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Disarming a self-aware bomb through Cartesian logic... Dark Star (1974) was John Carpenter's directorial debut. Originally a 45 minute student film, Carpenter and Dan O'Bannon (who also plays Sgt. Pinback in the movie) managed to secure enough funding to release a full version in 1974. It's possibly the first...

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Pulp Librarian

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12,184 次观看 • 1 年前 •via X (Twitter)

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Before the release of "The Thing" (1982), John Carpenter attended a market research screening of the movie. After one of those screenings, Carpenter got up and asked the audience their thoughts on the movie. One young girl stood up and asked, "Well what happened in the very end? Which one was the Thing, and which one was the good guy?” Carpenter replied, "Well, you have to use your imagination.” She said, “Oh, God. I hate that.” Carpenter then and there felt that the movie was dead in the water. When Carpenter was asked if the alternate ending would have made a difference, he said, "There was absolutely no difference in audience reaction between that and the one we had. So the problem was inherent—the film wasn’t heroic enough, it wasn’t the U.S. Hockey team beating the Russians. That’s what people wanted to see." ("John Carpenter on “The Thing”", Erik Bauer, Creative Screenwriting, 2014) P.S: On this day, 44 years ago, "The Thing" (1982) was released in the USA and Canada.
1:46

Before the release of "The Thing" (1982), John Carpenter attended a market research screening of the movie. After one of those screenings, Carpenter got up and asked the audience their thoughts on the movie. One young girl stood up and asked, "Well what happened in the very end? Which one was the Thing, and which one was the good guy?” Carpenter replied, "Well, you have to use your imagination.” She said, “Oh, God. I hate that.” Carpenter then and there felt that the movie was dead in the water. When Carpenter was asked if the alternate ending would have made a difference, he said, "There was absolutely no difference in audience reaction between that and the one we had. So the problem was inherent—the film wasn’t heroic enough, it wasn’t the U.S. Hockey team beating the Russians. That’s what people wanted to see." ("John Carpenter on “The Thing”", Erik Bauer, Creative Screenwriting, 2014) P.S: On this day, 44 years ago, "The Thing" (1982) was released in the USA and Canada.

DepressedBergman

1,208,308 次观看 • 2 个月前

Hey Romeo! "I Don't Wanna Go Down to the Basement," live at CBGB in 1974. One track from the debut that barely made it onto the setlists back in the 70s, and it's a real good one. Listen to the studio version: #Ramones50
1:02

Hey Romeo! "I Don't Wanna Go Down to the Basement," live at CBGB in 1974. One track from the debut that barely made it onto the setlists back in the 70s, and it's a real good one. Listen to the studio version: #Ramones50

Ramones

71,168 次观看 • 3 个月前

📺WHO KILLED JFK? Hollywood director Oliver Stone made the movie "JFK" in which it was implied that the CIA assassínated JFK. That movie was produced by Arnon Milchan--a Hollywood producer who also happens to be an Israeli spy and weapons trafficker who helped secure the parts needed for Israel's nuclear bombs. The movie never makes a single mention about Israel, its nuclear program, or JFK's opposition to it. Given what you're about to hear, it's curious Stone didn't include this information in the film--don't you think? #WhoKilledJFK
2:00

📺WHO KILLED JFK? Hollywood director Oliver Stone made the movie "JFK" in which it was implied that the CIA assassínated JFK. That movie was produced by Arnon Milchan--a Hollywood producer who also happens to be an Israeli spy and weapons trafficker who helped secure the parts needed for Israel's nuclear bombs. The movie never makes a single mention about Israel, its nuclear program, or JFK's opposition to it. Given what you're about to hear, it's curious Stone didn't include this information in the film--don't you think? #WhoKilledJFK

