DepressedBergman
@DannyDrinksWine • 242,925 subscribers
Fan of Chelsea, Blackcaps & a Movie aficionado. Alt: @danydrinkswine
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When Sigourney Weaver was sent the script of "Aliens" (1986), she had no idea that a sequel was being made for "Alien" (1979) as the studio didn't inform her. After reading the script, Weaver thought it was "Magnificent" and "The Greatest script" she had ever read. She was blown away by the humour, humanity and action. Cameron was initially afraid to meet Weaver as he feared she would be as stern and intimidating as her Ripley character. After their meeting he was relieved. He said, “She was just this wonderful person, and I was so relieved that she saw some value in the script and where I was proposing to take the character.” Cameron was open to some of the changes to the script mentioned by Weaver. However, on the first day of the shoot, there was one hiccup. The shoot was in England and the sets were built. When Weaver arrived, she told Cameron that she was Anti-Gun advocate and she wasn't touching a gun. Cameron asked her, "Did you read the script?". She replied, "I read it. I understood there were guns in it, I just didn’t think Ripley had to pick up a gun except for a flamethrower.” Realizing that the script would require a major rewrite if he couldn’t convince Weaver to use the machine gun, Cameron took Weaver behind the studio and had her fire off the weapon a few times. Cameron said, “I’ll never forget her blasting away with this thing. And then there was this kind of sly look over to me, like ‘This is fun.'”. Weaver said, “It just shows how addictive guns are." while noting that she felt ashamed of the pleasure she took in shooting the rounds. ("James Cameron and Sigourney Weaver on Their 40-Year Collaboration", Jim Hemphill, Indiewire, 2025) P.S: On this day, 40 years ago, "Aliens" (1986) premiered at Westwood, California, USA.
DepressedBergman2,968,429 görüntüleme • 6 gün önce
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To film this scene in "Death Becomes Her" (1992) where Meryl Streep's bre@ sts rise higher & become firmer after drinking the anti-aging potion, a pneumatic bra was built to create the effect. But it didn't seem realistic enough. They also tried various other methods but failed to get the desired effect. Finally, Meryl Streep's makeup man got behind her, lifted her bre@ sts into position while being hidden from the cameras. It worked to perfection. (Meryl Streep conference at the French Premiere of "Death Becomes Her" & IMDb) P.S: On this day, 34 years ago, Robert Zemeckis's "Death Becomes Her" (1992) premiered in New York City, USA.
DepressedBergman2,743,269 görüntüleme • 7 gün önce
When Amy Heckerling began filming 'Fast Times at Ridgemont High' (1982) in 1981, she was in her mid-20s, inexperienced, working with a first-time screenwriter- Cameron Crowe, a small budget of $ 5 million and a shooting schedule of barely more than a month. According to Heckerling, the studio wasn't paying much attention to the filming. She said, "Universal had bigger fish to fry." She set out to make a comedy in the vein of "American Graffiti" (1973), "That felt like a movie about young people that, if you woke up and found yourself living in the movie, you'd be happy. I wanted that kind of feel." ("Hey Dude, Let's Party", Steve Pond, DGA Quarterly, 2009) P.S: Happy 63rd birthday, Phoebe Cates!
DepressedBergman1,377,315 görüntüleme • 4 gün önce
While everyone here is busy with Christopher Nolan's "The Odyssey" (2026), I wasn't lucky enough to get an IMAX ticket. So, I had to be content with myself by watching this masterpiece of bad movies - "Slave Girls from Beyond Infinity" (1987) from the comforts of my home. This is one of the best bad scenes you would ever come across. In this scene, the woman is trying to s€duc€ & distract a Robot to save her friends. Enjoy the scene and make sure to watch the full movie right after. I had a wonderful time, I hope you do too.
