On the eve of selling her mother's house, a thirty-something housewife wakes up to a hangover surrounded by her best friends from high school, who were used to partying in the house in an ... See full summary »
PALISADES PARADE is a portrait of a modern American town set on its signature day, the 4th of July. The film follows the townspeople of Pacific Palisades, Ca., as they celebrate their ... See full summary »
The definitive three-and-a-half hour documentary about the troubled creation and enduring legacy of the science fiction classic "Blade Runner," culled from 80 interviews and hours of never-before-seen outtakes and lost footage.
Charles de Lauzirika
A docu-drama about filming From Dusk Till Dawn (1996). Sarah Kelly takes a non-union film crew onto the set and on location near Barstow of this independent, non-union production. Camaraderie and a constant eye on the shooting schedule dominate interactions. Quentin Tarantino and George Clooney mug for Kelly's camera; Robert Rodriguez, Juliette Lewis and Fred Williamson talk about craft; we watch scenes being shot; and Kelly asks crew members why they do what they do. Also, the International Alliance of Theatrical Stage Employees protests the non-union status of 'From Dusk Till Dawn', executive producer Lawrence Bender tells his side, and Kelly talks to a Variety reporter and others. What's the nature of an indie film? Written by
What better way to see two of the filmmakers out of the 90s American quasi-new-wave to collaborate together then on a movie like this? More than ten years before Grindhouse Tarantino and Rodriguez teamed up- following subsequent re-writes by Tarantino of the script for Rodriguez to direct- for From Dusk Till Dawn, a drive-in movie for the 90s with lots of violence, lots of nudity and gore, some very disturbing scenes (not just with the vampires), and innuendo for two movies. Plus, did I mention vampires? This takes one into the film-making process in not just the big scheme of things but the smaller bits, like what Tarantino and Clooney's personal assistants have to do for them, or the little stories told in the breaks between shootings (the one that struck as the funniest, if bragging, was one involving a missing extra beer keg).
It's not all completely fun and games, despite the opening scene showing the "follies" of Tarantino and Clooney trying to go through the 'back-way' to get to the set. There's drama involving the guilds, specifically the director and actor guilds, and it becomes a bump to get over in order to just continue making the movie. Later on there's detailing of just how much work has to go into making one of the vampires, and how much set-up there is in just doing one shot in the big action sequences at the T**y twister. There's even some insight from Harvey Keitel (prefaced by a very funny assortment of title cards). It's put together mostly for the fans of the filmmakers, and it wont get someone to see how extraordinary directing can be like in the making of Fanny & Alexander or something. It's a fun little doc for a very fun midnight movie; where else will you see Fred Williamson interviewed, seriously, in full vampire makeup?
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