“His influence will never wane; there simply isn’t anyone who’s any good who isn’t standing on his shoulders.”
That’s what Steven Soderbergh wrote about Gordon Willis, the cinematographer who changed the American cinema forever with his work on Francis Ford Coppola’s “The Godfather.” Though other filmmakers had used some of the same techniques as Willis — John Ford and Gregg Toland made extensive use of practically motivated light sources on “The Long Voyage Home,” and many noir films experimented with placing their characters in darkness — the revolution didn’t really take hold until he applied the approach to what became one of the most critically acclaimed and commercially successful movies of all time.
“The Godfather” celebrates its 50th anniversary this year and Willis’ work continues to inform the ways in which cinematographers approach their work; look no further than Greig Fraser’s character and psychology-driven lighting on “The Batman” for proof.
That’s what Steven Soderbergh wrote about Gordon Willis, the cinematographer who changed the American cinema forever with his work on Francis Ford Coppola’s “The Godfather.” Though other filmmakers had used some of the same techniques as Willis — John Ford and Gregg Toland made extensive use of practically motivated light sources on “The Long Voyage Home,” and many noir films experimented with placing their characters in darkness — the revolution didn’t really take hold until he applied the approach to what became one of the most critically acclaimed and commercially successful movies of all time.
“The Godfather” celebrates its 50th anniversary this year and Willis’ work continues to inform the ways in which cinematographers approach their work; look no further than Greig Fraser’s character and psychology-driven lighting on “The Batman” for proof.
- 4/14/2022
- by Jim Hemphill
- Indiewire
Rarely one finds a friend on the Criterion Channel—discounting the parasitic relationship we form with filmmakers, I mean—but it’s great seeing their March lineup give light to Sophy Romvari, the <bias>exceptionally talented</bias> filmmaker and curator whose work has perhaps earned comparisons to Agnès Varda and Chantal Akerman but charts its own path of history and reflection. It’s a good way to lead into an exceptionally strong month, featuring as it does numerous films by Pier Paolo Pasolini, the great Japanese documentarian Kazuo Hara, newfound cult classic Arrebato, and a number of Criterion editions.
On the last front we have The Age of Innocence, Bull Durham, A Raisin in the Sun, The Celebration, Merrily We Go to Hell, and Design for Living. There’s always something lingering on the watchlist, but it might have to wait a second longer—March is an opened floodgate.
See the full...
On the last front we have The Age of Innocence, Bull Durham, A Raisin in the Sun, The Celebration, Merrily We Go to Hell, and Design for Living. There’s always something lingering on the watchlist, but it might have to wait a second longer—March is an opened floodgate.
See the full...
- 2/21/2022
- by Nick Newman
- The Film Stage
Northern Ireland Screen has backed seven feature documentaries in the last year.
Northern Ireland’s documentary scene is thriving as the third annual Docs Ireland festival opens in Beflast today, Wednesday, August 25. Features from Northern Irish filmmakers Teresa Lavina and Brendan Byrne are being showcased in a programme that also includes two features in the Irish language.
The festival was created in 2019 as part of the existing Belfast Film Festival. It aims to turn the spotlight on the storytelling output of Irish and international non-fiction filmmakers, as well as leading international documentary filmmakers and also includes industry events and a marketplace.
Northern Ireland’s documentary scene is thriving as the third annual Docs Ireland festival opens in Beflast today, Wednesday, August 25. Features from Northern Irish filmmakers Teresa Lavina and Brendan Byrne are being showcased in a programme that also includes two features in the Irish language.
The festival was created in 2019 as part of the existing Belfast Film Festival. It aims to turn the spotlight on the storytelling output of Irish and international non-fiction filmmakers, as well as leading international documentary filmmakers and also includes industry events and a marketplace.
- 8/25/2021
- by Esther McCarthy
- ScreenDaily
There’s no movie quite like Robert Rossen’s adaptation of the J.R. Salamanca book: mental illness and disturbance is neither simplified nor jammed into a preconceived pattern. There is a strong mythical element to Jean Seberg’s enigmatic Lilith, who at times seems the breathing incarnation of elemental human forces — I would imagine the Greeks believed certain ‘disturbed’ persons to be inhabited by the Gods. The equal star of the show is the cameraman Eugen Schüfftan, an artist whose near-expressionist images fill the imagination.
