Has anyone seen that tv movie he did Strip Search? A buddy of mine saw it and said it was fantastic. Anyone have any opinions on it?
Couldn't find a lumet thread. You people are either slacking or I can't search.
Recommended :yabbse-thumbup: :
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As soon as I saw this thread, I was like, "Hey, I should plug that aweomse book of his." So anyway, my thumbs up join Mac's for this invaluable volume on the motion picture production process. It was and continues to be a great help to me.
And his movies are great too -- a lot of them, at least. 12 Angry Men and Dog Day Afternoon are probably my favorites.
Haha, that makes THREE of us! :yabbse-cheesy:
I, too, was about to promote Making Movies. It's a must. GB's movies are surely his classics and I would include Network as one of my favourites too.
I'd heard so many great things about Network that, by the time I actually saw it about a year ago, I was a little disappointed. I could see its greatness, of course, it's just that I hadn't been expecting the level of satire to be so high -- not that that was a bad thing, but I had been expecting a straight drama.
Having seen Bamboozled prior to it, I was also surprised at how closely Lee adhered to Chayefsky's structure and tone.
Quote from: 50 CentiphileGB's movies are surely his classics and I would include Network as one of my favourites too.
Can't forget Serpico. Plus, I have a soft spot for Garbo Talks because it's one of my mom's favorite films.
very good book
Lumets movies are too inconsistent. I applaud him for always trying different things though. But come on, the wiz? as well as some other clunkers. But he would always come back with good stuff. Serpico, Fail Safe, Dog Day, and Network are my faves. Especially Network. Hes really the last of a dying breed though. Filmmakers who were always making movies. You don't see these respected and known new school filmmakers doing that(Soderbergh the exception). I think with the new school filmmakers filmography is so important to them. With Lumet he would make shit and come right back with something great, I wish the new kids would do that. I think it might be different now though cause movies make so much money thats its important for a filmmaker to not release movies so often. Thats how it is. Im probably just talking about of my ass.
Has anyone seen The Offence? opinions?
Quote from: StefenFilmmakers who were always making movies. You don't see these respected and known new school filmmakers doing that(Soderbergh the exception). I think with the new school filmmakers filmography is so important to them. With Lumet he would make shit and come right back with something great, I wish the new kids would do that.
Totally agreed. If/when I get to start actually making real movies, I really wanna try to do this. Not make one good picture and then one
shit picture per se, but just try to keep constantly moving. Rather than 6 brilliant movies, I think I'd rather have 30 decent movies and maybe one really good one as a filmography.
Quote from: SoNowThenTotally agreed. If/when I get to start actually making real movies, I really wanna try to do this. Not make one good picture and then one shit picture per se, but just try to keep constantly moving. Rather than 6 brilliant movies, I think I'd rather have 30 decent movies and maybe one really good one as a filmography.
I would be very amused to hear an aspiring director talk like this: "Well, it's difficult to say which route I choose to go down. I think by 2006, I'll have made one decent picture and then release another decent one by then end of 2007. Then the general public will know my name so I figure that's the best time to release a brilliant movie for 2009. That should heat everyone up so I'll cool them down with a decent movie again in 2010. People will wonder what I'll make next or if I'm the real deal, so I think I'll hit 'em with another
brilliant film in 2012..And so on...
Dog Day Afternoon....great movie.
and Network
Quote from: CinephileQuote from: SoNowThenTotally agreed. If/when I get to start actually making real movies, I really wanna try to do this. Not make one good picture and then one shit picture per se, but just try to keep constantly moving. Rather than 6 brilliant movies, I think I'd rather have 30 decent movies and maybe one really good one as a filmography.
I would be very amused to hear an aspiring director talk like this: "Well, it's difficult to say which route I choose to go down. I think by 2006, I'll have made one decent picture and then release another decent one by then end of 2007. Then the general public will know my name so I figure that's the best time to release a brilliant movie for 2009. That should heat everyone up so I'll cool them down with a decent movie again in 2010. People will wonder what I'll make next or if I'm the real deal, so I think I'll hit 'em with another brilliant film in 2012..