DepressedBergman655,644 görüntüleme • 3 gün önce
![This eerie 10-minute sequence in "Cape Fear" (1991), where Robert De Niro's 'Max Cady' tricks Juliette Lewis' 'Danielle' into meeting with him at the high school is what convinced Martin Scorsese to do the movie. He considers it "the crux" of the entire film and said, “It was the scene that made me make the movie. I realized if I can pull off that scene, with the actors and the writer, it'd be great." De Niro explained that he wanted Max Cady to have the ability perform Charles Manson-like “mind trips” on his victims. So, he felt the necessity to have this scene. Lewis said, "When [the scene] was over, it was like I had to come down. I just went straight to [De Niro] and said, 'God, that was fun.'” The sequence became one of the film's most talked-about moments and helped Lewis nab an Academy Award nomination for Best Supporting Actress. When Spielberg and De Niro were trying to convince Scorsese to direct the picture over dinner, he rejected it as he "didn't want to get involved in remakes. It's a really difficult thing to do, especially if [the original film] is a good picture.” To convince him somehow, Spielberg said to him, "Listen, if you don't like the script, you can rewrite it." Scorsese, who was suffering from fatigue after post-production work on "Goodfellas" (1990) jokingly said that he had forgotten about that part (Screenwriting) of the process. Martin Scorsese said high-energy chase sequences like this weren’t in his filmmaking wheelhouse, and he praised Spielberg for doing scenes like that “so beautifully,” while claiming his approach would have “become a cliche. I couldn't even bring myself to think about doing that sort of thing.” There wasn't any preparation for the scene. It was done in one take. About filming the scene, Scorsese said, "We froze and it was like magic." ("'Cape Fear' at 30: Why Martin Scorsese Needed Convincing to Direct Iconic Thriller (Flashback)", Joe Bergren, ET, 2021)](https://image.24vids.com/tw-2079295282031059071/amplify_video_thumb/2079291290282536960/img/iSxKMTuMbmOrZytD.jpg)
This eerie 10-minute sequence in "Cape Fear" (1991), where Robert De Niro's 'Max Cady' tricks Juliette Lewis' 'Danielle' into meeting with him at the high school is what convinced Martin Scorsese to do the movie. He considers it "the crux" of the entire film and said, “It was the scene that made me make the movie. I realized if I can pull off that scene, with the actors and the writer, it'd be great." De Niro explained that he wanted Max Cady to have the ability perform Charles Manson-like “mind trips” on his victims. So, he felt the necessity to have this scene. Lewis said, "When [the scene] was over, it was like I had to come down. I just went straight to [De Niro] and said, 'God, that was fun.'” The sequence became one of the film's most talked-about moments and helped Lewis nab an Academy Award nomination for Best Supporting Actress. When Spielberg and De Niro were trying to convince Scorsese to direct the picture over dinner, he rejected it as he "didn't want to get involved in remakes. It's a really difficult thing to do, especially if [the original film] is a good picture.” To convince him somehow, Spielberg said to him, "Listen, if you don't like the script, you can rewrite it." Scorsese, who was suffering from fatigue after post-production work on "Goodfellas" (1990) jokingly said that he had forgotten about that part (Screenwriting) of the process. Martin Scorsese said high-energy chase sequences like this weren’t in his filmmaking wheelhouse, and he praised Spielberg for doing scenes like that “so beautifully,” while claiming his approach would have “become a cliche. I couldn't even bring myself to think about doing that sort of thing.” There wasn't any preparation for the scene. It was done in one take. About filming the scene, Scorsese said, "We froze and it was like magic." ("'Cape Fear' at 30: Why Martin Scorsese Needed Convincing to Direct Iconic Thriller (Flashback)", Joe Bergren, ET, 2021)
DepressedBergman110,424 görüntüleme • 14 saat önce
Paul Verhoeven's "Showgirls" (1995) has been consistently ranked as one of the worst films ever made and the movie was a box office bomb. However, it has generated more than $100 million from video rentals and became one of MGM’s top 20 all-time bestsellers. When "Showgirls" swept the 16th Annual Razzie Awards with record 7 Razzies, Paul Verhoeven turned up in person to accept Worst Director and Worst Picture awards. Verhoeven was the first director to ever turn up to collect the award. While accepting the award, he said, "I had the worst thing happen to me today. I got seven awards for being the worst, and it was more fun than reading the reviews for 'Showgirls' in September." He continued, "When I was making movies in Holland, they were blasted by critics as decadent, perverted and sleazy," Verhoeven said, while the audience laughed. "Then I moved to the United States. . ." Verhoeven didn't say anything more. Everybody filled in the punchline for him. He had a standing ovation for both his acceptance speeches from the crowd consisting of International audience. ("The Hollywood Reporter" & ""Showgirls' gets razzed", Steve Persall, Tampa Bay Times, 2005) P.S: Happy 88th birthday, Paul Verhoeven!
