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The controversial cat sequence in "Sátántangó" (1994) led to some difficulties in getting the film screened in the United Kingdom, due to legislation protecting nonhuman animals from cruelty and the British Board of Film Classification refusing to certify such films. Tarr insisted the scene was filmed humanely under a... show more

DepressedBergman

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Béla Tarr on the censorship of the State and the censorship of the market: "Interviewer: Did you attend a film school? Tarr: I went to film school after my first movie. Because you know at that time everybody needed a diploma. It was communist time, if you wanted to be a filmmaker you had to study in the official film school. But first I made a movie (laughs). Interviewer: Did you suffer from censorship? Tarr: I think censorship is always there. Then it was the censorship of the state and now it’s the censorship of the market. Some differences but . . . Interviewer: Otar Iosseliani, the Georgian director, was telling me the same, that the censorship of the big audience is worse that the censorship of the state, because you only get money for movies made for the big audience. Tarr: Yes, he is right. Because during the communist area you knew you had to make some tricks here and there, like a snake, and if you were very fast and you had some good ideas, you could do it. I really did what I wanted. We had a lot of difficulties, but finally we could make the movies." (Béla Tarr's interview with Eric Schlosser, Bright Lights Film Journal, 2000) P.S: On this day, 26 years ago, "Werckmeister Harmonies" (2000) premiered at the Cinedecouvertes Age D'or Film Festival Brussels, Belgium.

Béla Tarr on the censorship of the State and the censorship of the market: "Interviewer: Did you attend a film school? Tarr: I went to film school after my first movie. Because you know at that time everybody needed a diploma. It was communist time, if you wanted to be a filmmaker you had to study in the official film school. But first I made a movie (laughs). Interviewer: Did you suffer from censorship? Tarr: I think censorship is always there. Then it was the censorship of the state and now it’s the censorship of the market. Some differences but . . . Interviewer: Otar Iosseliani, the Georgian director, was telling me the same, that the censorship of the big audience is worse that the censorship of the state, because you only get money for movies made for the big audience. Tarr: Yes, he is right. Because during the communist area you knew you had to make some tricks here and there, like a snake, and if you were very fast and you had some good ideas, you could do it. I really did what I wanted. We had a lot of difficulties, but finally we could make the movies." (Béla Tarr's interview with Eric Schlosser, Bright Lights Film Journal, 2000) P.S: On this day, 26 years ago, "Werckmeister Harmonies" (2000) premiered at the Cinedecouvertes Age D'or Film Festival Brussels, Belgium.

DepressedBergman

41,678 Aufrufe • vor 22 Tagen

RIP Béla Tarr, director of one of my favorite movies ever, Sátántangó. One of the best to ever work in the Slow Cinema space, his molasses-like pacing paints a perfect portrait of aimlessness and hopelessness in a quiet and resigned way. A one-of-a-kind director.

RIP Béla Tarr, director of one of my favorite movies ever, Sátántangó. One of the best to ever work in the Slow Cinema space, his molasses-like pacing paints a perfect portrait of aimlessness and hopelessness in a quiet and resigned way. A one-of-a-kind director.

Public Hakita Is a Good Idea

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Béla Tarr on how the concept of time works in "Sátántangó" (1994): "Interviewer: Did you have any problems when you first wanted to make the film in the ‘80s? How did you start work on the film? Tarr: It was mostly a political problem. We couldn't start in the ‘80s because of censorship from the communist government at the time, but by the early ‘90s it became possible to do it and it took four years to do, from 1990 to 1994. You have to understand. This man [Lázsló] was living in the Hungarian lowlands, and he saw a lot of things in the reality of how people were living, and of course he transformed it and created this beautiful novel. I understood when I started working on this project that I cannot do any kind of adaptation. I had to go back to the Hungarian lowlands, like him. I had to see how life is going on out there, and I had to find the film language, I had to figure out how I can get the same stuff that he did in the novel. By the end, I spent two years in the Hungarian lowlands filming, I can tell you I know all the houses, I know all f***ing roads, I know everything in this part of the country. By the end of my time there I could find the way to film and afterwards we could use the dramaturgical structure of the novel, and of course we did not have a script, we had only the novel and my vision. That's all we had. Interviewer: What about the sense of time that you found in that place? Tarr: Hey man, if you are sitting in the Hungarian lowlands, I'm sure it's the same in the desert in, let's say, Arizona, when you are out there: there is no time, no distance anymore, you can go hours, weeks, and you don't see anything. You are out of time; you have a different sense of time then when you are living in a town. And so, the slowness of the drama came from this. You know, you have to understand that first you have to know the life of the places and then afterwards you have a feeling for how you have to film it." ("I Am Interested in the World, Not Just in Filming It": Béla Tarr on "Sátántangó", David Perrin, MUBI, 2019) P.S: Remembering the great Hungarian filmmaker, Béla Tarr, on his 71st birthday!