And so on...
:)
What I meant was that I would just like to make as many movies as possible in as little time as possible, and if one becomes a "classic", that would be good enough for me. I guess what I'm saying is that I'd rather try and fail a whole bunch of times, rather than have that Kubrick perfectionism that yields one amazing movie every six years.
Quote from: CinephileQuote from: SoNowThenTotally agreed. If/when I get to start actually making real movies, I really wanna try to do this. Not make one good picture and then one shit picture per se, but just try to keep constantly moving. Rather than 6 brilliant movies, I think I'd rather have 30 decent movies and maybe one really good one as a filmography.
I would be very amused to hear an aspiring director talk like this: "Well, it's difficult to say which route I choose to go down. I think by 2006, I'll have made one decent picture and then release another decent one by then end of 2007. Then the general public will know my name so I figure that's the best time to release a brilliant movie for 2009. That should heat everyone up so I'll cool them down with a decent movie again in 2010. People will wonder what I'll make next or if I'm the real deal, so I think I'll hit 'em with another brilliant film in 2012..
And so on...
lol
I'd love to have Kubrick's track record, but realize that that's not feasible for the average filmmaker. Most filmmakers who try to go that route (or even bother to worry about such a thing) are just going to have a smattering of mediocre movies. Also consider that critics have never liked his movies at first. And the general public NEVER gets them until years after.
Case in point, probably what will be known as Kubrick's best movie 10, 20 years from now, Eyes Wide Shut, has a 7.0 on IMDb. People just didn't get it. Or they wanted to see Cruise and Kidman doing it and were let down. On the flipside, Passion of the Christ -- AKA Snuff Fest 101 -- has a 7.4. We all know IMDb is nothing but a measure of popularity among the geeks and those somewhat familiar to the Internet, so it is a popularity gauge. But it's also very telling to see what people get, and what they don't. Kubrick's most popular/highest-rated movie is Dr. Strangelove. Sometimes cited as the best comedy ever along with Some Like it Hot. They both have their moments, but that assessment is very questionable considering other movies out there. Point being, well, I think Cinephile pretty much beat me to that one. So yeah, what I said, and what he said.
I'm talking from the point of view of the creator, regardless of any public or critical opinion. I've read that Kubrick said something along the lines that he knows once something is committed to film it's there for good, so he wanted to get it perfect. I'm not like that at all. That's all...
Quote from: SoNowThenI'm not like that at all. That's all...
that isn't that case these days. it was prolly true for him when he was doing his stuff in the 60s/70s (where most of his quotes come from), and even till his death he only made one movie in the time of modern technolgy. so his theories and misconceptions of the world are not necessarily applicable. this is what i said in Stefen's thread.. it's fun to see what ppl said/believed in, but it really amounts to very little cos shit just ain't the same as when they said it.
nahmean?
I think so...
So you figure that it's possible nowadays to go back to journeyman filmmaking, where you can get a whole slew of movies in? Because of technology, current trends, other?
Edit: I guess, also, I wanted to ask -- Do you think there's some sorta signpost in EWS that indicates the kind of change in approach that would mean SK's output frequency would increase?
I don't favor one approach or the other. Obviously if I was given the chance to pick Lumet or Kubrick, I would pick SK. I think the Tarantino/PTA/Kubrick mold of making fewer movies generally produces better movies. But again, as a person in need of creating, I'd fall more under the Soderbergh camp.
Quote from: SoNowThenSo you figure that it's possible nowadays to go back to journeyman filmmaking, where you can get a whole slew of movies in? Because of technology, current trends, other?
definitely. these are fassbinder times.
Quote from: PubrickQuote from: SoNowThenSo you figure that it's possible nowadays to go back to journeyman filmmaking, where you can get a whole slew of movies in? Because of technology, current trends, other?
definitely. these are fassbinder times.
:yabbse-thumbup:
That can only be good for cinema!!!
i woudn't be so quick to judge the consequences.
we may all choke on our vomit.
Sydney is so golden.
