IMDb > Room 666 (1982) (TV)

Room 666 (1982) (TV) More at IMDbPro »Chambre 666 (original title)

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Room 666 -- Open-ended Extra (Clip) from Anchor Bay Entertainment

Overview

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Director:
Writer:
Wim Wenders (conception)
Contact:
View company contact information for Room 666 on IMDbPro.
Release Date:
23 January 1985 (USA) See more »
Genre:
Plot:
During the 1982 Cannes Film Festival, Wenders asks a number of film directors from around the world to get... See more » | Add synopsis »
User Reviews:
points of view on art See more (4 total) »

Cast

 

Michelangelo Antonioni ... Himself
Maroun Bagdadi ... Himself
Ana Carolina ... Herself
Mike De Leon ... Himself

Rainer Werner Fassbinder ... Himself

Jean-Luc Godard ... Himself
Romain Goupil ... Himself
Yilmaz Güney ... Himself (voice)

Monte Hellman ... Himself

Werner Herzog ... Himself
Robert Kramer ... Himself

Paul Morrissey ... Himself

Susan Seidelman ... Herself
Noël Simsolo ... Himself

Steven Spielberg ... Himself

Wim Wenders ... Himself

Directed by
Wim Wenders 
 
Writing credits
(in alphabetical order)
Wim Wenders  conception

Produced by
Michel Boujut .... producer
Chris Sievernich .... producer
Claude Ventura .... producer
 
Original Music by
Jürgen Knieper 
 
Cinematography by
Agnès Godard 
 
Film Editing by
Chantal de Vismes 
 
Sound Department
Jean-Paul Mugel .... sound
 
Other crew
Robert Niosi .... title designer
 

Production CompaniesDistributors

Additional Details

Also Known As:
"Chambre 666" - France (original title)
See more »
Runtime:
45 min
Language:
Color:
Color (Eastmancolor)
Aspect Ratio:
1.33 : 1 See more »
Sound Mix:
Company:

Did You Know?

Movie Connections:
Featured in Back to Room 666 (2008)See more »

FAQ

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3 out of 4 people found the following review useful.
points of view on art, 7 February 2010
Author: MisterWhiplash from United States

Wim Wenders was curious at the 1982 Cannes Film Festival about the future of cinema. At the time it was at the end, or just a change, in a time in film-making when it seemed like anything was possible. The 1970's saw New-Waves in America and Germany, plus some original talent from France (Akerman), Italy (Bertolucci and Wertmuller), and elsewhere, but by 1982 things seemed a little bleak, apparently. Commercialism was rising high, and Steven Spielberg's friend George Lucas was unintentionally leading the charge to a more Blockbuster-oriented cinema worldwide, relegating art to the 'art-houses'. So, Wenders brought in a bunch of filmmakers to talk, right to the camera, on their thoughts about the future in film, if there was one, what about TV, etc.

We get two extremes of thought and response, actually, between two icons of cinema for different reasons: Jean-Luc Godard and Steven Spielberg. While Godard keeps looking at the letter, giving one an odd impression (he's the first interview) that he's just reading from the text and going on in messages that, yeah, film is screwed but it still is different from TV, Spielberg is more optimistic but cautious in making sure to take into account the finance of film, the figures. In-between these two figures, one an obtuse intellectual and the other a classic showman, we get a variety of thoughts and takes, some more pessimistic then others. One of the best interviews comes from Werner Herzog, who decides he must take off his shoes and socks before the interview because of the depth of the question (he also turns off the TV in the room, which no one else does).

Sadly, we also see some of the decline right in the room. One of the titans of cinema from the 'New-Wave' period, Michelangelo Antonioni, thinks cinema can evolve but that it will probably die at some point because of new mediums like video (oh if he only knew). And another, Fassbinder, looks tired and bloated, giving a half-assed if interesting answer (he would die a couple of months later). Some others give a dour impression, like Paul Morrissey, but it's not altogether unhopeful words said. In fact what it amounts to, for Wenders, is a realistic assessment of cinema as it would progress in the 1980's and beyond: artists would have to be careful, or just be put into more constricting circumstances, as the medium expands and it changes the way people see movies.

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