17 items from 2012
I enjoyed another solid week of movie watching, though it got cut a little short on Saturday as I fell a little ill in the afternoon, either from something I ate or... I don't really know what actually, but no matter. The night before I was able to finally see the much talked about Richard Gere corporate thriller Arbitrage, which has people talking a lot about Gere for a potential Oscar nomination as well as boasting about Nate Parker as an up-and-coming actor. Both conversations are definitely worth having. For Parker, he doesn't really get enough time on screen to make much of a ruckus on the Supporting Actor front, but there is a great little "Do you believe him?" angle to the story that I really liked. And with Gere, the opening of the film does a fantastic job of making the "Silver Fox" look more vulnerable than I ever believe I've seen him. »
- Brad Brevet
During the first week of August, Sight & Sound organized a poll that dethroned "Citizen Kane" as the best movie ever made. Alfred Hitchcock's "Vertigo" took the title as the Greatest Film ending "Citizen Kane's" long run. (See Dethroned! "Citizen Kane" No Longer Best Movie Ever! Critics, Directors Pick Top 10 Films of All Time!)
Academians, archivists, critics, directors, and distributors all over the world were among the ones invited to participate in the poll. Now, Sight & Sound has revealed the choices made by our favorite directors (via Collider). Here they are (it's interesting to note that among the list of directors below, only Martin Scorsese, David O'Russell, and Sam Mendes picked "Vertigo"):
News Ltd chief executive Kim Williams has called on the government to strengthen legislation to stop rampant piracy.
Williams, speaking at the Australian International Movie Convention on the Gold Coast, called on the government to revamp the existing copyright framework to reflect the industry's shift from analogue to digital.
"What the Australian production and distribution industry needs are renovated legal underpinnings that acknowledge the primary right of copyright owners to exploit their work in the certain knowledge that theft will be prevented and punished equally," Williams said.
"Without that core commercial underpinning the outlook for our industry . the digital entertainment industry . is grim indeed. Whilst there is endless talk about the Nbn there is yet to be any formal acknowledgement that the legislative and enforcement frameworks are disastrously outmoded and defective to sustain any relevance in confronting a modern high speed digital delivery world.
"Without immediate and wholesale makeover we »
- Brendan Swift
In a keynote address to the Australian International Movie Convention, News Limited CEO Kim Williams argued that download films, TV shows or music without paying for it is no better than looting
My subject today is copyright. It’s a topic as potentially dry as a pub with no beer. Its mere mention makes you think of lawyers. And fees. And trademarks. And fine print. So let’s put that all aside for a moment and talk about what copyright is really about. Let’s cut right to the chase. Copyright is about enabling the production of great art and great commercial work – hopefully both. It’s about nurturing the creative process. It’s about supporting business cases and employment. About getting the noblest imaginings of the human mind and human emotions into a form that the whole world can see and share.
If you want to know why you should care about copyright, »
There was plenty of discussion across the movie blogosphere following last week's announcement that Vertigo had dethroned Citizen Kane as the greatest film of all time according to Sight & Sound's decennial poll. In addition to revealing the top 50 as determined by critics, they also provided a top 10 based on a separate poll for directors only. In the print version of the magazine, they have taken it a step further by reprinting some of the individual top 10 lists from the filmmakers who participated, and we now have some of them here for your perusal. Among them, we have lists from legends like Martin Scorsese, Francis Ford Coppola and Quentin Tarantino, but there are also some unexpected newcomers who took part including Richard Ayoade (Submarine), Miranda July (Me and You and Everyone We Know) and Sean Durkin (Martha Marcy May Marlene). Some of these lists aren't all that surprising (both Quentin Tarantino »
Last week, the recent Sight & Sound list of the top 50 movies of all-time (find it here) was released. The poll is conducted every ten years and this year's edition was made by polling 846 critics, programmers, academics and distributors. In addition to that list, however, Sight & Sound polled 358 film directors, which included Martin Scorsese, Quentin Tarantino, Francis Ford Coppola, Woody Allen and Mike Leigh. Tallying the results the directors' top ten looked like this: Tokyo Story (dir. Yasujiro Ozu) 2001: A Space Odyssey (dir. Stanley Kubrick) Citizen Kane (dir. Orson Welles) 8 1/2 (dir. Federico Fellini) Taxi Driver (dir. Martin Scorsese) Apocalypse Now (dir. Francis Ford Coppola) The Godfather (dir. Francis Ford Coppola) Vertigo (dir. AAlfred Hitchcock) Mirror (dir. Andrei Tarkovsky) Bicycle Thieves (dir. Vittoria De Sica) The problem, for me at least, is that doesn't really tell us much. Just like the Sight & Sound list we're looking at something that simply lists »
- Brad Brevet
This month's Sight and Sound dropped through my letterbox this morning, and in it contained their once-a-decade Top 10 Films of All Time, as voted for by critics and filmmakers. If you've been living as a recluse in your own personal Xanadu, Orson Welles, who's been number one for the past half century, got Citizen Kaned by Alfred Hitchcock's Vertigo (James Stewart).
