning in 1969 with “The Rain People.” After working with George Lucas on “Thx 1138” (1971), which he co-wrote, and “American Graffiti” (1973), Murch returned to Coppola for 1974’s “The Conversation,” receiving his first Academy Award nomination as a result. Murch’s pioneering achievements were acknowledged by Coppola on his follow-up, the 1979 Palme d’Or winner “Apocalypse Now,” for which he was granted, in what is seen as a film-history first,
See full article at Variety - Film News »

The Perils of Passion Projects

Christopher Nolan recently announced a new project entitled Quay, a documentary short about two British stop-motion animators. Set to premiere next week, it’s a far cry from Nolan’s blockbusters in both scope and subject matter. Yet it’s clearly a personal project, with Nolan using his clout and money to promote two obscure filmmakers.

Every artist – director, star, screenwriter – has some project that they want to make above all. A deeply personal, original idea; an autobiographical story; a favored story or hero they wish to celebrate. If a filmmaker is successful or lucky enough, they get a chance to produce them. Yet sometimes the reaction isn’t what they expect.

Francis Ford Coppola started his career directing exploitation films for Roger Corman, notably the horror film Dementia 13 (1963). Then he toiled as screenwriter and occasional director, helming the musical Finian’s Rainbow (1968) and the more personal The Rain People
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George Lucas: 25 Things You Didn't Know About the 'Star Wars' Guru

George Lucas didn't just create the "Star Wars" universe. The filmmaker, who turns 71 on May 14, pretty much created the cinematic universe we live in now, the ones whose cornerstones include the Thx sound system at your multiplex, the Pixar movies that have dominated animation for the past 20 years, and the Industrial Light & Magic special-effects house, whose aesthetic has ruled the Hollywood blockbuster for nearly four decades. He's the pioneer of the effects-driven action spectacle and the conversion from celluloid to digital, the two trends that, for better and worse, have defined Hollywood's output for nearly 20 years.

As ubiquitous as Lucas and his creations loom in our cinematic dreamscapes, there's still a lot that most people don't know about him, from how he got his start to the famous folks who mentored him or were mentored by him, from the size of his fortune to what he plans to do now
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Locarno Honors Walter Murch for Sound and Vision in Hollywood

Continuing the festival’s policy of recognizing those individuals whose intuitions and skills have left their mark on film history, the 68th edition will see the Vision Award - Nescens awarded to Walter Murch, the editor and sound designer (a term he coined himself). This award follows those previously attributed to such major creative talents in American cinema as special effects wizard Douglas Trumbull and “Mister Steadicam®” Garrett Brown.

Murch’s career has embraced first sound and then film editing as well, pursuing a concept of audio-visual composition that treats the two as inseparable.

His name is closely linked to the new generation of directors who emerged in the 1970s, such as George Lucas ("Thx 1138," 1971; "American Graffiti," 1973) and Francis Ford Coppola ("The Rain People," 1969; "The Godfather," 1972; "The Conversation," "The Godfather: Part II," 1974). His hugely impressive work with the latter filmmaker, as sound designer on "Apocalypse Now," won him his first Oscar in 1980.

Following his own directorial debut in 1985 with "Return to Oz," he subsequently won two more Academy Award statuettes for both sound and film editing on Anthony Minghella’s "The English Patient" (1996) – the first and only time in history the same person has won the Oscar in both categories. Although in this respect he was repeating an earlier record set when he won double BAFTA awards in 1975 for "The Conversation."

Murch has continually developed his editing talent and versatility, experimenting with every new and emerging system, from analogue to digital. His knowledge and artistry were distilled in his 2001 book, In the Blink of an Eye, an indispensable work of reference in the film editing world. He is also the subject of Michael Ondaatje's The Conversations: Walter Murch and The Art of Film Editing and Charles Koppelman's Behind the Seen.

Carlo Chatrian, the Festival’s Artistic Director, comments: “Having Walter Murch here, apart from the honor of his presence, also highlights the thinking behind this award, instituted two years ago. As Francis F. Coppola has written, « he is a true pioneer. A man we should listen to with great attention – and pleasure » . The way he works goes far beyond conventional notions of collaboration. The work on "The Godfather: Part II" or "Apocalypse Now," for example, prove that the great films are nearly always the outcome of a close working relationship between major creative talents. And it is to one of the most subtle and influential of these that the Locarno Festival pays tribute this year .”

Both the general public and the guests of the Festival will have an opportunity to meet Walter Murch and discover the secrets of his methods during a masterclass in Locarno. The Vision Award is supported for the second consecutive year by Nescens, Swiss anti-aging science.

The 68th edition of the Festival del film Locarno will take place 5 – 15 of August.
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Walter Murch to receive Locarno honour

  • ScreenDaily
Walter Murch to receive Locarno honour
Triple Oscar-winner to be honoured with the Vision Award.

The 68th Locarno Film Festival (Aug 5-15) is to give its Vision Award - Nescens to award-winning editor and sound designer Walter Murch. The award has previously been given to special effects wizard Douglas Trumbull and “Mister Steadicam” Garrett Brown.

