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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!show more

DepressedBergman

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199,135 просмотров • 4 месяцев назад •via X (Twitter)

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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.

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 просмотров • 2 месяцев назад

John Carpenter on how Howard Hawks's "Rio Bravo" (1959) inspired him to become a filmmaker: "As I got older I began to see that certain directors did certain things. One of the earliest examples of this was Roger Corman. I started going to see these exciting, fast, kind of cheesy but really fun monster movies, and there was one name that kept coming up on the screen: Roger Corman. 'It Conquered the World' (1956), 'Not of This Earth' (1957), 'Attack of the Crab Monsters' (1957), 'The Undead' (1957)... But | really understood for the first time what a director did when I saw 'Rio Bravo' in 1959. There was something about that movie that was like home and I can't really explain it. It was held over in Bowling Green for three or four weeks in a row because people kept coming to see it. I abandoned to see what was new in the other movie house in town to see this movie every weekend again and again because there was something in it that was different from the other westerns I had seen. I had certainly seen John Wayne before. He had become a part of my growing-up experience. He was the action guy, the cowboy. He was the guy in 'Flying Tigers' (1942) who was flying the airplanes. So what was so different about that movie? Then I became aware of this credit: “Howard Hawks’ Rio Bravo.” I looked at the poster and I said to myself, “Who is this guy? He didn't write the movie and he wasn't starring in it so why is his name up here? And why is he last in the credits?” All these things started to occur to me, but it was the emotional impact of the film that got me to start using my brain. Some way I figure out that this director made that movie." ("The Prince of Darkness: The Prince of Darkness", Gilles Boulenger, 2001) P.S: Remembering the great American filmmaker Howard Hawks on his 130th birthday.

John Carpenter on how Howard Hawks's "Rio Bravo" (1959) inspired him to become a filmmaker: "As I got older I began to see that certain directors did certain things. One of the earliest examples of this was Roger Corman. I started going to see these exciting, fast, kind of cheesy but really fun monster movies, and there was one name that kept coming up on the screen: Roger Corman. 'It Conquered the World' (1956), 'Not of This Earth' (1957), 'Attack of the Crab Monsters' (1957), 'The Undead' (1957)... But | really understood for the first time what a director did when I saw 'Rio Bravo' in 1959. There was something about that movie that was like home and I can't really explain it. It was held over in Bowling Green for three or four weeks in a row because people kept coming to see it. I abandoned to see what was new in the other movie house in town to see this movie every weekend again and again because there was something in it that was different from the other westerns I had seen. I had certainly seen John Wayne before. He had become a part of my growing-up experience. He was the action guy, the cowboy. He was the guy in 'Flying Tigers' (1942) who was flying the airplanes. So what was so different about that movie? Then I became aware of this credit: “Howard Hawks’ Rio Bravo.” I looked at the poster and I said to myself, “Who is this guy? He didn't write the movie and he wasn't starring in it so why is his name up here? And why is he last in the credits?” All these things started to occur to me, but it was the emotional impact of the film that got me to start using my brain. Some way I figure out that this director made that movie." ("The Prince of Darkness: The Prince of Darkness", Gilles Boulenger, 2001) P.S: Remembering the great American filmmaker Howard Hawks on his 130th birthday.

DepressedBergman

55,688 просмотров • 3 месяцев назад

Happy 75th birthday, Kurt Russell! Kurt Russell decided to wear the eye patch at the last second before shooting of "Escape From New York" (1981) for the character of Snake Plissken. He did not tell John Carpenter beforehand, but Carpenter liked the look for the character, so they kept it. Kurt Russell on the mystery behind the eye patch: "Interviewer: Is it true you came up with the idea for Snake Plissken’s eyepatch? Russell: Yeah. I pitched it to (Escape From New York writer/director) John Carpenter and he immediately said, “Yes. Do it.” I knew then that I’d made the right decision to sign on to the movie. Some directors hem and haw, they’re like, “Hmmm. I don’t know.” But with John, it was immediate. He trusted me. Interviewer: Did you invent a whole backstory? Did Snake lose an eye or something? Russell: Maybe. I don’t know. [Laughs.] Interviewer: C’mon, Kurt! Russell: I really don’t. Interviewer: Stop holding out on us! Russell: think it should be mysterious. That was the point. We know he was a war hero. But what happened to him? What’s underneath that eyepatch? Maybe he was hit with an infrared beam and it burned his retina and f**ked him up really badly. Whatever it is, it still kinda hurts. Interviewer: Snake does always seem to be grimacing. Russell: That’s right. He’s always in pain, but he’s just gotten real used to it. It’s a tired, dull ache. Probably comes from whatever radio waves they put into his eye. Maybe they tried to give him a bionic eye and they fucked it up. Interviewer: That mystery is more fun for the audience too. It keeps us guessing. Russell: I always try to look for the things that would make me want to see the movie. I want to be in the audience thinking, “Why the f**k is that guy in an eyepatch? They never explain it!” It keeps you on your toes." (Kurt Russell's interview with Eric Spitznagel, Men's Health, 2019)