Béla Tarr on how the concept of time works in "Sátántangó" (1994): "Interviewer: Did you have any problems when you first wanted to make the film in the ‘80s? How did you start work on the film? Tarr: It was mostly a political problem. We couldn't start in the ‘80s because of censorship from the communist government at the time, but by the early ‘90s it became possible to do it and it took four years to do, from 1990 to 1994. You have to understand. This man [Lázsló] was living in the Hungarian lowlands, and he saw a lot of things in the reality of how people were living, and of course he transformed it and created this beautiful novel. I understood when I started working on this project that I cannot do any kind of adaptation. I had to go back to the Hungarian lowlands, like him. I had to see how life is going on out there, and I had to find the film language, I had to figure out how I can get the same stuff that he did in the novel. By the end, I spent two years in the Hungarian lowlands filming, I can tell you I know all the houses, I know all f***ing roads, I know everything in this part of the country. By the end of my time there I could find the way to film and afterwards we could use the dramaturgical structure of the novel, and of course we did not have a script, we had only the novel and my vision. That's all we had. Interviewer: What about the sense of time that you found in that place? Tarr: Hey man, if you are sitting in the Hungarian lowlands, I'm sure it's the same in the desert in, let's say, Arizona, when you are out there: there is no time, no distance anymore, you can go hours, weeks, and you don't see anything. You are out of time; you have a different sense of time then when you are living in a town. And so, the slowness of the drama came from this. You know, you have to understand that first you have to know the life of the places and then afterwards you have a feeling for how you have to film it." ("I Am Interested in the World, Not Just in Filming It": Béla Tarr on "Sátántangó", David Perrin, MUBI, 2019) P.S: Remembering the great Hungarian filmmaker, Béla Tarr, on his 71st birthday!

DepressedBergman

12,215 Aufrufe • vor 13 Tagen

Audrey Hepburn once called the scene of leaving a cat out in the rain 'the most unpleasant scene of her career,' because she loved animals and felt heartbroken having to act like that. The film crew even used about 9 trained cats to make sure the scene was filmed successfully.

Audrey Hepburn once called the scene of leaving a cat out in the rain 'the most unpleasant scene of her career,' because she loved animals and felt heartbroken having to act like that. The film crew even used about 9 trained cats to make sure the scene was filmed successfully.

Love Classical Music and Movies 🎺🎻💖🎥🎬

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Peter Jackson accepts his Palme d'Or and remembers how #Cannes saved "The Lord of the Rings" franchise: "The media was talking about the gamble was going to fail. So the first film, ‘Fellowship of the Ring,’ was going to come out in December 2001 and so we just finished shooting in December 2000, so we had a year of post-production to deal with. In that year, about February, [New Line Cinema founder] Bob Shaye decides that he wants to have 20 minutes of our film screen here in Cannes because he wants to change the press’ stories that were going out ... Bob Shaye rolled the dice, and so we quickly changed 20 minutes of film, really fast, and we brought that 20 minutes here in 2001 in May, and we did some press in that castle up on the hill and had a party there, and Bob’s great gamble really changed the perception of the film. And for me obviously, it was a life-changing thing. So by the time the film came out there was an anticipation that there wouldn’t have been if not for Cannes."

Peter Jackson accepts his Palme d'Or and remembers how #Cannes saved "The Lord of the Rings" franchise: "The media was talking about the gamble was going to fail. So the first film, ‘Fellowship of the Ring,’ was going to come out in December 2001 and so we just finished shooting in December 2000, so we had a year of post-production to deal with. In that year, about February, [New Line Cinema founder] Bob Shaye decides that he wants to have 20 minutes of our film screen here in Cannes because he wants to change the press’ stories that were going out ... Bob Shaye rolled the dice, and so we quickly changed 20 minutes of film, really fast, and we brought that 20 minutes here in 2001 in May, and we did some press in that castle up on the hill and had a party there, and Bob’s great gamble really changed the perception of the film. And for me obviously, it was a life-changing thing. So by the time the film came out there was an anticipation that there wouldn’t have been if not for Cannes."

