The new video from thrash metal legends Anthrax, Blood Eagle Wings, is so ghoulishly gory you’ll never believe yer eerie eyeballs (and you can see it below, my creeps!) So naturally I had to send out an invite via carrier crow for the clips die-rector Jack Bennett to join us for a lil’ convo in the Crypt o’ Xiii, and wadda ya know, here he is now!
Famous Monsters. Let’s get right down to brass tacks, Jack! How did the story for Blood Eagle Wings evolve? Jack Bennett. It just began with Scott Ian sending me the song and saying it was about how civilizations evolve throughout history on a foundation of violence. He only had two stipulations about the video; he didn’t want it to be performance-based, so no band playing the song, and there had to be someone actually blood eagle’d onscreen, which I had to look up.
Famous Monsters. Let’s get right down to brass tacks, Jack! How did the story for Blood Eagle Wings evolve? Jack Bennett. It just began with Scott Ian sending me the song and saying it was about how civilizations evolve throughout history on a foundation of violence. He only had two stipulations about the video; he didn’t want it to be performance-based, so no band playing the song, and there had to be someone actually blood eagle’d onscreen, which I had to look up.
- 3/11/2016
- by DanielXIII
- FamousMonsters of Filmland
Toronto International Film Festival
In "Emile", Ian McKellen plays a retired university professor who travels from England to his long-forsaken hometown of Victoria, British Columbia, to receive an honorary degree.
It's a beautifully modulated performance in a nicely crafted, quietly unassuming character study by Vancouver-based writer-director Carl Bessai. It's the kind of film that's a great fit for festivals but proves to be a trickier sell when it comes to securing distribution.
The third in Bessai's trilogy of films linked to the theme of identity (the others are 1999's "Johnny" and 2001's "Lola", both of which premiered as this one did at the Toronto International Film Festival), Seville Pictures' "Emile" follows its title character as he returns to the country of his birth after a lengthy absence.
Ostensibly, the purpose of his trip is to accept that university degree, but Emile is also hoping to reconnect with the daughter of his long-deceased older brother. Now a single mother with a difficult 10-year-old daughter (Theo Crane), Nadia Deborah Kara Unger) doesn't exactly welcome her houseguest with open arms, and it turns out that she has good reason to feel resentment.
Naturally, it doesn't take much time before all those repressed memories come flooding back, but rather than opting for the standard flashback treatment, Bessai seamlessly weaves the elder Emile in and out of the past as words or images trigger reminiscences, not necessarily sunny, of his childhood on the family farm.
But after a while, the constantly utilized technique grows a bit stale despite Bessai's luminously photographed transitions (he also serves as his own cinematographer this time out). That leaves McKellen's aching portrayal of an old man finally facing his life's regrets as the picture's true special effect.
In "Emile", Ian McKellen plays a retired university professor who travels from England to his long-forsaken hometown of Victoria, British Columbia, to receive an honorary degree.
It's a beautifully modulated performance in a nicely crafted, quietly unassuming character study by Vancouver-based writer-director Carl Bessai. It's the kind of film that's a great fit for festivals but proves to be a trickier sell when it comes to securing distribution.
The third in Bessai's trilogy of films linked to the theme of identity (the others are 1999's "Johnny" and 2001's "Lola", both of which premiered as this one did at the Toronto International Film Festival), Seville Pictures' "Emile" follows its title character as he returns to the country of his birth after a lengthy absence.
Ostensibly, the purpose of his trip is to accept that university degree, but Emile is also hoping to reconnect with the daughter of his long-deceased older brother. Now a single mother with a difficult 10-year-old daughter (Theo Crane), Nadia Deborah Kara Unger) doesn't exactly welcome her houseguest with open arms, and it turns out that she has good reason to feel resentment.
Naturally, it doesn't take much time before all those repressed memories come flooding back, but rather than opting for the standard flashback treatment, Bessai seamlessly weaves the elder Emile in and out of the past as words or images trigger reminiscences, not necessarily sunny, of his childhood on the family farm.
But after a while, the constantly utilized technique grows a bit stale despite Bessai's luminously photographed transitions (he also serves as his own cinematographer this time out). That leaves McKellen's aching portrayal of an old man finally facing his life's regrets as the picture's true special effect.
Toronto International Film Festival
In "Emile", Ian McKellen plays a retired university professor who travels from England to his long-forsaken hometown of Victoria, British Columbia, to receive an honorary degree.
It's a beautifully modulated performance in a nicely crafted, quietly unassuming character study by Vancouver-based writer-director Carl Bessai. It's the kind of film that's a great fit for festivals but proves to be a trickier sell when it comes to securing distribution.
The third in Bessai's trilogy of films linked to the theme of identity (the others are 1999's "Johnny" and 2001's "Lola", both of which premiered as this one did at the Toronto International Film Festival), Seville Pictures' "Emile" follows its title character as he returns to the country of his birth after a lengthy absence.
Ostensibly, the purpose of his trip is to accept that university degree, but Emile is also hoping to reconnect with the daughter of his long-deceased older brother. Now a single mother with a difficult 10-year-old daughter (Theo Crane), Nadia Deborah Kara Unger) doesn't exactly welcome her houseguest with open arms, and it turns out that she has good reason to feel resentment.
Naturally, it doesn't take much time before all those repressed memories come flooding back, but rather than opting for the standard flashback treatment, Bessai seamlessly weaves the elder Emile in and out of the past as words or images trigger reminiscences, not necessarily sunny, of his childhood on the family farm.
But after a while, the constantly utilized technique grows a bit stale despite Bessai's luminously photographed transitions (he also serves as his own cinematographer this time out). That leaves McKellen's aching portrayal of an old man finally facing his life's regrets as the picture's true special effect.
In "Emile", Ian McKellen plays a retired university professor who travels from England to his long-forsaken hometown of Victoria, British Columbia, to receive an honorary degree.
It's a beautifully modulated performance in a nicely crafted, quietly unassuming character study by Vancouver-based writer-director Carl Bessai. It's the kind of film that's a great fit for festivals but proves to be a trickier sell when it comes to securing distribution.
The third in Bessai's trilogy of films linked to the theme of identity (the others are 1999's "Johnny" and 2001's "Lola", both of which premiered as this one did at the Toronto International Film Festival), Seville Pictures' "Emile" follows its title character as he returns to the country of his birth after a lengthy absence.
Ostensibly, the purpose of his trip is to accept that university degree, but Emile is also hoping to reconnect with the daughter of his long-deceased older brother. Now a single mother with a difficult 10-year-old daughter (Theo Crane), Nadia Deborah Kara Unger) doesn't exactly welcome her houseguest with open arms, and it turns out that she has good reason to feel resentment.
Naturally, it doesn't take much time before all those repressed memories come flooding back, but rather than opting for the standard flashback treatment, Bessai seamlessly weaves the elder Emile in and out of the past as words or images trigger reminiscences, not necessarily sunny, of his childhood on the family farm.
But after a while, the constantly utilized technique grows a bit stale despite Bessai's luminously photographed transitions (he also serves as his own cinematographer this time out). That leaves McKellen's aching portrayal of an old man finally facing his life's regrets as the picture's true special effect.
- 9/23/2003
- The Hollywood Reporter - Movie News
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