Happy 75th birthday, Kurt Russell! Kurt Russell decided to wear the eye patch at the last second before shooting of "Escape From New York" (1981) for the character of Snake Plissken. He did not tell John Carpenter beforehand, but Carpenter liked the look for the character, so they kept it. Kurt Russell on the mystery behind the eye patch: "Interviewer: Is it true you came up with the idea for Snake Plissken’s eyepatch? Russell: Yeah. I pitched it to (Escape From New York writer/director) John Carpenter and he immediately said, “Yes. Do it.” I knew then that I’d made the right decision to sign on to the movie. Some directors hem and haw, they’re like, “Hmmm. I don’t know.” But with John, it was immediate. He trusted me. Interviewer: Did you invent a whole backstory? Did Snake lose an eye or something? Russell: Maybe. I don’t know. [Laughs.] Interviewer: C’mon, Kurt! Russell: I really don’t. Interviewer: Stop holding out on us! Russell: think it should be mysterious. That was the point. We know he was a war hero. But what happened to him? What’s underneath that eyepatch? Maybe he was hit with an infrared beam and it burned his retina and fked him up really badly. Whatever it is, it still kinda hurts. Interviewer: Snake does always seem to be grimacing. Russell: That’s right. He’s always in pain, but he’s just gotten real used to it. It’s a tired, dull ache. Probably comes from whatever radio waves they put into his eye. Maybe they tried to give him a bionic eye and they fucked it up. Interviewer: That mystery is more fun for the audience too. It keeps us guessing. Russell: I always try to look for the things that would make me want to see the movie. I want to be in the audience thinking, “Why the fk is that guy in an eyepatch? They never explain it!” It keeps you on your toes." (Kurt Russell's interview with Eric Spitznagel, Men's Health, 2019)

DepressedBergman

118,021 просмотров • 5 месяцев назад

Quentin Taratino said Lawrence Fishburne’s performance in King of New York was so incredible he thought - “he could be the greatest actor of his generation”. He explains: "As great as Christopher Walken is in this movie. To me, it's Larry Fishburne's movie - it was the rock that becomes a diamond aspect of the movie. It's why I could defend this movie against all comers, because to me, Fish's performance in this movie was comparable to a young Brando. It was the most exciting performance by an actor of his generation that I'd seen in a movie of that time. And I thought, well, that's it. There is a new Marlon Brando, and his name is Larry Fishburne - it was amazing, it was mesmerizing… He is the first hip hop gangster in movie history. That character had never been done before this. He invented that character. And he invented it as something to do. It wasn't in the original script. He came up with that himself… The three big Fishburne moments to me, is his opening sequence with…Tito. That's it, with Tito - black glove dude. And his reunion with Frank. And then it's the chicken scene (see below). Those are his three big arias. Not only that though - expressions that I would later hear for the rest of the decade, I actually heard for the first time in that scene. I'd never heard the expression; “I'll slap the black off you” before. That was the first time I heard it when Fish says it to Snipes. I've since heard it many times… And that was actually the first time I ever heard, “fuck you very much”. And I would proceed to hear that for the rest of the 90s. But those were the first times I'd ever heard those expressions… As terrific as he has been in other things - the level of excitement that I had over him when this movie was over, I have never had that excitement again. I thought, with this, he could be the greatest actor of his generation. That was an actual, real fucking thing. He could be the greatest actor of his generation after seeing this." Quote comes from The Rewatchables podcast

Quentin Taratino said Lawrence Fishburne’s performance in King of New York was so incredible he thought - “he could be the greatest actor of his generation”. He explains: "As great as Christopher Walken is in this movie. To me, it's Larry Fishburne's movie - it was the rock that becomes a diamond aspect of the movie. It's why I could defend this movie against all comers, because to me, Fish's performance in this movie was comparable to a young Brando. It was the most exciting performance by an actor of his generation that I'd seen in a movie of that time. And I thought, well, that's it. There is a new Marlon Brando, and his name is Larry Fishburne - it was amazing, it was mesmerizing… He is the first hip hop gangster in movie history. That character had never been done before this. He invented that character. And he invented it as something to do. It wasn't in the original script. He came up with that himself… The three big Fishburne moments to me, is his opening sequence with…Tito. That's it, with Tito - black glove dude. And his reunion with Frank. And then it's the chicken scene (see below). Those are his three big arias. Not only that though - expressions that I would later hear for the rest of the decade, I actually heard for the first time in that scene. I'd never heard the expression; “I'll slap the black off you” before. That was the first time I heard it when Fish says it to Snipes. I've since heard it many times… And that was actually the first time I ever heard, “fuck you very much”. And I would proceed to hear that for the rest of the 90s. But those were the first times I'd ever heard those expressions… As terrific as he has been in other things - the level of excitement that I had over him when this movie was over, I have never had that excitement again. I thought, with this, he could be the greatest actor of his generation. That was an actual, real fucking thing. He could be the greatest actor of his generation after seeing this." Quote comes from The Rewatchables podcast

Gangster Cinema Central

657,929 просмотров • 3 месяцев назад

Milla Jovovich opens up about how her divorce impacted the final cut of Joan of Arc "Joan of Arc could have been an amazing movie. Unfortunately, my relationship with Luc at the time maybe skewed his vision of what he wanted the movie to be" "we were going through a divorce at the time, it was tough on him" "when I saw the finished product, I felt like he was mad at me" "we had so many different levels, from 1 to 100, and it felt like because of the emotional involvement, the edit ended up being like 100 the whole way" "I didn't want Joan to be so unhinged" "I felt bad about that, because I felt like that was one of the greatest performances I had ever given in my career" "I wish that things had been different with that movie because it had everything in it to be a classic, and it just didn't hit that mark" Feat: GQVidoes || Milla Jovovich