Sam Parker 🇺🇲

548,829 次观看 • 2 年前

John Carpenter explains why he made "They Live" (1988) & whether it is a Marxist movie: "Interviewer: Why did you feel the need at that time in your life to cry out your disbelief in the American way? Carpenter: Because | got fed up with being told over and over again that it was so beneficial to be a consumer. We are no longer producing anything in the United States. We are just consuming and eating our way through. We are buying things, accumulating things, throwing money away, but we aren't making anything good anymore. It was just starting to outrage me. | was more reacting on an intellectual level than on an emotional level. Interviewer: Is 'They Live' (1988) a Marxist movie? Carpenter: It's a movie speaking out against unrestrained capitalism. Since I don't think Marxism is the solution, I wouldn't say it's a Marxist movie. Interviewer: John Nada [Roddy Piper] is acting as a vigilante. Weren't you afraid that his behavior could be misinterpreted. Carpenter: I never worried about that because I thought that the premise of the movie was so exaggerated that I knew the audience wouldn't take it that seriously. At the same time, it had a political message in it." ("John Carpenter - The Prince of Darkness", Gilles Boulenger, 2001) P.S: Remembering "Rowdy" Roddy Piper on his 72nd birthday!
2:20

John Carpenter explains why he made "They Live" (1988) & whether it is a Marxist movie: "Interviewer: Why did you feel the need at that time in your life to cry out your disbelief in the American way? Carpenter: Because | got fed up with being told over and over again that it was so beneficial to be a consumer. We are no longer producing anything in the United States. We are just consuming and eating our way through. We are buying things, accumulating things, throwing money away, but we aren't making anything good anymore. It was just starting to outrage me. | was more reacting on an intellectual level than on an emotional level. Interviewer: Is 'They Live' (1988) a Marxist movie? Carpenter: It's a movie speaking out against unrestrained capitalism. Since I don't think Marxism is the solution, I wouldn't say it's a Marxist movie. Interviewer: John Nada [Roddy Piper] is acting as a vigilante. Weren't you afraid that his behavior could be misinterpreted. Carpenter: I never worried about that because I thought that the premise of the movie was so exaggerated that I knew the audience wouldn't take it that seriously. At the same time, it had a political message in it." ("John Carpenter - The Prince of Darkness", Gilles Boulenger, 2001) P.S: Remembering "Rowdy" Roddy Piper on his 72nd birthday!

DepressedBergman

199,135 次观看 • 4 个月前

John Carpenter on how the studio, audience and critics reacted after watching "Big Trouble in Little China" (1986) & the reason for movie's failure: "Carpenter: I thought about writing a book about my experiences in Hollywood being a director, mainly because I was burned out on making movies. But | didn't do it because | thought, “I’m not ready yet. | don't have enough to say yet. I need to make more films and | don’t want to quit yet.” Interviewer: How did Fox executives react when they saw the movie for the first time? Carpenter: Needless to say, they had a few problems with the movie. They sat down with me and we went through the film. They didn’t like that the white hero was such a buffoon, and that he was being shown up by the Asians. They were afraid the audience wouldn't think this guy was brave, so they asked me to cut out the humor and emphasize his bravery, which was impossible to do. Then we got to the preview stage. The audience that saw it really loved it and laughed, so they wanted me to put the humor back in and go back to what it was—they still hated the movie, though. They didn't want Kurt to play it plenty. They wanted him to be an action hero, a real live action hero, not Jack Burton. They wanted him to be more like Rambo or Stallone. They wanted him to play it straight and it wasn't straight. Interviewer: How was the movie perceived by the audience and the critics? Carpenter: Nobody got it. Like I said earlier, timing was never my thing in terms of when my movies come out. This movie was completely and totally misunderstood. The critics and the public thought it was just bad, and there is nothing | can do about that." ("John Carpenter - The Prince of Darkness", Gilles Boulenger, 2001) P.S: On this day, 40 years ago, "Big Trouble in Little China" (1986) was released in the USA.
2:03

