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2017 | 2016 | 2015 | 2014 | 2013 | 2012 | 2011 | 2010 | 2009 | 2008 | 2007

4 items from 2017


The Soviet sci-fi film reworked by Francis Ford Coppola

20 February 2017 5:58 AM, PST | Den of Geek | See recent Den of Geek news »

Ryan Lambie Feb 21, 2017

Before he made The Godfather and Apocalypse Now, Francis Ford Coppola got his start by editing monsters into a Soviet sci-fi film...

Everyone loves a good success story, and Hollywood history's full of them. Actors sleeping in their cars until they get their first lucky break. Writers papering the walls of their lodgings with rejection letters until they finally get a script in front of a receptive producer. Filmmakers who've spent years paying their dues before a studio finally comes calling.

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Director Francis Ford Coppola, before he shot to fame - and, for a time, considerable wealth - with such films as The Godfather, The Conversation and Apocalypse Now, scrabbled around at the lower end of the industry like just about everyone else. While still a film student, »

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‘Psycho,’ Analyzed: Hitchcock’s Famous Shower Scene Gets Scrutinized In the Perceptive ’78/52′ — Sundance Review

26 January 2017 3:08 PM, PST | Indiewire | See recent Indiewire news »

The shower murder in Alfred Hitchcock’s “Psycho” sits alongside the opening of “Citizen Kane” and the climax of “2001: A Space Odyssey” as one of the most famous movie scenes in history, but the reasons are both obvious and elusive. Alfred Hitchcock’s 1960 proto-slasher film jarred audiences with the sudden death of leading lady Janet Leigh midway through, in a grisly, taboo-shattering bout of nudity and knifing at the ends of a shadowy, cross-dressing Norman Bates. As a complex narrative strategy and a subversive stunt, it kickstarted decades of conversations, so it’s surprising it took so long for someone to make a movie about it.

Enter “78/52,” the latest film-history deep-dive from Alexandre O. Phillipe (“Doc of the Dead,” “The People vs. George Lucas”). A compendium of appreciations, close readings, and reminiscences on the bloody death scene and its lasting impact, Phillipe’s brisk cinematic essay consolidates the enthusiasm »

- Eric Kohn

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Palme Thursday: Watergate isn’t the only frequency Francis Ford Coppola hit with The Conversation

26 January 2017 6:00 AM, PST | avclub.com | See recent The AV Club news »

Palme Thursday is A.A. Dowd’s monthly examination of a winner of the Palme D’Or, determining how well the film has held up and whether it deserved the highest prize awarded at the Cannes Film Festival.

The Conversation (1974)

Is it irony or just hypocrisy that Harry Caul, the professional snoop Gene Hackman plays in The Conversation, is obsessed with protecting his privacy? Maybe it’s neither. Maybe the guy’s just been doing what he does for long enough to know how easy it is to breach the firewall of someone’s personal life. Maybe a healthy supply of paranoia is just a side effect of becoming the “best bugger on the West Coast.” If there is an irony dripping off of Francis Ford Coppola’s suspense classic, it’s teased by the title itself: Harry spends the whole movie studying, dissecting, and decoding a single conversation ...

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- A.A. Dowd

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Listen: Walter Murch in Conversation (Part One)

11 January 2017 11:57 AM, PST | Filmmaker Magazine - Blog | See recent Filmmaker Magazine news »

We’re pleased to be sharing this podcast conversation with legendary editor Walter Murch, conducted by Glenn Kiser and including questions from other leading sound designers including Randy Thom, Gary Rydstrom, and Ren Klyce, for the Dolby Institute Conversations with Sound Artists series. In this first part, he discusses documentaries’ effects on contemporary films, as well as aspects of his work on four of his most famous films: Apocalypse NowThe ConversationThe Godfather and The English Patient. We’ll post part two of the podcast tomorrow. »

- Filmmaker Staff

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2017 | 2016 | 2015 | 2014 | 2013 | 2012 | 2011 | 2010 | 2009 | 2008 | 2007

4 items from 2017


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