Milla Jovovich opens up about how her divorce impacted the final cut of Joan of Arc "Joan of Arc could have been an amazing movie. Unfortunately, my relationship with Luc at the time maybe skewed his vision of what he wanted the movie to be" "we were going through a divorce at the time, it was tough on him" "when I saw the finished product, I felt like he was mad at me" "we had so many different levels, from 1 to 100, and it felt like because of the emotional involvement, the edit ended up being like 100 the whole way" "I didn't want Joan to be so unhinged" "I felt bad about that, because I felt like that was one of the greatest performances I had ever given in my career" "I wish that things had been different with that movie because it had everything in it to be a classic, and it just didn't hit that mark" Feat: GQVidoes || Milla Jovovich

Mue Deborah

310,076 просмотров • 1 месяц назад

Liza Minelli on the movie she suggested to Bob Fosse to watch before making 'Cabaret' (1972) & why the movie still resonates with the audience even today: "Interviewer: When you think back to filming, do you have one memory that sticks out to you? Liza Minelli: Yes, the fact that we were in Germany, making the film about Nazis. I remember first when Hal Prince talked to Fred Ebb, myself and John [Kander] and said, "I want to do 'I Am a Camera,'" and told us the story and everything. He said, "I want you to be Sally," and I said OK, and Fred and John said OK. When Hal left, Fred Ebb looked at me and said, "What are we going to call it? 'The Nifty Nazi Follies'?" [Laughs.] Interviewer: That's so interesting. You were in Germany, filming this whole thing about Nazis. Liza Minelli: I guess when they said we're making a musical about Nazis, they sent us away because they didn't know what we were doing! And Fosse -- that gave Fosse reign over this film. And his vision, his creation, is so wonderful because it's not a musical. The only music that's in it, is in the cabaret, so it makes sense. Except for the Nazi anthem thing. He really had it planned so it was about a time in history and it was a story, and not just a musical. Everybody thinks it's very jolly -- who haven't seen it -- and it's really extraordinary what he did, isn't? Interviewer: Definitely. Why do you think "Cabaret" still resonates with audiences 40 years later? Liza Minelli: Because it's like no other film. He was an original. And because we were away, the studio would send notes like, "Too much smoke. It'll break up in drive-ins." In front of us, Fosse would tear up the telegram and just throw it over his shoulder and we went on. I had asked Fosse if he had seen a movie called "The Damned," (1969, Visconti) which is also about that era, and he saw it and I think it gave him so good ideas because it was very dark." (Liza Minelli in her interview with Chris Harnick, HuffPost, 2013)

Liza Minelli on the movie she suggested to Bob Fosse to watch before making 'Cabaret' (1972) & why the movie still resonates with the audience even today: "Interviewer: When you think back to filming, do you have one memory that sticks out to you? Liza Minelli: Yes, the fact that we were in Germany, making the film about Nazis. I remember first when Hal Prince talked to Fred Ebb, myself and John [Kander] and said, "I want to do 'I Am a Camera,'" and told us the story and everything. He said, "I want you to be Sally," and I said OK, and Fred and John said OK. When Hal left, Fred Ebb looked at me and said, "What are we going to call it? 'The Nifty Nazi Follies'?" [Laughs.] Interviewer: That's so interesting. You were in Germany, filming this whole thing about Nazis. Liza Minelli: I guess when they said we're making a musical about Nazis, they sent us away because they didn't know what we were doing! And Fosse -- that gave Fosse reign over this film. And his vision, his creation, is so wonderful because it's not a musical. The only music that's in it, is in the cabaret, so it makes sense. Except for the Nazi anthem thing. He really had it planned so it was about a time in history and it was a story, and not just a musical. Everybody thinks it's very jolly -- who haven't seen it -- and it's really extraordinary what he did, isn't? Interviewer: Definitely. Why do you think "Cabaret" still resonates with audiences 40 years later? Liza Minelli: Because it's like no other film. He was an original. And because we were away, the studio would send notes like, "Too much smoke. It'll break up in drive-ins." In front of us, Fosse would tear up the telegram and just throw it over his shoulder and we went on. I had asked Fosse if he had seen a movie called "The Damned," (1969, Visconti) which is also about that era, and he saw it and I think it gave him so good ideas because it was very dark." (Liza Minelli in her interview with Chris Harnick, HuffPost, 2013)

DepressedBergman

87,601 просмотров • 7 месяцев назад

Wiz Khalifa says he rewrote his second verse for “See You Again” after Paul Walker's death, just one week before Furious 7 was released “It was right when he passed. He was filming for the movie, and they were like, ‘Something happened. We need to do a whole little redirection, and you're going to be a part of that” “So they're like, ‘This is the last scene of the movie. He's in the movie, but we're generating his face on a couple scenes. And this is going to be one of them where it's going to be him riding off into the sunset, but it's going to represent his departure’” “But by the time the movie had come out, it was like a week before the movie came out, they were like, ‘We need to finish the song, and we're going to shoot the video, and we just want you and Charlie Puth on there. Everybody else we don't want, so you need to write another verse.’ So I quickly came in there. I watched the scene, because I already did the first verse just based off what they told me it was going to be like. Then for the second verse, they were like watch the scene and write it based off that” “I watched the scene, wrote my verse real quick, recorded it, we shot the video the next week, and then it comes out with the movie. It's just supposed to be a soundtrack song, but as soon as it got on the radio, it went number one and stayed there for like 12 or 13 weeks. I never knew it was going to do all of that at all” “It's unfortunate that Paul Walker lost his life, and his legacy is always going to live on. I met his family and they loved it. But I think ‘See You Again’ connects because you can tell everybody goes through those losses, and you can feel that in those verses. I've taken losses, and I've personally felt what that feels like. So to be able to channel that through the music, tell his story, help his legacy live on, and also connect with other people who go through similar things, that was my main goal. That's what I knew I could do through my personal experiences, and I'm glad that the world”