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Alex Thomas opens up about a controversial moment in his career, rejecting a degrading scene in John Singleton’s 2001 film Baby Boy. According to Alex, he was offered a role that required him to perform oral before being beat up immediately after. The decision, however, didn’t sit well with director John Singleton, and Alex reveals that his refusal ultimately led to a fallout between the two. (🎥: The Art Of Dialogue/YouTube)

Alex Thomas opens up about a controversial moment in his career, rejecting a degrading scene in John Singleton’s 2001 film Baby Boy. According to Alex, he was offered a role that required him to perform oral before being beat up immediately after. The decision, however, didn’t sit well with director John Singleton, and Alex reveals that his refusal ultimately led to a fallout between the two. (🎥: The Art Of Dialogue/YouTube)

The Art Of Dialogue

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Liu Yungu, a man from Huai'an, Jiangsu, China, took away the little orange cat and the little raccoon cat in the name of adopting kittens. The cat was nailed to a cross and tortured to death, and the little raccoon cat was forced to watch the whole process. #CatAbusersChina

Liu Yungu, a man from Huai'an, Jiangsu, China, took away the little orange cat and the little raccoon cat in the name of adopting kittens. The cat was nailed to a cross and tortured to death, and the little raccoon cat was forced to watch the whole process. #CatAbusersChina

We Are Not Food

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Here's the third (and final) of the three films selected as the winners of the Kisan Film Festival Mitti A film by Unreachable, Punjab Not all families live in houses. Some live in fields, in memories, and in roots. A tender and evocative story from Punjab that stays with you long after it ends. #AsaanHotaTohHarKoiKisanHota #FarmerFilmFestival #MahindraTractors Link to watch the full film:

Here's the third (and final) of the three films selected as the winners of the Kisan Film Festival Mitti A film by Unreachable, Punjab Not all families live in houses. Some live in fields, in memories, and in roots. A tender and evocative story from Punjab that stays with you long after it ends. #AsaanHotaTohHarKoiKisanHota #FarmerFilmFestival #MahindraTractors Link to watch the full film:

anand mahindra

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A Clockwork Orange was pulled from cinemas in the United Kingdom by Stanley Kubrick after he and his family received threats tied to the controversy surrounding the film.

A Clockwork Orange was pulled from cinemas in the United Kingdom by Stanley Kubrick after he and his family received threats tied to the controversy surrounding the film.

Historic Vids

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It's our birthday! TCM was launched on this day in 1994. The first film to air that night was GONE WITH THE WIND, followed by SINGIN' IN THE RAIN, IT HAPPENED ONE NIGHT, THE PETRIFIED FOREST and CAT PEOPLE. Thank you for your support! We'll always have the movies!

It's our birthday! TCM was launched on this day in 1994. The first film to air that night was GONE WITH THE WIND, followed by SINGIN' IN THE RAIN, IT HAPPENED ONE NIGHT, THE PETRIFIED FOREST and CAT PEOPLE. Thank you for your support! We'll always have the movies!

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"Kiss From a Rose" was written by Seal around 1987, but was only very successful in 1995 thanks to the film Batman Forever. Released in 1994 on the album Seal II, the song almost went unnoticed. Director Joel Schumacher loved the track and insisted on putting it in the end credits of the film. After that, the track reached #1 in the US and won three Grammys in 1996 (Record of the Year, Song of the Year and Best Male Pop Vocal Performance).

"Kiss From a Rose" was written by Seal around 1987, but was only very successful in 1995 thanks to the film Batman Forever. Released in 1994 on the album Seal II, the song almost went unnoticed. Director Joel Schumacher loved the track and insisted on putting it in the end credits of the film. After that, the track reached #1 in the US and won three Grammys in 1996 (Record of the Year, Song of the Year and Best Male Pop Vocal Performance).

