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The Director's Chair / Re: Leos Carax
« Last post by jenkins on December 09, 2017, 11:22:01 PM »
i'd heard this/that, tonight i read the Sparks wiki page. a "tremendous" history would be the thing to say, i believe.

  • In 1984, the Maels wrote and performed several original songs on the soundtrack for the black comedy teen film Bad Manners (aka: Growing Pains), including the film's title song, "Bad Manners"
  • The late 1980s and early 1990s saw the brothers concentrate on filmmaking, particularly an attempt to make a manga, Mai, the Psychic Girl, into a movie musical. Despite interest from Tim Burton and six years' work on the project, the film has not yet gone into production
  • In 1998 they recorded the soundtrack for the action film Knock Off, starring Jean-Claude Van Damme, directed by the acclaimed Hong Kong-based producer/director Tsui Hark (who had appeared on his own tribute song by the band on the album Gratuitous Sax and Senseless Violins).
  • Ron and Russell appeared as interview subjects in the 2009 documentary The Magnificent Tati, discussing their involvement during the early 1980s in Confusion, a proposed Jacques Tati movie for which a screenplay was written but never shot (due to Tati's death).
  • On August 14, 2009, the band premiered the radio musical The Seduction of Ingmar Bergman, commissioned by the Swedish public radio (SR) and featuring the Mael brothers themselves and Swedish actors Elin Klinga and Jonas Malmsjö, both of whom worked with Bergman in his lifetime. The musical, partly in English, partly in Swedish, tells the story of Bergman's relocation to Hollywood after his breakthrough with Smiles of a Summer Night (1956), and the surreal and discomforting encounter with the movie capital.
  • On June 25, 2011 as part of the Los Angeles Film Festival, Sparks presented the World Premiere live performance of The Seduction of Ingmar Bergman. Canadian film director Guy Maddin provided directions based on the screenplay, with Ron and Russell reprising their recorded roles on stage.

Tsui Hark

above this post is a post with the Leos Carax song.
Paul Thomas Anderson / Re: Has anyone here ever met PTA? Tell us your stories....
« Last post by matt35mm on December 09, 2017, 11:20:51 PM »
I live a blessed life.

Last night, I went to screening of PHANTOM THREAD at a fancy house/mixing stage (where the film was actually mixed) in the Hollywood Hills, followed by a reception with PTA, Vicky Krieps, Dylan Tichenor (editor), Mark Bridges (costume designer), Daniel Lupi and JoAnne Sellar.

I talked to PTA for 20 minutes. And then I talked to Dylan Tichenor for around 45 mins.

I’ve been to several things with him there, but he was always surrounded by too many fanboys for me to have an actual conversation with him, so I never approached him. But this was the right mix of being a smaller crowd and while many people wanted to talk to him, I was probably the only super nerd there, and I had seen the movie 3 times, so I felt like I had things of substance to say.

He was incredibly nice to me. He was shocked that I had seen the film 3 times already. I thanked him for his films and told him how much they have meant to my development, and talked about XIXAX (which he is aware of) and said that I’ve made so many friends there who all have the common bond of having PTA be the central inspirational artistic figure that got us on this path of loving cinema the way we do. I said I have these friends from all over the world, including a small town in Northern Norway, thanks to his films. He said it warmed his heart to hear that.

We talked about a few things regarding the film. He talked a bit about working without a DP, and I asked him if there was anything he missed about working with Robert Elswit or Mihai Malaimare. He said that Robert was very good at staging things and would give Paul great suggestions to simplify shots. Here, he had his camera guys who he’s close with and they would just talk through that stuff in a similar way.

We talked a little bit about how the film went through 3 coloring processes (digital for the DCP, color timing for the 35mm, a separate round of color timing for the 70mm, which was also done for THE MASTER and INHERENT VICE). I asked him about how he adapts the film to the actual location and to the actors. The London house in the film is so central to the feeling of the film. Apparently it was going to be another house, which fell through at the last minute, but they found this house and it turned out to be better, with the amazing staircase. I don’t think he had to do much adapting with the actors. He obviously wrote it for Daniel Day-Lewis, but Vicky Krieps (who he just found with taped auditions) was not too far away from what he was imagining when writing. He doesn’t really rehearse, he said.

I said my goodbyes and we exchanged thank yous with good eye contact. I felt good about it.