Lilith
Blu-ray
Powerhouse Indicator
1964 / B&W / 1:85 / 114 min. / Street Date April 22, 2019 / available from Powerhouse Films UK / £15.99
Starring: Warren Beatty, Jean Seberg, Peter Fonda, Kim Hunter, Anne Meacham, Jessica Walter, Gene Hackman, James Patterson.
Cinematography: Eugen Schüfftan
Film Editor: Aram Avakian
Original Music: Kenyon Hopkins
From a novel by by J.R. Salamanca
Written, Produced and Directed by Robert Rossen
Writer/director Robert Rossen’s Lilith...
Lilith
Blu-ray
Powerhouse Indicator
1964 / B&W / 1:85 / 114 min. / Street Date April 22, 2019 / available from Powerhouse Films UK / £15.99
Starring: Warren Beatty, Jean Seberg, Peter Fonda, Kim Hunter, Anne Meacham, Jessica Walter, Gene Hackman, James Patterson.
Cinematography: Eugen Schüfftan
Film Editor: Aram Avakian
Original Music: Kenyon Hopkins
From a novel by by J.R. Salamanca
Written, Produced and Directed by Robert Rossen
Writer/director Robert Rossen’s Lilith...
- 4/27/2019
- by Glenn Erickson
- Trailers from Hell
Film editor Barry Malkin, a two-time Oscar nominee best known for his many collaborations with Francis Ford Coppola, died Thursday. He was 80.
Malkin began his career in 1963 as an apprentice to Dede Allen on Elia Kazan’s “America America.” He was first credited as an editor for his work on “The Patty Duke Show.” Through his friendship with editor and director Aram Avakian, Malkin was introduced to Francis Ford Coppola, and was hired to edit Coppola’s 1969 film “The Rain People.”
“The Rain People” began a long collaboration between the director and editor. Malkin would work either by himself or as part of the editing team on eight additional Coppola productions. Most significantly, Malkin worked on three “Godfather” projects: “The Godfather, Part II” alongside Richard Marks and Peter Zinner in 1974; “The Godfather Saga,” which edited “The Godfather” parts one and two into a chronological TV miniseries featuring scenes not included in the theatrical releases,...
Malkin began his career in 1963 as an apprentice to Dede Allen on Elia Kazan’s “America America.” He was first credited as an editor for his work on “The Patty Duke Show.” Through his friendship with editor and director Aram Avakian, Malkin was introduced to Francis Ford Coppola, and was hired to edit Coppola’s 1969 film “The Rain People.”
“The Rain People” began a long collaboration between the director and editor. Malkin would work either by himself or as part of the editing team on eight additional Coppola productions. Most significantly, Malkin worked on three “Godfather” projects: “The Godfather, Part II” alongside Richard Marks and Peter Zinner in 1974; “The Godfather Saga,” which edited “The Godfather” parts one and two into a chronological TV miniseries featuring scenes not included in the theatrical releases,...
- 4/6/2019
- by Ross A. Lincoln
- The Wrap
Film editor Barry Malkin, a two-time editing Oscar nominee for The Godfather: Part III and The Cotton Club, has died. He was 80.
Malkin worked on more than 30 films in his lifetime and was a longtime collaborator with Godfather trilogy director Francis Ford Coppola, who he teamed with on 11 feature films.
Malkin began his career as an apprentice to Dede Allen on the 1962 film America America, directed by Elia Kazan. There he met editor Aram Avakian, and went on to become his assistant editor on 1964’s Lilith. His first full credits as an editor came on TV’s The Patty Duke Show.
The Coppola connection came through Avakian, and the director hired Malkin to edit his The Rain People (1969).
It was the start of a long association, and Malkin earned a BAFTA nomination for best film editing for The Godfather: Part II.
Malkin also had editing credits on such films as...
Malkin worked on more than 30 films in his lifetime and was a longtime collaborator with Godfather trilogy director Francis Ford Coppola, who he teamed with on 11 feature films.