DepressedBergman441,745 görüntüleme • 2 gün önce
According to Clint Eastwood, during the filming of "The Shootist" (1976), Don Siegel got into trouble with John Wayne. He asked Wayne to shoot the villain in the back in one of the scenes in the movie. After a long pause, Wayne asked, "You mean I shoot him in the back?". Siegel replied, "Yeah, just shoot him, because he has got four other guys with him". Wayne replied back, "I don't shoot anyone in the back". Siegel then told Wayne that Eastwood would have shot him in the back. Wayne's face turned blue and he said, "I don't care what that kid would have done, I don't shoot him in the back". Eastwood felt that it was a terrible error on the part of Siegel in saying that. P.S: On this day, 50 years ago, "The Shootist" (1976) premiered in Carson City, Nevada, USA.
DepressedBergman712,180 görüntüleme • 4 gün önce
Despite "Spartacus" (1960) being a box-office success & winning four Oscars, Stanley Kubrick disowned the movie as he had no creative control & constant disagreements with Kirk Douglas, Dalton Trumbo & producer Edward Lewis. Kubrick considered the script to be "Pretty dumb". Kubrick believed he achieved only limited success in making the movie visually interesting as a way of counteracting Trumbo's "Pedestrian" dialogue. Kubrick and Douglas never were reconciled. “He’ll be a fine director some day,” Douglas said afterward, “If he falls on his face just once. It might teach him how to compromise.” In one interview, Douglas added that some directors are talented, some directors are bastards, and that Stanley Kubrick was a talented bastard. Stanley Kubrick on his experience directing "Spartacus" (1960): "'Spartacus' is the only film over which I did not have absolute control. When Kirk offered me the job of directing 'Spartacus', I thought that I might be able to make some thing of it if the script could be changed. But my experience proved that if it is not explicitly stipulated in the contract that your decisions will be respected, there’s a very good chance that they won't be. The script could have been improved in the course of shooting, but it wasn’t. Kirk was executive producer; he and Dalton Trumbo, the script writer, and Edward Lewis, the producer, had it their way.” ("The Stanley Kubrick Archives", Edited by Alison Castle, 2005)
DepressedBergman92,807 görüntüleme • 15 saat önce
![After "Supervixens" (1975) became a tremendous success at the box office, Russ Meyer said, "I plan to stick to what I know works and make one X picture after the next and be even more outrageous with s € x and keep pushing the boundaries further and further." His next movie was "Up!" (1976) When he was asked about the movie appealing to prurient interest, he said, "Sure, it appeals to prurient interest. Why not appeal to prurient interest?" Despite the movie being successful, Russ Meyer wasn't "Particularly pleased" with the end product. He later said, "At the time I was fairly pleased, but I see a lot of reasons why it was not as successful as 'Supervixens' was." [1)"Meyer: Up to his old chicks again" Marilynn Preston, Chicago Tribune, 1975, 2) "Russ Meyer, Almost An American Institution: Russ Meyer, Kenneth Turan, The Washington Post, 1976 & 3)"Russ Meyer: Ten Years After the 'Beyond", Roger Ebert, Film Comment, 1980]](https://image.24vids.com/tw-2078570505305530444/amplify_video_thumb/2078562733944184832/img/3IfHdE4MaJ1nQbLz.jpg)
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After "Supervixens" (1975) became a tremendous success at the box office, Russ Meyer said, "I plan to stick to what I know works and make one X picture after the next and be even more outrageous with s € x and keep pushing the boundaries further and further." His next movie was "Up!" (1976) When he was asked about the movie appealing to prurient interest, he said, "Sure, it appeals to prurient interest. Why not appeal to prurient interest?" Despite the movie being successful, Russ Meyer wasn't "Particularly pleased" with the end product. He later said, "At the time I was fairly pleased, but I see a lot of reasons why it was not as successful as 'Supervixens' was." [1)"Meyer: Up to his old chicks again" Marilynn Preston, Chicago Tribune, 1975, 2) "Russ Meyer, Almost An American Institution: Russ Meyer, Kenneth Turan, The Washington Post, 1976 & 3)"Russ Meyer: Ten Years After the 'Beyond", Roger Ebert, Film Comment, 1980]
DepressedBergman346,139 görüntüleme • 2 gün önce