Wiz Khalifa says he rewrote his second verse for “See You Again” after Paul Walker's death, just one week before Furious 7 was released “It was right when he passed. He was filming for the movie, and they were like, ‘Something happened. We need to do a whole little redirection, and you're going to be a part of that” “So they're like, ‘This is the last scene of the movie. He's in the movie, but we're generating his face on a couple scenes. And this is going to be one of them where it's going to be him riding off into the sunset, but it's going to represent his departure’” “But by the time the movie had come out, it was like a week before the movie came out, they were like, ‘We need to finish the song, and we're going to shoot the video, and we just want you and Charlie Puth on there. Everybody else we don't want, so you need to write another verse.’ So I quickly came in there. I watched the scene, because I already did the first verse just based off what they told me it was going to be like. Then for the second verse, they were like watch the scene and write it based off that” “I watched the scene, wrote my verse real quick, recorded it, we shot the video the next week, and then it comes out with the movie. It's just supposed to be a soundtrack song, but as soon as it got on the radio, it went number one and stayed there for like 12 or 13 weeks. I never knew it was going to do all of that at all” “It's unfortunate that Paul Walker lost his life, and his legacy is always going to live on. I met his family and they loved it. But I think ‘See You Again’ connects because you can tell everybody goes through those losses, and you can feel that in those verses. I've taken losses, and I've personally felt what that feels like. So to be able to channel that through the music, tell his story, help his legacy live on, and also connect with other people who go through similar things, that was my main goal. That's what I knew I could do through my personal experiences, and I'm glad that the world”

dank

38,260 просмотров • 1 месяц назад

Robert Rodriguez on the reason why 'The Faculty' (1998) didn't perform as well as it could have in the box office & it's cult status: "Rodriguez: Making 'The Faculty' (1998) was just a blast. There was so much young energy and the actors were just so into it. I will say, I was worried it wouldn’t do well though. I wanted them to use a different title because our target audience wasn’t gonna want to see a movie about teachers. So I fought for a better title. Interviewer: Did you have some title ideas in your head? Rodriguez: I did. There was 'Alienated', but my favorite idea was The Others. And the studio was like, “No no, let’s just go with The Faculty.” Then two years later that same studio released a movie titled 'The Others' (2001) with Nicole Kidman. But I came up with that name for 'The Faculty'. I mean, it’s possible that its script already had that title, but yeah, I wanted that title for my movie. I think 'The Faculty' didn’t perform as well as it could have because of the title. I remember growing up there was a movie with Nick Nolte called 'Teachers' (1984). And I remember being like … what kid wants to see a movie about teachers? That’s what I was worried about with my movie, that we weren’t going to attract a younger audience because of the title. They even had to shoot extra footage of the faculty doing stuff like closing windows and locking doors for the trailer, which just strengthened the idea of teachers being the bad guys. So yeah, I think they didn’t know how to sell it, which is why I think so many people discovered it later and are now coming out and being like, “Hey, this movie is pretty good!”" ("Robert Rodriguez on Hypnotic and the 25th anniversary of his cult hit The Faculty", Keith Langston, digital trends, 2023) P.S: Happy 58th birthday, Robert Rodriguez!

Robert Rodriguez on the reason why 'The Faculty' (1998) didn't perform as well as it could have in the box office & it's cult status: "Rodriguez: Making 'The Faculty' (1998) was just a blast. There was so much young energy and the actors were just so into it. I will say, I was worried it wouldn’t do well though. I wanted them to use a different title because our target audience wasn’t gonna want to see a movie about teachers. So I fought for a better title. Interviewer: Did you have some title ideas in your head? Rodriguez: I did. There was 'Alienated', but my favorite idea was The Others. And the studio was like, “No no, let’s just go with The Faculty.” Then two years later that same studio released a movie titled 'The Others' (2001) with Nicole Kidman. But I came up with that name for 'The Faculty'. I mean, it’s possible that its script already had that title, but yeah, I wanted that title for my movie. I think 'The Faculty' didn’t perform as well as it could have because of the title. I remember growing up there was a movie with Nick Nolte called 'Teachers' (1984). And I remember being like … what kid wants to see a movie about teachers? That’s what I was worried about with my movie, that we weren’t going to attract a younger audience because of the title. They even had to shoot extra footage of the faculty doing stuff like closing windows and locking doors for the trailer, which just strengthened the idea of teachers being the bad guys. So yeah, I think they didn’t know how to sell it, which is why I think so many people discovered it later and are now coming out and being like, “Hey, this movie is pretty good!”" ("Robert Rodriguez on Hypnotic and the 25th anniversary of his cult hit The Faculty", Keith Langston, digital trends, 2023) P.S: Happy 58th birthday, Robert Rodriguez!

DepressedBergman

83,466 просмотров • 2 месяцев назад

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.