John Carpenter on how the studio, audience and critics reacted after watching "Big Trouble in Little China" (1986) & the reason for movie's failure: "Carpenter: I thought about writing a book about my experiences in Hollywood being a director, mainly because I was burned out on making movies. But | didn't do it because | thought, “I’m not ready yet. | don't have enough to say yet. I need to make more films and | don’t want to quit yet.” Interviewer: How did Fox executives react when they saw the movie for the first time? Carpenter: Needless to say, they had a few problems with the movie. They sat down with me and we went through the film. They didn’t like that the white hero was such a buffoon, and that he was being shown up by the Asians. They were afraid the audience wouldn't think this guy was brave, so they asked me to cut out the humor and emphasize his bravery, which was impossible to do. Then we got to the preview stage. The audience that saw it really loved it and laughed, so they wanted me to put the humor back in and go back to what it was—they still hated the movie, though. They didn't want Kurt to play it plenty. They wanted him to be an action hero, a real live action hero, not Jack Burton. They wanted him to be more like Rambo or Stallone. They wanted him to play it straight and it wasn't straight. Interviewer: How was the movie perceived by the audience and the critics? Carpenter: Nobody got it. Like I said earlier, timing was never my thing in terms of when my movies come out. This movie was completely and totally misunderstood. The critics and the public thought it was just bad, and there is nothing | can do about that." ("John Carpenter - The Prince of Darkness", Gilles Boulenger, 2001) P.S: On this day, 40 years ago, "Big Trouble in Little China" (1986) was released in the USA.

DepressedBergman

102,065 次观看 • 2 个月前

finally made enough progress i'm happy with to show what i've been doing in the background. it's a game! it's only about a month's worth of on-and-off work. it's also why i delayed comms to june, as i wanted to buy myself at least a little time to work on this
0:50

finally made enough progress i'm happy with to show what i've been doing in the background. it's a game! it's only about a month's worth of on-and-off work. it's also why i delayed comms to june, as i wanted to buy myself at least a little time to work on this

Sir Hoopsalot \Commissions Open!!/

46,222 次观看 • 3 个月前

We had a family movie time this afternoon. It's safe to say someone was a fan of Ice Age! Rufus laughed all the way through, whilst Henry got very emotional at the scary parts. He is very sensitive and aware of others' emotions too. But both boys enjoyed the happy film ending.
0:31

We had a family movie time this afternoon. It's safe to say someone was a fan of Ice Age! Rufus laughed all the way through, whilst Henry got very emotional at the scary parts. He is very sensitive and aware of others' emotions too. But both boys enjoyed the happy film ending.

Ben Oxlade-Parker

23,006 次观看 • 2 年前

Edgar Wright explains why he watches "Raising Arizona" (1987) every time before making a new movie: "When I first saw "Raising Arizona" (1987) as a teenager, I watched it immediately again afterwards. I just couldn't quite believe that a comedy could be that stylish and that dense in terms of its visuals and in terms of its dialogue. So funny in so many different ways. I mean, I just think that film is a miracle. It's always a film that I look to when I'm about to make a movie. And certainly it was a movie that me and Simon Pegg talked a lot about before we made 'Shaun of the De@d' (2004). Even though it's not a horror film, there's a lot of things in that film in terms of the pace and the drive, the really inspired Shaun. [Like] the use of callbacks within the script. So, that movie is a huge inspiration to me." ("Four Favorites with Edgar Wright", Letterboxd, 2024)
1:10

Edgar Wright explains why he watches "Raising Arizona" (1987) every time before making a new movie: "When I first saw "Raising Arizona" (1987) as a teenager, I watched it immediately again afterwards. I just couldn't quite believe that a comedy could be that stylish and that dense in terms of its visuals and in terms of its dialogue. So funny in so many different ways. I mean, I just think that film is a miracle. It's always a film that I look to when I'm about to make a movie. And certainly it was a movie that me and Simon Pegg talked a lot about before we made 'Shaun of the De@d' (2004). Even though it's not a horror film, there's a lot of things in that film in terms of the pace and the drive, the really inspired Shaun. [Like] the use of callbacks within the script. So, that movie is a huge inspiration to me." ("Four Favorites with Edgar Wright", Letterboxd, 2024)