Steven Spielberg saw Stanley Kubrick for the first time in 1980 while he was building sets for "The Shining" (1980). After the movie was released, Spielberg went to Kubrick's house for dinner. Kubrick asked him if he liked the movie. Spielberg, who didn't like the movie in the first viewing, started to tell Kubrick all the things he liked about the movie, rather than telling that he didn't like the movie. Kubrick saw right through him and said, "Steven, you obviously didn't like my picture very much". Spielberg replied, "There is a lot of things that I like about the picture". Kubrick stopped him and said, "But there is a lot of things you didn't love about the picture, probably a lot more that you didn't than did. So tell me what you didn't like about it." Spielberg pinpointed Jack Nicholson's performance. He called him a "great actor" and a "great performance", but a "Great Kabuki Performance", almost like Kabuki theater. Kubrick then asked, "You mean you think Jack went over the top?". Spielberg replied affirmatively. Kubrick then asked Spielberg to name his top 5 favourite actors of all time without thinking much. Spielberg listed Spencer Tracy, Henry Fonda, James Stewart, Cary Grant and Clark Gable. Kubrick said, "Stop" & questioned, "Where was James Cagney on that list?" Spielberg said that he is up there high, Kubrick then said, "But not in the top 5". Finally Kubrick said," You don't consider James Cagney as one of the 5 best actors around, but I do. This is why Jack Nicholson's performance is a great one." Since then, Spielberg has caw "The Shining" more than 25 times & considers it one of his favourite pictures. P.S: Remembering the legendary American actor James Cagney on his 127th birthday! Clip from: One, Two, Three (1961) Director: Billy Wilder
DepressedBergman393,038 görüntüleme • 3 gün önce
![Shannon Elizabeth on how important "American Pie" (1999) was for her career & on how the Webcam scene was filmed: "If I hadn't done 'American Pie' (1999) and I hadn't done the role of Nadia and the n*d !ty that came along with it, I might not have a career today. I didn't really think about the fact that my character had n*d !ty. I was a struggling actress auditioning for everything I could, so when I got the role I was so excited to get it." On filming the Webcam scene, "It was a closed set and it was just me in this room and the boom guy above me. I was like, ‘This is so weird.’ It was square room they had built in the middle of a warehouse and we made everyone that didn’t need to be there leave set. That’s the main thing I remember, just me and the boom guy, and trying to make jokes with the directors and make light of it because if I wasn’t nervous maybe they wouldn’t be so nervous … I just tried to make it no big deal.” If this had come out after the MeToo movement, there would definitely be a problem. I think that it would have gone down differently.” ["Skin: A History Of N*d !ty In The Movie" (2020) & Shanon Elizabeth's interview with Lindsey Kupfer, Page Six, 2019] P.S: On this day, 27 years ago, "American Pie" (1999) premiered in Universal City, California, USA.](https://image.24vids.com/tw-2074213319041524195/amplify_video_thumb/2074212573512441856/img/rlBAi1WBiknVFkLI.jpg)
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Shannon Elizabeth on how important "American Pie" (1999) was for her career & on how the Webcam scene was filmed: "If I hadn't done 'American Pie' (1999) and I hadn't done the role of Nadia and the n*d !ty that came along with it, I might not have a career today. I didn't really think about the fact that my character had n*d !ty. I was a struggling actress auditioning for everything I could, so when I got the role I was so excited to get it." On filming the Webcam scene, "It was a closed set and it was just me in this room and the boom guy above me. I was like, ‘This is so weird.’ It was square room they had built in the middle of a warehouse and we made everyone that didn’t need to be there leave set. That’s the main thing I remember, just me and the boom guy, and trying to make jokes with the directors and make light of it because if I wasn’t nervous maybe they wouldn’t be so nervous … I just tried to make it no big deal.” If this had come out after the MeToo movement, there would definitely be a problem. I think that it would have gone down differently.” ["Skin: A History Of N*d !ty In The Movie" (2020) & Shanon Elizabeth's interview with Lindsey Kupfer, Page Six, 2019] P.S: On this day, 27 years ago, "American Pie" (1999) premiered in Universal City, California, USA.