Malkin began his career as an apprentice to Dede Allen on the 1962 film America America, directed by Elia Kazan. There he met editor Aram Avakian, and went on to become his assistant editor on 1964’s Lilith. His first full credits as an editor came on TV’s The Patty Duke Show.
The Coppola connection came through Avakian, and the director hired Malkin to edit his The Rain People (1969).
It was the start of a long association, and Malkin earned a BAFTA nomination for best film editing for The Godfather: Part II.
Malkin also had editing credits on such films as...
- 4/6/2019
- by Bruce Haring
- Deadline Film + TV
Anybody that appreciates good theater and good moviemaking will be in awe of Arthur Penn’s marvelous visualization of this tale of a determined woman achieving the impossible — teaching a child that can neither see nor hear. The knock down, drag ’em out scenes between Anne Bancroft and Patty Duke are unique, to say the least.
The Miracle Worker
Blu-ray
Olive Films
1962 / B&W / 1:66 widescreen / 106 min. / Street Date October 31, 2017 / available through the Olive Films website / 29.98
Starring: Anne Bancroft, Patty Duke, Victor Jory, Inga Swenson, Andrew Prine, Judith Lowry.
Cinematography: Ernesto Caparrós
Film Editor: Aram Avakian
Art Direction: George Jenkins
Original Music: Laurence Rosenthal
Written by William Gibson, from his stage play
Produced by Fred Coe
Directed by Arthur Penn
I can barely believe that Arthur Penn’s obviously superior picture The Miracle Worker wasn’t picked off by Criterion years ago. It’s that good — it ought to...
The Miracle Worker
Blu-ray
Olive Films
1962 / B&W / 1:66 widescreen / 106 min. / Street Date October 31, 2017 / available through the Olive Films website / 29.98
Starring: Anne Bancroft, Patty Duke, Victor Jory, Inga Swenson, Andrew Prine, Judith Lowry.
Cinematography: Ernesto Caparrós
Film Editor: Aram Avakian
Art Direction: George Jenkins
Original Music: Laurence Rosenthal
Written by William Gibson, from his stage play
Produced by Fred Coe
Directed by Arthur Penn
I can barely believe that Arthur Penn’s obviously superior picture The Miracle Worker wasn’t picked off by Criterion years ago. It’s that good — it ought to...
- 11/14/2017
- by Glenn Erickson
- Trailers from Hell
Paul Thomas Anderson‘s new documentary, Junun, premiered last night at the New York Film Festival and has already debuted on Mubi globally, but for those looking for a preview, today we have the first trailer. The film follows his trek with Jonny Greenwood to Rajasthan in northwest India, where he and a group of musicians recorded an album (out on November 13th via Nonesuch) and were hosted by the Maharaja of Jodhpur.
While the director’s post-screening at Alice Tully Hall was quite brief, he did provide a few new details related to the project. Revealing the film was shot on the same Jodhpur location as in The Dark Knight Rises, he also said he attempted to shoot it with “newfangled, sexy camera gear” that got caught up in customs “and never made it out.” So, as one can see in the film, he just used what he had in his bag,...
While the director’s post-screening at Alice Tully Hall was quite brief, he did provide a few new details related to the project. Revealing the film was shot on the same Jodhpur location as in The Dark Knight Rises, he also said he attempted to shoot it with “newfangled, sexy camera gear” that got caught up in customs “and never made it out.” So, as one can see in the film, he just used what he had in his bag,...
- 10/9/2015
- by Jordan Raup
- The Film Stage
Dorothy Tristan wrote and stars in the latest film from Academy Award® nominated director John Hancock,"The Looking Glass," set to open in New York at the Cinema Village, and in Los Angeles at the Fine Arts on October 23, 2015.
“I was very moved by the film. Dorothy gives an extremely touching performance, one that is definitely worthy of an Academy Award nomination,” said film critic Kathleen Carroll.