Ladytron Fan Account

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"Savage Streets" (1984) was banned in Australia due to its graphic violence, and heavily edited for its original release in the United Kingdom by the British Board of Film Classification. 'Savage Streets' received largely unfavorable reviews from critics upon release, who felt its depictions of violence. They considered it was exploitative and crude. Linda Blair's lead performance was also criticized. For her performance, Blair won the Golden Raspberry Award for Worst Actress. (Source: Wikipedia) P.S: On this day, 42 years ago, "Savage Streets" (1984) premiered in Springfield, Missouri, USA.

"Savage Streets" (1984) was banned in Australia due to its graphic violence, and heavily edited for its original release in the United Kingdom by the British Board of Film Classification. 'Savage Streets' received largely unfavorable reviews from critics upon release, who felt its depictions of violence. They considered it was exploitative and crude. Linda Blair's lead performance was also criticized. For her performance, Blair won the Golden Raspberry Award for Worst Actress. (Source: Wikipedia) P.S: On this day, 42 years ago, "Savage Streets" (1984) premiered in Springfield, Missouri, USA.

DepressedBergman

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The Blue Lagoon (1980) was filmed on Fiji’s remote Nanuya Levu, with the crew living in basic conditions. The film unknowingly made a scientific breakthrough: a species of iguana seen throughout the movie was actually unknown to biologists at the time. After seeing the film, herpetologist John Gibbons traveled to the island and officially identified the “Fiji Crested Iguana” in 1981.

The Blue Lagoon (1980) was filmed on Fiji’s remote Nanuya Levu, with the crew living in basic conditions. The film unknowingly made a scientific breakthrough: a species of iguana seen throughout the movie was actually unknown to biologists at the time. After seeing the film, herpetologist John Gibbons traveled to the island and officially identified the “Fiji Crested Iguana” in 1981.

Movie Moments Analyst

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When "Monty Python and the Holy Grail" (1975) was screened at the Cannes Film Festival, the audience laughed at the opening credits. However, the projector stopped and the audience just roared with laughter, thinking it was all part of this movie. It turned out there was a bomb scare, and firemen came in, stopped the screening and made everyone in the cinema go outside. John Cleese talking about the hilarious incident: "No one had ever mentioned to me about these hilarious credits that Michael Palin had written so I sat down expecting to see a perfectly normal set of credits at the front of the movie and there was all this wonderful Nordic stuff about moose. We first screened this at the Cannes Film Festival. These subtitles got huge laughs and right at the end of [the sequence] the film stopped and everyone laughed and applauded. Then these men in French fireman uniforms with gold helmets came racing in and stopped the film and we had to go outside. It was a bomb scare. And everybody thought it was part of the film. It was perfectly timed because it was just after the credits so it didn’t interrupt anything. That was a good start." (From "Special Edition DVD" audio commentary of the movie, transcript taken from Artofthetitle(dot)com) P.S: On this day, 51 years ago, "Monty Python and the Holy Grail" (1975) premiered in Los Angeles, USA.

When "Monty Python and the Holy Grail" (1975) was screened at the Cannes Film Festival, the audience laughed at the opening credits. However, the projector stopped and the audience just roared with laughter, thinking it was all part of this movie. It turned out there was a bomb scare, and firemen came in, stopped the screening and made everyone in the cinema go outside. John Cleese talking about the hilarious incident: "No one had ever mentioned to me about these hilarious credits that Michael Palin had written so I sat down expecting to see a perfectly normal set of credits at the front of the movie and there was all this wonderful Nordic stuff about moose. We first screened this at the Cannes Film Festival. These subtitles got huge laughs and right at the end of [the sequence] the film stopped and everyone laughed and applauded. Then these men in French fireman uniforms with gold helmets came racing in and stopped the film and we had to go outside. It was a bomb scare. And everybody thought it was part of the film. It was perfectly timed because it was just after the credits so it didn’t interrupt anything. That was a good start." (From "Special Edition DVD" audio commentary of the movie, transcript taken from Artofthetitle(dot)com) P.S: On this day, 51 years ago, "Monty Python and the Holy Grail" (1975) premiered in Los Angeles, USA.

DepressedBergman

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In Whiplash for this scene, J.K. Simmons and Miles Teller filmed several takes with Simmons only miming the slap. For the final take, however, they decided to film it with a real, genuine slap — and that’s the take used in the film.