DepressedBergman

289,219 次观看 • 1 个月前

🇷🇴 CĂLIN GEORGESCU: THE U.S AND EU TOLD ROMANIA TO CANCEL THE ELECTION RESULTS “We know very well, and all the Romanian people are aware. This was a coup d'état ordered from abroad and implemented here by the oligarchy system. And also, it's absolutely official that Blinken from the Biden administration was involved here - also the European Union was involved in this process to stop and to cancel the elections.” Source: Călin Georgescu OFFICIAL ACCOUNT
2:16

🇷🇴 CĂLIN GEORGESCU: THE U.S AND EU TOLD ROMANIA TO CANCEL THE ELECTION RESULTS “We know very well, and all the Romanian people are aware. This was a coup d'état ordered from abroad and implemented here by the oligarchy system. And also, it's absolutely official that Blinken from the Biden administration was involved here - also the European Union was involved in this process to stop and to cancel the elections.” Source: Călin Georgescu OFFICIAL ACCOUNT

Mario Nawfal

505,901 次观看 • 1 年前

How about a quick blast of "glory years" Spitting Image, featuring everyone's two favourite (former) royals 😉 This wasn't just a puppet show; it was a cultural phenomenon that defined British satire in the 1980s and 90s and at its peak attracted over 15 million viewers on Sunday nights. Having watched a few episodes recently it's also aged very well, although you need to be of a certain age to know who a lot of the "subjects" are. The first series in 1984 cost a whopping £2.6 million to produce which at the time was nearly double the budget of any other prime-time TV show. Worth it though, IMVHO.
1:10

How about a quick blast of "glory years" Spitting Image, featuring everyone's two favourite (former) royals 😉 This wasn't just a puppet show; it was a cultural phenomenon that defined British satire in the 1980s and 90s and at its peak attracted over 15 million viewers on Sunday nights. Having watched a few episodes recently it's also aged very well, although you need to be of a certain age to know who a lot of the "subjects" are. The first series in 1984 cost a whopping £2.6 million to produce which at the time was nearly double the budget of any other prime-time TV show. Worth it though, IMVHO.

James Hogg

26,570 次观看 • 7 个月前

A single sentence from Tom Cruise at a tiny screening room in America saved Guy Ritchie's "Lock, Stock and Two Smoking Barrels" (1998) from failure & also Matthew Vaughn's career. This is how it went down. Matthew Vaughn struggled to find distributors for "Lock, Stock and Two Smoking Barrels" (1998). Every distributor who saw the movie, rejected it. The only offers he got were to release it on VHS. Somehow, Vaughn managed to find a distributor to show the movie in two screens in England. He asked Trudie Styler, who had already put money into the movie to convince Tom Cruise to attend the buyers screening in the USA. The screening was conducted in a tiny room. When Cruise turned up, all the mid level executives who were sort of disinterested, started to pay attention; They rang up the senior executives & they too joined the screening. When the film was over, Cruise got up in front of everyone and said, "This is the best movie I've seen in years, you guys would be fools not to buy it." After Cruise's appreciation for the movie, there was a bidding war. Vaughn recalled, "We made all our money back and my film career came from nearly ending to starting." P.S: On this day, 28 years ago, "Lock, Stock and Two Smoking Barrels" (1998) premiered at the Edinburgh International Film Festival, Scotland.
1:42

A single sentence from Tom Cruise at a tiny screening room in America saved Guy Ritchie's "Lock, Stock and Two Smoking Barrels" (1998) from failure & also Matthew Vaughn's career. This is how it went down. Matthew Vaughn struggled to find distributors for "Lock, Stock and Two Smoking Barrels" (1998). Every distributor who saw the movie, rejected it. The only offers he got were to release it on VHS. Somehow, Vaughn managed to find a distributor to show the movie in two screens in England. He asked Trudie Styler, who had already put money into the movie to convince Tom Cruise to attend the buyers screening in the USA. The screening was conducted in a tiny room. When Cruise turned up, all the mid level executives who were sort of disinterested, started to pay attention; They rang up the senior executives & they too joined the screening. When the film was over, Cruise got up in front of everyone and said, "This is the best movie I've seen in years, you guys would be fools not to buy it." After Cruise's appreciation for the movie, there was a bidding war. Vaughn recalled, "We made all our money back and my film career came from nearly ending to starting." P.S: On this day, 28 years ago, "Lock, Stock and Two Smoking Barrels" (1998) premiered at the Edinburgh International Film Festival, Scotland.