The official synopsis reads: "After losing her mother, troubled 13-year-old Julie must go to Indiana to live with her grandmother, Karen. Karen, a former star of stage and screen, now facing the end of her life, wants desperately to connect with her granddaughter in a meaningful way and pass on all she knows before it's too late. But the two of them—each stubborn in her own way—butt heads at every turn. Soon, Karen makes a remarkable discovery: Julie’s powerful, unique singing voice. Will the sudden discovery of Julie’s talent be enough to bring the two together and allow Karen to pass on her legacy? This beautifully shot film shows a tenderness in its treatment of family matters such as depression and low self-esteem. In watching the story unfold, the watcher is touched at the beauty and sadness of the rebellious young girl. Our hopes for her finding herself and allowing her voice to be shared with the world engages as the movie unfolds. This is the sort of film families with pre-teen and teen girls and boys would enjoy together. Then one talks of 'family entertainment,' this is the film that fits for a pleasurable movie day"
Married for forty years, "The Looking Glass" finds Dorothy Tristan and John Hancock collaborating for the seventh time. Since 1994, when their house was destroyed in the Malibu fire, they’ve been living and working in La Porte County, Indiana, and turning that little corner of the Midwest into a filmmaking hub.
Dorothy appeared in the director's “California Dreaming” and wrote “Steal the Sky,” “Weeds,” “A Piece of Eden” and “Suspended Animation.” She also did the final polish on Hancock's Christmas classic, “Prancer.” Tristan began her acting career in theatre, playing Charlotte Corday in the national touring production of “Marat/Sade.” She was Helena in “Midsummer Night’s Dream” and Lady Macduff in “Macbeth” at Stratford, Connecticut. She played Blanche Dubois opposite Jon Voight in “Streetcar Named Desire.” She had leading or supporting roles in a number of major motion pictures including “Klute,” “Man on a Swing,” and Aram Avakian’s “End of the Road” with James Earl Jones and Stacy Keach.
Hancock’s feature film credits include “Bang The Drum Slowly,” “California Dreaming,” “Let’s Scare Jessica to Death,” “Baby Blue Marine,” “Weeds,’ and the Christmas classic “Prancer,” starring Sam Elliott, Cloris Leachman, Abe Vigoda and Rebecca Harrell, which he shot "The Looking Glass" on his family’s fruit farm in Laporte County. His current production, , brings him home again, physically and emotionally. He says he “tried to catch the sense of returning to this place where you grew up, and falling in love with what you were not truly able to see before.
The story hits close to home for Hancock and Tristan. “Dorothy and I have reached a point in our lives where we’ve thought a lot about what we’ve accomplished, and what kind of legacy we hope to leave behind once we’re no longer here,” says Hancock, 76.
“You always hope you’ve had some type of impact on people, that what you did with your life meant something to people. That’s what this story is about: reaching out to those closest to you and imparting on them all your knowledge, all your life lessons so a part of you lives on.
“You’re preparing the next generation for greatness. That’s true not just for the characters in the film, but for Dorothy and me, that maybe we can inspire a new generation of filmmakers to create movies that mean something to people.”...
“I was very moved by the film. Dorothy gives an extremely touching performance, one that is definitely worthy of an Academy Award nomination,” said film critic Kathleen Carroll.
The official synopsis reads: "After losing her mother, troubled 13-year-old Julie must go to Indiana to live with her grandmother, Karen. Karen, a former star of stage and screen, now facing the end of her life, wants desperately to connect with her granddaughter in a meaningful way and pass on all she knows before it's too late. But the two of them—each stubborn in her own way—butt heads at every turn. Soon, Karen makes a remarkable discovery: Julie’s powerful, unique singing voice. Will the sudden discovery of Julie’s talent be enough to bring the two together and allow Karen to pass on her legacy? This beautifully shot film shows a tenderness in its treatment of family matters such as depression and low self-esteem. In watching the story unfold, the watcher is touched at the beauty and sadness of the rebellious young girl. Our hopes for her finding herself and allowing her voice to be shared with the world engages as the movie unfolds. This is the sort of film families with pre-teen and teen girls and boys would enjoy together. Then one talks of 'family entertainment,' this is the film that fits for a pleasurable movie day"
Married for forty years, "The Looking Glass" finds Dorothy Tristan and John Hancock collaborating for the seventh time. Since 1994, when their house was destroyed in the Malibu fire, they’ve been living and working in La Porte County, Indiana, and turning that little corner of the Midwest into a filmmaking hub.