In the issue, Sight and Sound also included "100 sample entries" representing "edited highlights of the 358 voting entries we recieved for the 2012 Directors' Poll." The whole bunch will be available online from 22nd August, but until then, here's Part 1 of our own sample of your favourite filmmakers' favourite films...
Bicycle Thieves (De Sica)
The Seventh Seal (Bergman)
Citizen Kane (Welles)
8 1/2 (Fellini)
The 400 Blows (Truffant)
La Grande Illusion (Renoir)
The Discreet Charm of the Bourgeoise (Bunuel)
Paths of Glory (Kubrick)
- Chris Villeneuve
It's that time of year and Barnes and Noble is selling Criterion Collection titles at 50% off (shop here). The problem is, what do you buy? Well, hopefully I can help you with that as I believe there are certain titles from Criterion that are absolute must owns for any cinemaphile and taking into account you are considering buying Criterion Collection titles in the first place, I'm certainly talking to you. So, with that said, let's dive in as I'll give you what I consider to be the top 15 must own Criterion Blu-ray titles as well as a few alternate considerations here and there. 15.) The Thin Red Line Why Should You Buy It? What else is there to expect other than an absolutely gorgeous film from Terrence Malick and that's exactly what you get from The Thin Red Line, but on top of the film you also get a wealth of special features, »
- Brad Brevet
I am faced once again with the task of voting in Sight & Sound magazine's famous poll to determine the greatest films of all time. Apart from my annual year's best lists, this is the only list I vote in. It is a challenge. After voting in 1972, 1982 and 1992, I came up with these ten titles in 2002:
Aguirre, Wrath of God (Herzog) Apocalypse Now (Coppola) Citizen Kane (Welles) Dekalog (Kieslowski) La Dolce Vita (Fellini) The General (Keaton) Raging Bull (Scorsese) 2001: A Space Odyssey (Kubrick) Tokyo Story (Ozu) Vertigo (Hitchcock)
To add a title, I must remove one. Which film can I do without? Not a single one. One of my shifts last time was to replace Hitchcock's "Notorious" with "Vertigo," because after going through both a shot at a time during various campus sessions, I decided that "Vertigo" was, after all, the better of two nearly perfect films.
The other »
- Roger Ebert
"Tonino Guerra, the poet and screenwriter from Emilia-Romagna who has worked with so many directors, died this morning," reports Camillo de Marco at Cineuropa. "He had turned 92 on March 16."
Even the honed-down list at Wikipedia of directors for whom Guerra wrote is rather astounding: "Michelangelo Antonioni with L'avventura, La notte, L'eclisse, Red Desert, Blow-Up, Zabriskie Point and Identification of a Woman, Federico Fellini with Amarcord, Theo Angelopoulos with Landscape in the Mist, Eternity and a Day and The Weeping Meadow, Andrei Tarkovsky with Nostalghia and Francesco Rosi with the militant politics of The Mattei Affair, Lucky Luciano and Illustrious Corpses."
All in all, he wrote more than 100 screenplays, was nominated for an Oscar three times (for Casanova '70, Blow-Up and Amarcord), won Best Screenplay at Cannes (for Angelopoulos's Voyage to Cythera) and the Pietro Bianchi Award at Venice, among many other prizes.
The Golden Apricot Film Festival Board has issued »
Italian screenwriter Tonino Guerra, the man behind Michelangelo Antonioni's "Blow-Up" and Federico Fellini's "Amarcord," has died at 92. The three-time Oscar nominee had been battling illness for several months in Rimini in central Italy, the Afp reported. Born in 1920, Guerra began writing while imprisoned in a German concentration camp during World War II. Since penning his first script for Giuseppe De Santis' "Men and Wolves" (1956), Guerra has gone on to write for some of the top Italian filmmakers of all time, including Vittorio De Sica ("Marriage Italian Style"), Mario Monicelli ("Caro Michele") and Francesco Rosi ("Lucky Luciano"). He also collaborated with Greek auteur Theo Angelopoulos on the dreamlike "Voyage to Cythera," and with Russian filmmaker Andrei Tarkovsky on "Nostalgia." All in all, he's responsible for more than 100 screenplays over the course of »
- Nigel M Smith
The legendary Italian scriptwriter and novelist, who died yesterday, worked with a host of Europe's greatest auteurs. Here we pick the highlights of his extraordinary oeuvre
It was Tonino Guerra's fate to become the scriptwriter of choice for a string of master directors whose status as auteurs – "authors" of their films – tended to diminish the status of the writers involved. Nevertheless, Guerra established himself as a major figure in Italian cinema during its golden period in the 1960s and early 70s, as well as venturing further afield to collaborate with the likes of Tarkovsky and Angelopoulos.
