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Tom Holland says he couldn’t get the script for the next Spider-Man movie while everyone else at the studio had already read it. “I was shooting ‘The Odyssey’ with Christopher Nolan.” “I kept blowing up the studio saying, ‘Guys, can I get the Spider-Man script?’” “They kept telling me,...

263,326 views • 4 days ago •via X (Twitter)

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On this day, 61 years ago, Sidney J. Furie's "The Ipcress File" (1965) was released in the U.K. On the first day of shooting, director Sidney J. Furie gathered the cast and said, "This is what I think of the script." He then set it on fire. Michael Caine on the incident: "The driver picked me up for the first day of shooting and asked me if I was an actor in the movie, and if I had read Len Deighton’s book. When I told him I was the lead in it, he told me, ‘The whole thing is a load of rubbish, isn’t it?’ Then, when I arrived on set, Sidney had everyone gather around. He asked if anyone had any matches, and I smoked at that time, so I handed mine over. Sidney took the script, lit the match, looked at everyone and said, ‘Here’s what I think of this script’ and set the match to it. That was his copy of the script, so he asked if anyone had another copy to consult after he had burned his own, so I gave him mine. But it was a gesture, an illustration. It was a hell of a way to be christened into being the lead in a film." Sidney J. Furie on the reason for the movie's peculiar style: "I was very depressed always when we started shooting, thinking that it was going to be really lousy and I didn’t know what to do, so I told myself I would come up with a style of shooting that is different. I put shoulders across the screen, I shot up at things, I shot down, just to make it different, to give it ambiance. It was done out of insecurity, with a little cognac spiked in my morning coffee to give me courage." ("Sidney J. Furie: Life and Films", Daniel Kremer, 2015)

DepressedBergman

55,813 views • 4 months ago

John David Washington says he showed up 30 minutes late to Christopher Nolan's house, barely understood the script the first time he read it........and still walked away with the lead role. Josh Horowitz: "Again, this crazy, amazing honor opportunity. Not many people get to be the protagonist, literally, in a Chris Nolan movie." "Does he deliver a script? Is it a conversation? How does it go down?" David Washington: "Yeah, I was told to be at his house at a certain time, and we're gonna talk about something. That was it." "I was in there like, maybe he's doing research for something else... We talked about movies and we talked about like how I love the movie, like movies. We talked about our love for films and, and just life and sports and stuff like that." "So after the meeting, I was like... I was thirty minutes late to the meeting. I was running up to the gate and like sweating profusely... And Emma greets me at the door, his wife, producing partner, and she's just laughing." "I think she could see how panicked I was... But we end up staying two and two and a half hours, and then after that, I got the call saying, 'Uh, will you be the protagonist?'" "I went crazy. We went, we had like three dinners, like it was like a Super Bowl... I felt like I made the Hall of Fame." On reading the script in Nolan's office: "I'm in Christopher Nolan's office reading a script of his. What is my life? ...I didn't understand that shit. Like, it took about three some plus hours to read it, you know?" "But I really did sincerely understand there's a way into the character... I kinda liked it. I can create, we can create together, and he kinda left that to me. He really trusted me with that. And I really love him for it because he didn't have to." "That's Christopher Nolan. He has his way... But it was quite the opposite. He wanted me to use my instincts."

Dunmola♋

50,144 views • 10 days ago

Samuel L. Jackson explains how he landed the role of Jules in Pulp Fiction, and what it was like seeing the film for the first time on the big screen: “Pulp Fiction and I came together in a very strange kind of way. I remember auditioning for Quentin for Reservoir Dogs in New York (for the role of of Detective Jim Holdaway, Mr. Orange’s police contact). And apparently I didn't get that role. But I was at Sundance the year that he screened it for the first time. I was sitting there and I watched that movie - I was awed by it. I mean, there were people running up the aisles when Michael Madsen was cutting the cop's ear off. People were going, "Oh my God, this is horrible!" All these “auteurs” were running out of the theatre. I was like, "This is good. This is happening. This is different." So after the film, I walked up to Quentin and said, "This film's amazing, man. It's great." And he looked at me and said, "Hey! How'd you like the guy who got your part?" And I was amazed that he even remembered who I was - but he remembered me. A year or so later, I got a phone call saying Quentin Tarantino wants to have dinner with you, because he'd seen Jungle Fever and he liked that Gator character. When we had dinner, we were sitting there talking. We started talking about Hong Kong films and cartoons and foreign movies and obscure things that we watched, horror movies. We found out we liked the same kind of stuff. And he told me he was writing this thing, and he was writing this part with me in mind. He was going to send it to me. I went off to do another film. I was in the backwoods of Virginia somewhere doing a film, and the script came. A little plain brown wrapper from Jersey Films. And Jersey's got these gangster images on the logo. And it said, "If you show this script to anybody, two guys named Ernie and Luigi will come and break both of your legs." Whatever. I went, "Yeah, right." So I sat down and read it. Boom. I read this thing. It's like, "Oh my God. This is awesome." And then I said to myself, "Nobody writes a script this good. There's no way that this script is as good as I thought it was." I closed it. I opened it again. I read it immediately. Okay. This is great - If whoever produces this film lets him shoot exactly what I just read, if they stay away from it, they don't try to edit any of this stuff out - this is going to be a great film. It's going to be kind of audience-specific, because I like that kind of stuff. I have friends that I knew would like it. It was a generational kind of film. I never thought it would cross over and do all this stuff. We shot it. We had a great time doing it. And the first time I actually saw the film was at the Cannes Film Festival. That night, it screened, and I was sitting there watching the film. The audience was loving this movie, loving it. About halfway through, I realized there were subtitles at the bottom of it. So I said, "Hey, these people are reading it, and they're getting it. This might be special. This really might be something special." And actually, by the time it was over, there were tears running down my face. I was just so pleased that I was part of that particular film… I never felt that satisfied, and that kind of full about a performance and about being part of something as I was in that particular moment.” Quote comes from an Interview with the American Film Institute 2010

Gangster Cinema Central

85,366 views • 1 month ago

Richard Donner on why he made 'Superman' (1978) & the movie's connection to François Truffaut's 'Jules & Jim' (1962): "I certainly didn’t know it when we were making 'Superman' (1978) [that it would have a profound impact on millions of people around the world]. I was just trying to make the best movie I could make. I think it was during the first showing I attended — not the opening, but a regular screening in a theater, in New York. I watched the audience experience that movie and I was very moved, very excited. Before I came on board, the script was kind of a parody of a parody, It had been really well written by three or four really good writers, but they had been directed by a couple of Hungarians [producers Alexander and Ilya Salkind] who saw it as a comic book rather than a piece of history. Their script didn’t have any respect for what the character stood for, since I was a little kid. Tom Mankiewicz and I had known each other for years, and we’d always talked about working together, so I presented him with the problem, I asked him to bring a sense of reality, or verisimilitude, to the story. I wanted to be able to prove that a man could fly. Tom rewrote the entire script. Years before, there had been a French film called 'Jules and Jim' (1962, Truffaut), a great film. Two guys fall in love with the same woman. That’s what Superman was: two guys in love with the same woman. It happened to be that the two guys were the same guy, but not in the woman’s eyes. I asked Tom ‘How do we make that into a love story?’ He just fell right into it." I was trying to let the audience know that they were not looking at a comic book, or what had been done with Superman over the ages. This was the true story of Superman. In my eyes, when I was a kid, he was real. And he was in Tom’s eyes, too. We decided that’s the way we wanted the movie to be." (Richard Donner's interview with Michael P Coleman, 2020)

DepressedBergman

36,100 views • 7 months ago