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 просмотров • 2 месяцев назад

Baier: I just got off the phone with the president…. I asked, “what you are saying is you know there is somebody on the ground in Iran that is going to rise up?” He said, “yeah, I feel there is. I feel that and some of them are no longer with us to be honest because it was 49 leaders that were taken out. That was going to take four weeks we thought to get rid of the Iranian leadership and it is always, you know, if they hide, it is a lot longer than four weeks. They would have been hiding. We were shocked when we heard what was going on. We knew exactly what was happening… they are talking about using people now that nobody ever heard of—even they don't know. They are using people, studying people to be the leader that even they don't know who they are. Can you believe that?” I said it's a tough succession plan in Iran. He said, “49 leaders is deep. It's very deep. When they met, they met for breakfast. They assumed it was good for a lot of reasons. Number one they didn't think we knew. You never attack in the morning having to do with wind and sun and a lot of things. It was amazing that we knew everything we knew.”

Baier: I just got off the phone with the president…. I asked, “what you are saying is you know there is somebody on the ground in Iran that is going to rise up?” He said, “yeah, I feel there is. I feel that and some of them are no longer with us to be honest because it was 49 leaders that were taken out. That was going to take four weeks we thought to get rid of the Iranian leadership and it is always, you know, if they hide, it is a lot longer than four weeks. They would have been hiding. We were shocked when we heard what was going on. We knew exactly what was happening… they are talking about using people now that nobody ever heard of—even they don't know. They are using people, studying people to be the leader that even they don't know who they are. Can you believe that?” I said it's a tough succession plan in Iran. He said, “49 leaders is deep. It's very deep. When they met, they met for breakfast. They assumed it was good for a lot of reasons. Number one they didn't think we knew. You never attack in the morning having to do with wind and sun and a lot of things. It was amazing that we knew everything we knew.”

Acyn

1,065,464 просмотров • 6 месяцев назад

Matt Damon says him and Ben left the Good Will Hunting movie so they could cast whoever would fund it "Ben Affleck and I wrote it because we wanted the parts as actors and at the time there was a really popular movie that we all loved called reservoir dogs Quentin Tarantino's first movie" "the story we had heard was that because Harvey Keitel signed up for the movie Quentin got I think it was $500k that was his budget" "we wrote that part that Robin eventually took we called it the Harvey Keitel part looking for an actor who could get us money because ben and I wanted to star in the movie and we knew we were worth nothing"

Matt Damon says him and Ben left the Good Will Hunting movie so they could cast whoever would fund it "Ben Affleck and I wrote it because we wanted the parts as actors and at the time there was a really popular movie that we all loved called reservoir dogs Quentin Tarantino's first movie" "the story we had heard was that because Harvey Keitel signed up for the movie Quentin got I think it was $500k that was his budget" "we wrote that part that Robin eventually took we called it the Harvey Keitel part looking for an actor who could get us money because ben and I wanted to star in the movie and we knew we were worth nothing"

CreativeDude

641,113 просмотров • 1 месяц назад

John Waters on his obsession with "The Wizard of Oz" (1939) & his thoughts on the movie being considered a "Gay classic": "Interviewer: Do you remember how old you were and where you saw it? Waters: I probably saw it at the Senator Theater in Baltimore the first time, which I still have my movie premieres in. I probably saw it there and then on TV every year. But certainly I saw it at the movies as a kid. I don’t remember how old I was, and it wasn’t the first movie I saw, but it was close to it. It was a complete, complete obsession from the very, very beginning. Now, today, you have video. We couldn’t do that, so you had to wait once a year to see it. That’s that sadness about the magic of movies: you can watch it over and over, and you can rewind it, see how everything is done. Still, is there a better tornado scene? To me, all these really expensive digital effects are very uninvolving. That tornado scene is as good as 'Twister' (1996) to me, and I think it’s done with a nylon stocking Interviewer: It’s a great surrealist scene, too. Waters: And how radical—the black and white to color is almost like an LSD effect. It is a drug movie almost. (...) Interviewer: Why do you think it’s become associated with the gay community, as being a “gay classic”? Waters: See, to me, I don’t think it’s that much of a gay movie. Judy Garland is, but I don’t think so much of that movie. Of course, this is her first one, but she wasn’t tragic in that movie, except later they found out she was on diet pills when she was singing. I think it’s only a gay movie, if it is, only because of Judy Garland’s later suffering in her life and melodrama. I love Judy Garland, but did she ever marry a straight man? I don’t know. Did anyone in the family? It’s a tradition. But basically, I don’t think of it as a gay film. I know “Friends of Dorothy,” but I think it’s because of Judy Garland’s later career. Well, it might be a gay children’s movie. I don’t think it’s a gay adult’s movie. I know drag queens do the Wicked Witch, but I never saw one. It’s not a drag role." ("The Film that Changed my Life", Robert K. Elder, 2011)