DepressedBergman2,083,659 görüntüleme • 14 gün önce
James Cameron on spending his 40th birthday with Stanley Kubrick explaining to him how "True Lies" (1994) was made: "Meeting Stanley Kubrick was my 40th birthday present to myself. I was on vacation in Europe, and I called him up and said, "I'm coming over," and went to his house in England. My wife at the time was freaked out that I wasn't going to be back home for my birthday. But I said, "I'm going to meet Stanley Kubrick. There's no present, no surprise party, no nothing you could give me that would supersede that." So I went to see this reclusive guy knocking around this big house and he just totally wanted to know how 'True Lies' (1994) was made. He had a print of it on his KEM down in his basement, and made me sit there and tell him how I had done all the effects shots. So I spent the whole time talking about my movie with Stanley Kubrick, which was not where I thought the day was going to go. But I want to be like Stanley, I want to be that guy. When I'm 80, I want to still be the guy trying to figure it all out." (James Cameron's interview to Jeffrey Resner, DGA Quarterly, 2008) P.S: On this day, 32 years ago, "True Lies" (1994) premiered in Westwood, California, USA.
DepressedBergman969,495 görüntüleme • 8 gün önce
According to Werner Herzog, during the filming of his debut movie, "Signs of Life" (1968) in Greece , there was a coup d’état in Athens and the new regime didn't like the tone of Herzog's script & the shooting was nearly upended. In what Herzog describes as a "Confrontation with the Greek Military", when the shooting permits of the movie was revoked, Herzog told a local Army officer that he would continue filming illegally saying, "I will not be unarmed tomorrow" and promised him that the first officer who touched him would be shot dead. It was a ruse, and it worked: soldiers hovered but did not interfere with the filming. ("The Ecstatic Truth", Daniel Zalewski, The New Yorker, 2006) P.S: On this day, 58 years ago, "Signs of Life" (1968) premiered in Munich, West Germany.
DepressedBergman1,984,480 görüntüleme • 15 gün önce
Elizabeth McGovern was only 18 while filming Robert Redford's "Ordinary People" (1980)— her debut feature. After auditioning for the movie & being cast in the role of Jeannine Pratt, she was accepted into Juilliard as a student. Redford was so impressed with her but Juilliard had the policy of not allowing any of their students to act in a movie or play once they get admitted in the school. But her chemistry with Timothy Hutton was great & he, along with everyone in the crew were convinced that she was perfect for the role. One day, after thinking it wasn't possible to land her for the role, Robert Redford had invited Marie Osmond to read with Hutton for the role. Redford knew her family very well as they were from Utah. A week later, Redford suddenly went to New York unannounced, pleaded with the management of Juilliard and struck a deal to have them allow Elizabeth McGovern to appear for filming on the weekends. This way, she didn't miss any of the classes and managed to complete the movie. ("Timothy Hutton: Why Elizabeth McGovern Almost Wasn't In "Ordinary People" | FOLCS", 2026) P.S: Happy 65th birthday, Elizabeth McGovern!
DepressedBergman232,721 görüntüleme • 2 gün önce
![Director Paul Lynch was having difficulty in securing funds for making "Prom Night" (1980) until Jamie Lee Curtis signed on. Once the filming was completed, Paramount expressed interest in distributing the movie, but they only wanted to open it as a limited release in 300 theaters, whereas Avco Embassy Pictures offered to release it in 1200 theaters. So the producers went with Avco. That same year, Paramount released another independent slasher film, "Friday the 13th" (1980), which became a much bigger hit than "Prom Night". ["Going to Pieces: The Rise and Fall of the Slasher Film" (2006) by Jeff McQueen & IMDb] P.S: On this day, 46 years ago, "Prom Night" (1980) was released in the USA.](https://image.24vids.com/tw-2078528258828878186/amplify_video_thumb/2078527965244293120/img/nroN1qFwWxIVAe4X.jpg)
Director Paul Lynch was having difficulty in securing funds for making "Prom Night" (1980) until Jamie Lee Curtis signed on. Once the filming was completed, Paramount expressed interest in distributing the movie, but they only wanted to open it as a limited release in 300 theaters, whereas Avco Embassy Pictures offered to release it in 1200 theaters. So the producers went with Avco. That same year, Paramount released another independent slasher film, "Friday the 13th" (1980), which became a much bigger hit than "Prom Night". ["Going to Pieces: The Rise and Fall of the Slasher Film" (2006) by Jeff McQueen & IMDb] P.S: On this day, 46 years ago, "Prom Night" (1980) was released in the USA.