In Whiplash for this scene, J.K. Simmons and Miles Teller filmed several takes with Simmons only miming the slap. For the final take, however, they decided to film it with a real, genuine slap — and that’s the take used in the film.

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This clip from 1935 is ‘The Little Colonel’ with Shirley Temple and Bill “Bojangles” Robinson performing a staircase tap routine. It was one of the first interracial dance pairings in mainstream film back then! Due to segregation era norms, physical contact between them was considered controversial, and some versions of the film were edited for regional audiences.

This clip from 1935 is ‘The Little Colonel’ with Shirley Temple and Bill “Bojangles” Robinson performing a staircase tap routine. It was one of the first interracial dance pairings in mainstream film back then! Due to segregation era norms, physical contact between them was considered controversial, and some versions of the film were edited for regional audiences.

Luce

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Lestat stealing the last word in Interview with the Vampire (1994) was never enough. Then “Sympathy for the Devil” kicks in, and it’s such a gloriously mischievous way to walk out of the story.

Lestat stealing the last word in Interview with the Vampire (1994) was never enough. Then “Sympathy for the Devil” kicks in, and it’s such a gloriously mischievous way to walk out of the story.

cinesthetic.

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Mirage was the new human-buddy lead in #Transformers ROTB. The studio wanted a character other than Bumblebee to have that role and be in the spotlight with Optimus Prime. He was designed to look "handsome" and to be sporty. He was the only character in the film with more than 1 alternate form. He had a total of 4 that we built in 3D (1 of which was cut from the film) and 1 that was only in live action (the garbage truck). I served as the asset Lead and did the Primary Texturing & Look Development for him. I also modelled and designed his eyes, upgrading them from what we had originally in the concept and ref. We spent a lot of time getting his car paint to look correct in shots, matching closely to on set reference pictures of the Porsche. At the end of the film, Mirage gives up his life and becomes the Exo-suit for Noah. The suit was built separately, using the same tooling and systems as Mirage to ensure visual continuity between them for the transformation from Mirage to Noah Exo-suit. He was voice acted by Pete Davidson, a change which was made later in production. The animators tried to introduce some of Pete's mannerisms into Mirage's animations too. Overall he was a character which was a lot of fun to work on and I'm proud of the work the team did to get him to look the way he does in the final film. CREDITS Primary Modelling by Lilian Robert. Final Texturing & LookDev by Martin Kamminga. Various other artists supported the creation of Mirage and the Exo-suit. The Exo-suit and Mirage were sent to WetaFX for the final sequence. Video by Paramount, MPC, and WetaFX.

Mirage was the new human-buddy lead in #Transformers ROTB. The studio wanted a character other than Bumblebee to have that role and be in the spotlight with Optimus Prime. He was designed to look "handsome" and to be sporty. He was the only character in the film with more than 1 alternate form. He had a total of 4 that we built in 3D (1 of which was cut from the film) and 1 that was only in live action (the garbage truck). I served as the asset Lead and did the Primary Texturing & Look Development for him. I also modelled and designed his eyes, upgrading them from what we had originally in the concept and ref. We spent a lot of time getting his car paint to look correct in shots, matching closely to on set reference pictures of the Porsche. At the end of the film, Mirage gives up his life and becomes the Exo-suit for Noah. The suit was built separately, using the same tooling and systems as Mirage to ensure visual continuity between them for the transformation from Mirage to Noah Exo-suit. He was voice acted by Pete Davidson, a change which was made later in production. The animators tried to introduce some of Pete's mannerisms into Mirage's animations too. Overall he was a character which was a lot of fun to work on and I'm proud of the work the team did to get him to look the way he does in the final film. CREDITS Primary Modelling by Lilian Robert. Final Texturing & LookDev by Martin Kamminga. Various other artists supported the creation of Mirage and the Exo-suit. The Exo-suit and Mirage were sent to WetaFX for the final sequence. Video by Paramount, MPC, and WetaFX.

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A young Palestinian child living in a refugee camp was seen sharing his meal with a stray cat. The moment, which was captured on video, showed the child offering his food despite the hardship of living in displacement and access to food and resources being limited.

A young Palestinian child living in a refugee camp was seen sharing his meal with a stray cat. The moment, which was captured on video, showed the child offering his food despite the hardship of living in displacement and access to food and resources being limited.

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