DepressedBergman

240,892 次观看 • 9 天前

Guesung’s interview: It's really disappointing. Honestly, as a striker, I should have scored in that situation, and I feel very regretful that I couldn't. The players also mentioned that we absolutely have to win the third match, and we need to prepare well to ensure we win it.
1:36

Guesung’s interview: It's really disappointing. Honestly, as a striker, I should have scored in that situation, and I feel very regretful that I couldn't. The players also mentioned that we absolutely have to win the third match, and we need to prepare well to ensure we win it.

🤞🏻

147,568 次观看 • 2 个月前

Popeye (1980). A musical version of Popeye? Well after the success of Annie the Broadway musical in 1977 started a bidding war for the film rights, Hollywood studios started looking in earnest for other cartoon strip to turn into a musical, and they found Popeye. After much discussion over the rights, Paramount and Walt Disney Productions started work on a version based on the King Features syndicated cartoon. The film is legendary for its chaos. Originally Dustin Hoffman would star with John Schlesinger directing. Hoffman turned down the script and Robin WIlliams stepped in with Shelley Duvall as Olive Oyl - who regularly steals the screen from Williams, no matter how energetic he's being in his prosthetic arms (which weren't ready in time for filming). Robert Altman came on board to direct with an unorthodox approach to movie making: songs would be sung live by the cast, principle filming would be on a remote location in Malta, he woud film until the money ran out and wasn't too bothered with the legendary amount of substances being consumed by so many people during filming. He also brought in Harry Nilsson to do the music - a founding member of The Hollywood Vampires drinking club. Yes, it's a chaotic movie and critics didn't enjoy it at the time. But it's a cracker: Altman, Williams, Duvall, Nilsson, it all rambles along in an Altmanesque way with charm, bravado, oddity and some very catchy tunes. Popeye is 'the road not taken' when it comes to movie adaptations of comics, which may be a shame. But it lives up to Popeye's motto: I Yam What I Yam.
0:31

Popeye (1980). A musical version of Popeye? Well after the success of Annie the Broadway musical in 1977 started a bidding war for the film rights, Hollywood studios started looking in earnest for other cartoon strip to turn into a musical, and they found Popeye. After much discussion over the rights, Paramount and Walt Disney Productions started work on a version based on the King Features syndicated cartoon. The film is legendary for its chaos. Originally Dustin Hoffman would star with John Schlesinger directing. Hoffman turned down the script and Robin WIlliams stepped in with Shelley Duvall as Olive Oyl - who regularly steals the screen from Williams, no matter how energetic he's being in his prosthetic arms (which weren't ready in time for filming). Robert Altman came on board to direct with an unorthodox approach to movie making: songs would be sung live by the cast, principle filming would be on a remote location in Malta, he woud film until the money ran out and wasn't too bothered with the legendary amount of substances being consumed by so many people during filming. He also brought in Harry Nilsson to do the music - a founding member of The Hollywood Vampires drinking club. Yes, it's a chaotic movie and critics didn't enjoy it at the time. But it's a cracker: Altman, Williams, Duvall, Nilsson, it all rambles along in an Altmanesque way with charm, bravado, oddity and some very catchy tunes. Popeye is 'the road not taken' when it comes to movie adaptations of comics, which may be a shame. But it lives up to Popeye's motto: I Yam What I Yam.