DepressedBergman216,512 görüntüleme • 2 gün önce
Because of Roger Moore’s presence, there are numerous James Bond references throughout "The Cannonball Run" (1981), resulting in a rumor that producer Albert R. Broccoli had Roger Moore sign a contract which forbid him to spoof or make references to the James Bond character in any other non-Bond film. However, in September 2014 during an audience Q&A in Torquay, Roger Moore stated there was no such contract but that he had promised Albert Broccoli that he would never do anything that would hurt the James Bond character. When Hal Needham, the director of "The Cannonball Run" went to meet the Bond producers about the possibility of directing a Bond film, the first thing they said was "Perhaps we should think about suing you for Cannonball". ("End Credits 68: Cinema's 2017 Lost Treasures Roger Moore", Arthur Grant, The Cinema Cafe, 2017)
DepressedBergman1,288,150 görüntüleme • 13 gün önce
Until 1984, Harry Dean Stanton had never appeared in a lead role in a movie. One day, Stanton met Sam Shepherd, had a couple of drinks and told him that he was sick of playing heavies and losers and trash. Stanton further told Shepherd that he would love to play a character with some love and decency to it. Sam Shepherd listed patiently. Two weeks later, Shepherd called Stanton and offered him the lead role in Wim Wenders' "Paris, Texas" (1984). Stanton later said, “For the first time, I was allowed to get the girl (with emphasis). That’s such sacred territory in the business, a primitive battle over the female.” ("Harry Dean Stanton on Paris, Texas: For the first time, I got the girl", Mark Matousek, Interview Magazine, 2018)
DepressedBergman509,116 görüntüleme • 6 gün önce
Abel Ferrara's “King of New York” (1990) was made for $5.3 million, but still he needed all his low-budget wiles to secure certain key locations, most notably the Plaza Hotel, which was owned by Donald Trump at that time. According to Ferrara, Donald Trump, charged Francis Ford Coppola “$5,000 an hour” to film at the hotel. Donald Trump's wife at that time, Ivana was a huge fan of Christopher Walken. So, they said if Walken could pose for some pictures with her, Ferrara could film the scenes for free. Ferrara later said, "She got some great pictures, and we got the Plaza". ("MOVIES : The Prince of Darkness : Director Abel Ferrara practices a kind of gonzo filmmaking, and his violent vision isn’t a particularly popular one in Hollywood", Patrick Goldstein, LA Times, 1990) P.S: Happy 75th birthday, Abel Ferrara!