Dorothy appeared in the director's “California Dreaming” and wrote “Steal the Sky,” “Weeds,” “A Piece of Eden” and “Suspended Animation.” She also did the final polish on Hancock's Christmas classic, “Prancer.” Tristan began her acting career in theatre, playing Charlotte Corday in the national touring production of “Marat/Sade.” She was Helena in “Midsummer Night’s Dream” and Lady Macduff in “Macbeth” at Stratford, Connecticut. She played Blanche Dubois opposite Jon Voight in “Streetcar Named Desire.” She had leading or supporting roles in a number of major motion pictures including “Klute,” “Man on a Swing,” and Aram Avakian’s “End of the Road” with James Earl Jones and Stacy Keach.
Hancock’s feature film credits include “Bang The Drum Slowly,” “California Dreaming,” “Let’s Scare Jessica to Death,” “Baby Blue Marine,” “Weeds,’ and the Christmas classic “Prancer,” starring Sam Elliott, Cloris Leachman, Abe Vigoda and Rebecca Harrell, which he shot "The Looking Glass" on his family’s fruit farm in Laporte County. His current production, , brings him home again, physically and emotionally. He says he “tried to catch the sense of returning to this place where you grew up, and falling in love with what you were not truly able to see before.
The story hits close to home for Hancock and Tristan. “Dorothy and I have reached a point in our lives where we’ve thought a lot about what we’ve accomplished, and what kind of legacy we hope to leave behind once we’re no longer here,” says Hancock, 76.
“You always hope you’ve had some type of impact on people, that what you did with your life meant something to people. That’s what this story is about: reaching out to those closest to you and imparting on them all your knowledge, all your life lessons so a part of you lives on.
“You’re preparing the next generation for greatness. That’s true not just for the characters in the film, but for Dorothy and me, that maybe we can inspire a new generation of filmmakers to create movies that mean something to people.”...
- 10/6/2015
- by Sydney Levine
- Sydney's Buzz
Falmouth, Mass. (AP) — Gordon Willis, one of Hollywood's most celebrated and influential cinematographers, nicknamed "The Prince of Darkness" for his subtle but indelible touch on such definitive 1970s releases as "The Godfather," ''Annie Hall" and "All the President's Men," has died. He was 82. Suzanne Berestecky of the Chapman Cole & Gleason funeral home in Falmouth confirmed Monday that he died and that the home is handling arrangements. Details on Willis' death were not immediately available. Willis was nicknamed The Prince of Darkness for his subtle but indelible touch on such definitive 1970s releases as "The Godfather," ''Annie Hall" and "All the President's Men." He retired after the 1997 movie "The Devil's Own." Through much of the 1970s, Willis was the cameraman whom some of Hollywood's top directors relied on during one of filmmaking's greatest eras. Francis Ford Coppola used him for the first two "Godfather" movies, Woody Allen for "Annie Hall" and...
- 5/19/2014
- by AP Staff
- Hitfix
One of Hollywood's most celebrated and influential cinematographers has died. Gordon Willis was 82. Suzanne Berestecky of the Chapman Cole & Gleason funeral home in Falmouth, Mass., confirmed Monday that he died and that the home is handling arrangements. Details on Willis's death were not immediately available. Willis was nicknamed The Prince of Darkness for his subtle but indelible touch on such definitive 1970s releases as The Godfather, 'Annie Hall and All the President's Men. He retired after the 1997 movie The Devil's Own. Through much of the 1970s, Willis was the cameraman whom some of Hollywood's top directors relied on during one of filmmaking's greatest eras.
- 5/19/2014
- by Associated Press
- PEOPLE.com
Deborah Kerr in the classic ghost story The Innocents, screenplay by Truman Capote.
The Anthology Film Archives in New York is holding a unique film festival throughout the month of September honoring screenwriters who were best known for their work as novelists. Here are the details:
On this calendar we are highlighting the screenwriting work of writers best known as novelists – including pulp novelists like Richard Matheson, Donald Westlake, and Elmore Leonard, cult figures such as Don Carpenter and John Fante, and such highly respected authors as Truman Capote and Joan Didion. Paying homage to the long tradition of novelists trying their hand at writing for the movies, we will present a selection of films based not on these writers’ novels, but on their original screenplays (which are sometimes adaptations of other novelists’ work).
From The Pen Of is programmed in close collaboration with author/musician Alan Licht.