John Waters on his obsession with "The Wizard of Oz" (1939) & his thoughts on the movie being considered a "Gay classic": "Interviewer: Do you remember how old you were and where you saw it? Waters: I probably saw it at the Senator Theater in Baltimore the first time, which I still have my movie premieres in. I probably saw it there and then on TV every year. But certainly I saw it at the movies as a kid. I don’t remember how old I was, and it wasn’t the first movie I saw, but it was close to it. It was a complete, complete obsession from the very, very beginning. Now, today, you have video. We couldn’t do that, so you had to wait once a year to see it. That’s that sadness about the magic of movies: you can watch it over and over, and you can rewind it, see how everything is done. Still, is there a better tornado scene? To me, all these really expensive digital effects are very uninvolving. That tornado scene is as good as 'Twister' (1996) to me, and I think it’s done with a nylon stocking Interviewer: It’s a great surrealist scene, too. Waters: And how radical—the black and white to color is almost like an LSD effect. It is a drug movie almost. (...) Interviewer: Why do you think it’s become associated with the gay community, as being a “gay classic”? Waters: See, to me, I don’t think it’s that much of a gay movie. Judy Garland is, but I don’t think so much of that movie. Of course, this is her first one, but she wasn’t tragic in that movie, except later they found out she was on diet pills when she was singing. I think it’s only a gay movie, if it is, only because of Judy Garland’s later suffering in her life and melodrama. I love Judy Garland, but did she ever marry a straight man? I don’t know. Did anyone in the family? It’s a tradition. But basically, I don’t think of it as a gay film. I know “Friends of Dorothy,” but I think it’s because of Judy Garland’s later career. Well, it might be a gay children’s movie. I don’t think it’s a gay adult’s movie. I know drag queens do the Wicked Witch, but I never saw one. It’s not a drag role." ("The Film that Changed my Life", Robert K. Elder, 2011)

DepressedBergman

31,006 просмотров • 3 месяцев назад

Oppenheimer was really overhyped. The reason this movie became so popular is simply because people had serious superhero fatigue and were craving a proper theater cinema experience again after COVID. This film is a giant piece of “rushing things”. There’s this quickness in this film that excludes viewer from stop and think and create a bond with any of the characters. John Carpenter put it best: “Oppenheimer was OK. It was alright. Everyone's praising it as the movie of the century—I don't know about that.”

Oppenheimer was really overhyped. The reason this movie became so popular is simply because people had serious superhero fatigue and were craving a proper theater cinema experience again after COVID. This film is a giant piece of “rushing things”. There’s this quickness in this film that excludes viewer from stop and think and create a bond with any of the characters. John Carpenter put it best: “Oppenheimer was OK. It was alright. Everyone's praising it as the movie of the century—I don't know about that.”

Emir Han

110,970 просмотров • 3 месяцев назад

Mike Nichols on how the young audiences reacted to 'The Graduate' (1967) when it was first screened: "Interviewer: "'The Graduate' (1967) was a phenomenon when it opened…how did it feel to suddenly be considered a hero of the 1960s youth movement when you were in your mid thirties? Nichols: Very weird, actually. But it wasn’t quite like that at first. Joseph E. Levine made us take the film around to college campuses. After we’d showed it to a bunch of younger audiences there, the question on everyone’s lips was, “How come it’s not about Vietnam?” The only way college students could apparently get laid in those days was to be very serious and concerned about the war, so 80 to 90 percent of the kids said, “We can’t tell whether you are for or against Vietnam in this movie.… What are we supposed to think?” That was their criterion. They had no idea what they were looking at. It wasn’t until we got the movie in front of audiences that we felt like younger viewers would feel a kinship with it. We previewed 'The Graduate' in a theater on 86th Street; we just showed up and essentially flung the movie on top of another feature to surprise people. And in the last five minutes—starting with the melee in the church—everyone stood and cheered. I mean, it was like being at a prizefight. And it wasn’t even a finished print; I still had the sound in a box on my lap, because we hadn’t fully mixed the movie yet. Poor Dustin was white as a sheet; it was his first time seeing the movie and he was stunned by the reaction. We all were." (Mike Nichols' interview with David Fear, TimeOut, 2012)

Mike Nichols on how the young audiences reacted to 'The Graduate' (1967) when it was first screened: "Interviewer: "'The Graduate' (1967) was a phenomenon when it opened…how did it feel to suddenly be considered a hero of the 1960s youth movement when you were in your mid thirties? Nichols: Very weird, actually. But it wasn’t quite like that at first. Joseph E. Levine made us take the film around to college campuses. After we’d showed it to a bunch of younger audiences there, the question on everyone’s lips was, “How come it’s not about Vietnam?” The only way college students could apparently get laid in those days was to be very serious and concerned about the war, so 80 to 90 percent of the kids said, “We can’t tell whether you are for or against Vietnam in this movie.… What are we supposed to think?” That was their criterion. They had no idea what they were looking at. It wasn’t until we got the movie in front of audiences that we felt like younger viewers would feel a kinship with it. We previewed 'The Graduate' in a theater on 86th Street; we just showed up and essentially flung the movie on top of another feature to surprise people. And in the last five minutes—starting with the melee in the church—everyone stood and cheered. I mean, it was like being at a prizefight. And it wasn’t even a finished print; I still had the sound in a box on my lap, because we hadn’t fully mixed the movie yet. Poor Dustin was white as a sheet; it was his first time seeing the movie and he was stunned by the reaction. We all were." (Mike Nichols' interview with David Fear, TimeOut, 2012)

DepressedBergman

34,515 просмотров • 7 месяцев назад

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)

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 просмотров • 1 месяц назад

AOC on a movie that made her cry PabloReports: When’s the last time a piece of art—film, music, whatever—made you cry? AOC: Okay, let me go with the worst time one made me cry. I was on an airplane watching… what is that movie? The one about aliens with a linguist? Arrival. With Amy Adams. I was on a plane. I was literally going to a rally or something like that. This was a while ago. And I was watching Arrival on the plane. I had no idea that it was that emotional. And I don’t even cry like that at movies. On the plane, sobbing, dude. I had to put sunglasses on. Then the movie ends as the plane is landing. They go, “Bing bong,” whatever—seatbelt sign, you can unplug it. So everyone’s standing up, and I’m like… I put the sunglasses on. It was so embarrassing. But really good. Really, really good. Arrival.