Murch worked with George Lucas on Thx 1138 (1971) and American Graffiti (1973) and Francis Ford Coppola on The Rain People (1969), The Godfather (1972), The Conversation (1974) and The Godfather: Part II (1974).

His work with Coppola as sound designer on Apocalypse Now won him his first Oscar in 1980.

Following his own directorial debut in 1985 with Return to Oz, he subsequently won two more Academy Awards for both sound and film editing on Anthony Minghella’s The English Patient (1996) – the first and only time in history the same person has won the Oscar in both categories. In this respect he was repeating an earlier record set when he won double BAFTA awards in 1975 for
See full article at ScreenDaily »

Walter Murch To Be Honored By Locarno Film Festival With Vision Award

Walter Murch To Be Honored By Locarno Film Festival With Vision Award
Rome – Walter Murch, the multiple-Oscar-winning U.S. film editor and sound designer, whose name is closely linked to 1970’s directors such as George Lucas (“Thx 1138″ and “American Graffiti”) and Francis Ford Coppola, will be honored by the Locarno Film Festival with its Vision Award – Nescens dedicated to those whose intuitions and skills have left their mark on film history.

“Murch’s career has embraced first sound and then film editing, pursuing a concept of audio-visual composition that treats the two as inseparable,” the prominent Swiss fest dedicated to indie filmmaking pointed out in a statement.

Case in point is Coppola’s “The Conversation,” for which Murch won double BAFTA awards, for both sound and film editing, in 1975. His other credits with Coppola include “The Rain People,” “The Godfather,” and “Apocalypse Now,” for which he won his first Oscar, for best sound, in 1980. Murch subsequently won two more Academy Awards,
See full article at Variety - Film News »

Watch: Actors and Filmmakers Answer 'What's Your Favorite Movie That No One Has Seen?'

Watch: Actors and Filmmakers Answer 'What's Your Favorite Movie That No One Has Seen?'
The Academy Originals series continues to provide viewers a behind-the-scenes look at Hollywood. This time, they asked actors, screenwriters, directors and producers what their favorite movie is that they think no one else has seen. Many, including actors Mark Whalberg and Jennifer Garner and director David O. Russell answered the tough question. Highlights from the video include Ralph Fiennes, who says, "A film I've seen recently that really effected me is an Iranian film called 'Manuscripts Don't Burn.'" Jonah Hill, having starred in "The Wolf of Wall Street," answers with another Martin Scorsese film: "The King of Comedy" from 1982. Screenwriter John Ridley chooses the 1969 Francis Ford Coppola film "The Rain People," calling it "an astonishing piece of work." David O. Russell answers with an impressive three films: "Love and Anarchy," "The Seduction of Mimi" and "Seven Beauties." Have you seen...
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Watch: George Lucas' 32-Minute Documentary 'Filmmaker' On Francis Ford Coppola From 1969

He may have played a part in ushering in the blockbuster age, but George Lucas was still a part of the same filmmaking generation and movement—the famous New Hollywood period from the late '60s to the early '80s—as contemporaries like Mike Nichols, William Friedkin, and his buddies Steven Spielberg and Francis Ford Coppola. The “Apocalypse Now” director played an important role in Lucas’ early career, whether by helping finance “American Graffiti” and siding with him against the studio over the final cut or by simply allowing him to hang out on Coppola’s set and shoot a short documentary. In 1968, Coppola was gearing up to shoot his fourth feature-length film when Lucas convinced him to allow the future “Star Wars” filmmaker to shoot an unobtrusive, cinema-verite documentary about the making of “The Rain People.” The documentary (via Open Culture), titled “Filmmaker,” was produced for $12,000, and follows Coppola as he deals with.
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Q&A: Francis Ford Coppola on George Lucas, an 'ambitious' new movie, and his five-film box set

Q&A: Francis Ford Coppola on George Lucas, an 'ambitious' new movie, and his five-film box set
Francis Ford Coppola is ready for a big picture comeback.

The Oscar-winning filmmaker, now 73, has made some of the most iconic movies of all time, from 1972 mob classic The Godfather to 1979 war epic Apocalypse Now. But as an equally humble student and lover of film, he’s recently made smaller movies with tiny budgets such as 2009’s Tetro, starring Vincent Gallo, and murder mystery Twixt, with Val Kilmer and Elle Fanning.

Coppola spoke to EW about five of his films – Apocalypse Now, the extended version Apocalypse Now Redux, Tetro, 1974’s The Conversation, and 1982’s One From the Heart — all being
See full article at EW.com - Inside Movies »

American Zoetrope: In a galaxy not from Hollywood …

If there had been no Zoetrope, the film studio founded by Francis Coppola and George Lucas in San Francisco in 1969, there would be no Star Wars, argues John Patterson

In April 1979, Francis Ford Coppola threw a characteristically grandiose bash to celebrate the completion of Apocalypse Now, the picture that had threatened to become his Waterloo. It was at the apogee of the 1970s Hollywood renaissance, whose directors were suspended in that delightfully rarified moment after their biggest blockbusters and before their flops – and they all had at least one gargantuan flop ahead of them.