Very special thanks to Alan Licht,...
The Anthology Film Archives in New York is holding a unique film festival throughout the month of September honoring screenwriters who were best known for their work as novelists. Here are the details:
On this calendar we are highlighting the screenwriting work of writers best known as novelists – including pulp novelists like Richard Matheson, Donald Westlake, and Elmore Leonard, cult figures such as Don Carpenter and John Fante, and such highly respected authors as Truman Capote and Joan Didion. Paying homage to the long tradition of novelists trying their hand at writing for the movies, we will present a selection of films based not on these writers’ novels, but on their original screenplays (which are sometimes adaptations of other novelists’ work).
From The Pen Of is programmed in close collaboration with author/musician Alan Licht.
Very special thanks to Alan Licht,...
- 9/5/2012
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
Blu-ray & DVD Release Date: Sept. 18, 2012
Price: DVD $19.97
Studio: Warner
James Earl Jones (l.) looks into Stacy Keach's condition in End of the Road.
A cinematic counter-culture milestone, the 1970 comedy-drama cult film End of the Road resonated with members and fans of the counter-culture movement and was viewed as controversial and even shocking at the time of its release.
The film focuses on Jacob Horner (Stacy Keach, The Long Riders), a recent graduate of Ivy-league university. Graduation doesn’t appear to have set Jacob along on any specific path, as we first see him waiting on the platform of a New England train station in a catatonic state. Standing there for days without moving like a human sculpture, he’s an art installation of sort representing broken promise. Doctor D (James Earl Jones, Cry, The Beloved Country) soon discovers him and takes him back to “the farm of psychic remobilization.
Price: DVD $19.97
Studio: Warner
James Earl Jones (l.) looks into Stacy Keach's condition in End of the Road.
A cinematic counter-culture milestone, the 1970 comedy-drama cult film End of the Road resonated with members and fans of the counter-culture movement and was viewed as controversial and even shocking at the time of its release.
The film focuses on Jacob Horner (Stacy Keach, The Long Riders), a recent graduate of Ivy-league university. Graduation doesn’t appear to have set Jacob along on any specific path, as we first see him waiting on the platform of a New England train station in a catatonic state. Standing there for days without moving like a human sculpture, he’s an art installation of sort representing broken promise. Doctor D (James Earl Jones, Cry, The Beloved Country) soon discovers him and takes him back to “the farm of psychic remobilization.
- 7/16/2012
- by Laurence
- Disc Dish
"This was never a fun place. Oh, they had a pool and everything, but it was never fun."
The title 11 Harrowhouse (1974) has a grim sound to it, but it's a largely light movie, tipped over from heavy heist to comic caper by the onscreen presence and script contribution of Charles Grodin. But more on him later.
Director Aram Avakian made only a few films (this was his last), including an adaptation of John Barth's End of the Road (1970) scripted by Terry Southern that's soon to be reissued courtesy of Steven Soderbergh, and Cops and Robbers (1973), adapted from Donald Westlake's novel by the author himself. His strongest suite as filmmaker was his editing, hardly surprising since he was an editor himself, cutting early films by Coppola and Arthur Penn.
In his untrustworthy memoir The Kid Stays in the Picture, Robert Evans recounts firing Avakian from The Godfather, after a Machiavellian attempt to get Coppola fired.
The title 11 Harrowhouse (1974) has a grim sound to it, but it's a largely light movie, tipped over from heavy heist to comic caper by the onscreen presence and script contribution of Charles Grodin. But more on him later.
Director Aram Avakian made only a few films (this was his last), including an adaptation of John Barth's End of the Road (1970) scripted by Terry Southern that's soon to be reissued courtesy of Steven Soderbergh, and Cops and Robbers (1973), adapted from Donald Westlake's novel by the author himself. His strongest suite as filmmaker was his editing, hardly surprising since he was an editor himself, cutting early films by Coppola and Arthur Penn.
In his untrustworthy memoir The Kid Stays in the Picture, Robert Evans recounts firing Avakian from The Godfather, after a Machiavellian attempt to get Coppola fired.