DepressedBergman110,204 görüntüleme • 1 gün önce
![Alfonso Cuarón & the cast of "Y tu mamá también" (2001) explain the reasons for the movie's success: "CUARÓN: One part is obvious. Putting teenagers in situations that include s€x will always be attractive to a certain audience. But I hope “Y Tu Mamá También” transcended that, because we set out to not be “American Pie” (1999). We wanted the s€x scenes to get a point across about these characters and about the social elements we were playing with, like class and the conceptions of masculinity that these characters have. DIEGO LUNA: This is a great movie, of course, but not all great movies arrive in the correct moment. “Y Tu Mamá También” had such luck. It found an audience that needed a journey like the one the movie proposes. The movie speaks of fundamental relationships and it’s very easy to reflect yourself in it. It’s also a movie that portrays a Mexico that seemed to be hidden before. The way it depicts the economic inequality and class conflict was very painful for some to see back then. I remember a lot of people complained, “Why do you portray Mexico this way?” But at the same time it portrayed the beauty that the country has to offer. GAEL GARCÍA BERNAL: It caused a schism within the Mexican audience. Many people connected positively with the movie but it angered the pearl-clutchers. [Laughs] Some audiences projected a certain discomfort with the s€xual openness or with the fact that the movie touched on gay themes in an ambiguous way. All of that created a dialogue. Outside Mexico what transcended was the desire to live that this movie instills in you. When you come out of the theater, you want to head to the beach and go on a crazy adventure. MARIBEL VERDÚ: I believe it’s authenticity. It’s a movie that feels like a documentary. It looks like something improvised, but there’s so much work behind it. There [were] rehearsals to have it all very tight, but to make it seem like everything was just happening in front of us. That’s so magical and audiences felt that too." ("When ‘Y Tu Mamá También’ Changed Everything", Carlos Aguilar, The NY Times, 2021)](https://image.24vids.com/tw-2073845618657886524/amplify_video_thumb/2073829975439163392/img/FQVoOpia851Kj6aG.jpg)
Alfonso Cuarón & the cast of "Y tu mamá también" (2001) explain the reasons for the movie's success: "CUARÓN: One part is obvious. Putting teenagers in situations that include s€x will always be attractive to a certain audience. But I hope “Y Tu Mamá También” transcended that, because we set out to not be “American Pie” (1999). We wanted the s€x scenes to get a point across about these characters and about the social elements we were playing with, like class and the conceptions of masculinity that these characters have. DIEGO LUNA: This is a great movie, of course, but not all great movies arrive in the correct moment. “Y Tu Mamá También” had such luck. It found an audience that needed a journey like the one the movie proposes. The movie speaks of fundamental relationships and it’s very easy to reflect yourself in it. It’s also a movie that portrays a Mexico that seemed to be hidden before. The way it depicts the economic inequality and class conflict was very painful for some to see back then. I remember a lot of people complained, “Why do you portray Mexico this way?” But at the same time it portrayed the beauty that the country has to offer. GAEL GARCÍA BERNAL: It caused a schism within the Mexican audience. Many people connected positively with the movie but it angered the pearl-clutchers. [Laughs] Some audiences projected a certain discomfort with the s€xual openness or with the fact that the movie touched on gay themes in an ambiguous way. All of that created a dialogue. Outside Mexico what transcended was the desire to live that this movie instills in you. When you come out of the theater, you want to head to the beach and go on a crazy adventure. MARIBEL VERDÚ: I believe it’s authenticity. It’s a movie that feels like a documentary. It looks like something improvised, but there’s so much work behind it. There [were] rehearsals to have it all very tight, but to make it seem like everything was just happening in front of us. That’s so magical and audiences felt that too." ("When ‘Y Tu Mamá También’ Changed Everything", Carlos Aguilar, The NY Times, 2021)
DepressedBergman1,273,638 görüntüleme • 15 gün önce
Initially, John Cleese didn't have any thought of casting an American for the role of Wanda in "A Fish Called Wanda" (1988). He got the idea to cast Jamie Lee Curtis in the role only after seeing "Trading Places" (1983)- when his daughter took him to see the movie. Cleese felt that everyone in England could see the reasoning behind casting Jamie Lee Curtis in the role but no one in America could, as she had the reputation of being a "Scream Queen". Cleese chose Kevin Kline for the movie as he was a great "over-actor". On the reception of the movie in America, John Cleese said, "We were all very pleased with how 'A Fish Called Wanda' turned out. I had made sure that there was nothing in the movie that couldn’t be understood by an American. The New York Times hated it, but a lot of critics’ opinions are irrational. One doesn’t take it seriously except for the effect it has on audiences. In New York, it had a major effect and none of the magazines wanted to do interviews with us. They saw Wanda as an obscure little film of no interest to their readers. But we platformed it, opening it in two cinemas in New York and one in LA. That allowed the buzz to build and soon the magazines were ringing back saying can we have that interview after all. It took about six weeks in America before we felt it was a hit. It succeeded almost everywhere, except Portugal and Japan (perhaps because of their attachment to fish)." (John Cleese's interview with Geoffrey Macnab, Sight and Sound, 2003) P.S: On this day, 38 years ago, "A Fish Called Wanda" (1988) premiered in New York City, USA.
DepressedBergman890,328 görüntüleme • 13 gün önce