Coppola, as usual, was ahead of the game, or so it seemed. Apocalypse Now's chequered production history had produced wild press rumours of directorial overindulgence, perhaps even of a full swandive into film-making insanity, and the film's subsequent lofty place in the cinematic firmament was then far from secure. The film historian Peter Biskind, in his book Easy Riders,
See full article at The Guardian - Film News »

Francis Ford Coppola Talks To Toronto At Tiff

Last Sunday, a sold-out audience awarded Francis Ford Coppola a standing ovation when he strolled into the 548-seat Cinema 1 at Tiff’s Bell Lightbox, the new multiplex at the center of the world’s largest film festival after Cannes. To the adoring audience, Coppola smiled warmly and cracked, “I’m very embarrassed I left my black shoes on the plane,” as he sat down at center stage in tan shoes and a dark suit with Tiff Festival Director Cameron Bailey.

This event was a rare 85-minute chat directly with his audience and enjoyed all the hype of a red-carpet premiere. In fact, right after the talk Coppola unveiled his latest movie, Twixt, at a posh gala. Though Twixt has been enduring harsh reviews, Coppola was jovial as he recounted doing a location scout in Turkey and drinking one night in Istanbul. “I fell asleep and had vivid dream. I began
See full article at Filmmaker Magazine »

The five-albums test for movies

  • IFC
The five-albums test for movies
At The Av Club, Steven Hyden wrote a really interesting piece today calling for a new measurement of excellence in the world of popular music. In addition to judging a band's "popularity" and "critical respectibility" he suggests you apply "the five-album test" to determine musical greatness. If an artist puts out five great albums in a row, they pass.

"Lots of artists have five or more classic albums (not including EPs or live records), but the ability to string them together back-to-back means being in the kind of zone that's normally associated with dominant college women's basketball dynasties."

It's a really fun test to apply to music -- The Replacements make the cut but The Rolling Stones don't -- which made me think that it would be equally fun to apply it to film. The five-movies test, though, is arguably even harder to pass than the five-albums test.

Many of
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Hot Rods & Droids: A George Lucas Profile (Part 1)

Trevor Hogg profiles the career of legendary filmmaker George Lucas in the first of a six part feature...

“I was as normal as you can get,” stated American filmmaker George Lucas when reflecting upon his childhood. “I wanted a car and hated school. I was a poor student. I lived for summer vacations and got into trouble a lot shooting out windows with my Bb gun.” The California native was not initially drawn to the medium which would bring him fame and fortune. “Modesto was a small town, and there were only a couple of theatres. When I went to the movies I really didn’t pay much attention. I was usually looking for girls or to goof off.” George Lucas, Senior owned a stationary store where he sold office supplies and equipment to support his son, three daughters, and frequently invalid wife. “He was conservative, and I’m very conservative,
See full article at Flickeringmyth »

The Man and His Dream: A Francis Ford Coppola Profile (Part 1)

Trevor Hogg profiles the career of legendary filmmaker Francis Ford Coppola in the first of a five-part feature...

“I used to have synchronized movies,” recalled filmmaker Francis Ford Coppola of his industrious childhood. “Most of them I cut together from home movies my family had shot.” Charging admission for the neighbourhood screenings, the cinematic venture proved to be a lucrative enterprise for the young Coppola. “When I was about eighteen, I became very interested in Eisenstein. I read all of his work and went to see his films at the Museum of Modern Art,” stated the Detroit, Michigan native. “Taking my example from him, I went to theatre school and worked very hard.” After directing a number of plays, Francis Ford Coppola was drawn back to moviemaking. “In my third year at Hofstra, I sold my car and bought a 16mm camera…I went out to make a short, which I never finished.
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Warner Archive: 'Don't Be Afraid of the Dark'

From out of the blue Warner Bros. sent over three titles from their recently launched Warner Archive collection, a program the studio began back in March of 2009 allowing consumers to purchase and/or watch on demand several previously unreleased movies on DVD for the first time. I have not heard anything recently on the program's successes, but I know when it first launched it was a huge hit and the studio was actually surprised by the demand. Considering I have a limited knowledge when it comes to unreleased titles my excitement wasn't all that severe outside of an interest in purchasing Francis Ford Coppola's 1968 debut The Rain People (how about sending that one over Warner?). However, when films arrive unexpectedly I can't help but get look their way as my curiosity in the lesser seen films continues to rise in hopes of finding hidden gems outside the realms of the classics.
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SFIFF52 Day 9: Francis Ford Coppola

Standing across the street from the Castro Theater, a long line of people were standing in the rain, waiting to see a screening of a new print of The Rain People, the film Francis Ford Coppola made right before The Godfather. I wanted to make a pun, but it would have been to myself. So I suppressed the urge, knowing none would appreciate it more than I, anyway.

Despite nature’s welcome, the movie was not that evening’s main event. The famous arthouse theater located in the heart of San Francisco’s Castro district was packed to the brim with people last night for another reason. The San Francisco Film Society was to honor Coppola for his contribution to world cinema through the works he’s done over the past four decades. The Founder’s Directing Award—previously known as the Akira Kurosawa Award until 2003—is given each year
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