- 7/28/2011
- MUBI
Steven Soderbergh surprised some when he told a packed crowd at Comic-Con on Friday that he wasn’t retiring in the way that Matt Damon had portrayed it to the media. That doesn’t mean he isn’t leaving his craft behind — he seems intent on doing so — just that it may be happening at a later time and under different circumstances than the actor had indicated.
This is one of several things he discussed with ThePlaylist, who were lucky enough to talk with the acclaimed filmmaker. The revealing conversation also brought up news about a new documentary that he’s made, what may happen with his abandoned Cleopatra film, Cleo, and how he might not stop directing.
This new documentary, which we’re just hearing about now, centers on the making of the 1970 counter-culture film End of the Road. His connection to it seems to simply be the fact...
This is one of several things he discussed with ThePlaylist, who were lucky enough to talk with the acclaimed filmmaker. The revealing conversation also brought up news about a new documentary that he’s made, what may happen with his abandoned Cleopatra film, Cleo, and how he might not stop directing.
This new documentary, which we’re just hearing about now, centers on the making of the 1970 counter-culture film End of the Road. His connection to it seems to simply be the fact...
- 7/26/2011
- by Nick Newman
- The Film Stage
A look at what's new on DVD today:
"Let Me In" (2010)
Directed by Matt Reeves
Released by Anchor Bay Entertainment
"Never Let Me Go" (2010)
Directed by Mark Romanek
Released by Fox Home Entertainment
Two of 2010's most underrated films that approach their respective genres from radically different perspectives than most, "Cloverfield" director Matt Reeves' "Let Me In" and Mark Romanek's "Never Let Me Go" will finally have the opportunity to stand out on home video. In "Let Me In," Reeves applies some of his own biographical touchstones for this remake of Tomas Alfredson's horror film about the unlikely friendship between a vampire (Chloe Moretz) and a lonely young boy (Kodi Smit-McPhee). Romanek's adaptation of Kazuo Ishiguro's much-beloved sci-fi novel about a group of children raised apart from the rest of society for purposes that are unknown to them. (Alison Willmore's reviews for "Let Me In" and...
"Let Me In" (2010)
Directed by Matt Reeves
Released by Anchor Bay Entertainment
"Never Let Me Go" (2010)
Directed by Mark Romanek
Released by Fox Home Entertainment
Two of 2010's most underrated films that approach their respective genres from radically different perspectives than most, "Cloverfield" director Matt Reeves' "Let Me In" and Mark Romanek's "Never Let Me Go" will finally have the opportunity to stand out on home video. In "Let Me In," Reeves applies some of his own biographical touchstones for this remake of Tomas Alfredson's horror film about the unlikely friendship between a vampire (Chloe Moretz) and a lonely young boy (Kodi Smit-McPhee). Romanek's adaptation of Kazuo Ishiguro's much-beloved sci-fi novel about a group of children raised apart from the rest of society for purposes that are unknown to them. (Alison Willmore's reviews for "Let Me In" and...
- 1/30/2011
- by Stephen Saito
- ifc.com
What are your plans for the weekend? Here in the U.S., most folks are enjoying a long holiday weekend, filled with food, friends, and fireworks -- and maybe a free concert and a movie or two. On a personal note, with local temperatures soaring above 100 degrees for the past week or so, I'm staying inside and out of the weather as much as I can. And so I was pleased to find Jazz on a Summer's Day is available for free online viewing, courtesy of our friends at SnagFilms.
Directed by Aram Avakian and Bert Stern, the film documents the 1958 Newport Jazz Festival and the America's Cup sailing tournament, two events which go together like a cool drink on a hot day. Performers at the festival include Thelonius Monk, Gerry Mulligan, Anita O'Day (pictured), Dinah Washington, Chuck Berry, Louis Armstrong, and Mahalia Jackson. My knowledge of jazz is extremely limited,...
Directed by Aram Avakian and Bert Stern, the film documents the 1958 Newport Jazz Festival and the America's Cup sailing tournament, two events which go together like a cool drink on a hot day. Performers at the festival include Thelonius Monk, Gerry Mulligan, Anita O'Day (pictured), Dinah Washington, Chuck Berry, Louis Armstrong, and Mahalia Jackson. My knowledge of jazz is extremely limited,...
- 7/4/2009
- by Peter Martin
- Cinematical
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