AOC on a movie that made her cry PabloReports: When’s the last time a piece of art—film, music, whatever—made you cry? AOC: Okay, let me go with the worst time one made me cry. I was on an airplane watching… what is that movie? The one about aliens with a linguist? Arrival. With Amy Adams. I was on a plane. I was literally going to a rally or something like that. This was a while ago. And I was watching Arrival on the plane. I had no idea that it was that emotional. And I don’t even cry like that at movies. On the plane, sobbing, dude. I had to put sunglasses on. Then the movie ends as the plane is landing. They go, “Bing bong,” whatever—seatbelt sign, you can unplug it. So everyone’s standing up, and I’m like… I put the sunglasses on. It was so embarrassing. But really good. Really, really good. Arrival.

Acyn

3,426,282 просмотров • 1 месяц назад

"It's a superhero movie that is for adults and has adult ideas in it. You don't have to think about it any harder than that. It goes way deeper. If you want to, you can tear it apart like a giant onion and keep peeling it until you're at its core. "But I think that it's cool to experience it just like when I read the comic book for the first time and I didn't know. No one was telling me what it's about or the why of it. You come to it fresh. And sometimes I wish I had that experience because I would love to see the movie or read the book for the first time again because that feeling was for me awesome. "Especially when you go into something with this anticipation that it's just a Hollywood superhero movie which is what a lot of people will think because they don't know. They see some guys fighting and then when you see the film you actually have this experience of it being taken apart. "Those archetypes, those mythological shapes, whether they be Batman or Superman or any of superheroes and how they're just turned around. Whether it's through sexual fetish or fighting, actually killing guys they fight. "Stuff like that or whether it's the end of the movie and there's this moral dilemma that is the end of the movie is also challenging on all those levels."

"It's a superhero movie that is for adults and has adult ideas in it. You don't have to think about it any harder than that. It goes way deeper. If you want to, you can tear it apart like a giant onion and keep peeling it until you're at its core. "But I think that it's cool to experience it just like when I read the comic book for the first time and I didn't know. No one was telling me what it's about or the why of it. You come to it fresh. And sometimes I wish I had that experience because I would love to see the movie or read the book for the first time again because that feeling was for me awesome. "Especially when you go into something with this anticipation that it's just a Hollywood superhero movie which is what a lot of people will think because they don't know. They see some guys fighting and then when you see the film you actually have this experience of it being taken apart. "Those archetypes, those mythological shapes, whether they be Batman or Superman or any of superheroes and how they're just turned around. Whether it's through sexual fetish or fighting, actually killing guys they fight. "Stuff like that or whether it's the end of the movie and there's this moral dilemma that is the end of the movie is also challenging on all those levels."

Zack Snyder Film

22,225 просмотров • 7 месяцев назад

Mark Ruffalo says Kevin Feige furiously called him in the middle of a movie premiere just to thank him for illegally leaking the film, saying it was their biggest marketing "they asked me to do social media backstage and at that time it was like Facebook Live had just hit the apps" "I was back there doing my Facebook Live, and I thought I hit the off button. But I didn't realize it had two different off buttons" "five minutes in and my phone is blowing up, everyone and their mother was texting me from all over the world to tell me that my phone was on and I was live broadcasting the movie" "they sent a lady down... and she's like, 'your phone! Your phone is on.' I was like 'no it's not, it's in my pocket.' She's like, 'it's on, it's on!'" "I got a call from Kevin Feige... the boss. He's like, 'what are you doing, man? You can't do this stuff'" "I walk over to him to say sorry and he grabs me in a bear hug, and he's like, 'that was genius! We got more press from that than the whole premiere!'"

Mark Ruffalo says Kevin Feige furiously called him in the middle of a movie premiere just to thank him for illegally leaking the film, saying it was their biggest marketing "they asked me to do social media backstage and at that time it was like Facebook Live had just hit the apps" "I was back there doing my Facebook Live, and I thought I hit the off button. But I didn't realize it had two different off buttons" "five minutes in and my phone is blowing up, everyone and their mother was texting me from all over the world to tell me that my phone was on and I was live broadcasting the movie" "they sent a lady down... and she's like, 'your phone! Your phone is on.' I was like 'no it's not, it's in my pocket.' She's like, 'it's on, it's on!'" "I got a call from Kevin Feige... the boss. He's like, 'what are you doing, man? You can't do this stuff'" "I walk over to him to say sorry and he grabs me in a bear hug, and he's like, 'that was genius! We got more press from that than the whole premiere!'"

Rixlerr

69,532 просмотров • 1 месяц назад

Will Ferrell reveals why he turned down a massive payday for the ELF sequel "I was offered a crazy amount of money" "there was a lot of movement after the film initially came out, of which I maintained that it's going to be really hard because it's a classic fish out of water story" "an attempt was made at a script, which, you know, tried its best, but I just was like, I don't know" "I have to be able to sit in a setting like this and talk about the movie in a way that I feel good about" "if I were to promote that movie, I'd be literally saying I did it for the money. Straight up" "I'm like, do you want that messaging out there? then they tried a little bit later down the road and it just..."