But it is the amazing string of films he made with Michelangelo Antonioni for which he will primarily be remembered. After spending time as a schoolteacher in his 20s, he broke into the film industry in his 30s, receiving his first credit aged 37 for Man and Wolves, by Bitter Rice director Giuseppe de Santis. »
- Andrew Pulver
Hollywood screenwriter Tonino Guerra has died at the age of 92.
The Italian moviemaker worked on more than 100 scripts and was best known for his regular collaboration with director Michelangelo Antonioni, earning an Oscar nomination for best screenplay for their film Blow-Up in 1967.
Guerra was born in 1920, and honed his writing skills after he was imprisoned in a German concentration camp during World War II.
Italy's former culture minister Walter Veltroni said, "We have lost a poet, a genius and marvellous person."
Guerra was honoured with a lifetime achievement award at the Venice Film Festival in 1994. »
Screenwriter and poet who co-scripted films with Fellini, Antonioni and Tarkovsky
The Italian poet, novelist and screenwriter Tonino Guerra, who has died aged 92, brought something of his own poetic world to the outstanding films he co-scripted with, among others, Federico Fellini, Michelangelo Antonioni and Francesco Rosi, but also many non-Italian directors including Theo Angelopoulos and Andrei Tarkovsky. Perhaps his most creative contribution was to Fellini's colourful account of life in a small coastal town in the 1930s, Amarcord (1973), of which he was truly co-author, because the film reflected their common experiences growing up in Romagna.
The two were born in the region a couple of months apart – Fellini in Rimini and Guerra in Santarcangelo, in the hills above the Adriatic resort, the son of a street vendor father.
Guerra's own "amarcord" ("I remember" in dialect) is scattered over many books of poetry and short stories. He first started writing »
- John Francis Lane
Tonino Guerra, the screenwriter who collaborated with Italian neorealist greats Federico Fellini, Vittorio De Sica, and Michelangelo Antonioni, has died at the age of 92, reports the Afp. He had been battling illness for several months at his home in the central Italian city of Rimini.
Guerra’s start as a writer was as dramatic as his films themselves: He began working on his earliest screenplays while imprisoned in a German concentration camp during World War II. After getting his start on Giuseppe De Santis’ 1956 release Men and Wolves, Guerra became a staple of the Italian film industry, co-writing more than 100 screenplays in his 52-year career. »
- Lanford Beard
Kate Capshaw, Steven Spielberg Steven Spielberg and Kate Capshaw attend the Governors Ball following the 84th Academy Awards in Hollywood, CA February 26, 2012. Along with Kathleen Kennedy, Spielberg produced Best Picture nominee War Horse, which he also directed, and which features Jeremy Irvine, Emily Watson, and Tom Hiddleston. (Photo: Darren Decker / ©A.M.P.A.S.) This year, War Horse's Best Picture competitors were the following: Martin Scorsese's Hugo, with Asa Butterfield, Chloë Grace Moretz, Ben Kingsley, and Sacha Baron Cohen; Alexander Payne's The Descendants, with George Clooney, Shailene Woodley, and Judy Greer; Bennett Miller's Moneyball, starring Brad Pitt, Jonah Hill, and Robin Wright; Terrence Malick's The Tree of Life, with Pitt, Jessica Chastain, and Sean Penn; Stephen Daldry's Extremely Loud and Incredibly Close, with Thomas Horn, Sandra Bullock, Tom Hanks, and Max von Sydow; Woody Allen's Midnight in Paris, with Owen Wilson, Rachel McAdams, »
- D. Zhea
Martin Balsam, Albert Finney in Murder on the Orient Express, directed by DGA (but not Oscar) nominee Sidney Lumet DGA Awards vs. Academy Awards 1960s: Odd Men Out Jules Dassin, Federico Fellini, Arthur Penn 1970 DGA David Lean, Ryan's Daughter Bob Rafelson, Five Easy Pieces AMPAS Federico Fellini, Satyricon Ken Russell, Women in Love DGA/AMPAS Franklin J. Schaffner, Patton Robert Altman, Mash Arthur Hiller, Love Story 1971 DGA Robert Mulligan, Summer of '42 AMPAS Norman Jewison, Fiddler on the Roof DGA/AMPAS William Friedkin, The French Connection Peter Bogdanovich, The Last Picture Show Stanley Kubrick, A Clockwork Orange John Schlesinger, Sunday Bloody Sunday 1972 DGA George Roy Hill, Slaughterhouse-Five Martin Ritt, Sounder AMPAS Joseph L. Mankiewicz, Sleuth Jan Troell, The Emigrants DGA/AMPAS Bob Fosse, Cabaret John Boorman, Deliverance Francis Ford Coppola, The Godfather 1973 DGA Sidney Lumet, Serpico AMPAS Ingmar Bergman, Cries and Whispers DGA/AMPAS George Roy Hill, The Sting Bernardo Bertolucci, »
- Andre Soares
17 items from 2012
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