Pulp Librarian

35,756 次观看 • 9 个月前

Sydney Pollack on 'The Yakuza' (1974) & the differences he had with Paul Schrader while making the movie: "I think 'The Yakuza' (1974) is a terrific picture. I think it is one of the better pictures that I have done. it's not an audience picture at all. it's a picture that got fairly well received critically. [but] nobody went to see; it it's an oddball movie that very few people even know. but it's a movie that I like a lot. It was Schrader's first big break. He's a very talented guy and again I had a similar problem working with him, not quite like [working with] Milius but but it was a taste problem. In other words, he was an ex-critic and a real film buff and his models for everything were films that he'd seen before and he had approached everything from a sort of a genre point of view; "let's have a little violence in the first 10 minutes then we can have some later". I kept saying I know what that means all I know is the scene doesn't work but he & his brother were terrific and they were both good and they came over while we were shooting. Robert Towne came into the rewrite for me on that and I got to work with Mitchum who is just wonderful to work with and Brian Keith and Richard Jordan, some real good actors and a wonderful Japanese camera man named Kozo Okazaki and spent a lot of time in Japan and I think that's a pretty damn good picture." (Sydney Pollack's interview with John A. Gallagher, 1983)
1:17

Sydney Pollack on 'The Yakuza' (1974) & the differences he had with Paul Schrader while making the movie: "I think 'The Yakuza' (1974) is a terrific picture. I think it is one of the better pictures that I have done. it's not an audience picture at all. it's a picture that got fairly well received critically. [but] nobody went to see; it it's an oddball movie that very few people even know. but it's a movie that I like a lot. It was Schrader's first big break. He's a very talented guy and again I had a similar problem working with him, not quite like [working with] Milius but but it was a taste problem. In other words, he was an ex-critic and a real film buff and his models for everything were films that he'd seen before and he had approached everything from a sort of a genre point of view; "let's have a little violence in the first 10 minutes then we can have some later". I kept saying I know what that means all I know is the scene doesn't work but he & his brother were terrific and they were both good and they came over while we were shooting. Robert Towne came into the rewrite for me on that and I got to work with Mitchum who is just wonderful to work with and Brian Keith and Richard Jordan, some real good actors and a wonderful Japanese camera man named Kozo Okazaki and spent a lot of time in Japan and I think that's a pretty damn good picture." (Sydney Pollack's interview with John A. Gallagher, 1983)

DepressedBergman

124,980 次观看 • 8 个月前

Toomorrow (1970). A very groovy oddity of a space rock film, an early role for Olivia Newton-John and previously very hard to find. Harry Saltzman rushed this out for the Rank Organisation, but a pay dispute with director Val Guest meant it had a very limited release. The plot? Olivia Newton-John and her band are kidnapped by space aliens who want to know the secret of psychedelic rock, which is what all the cool kids in England (and Australia) are into. The aliens are into Moogs and twelve-tone technique, and it's just not happening baby. So Olivia and her student band mates show the aliens how to find their musical mojo. It's amazing. Innocent swinging teen rock in all its 1970 glory, decent sfx for the aliens and the music is pretty darned good too. The BFI have now released a remastered 4K version (it's streaming too) and it's a perfect time capsule of the Austin Powers past of swingin' London. Do check it out
1:14

Toomorrow (1970). A very groovy oddity of a space rock film, an early role for Olivia Newton-John and previously very hard to find. Harry Saltzman rushed this out for the Rank Organisation, but a pay dispute with director Val Guest meant it had a very limited release. The plot? Olivia Newton-John and her band are kidnapped by space aliens who want to know the secret of psychedelic rock, which is what all the cool kids in England (and Australia) are into. The aliens are into Moogs and twelve-tone technique, and it's just not happening baby. So Olivia and her student band mates show the aliens how to find their musical mojo. It's amazing. Innocent swinging teen rock in all its 1970 glory, decent sfx for the aliens and the music is pretty darned good too. The BFI have now released a remastered 4K version (it's streaming too) and it's a perfect time capsule of the Austin Powers past of swingin' London. Do check it out

Pulp Librarian

38,167 次观看 • 29 天前