Will Ferrell reveals why he turned down a massive payday for the ELF sequel "I was offered a crazy amount of money" "there was a lot of movement after the film initially came out, of which I maintained that it's going to be really hard because it's a classic fish out of water story" "an attempt was made at a script, which, you know, tried its best, but I just was like, I don't know" "I have to be able to sit in a setting like this and talk about the movie in a way that I feel good about" "if I were to promote that movie, I'd be literally saying I did it for the money. Straight up" "I'm like, do you want that messaging out there? then they tried a little bit later down the road and it just..."

Rixlerr

1,007,685 просмотров • 1 месяц назад

YOKO ONO: ONOCHORD, VENICE, 2004 Yoko: The world is divided in two industries. One is the War Industry and the other is the Peace Industry. The people in the War Industry are totally together. They don't have to talk to each other, even. They know exactly what they want to do. They want to go out there, kill and make money. But the people in the Peace Industry, which are us - we are so idealistic that each one of us criticises the other Peace Person in the Peace Industry. And we are always just arguing and we are wasting our energies doing that. So let's just forgive each other and see that we are in the Peace Industry and that's all that counts. Even if you are not marching for peace, just be yourself, being a florist, being a merchant, being a talior, anything. That way you're contributing to the Peace Industry. People are just concentrating on fear, confusion and anger. And therefore just for a moment, I'd like us to think about Love. In a very magical, straight way, John and I met in London and from then on we stood for Peace and Love. And when I do this kind of event. Well it is... I was inspired to do it, but I still think that I'm still with John in spirit. John and I created the country called Nutopia. Not Utopia, because there was Utopia as a concept already. And we wanted to create a new concept, so we just added N on it - Nutopia - and as a country. Well, that is the concept of a country. And we all are citizens of that country. And in my apartment in the Dakota Building, we put a little plaque on the back door, the kitchen door. It says 'Nutopian Embassy' and even now we have that. (laughs). Nutopia exists in our minds. And because of that, some people want to rebel against it. The reason some want to rebel against it is a good proof that it exists. I think that it was a terrible thing that happened in Chechnya. But we have to still keep our hopes up. And instead of giving up, we have to keep on sending the message of Love to each other. You say that I am the Ambassador of Peace. We are all Ambassadors of Peace. You are too. Everybody in this room are Ambassadors of Peace. Just the fact that we are not participating in War. The fact that we are here, and we are what we are, means that we are in the Peace Industry. All of us. John and I used to say that our apartment in the Dakota is a conceptual monastry, just for the two of us. And when we go out of the Dakota, we get so many people communicating with us, so it's very important that we had silence and quietness. And my apartment is a very small space compared to the world. And I need that for my peace of mind. You should be kind to each other. You should come together, hug each other, love each other, express our love to each other and we should make it work. We should finally create a world that is a totally an Earth for Us. So let's do it. Yoko Ono, OpenAsia Press Conference, whilst exhibiting Onochord, 2004 by Yoko Ono (Nutopia) at the Venice Biennale: OpenAsia 2004, Lido Di Venezia, Venice, Italy, 9 September 2004.

YOKO ONO: ONOCHORD, VENICE, 2004 Yoko: The world is divided in two industries. One is the War Industry and the other is the Peace Industry. The people in the War Industry are totally together. They don't have to talk to each other, even. They know exactly what they want to do. They want to go out there, kill and make money. But the people in the Peace Industry, which are us - we are so idealistic that each one of us criticises the other Peace Person in the Peace Industry. And we are always just arguing and we are wasting our energies doing that. So let's just forgive each other and see that we are in the Peace Industry and that's all that counts. Even if you are not marching for peace, just be yourself, being a florist, being a merchant, being a talior, anything. That way you're contributing to the Peace Industry. People are just concentrating on fear, confusion and anger. And therefore just for a moment, I'd like us to think about Love. In a very magical, straight way, John and I met in London and from then on we stood for Peace and Love. And when I do this kind of event. Well it is... I was inspired to do it, but I still think that I'm still with John in spirit. John and I created the country called Nutopia. Not Utopia, because there was Utopia as a concept already. And we wanted to create a new concept, so we just added N on it - Nutopia - and as a country. Well, that is the concept of a country. And we all are citizens of that country. And in my apartment in the Dakota Building, we put a little plaque on the back door, the kitchen door. It says 'Nutopian Embassy' and even now we have that. (laughs). Nutopia exists in our minds. And because of that, some people want to rebel against it. The reason some want to rebel against it is a good proof that it exists. I think that it was a terrible thing that happened in Chechnya. But we have to still keep our hopes up. And instead of giving up, we have to keep on sending the message of Love to each other. You say that I am the Ambassador of Peace. We are all Ambassadors of Peace. You are too. Everybody in this room are Ambassadors of Peace. Just the fact that we are not participating in War. The fact that we are here, and we are what we are, means that we are in the Peace Industry. All of us. John and I used to say that our apartment in the Dakota is a conceptual monastry, just for the two of us. And when we go out of the Dakota, we get so many people communicating with us, so it's very important that we had silence and quietness. And my apartment is a very small space compared to the world. And I need that for my peace of mind. You should be kind to each other. You should come together, hug each other, love each other, express our love to each other and we should make it work. We should finally create a world that is a totally an Earth for Us. So let's do it. Yoko Ono, OpenAsia Press Conference, whilst exhibiting Onochord, 2004 by Yoko Ono (Nutopia) at the Venice Biennale: OpenAsia 2004, Lido Di Venezia, Venice, Italy, 9 September 2004.

Yoko Ono

35,208 просмотров • 2 лет назад