Then I found my way toward Dylan Tichenor. That was a longer conversation about all sorts of things… as far as interesting nuggets about the film, he said that there was a lot that was cut out of it, just various story threads that took away from the main story. I think he said somewhere around 40 scenes were cut out. A very interesting nugget of info that is a spoiler, so I won’t detail it here, but basically a major story element that was invented in editing. Which is a common enough thing, and something that I’ve done myself as an editor. He said that Daniel Day-Lewis was very consistent as an actor, not really changing it up from take to take. Most of the actors were fairly consistent but the others had a little more room to try different things during takes, whereas DDL’s changes were fairly subtle. Then we talked about some general editing and movie stuff. This was not a one-on-one conversation, more a group conversation.

Anyway, um, I can die now I guess.
Paul Thomas Anderson / Re: Phantom Thread
« Last post by giodashorts on December 09, 2017, 05:09:01 PM »
Yes. When I saw 'Inherent Vice' on 70mm in the cinema, it was truly magnificent. The colors and the movement (of the film -- stability) was wonderful. I'd love to see 'Phantom Thread' in 70mm. Of course, 35mm would be great as well. I wonder if they did "negative cutting" on this film. It can, in some instances, be observed, in a DCP or Blu-ray, for having a slight wobble between certain cuts (at least I have noticed this on some films).
Paul Thomas Anderson / Re: Phantom Thread
« Last post by Reelist on December 09, 2017, 03:32:04 PM »
I guess it's no so much that you're getting a "clearer" image like with DCP, but the fact that the film is twice the size means it doesn't have to be blown up as much to fit the screen. So, you're kind of getting a denser image, if that makes any sense.
Paul Thomas Anderson / Re: Phantom Thread
« Last post by Drenk on December 09, 2017, 12:02:02 PM »
I have seen a 70mm print of IV. My sight isn't the best there is but it looked like regular 35mm. I don't see the point of making those.
Paul Thomas Anderson / Re: Phantom Thread
« Last post by Heisenberg on December 09, 2017, 11:53:29 AM »
Odd that there doesn't seem to be any 35mm showings anywhere. Also, it looks like those of us who don't live in NY or LA have to wait until at least January 12th to see it. Hopefully they will do some general advance screenings before the expansion like they did for Inherent Vice.
Paul Thomas Anderson / Re: Phantom Thread
« Last post by Something Spanish on December 09, 2017, 10:58:37 AM »
As if it isn't bad enough we have to wait till the 19th, we also have to settle for DCP projection while NY/LA flaunts 70MM prints.
This Year In Film / Re: Three Billboards Outside Ebbing, Missouri
« Last post by Something Spanish on December 09, 2017, 10:52:24 AM »
the coens don't deal with tragedy as steep as what's in this flick, so maybe it was McDormand's presence in a dark comedy that gave off those vibes. for whatever influence they did have (I guess I can see some in the way the script could poke fun at more simpleminded folk), it was all positive and worked for the story. i may have been too impacted by the emotional waves to feel slighted by some of the character stereotypes, because nothing about the flick felt manipulative when it could have easily gone in those directions. I'd chalk that up to the director. also thought the film spoke volumes about emotions like anger and grief, and didn't make anything easy for characters or audiences. after the high of watching it withered i was able to point a few flaws, but this is one of those films whose flaws I'd easily forgive due to the sheer power it possesses. some of the complaints i've read on places like twitter seemed valid, but i was too swept away during the experience to notice.

also, what hot button issue does it shoehorn? rape and murder? racism?
Paul Thomas Anderson / Re: Phantom Thread - Awards ticker
« Last post by jenkins on December 09, 2017, 12:50:32 AM »
Graham Fuller: 20 Best Movies of 2017

1. Phantom Thread – Paul Thomas Anderson

really i'm only interested in the lists of John Waters and Richard Brody. and here we go:

Richard Brody: 35 Best Movies of 2017

1. Get Out – Jordan Peele
2. A Quiet Passion – Terence Davies
3. Good Time – Ben Safdie and Joshua Safdie
4. A Ghost Story – David Lowery
5. Slack Bay – Bruno Dumont
6. Phantom Thread – Paul Thomas Anderson

he's a fan, just more a fan of A Ghost Story xx
Paul Thomas Anderson / Re: Phantom Thread
« Last post by ono on December 08, 2017, 10:26:44 PM »
Really bummed this doesn't go wide until January 19th.  At first I was wanting to see this on Christmas, but the realized that's only a limited release.  Ugh.

Not to mention, just a warning: it's probably best not to go into anything related to PTA anywhere on the Internet.  Even seemingly innocuous stuff.  I had one little thing about the film spoiled that I'd rather not know, and I'm still really finding it hard to stay away, out of boredom and curiosity.

I didn't care all that much about Inherent Vice because it was adapted material, but it's a great feeling to be truly excited about a PTA film.  Sure, I was excited about CMBB, but that came with the assurances he was doing his own riff on Oil!.  But I digress.
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