Has no one here seen The Verdict? Overshadowed, no doubt, by other films in the Lumet canon (Network, Dog Day Afternoon, Serpico), it is still a stirring drama and interesting character study, featuring a tremendous performance by Paul Newman and a wonderful supporting performance by James Mason. It is, indeed, more than a courtroom drama. I'm surprised Mamet fans haven't picked up on it, considering he wrote the screenplay (adapted from the novel by Barry Reed).
Quote from: MacGuffin
The director of such cinematic landmarks as "Serpico," "Dog Day Afternoon," "Network," "12 Angry Men" and "The Verdict" starts sizing up the set that will be used as a judge's chambers in the next scene on the day's already busy schedule.
shit, let us not forget about the wiz
-sl-
Sidney Knows You're Dead
Word comes from Cannes that screen master Sidney Lumet, whose latest accomplishment was making Find Me Guilty and star Vin Diesel far more than tolerable, will next direct a thriller entitled Before the Devil Knows You're Dead. Though "advanced negotiations are currently under way with another award-winning male star" to fill one of the lead roles (the IMDb thinks it's Philip Seymour Hoffman), the movie already features a pretty stacked cast, including Marisa Tomei, Ethan Hawke, and the great Albert Finney.
Based on a screenplay co-written by Lumet, the movie tells the intense-sounding story of two brothers (one of whom seems to be played by Hawke) who come up with a plan to rob their parents' jewelry store. Not surprisingly, things don't go as planned, "triggering off a series of events that send them, their father (Finney) and Hawke's wife (Tomei) hurtling towards a shattering climax."
There's no word from Cannes about when the production will begin, or where the film will be shot.
Lumet signs Funky film deal
Director moves forward on 'Getting Out'
Source: Variety
Sidney Lumet has inked a deal with Funky Buddha Group to finance his next two films, with an option for a third.
Shingle most recently collaborated with Lumet on the helmer's "Before the Devil Knows You're Dead," which ThinkFilm opened two weeks ago.
Under the deal, Lumet will move forward first on the prison breakout movie "Getting Out," based on his original script. Story centers on a man desperate to regain his freedom while entangled in deadly head games with his prison psychiatrist and the woman he desires.
Shooting is scheduled to begin in January.
Funky Buddha's Paul Parmar will produce alongside Michael Cerenzie.
Parmar and Cerenzie also worked together on ThinkFilm's "My Sexiest Year" and the upcoming Tony Kaye-helmed "Black Water Transit." Cerenzie recently launched a partnership with Christine Peters' CP Prods., which has a first-look deal at Paramount Pictures.
http://www.charlierose.com/shows/2007/11/30/2/a-discussion-about-the-film-before-the-devil-knows-youre-dead
Quote from: life_boy on January 08, 2005, 02:51:55 PM
Has no one here seen The Verdict? Overshadowed, no doubt, by other films in the Lumet canon (Network, Dog Day Afternoon, Serpico), it is still a stirring drama and interesting character study, featuring a tremendous performance by Paul Newman and a wonderful supporting performance by James Mason.
Charlotte Rampling was pretty good in it, too.
I'm only just starting to realise how I much I love Sidney Lumets films. Last night I watched
Running on Empty which I absolutely adored. I'm always a sucker for any half-decent film with a nostalgic element but I honestly thought this was excellent. I half expected to find it being derided like some kind of
Big Chill in the film community but seems fairly well respected. Certainly a hidden gem to me. Judd Hirsch is great, River Phoenix got Oscar nominated (his only?) and Martha Plimpton - what happened to her?
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With you absolutely on this one. Obsessed with Lumet at the moment, easily one of the greatest. Running on Empty was glorious. Judd Hirsch is brilliant, River Phoenix and Martha Plimpton are both so natural and their relationship is handled in a really wonderful way.
After Running on Empty I went on the see The Offence and The Hill. Two movies that aren't talked about often but are both really great. The Hill in particular blew me away, perfect movie. Really flawless for me, I'm becoming obsessed with non-Bond Connery performances. He's so good.
Anyway, thoroughly Lumet is the tits and someone I aspire to greatly.
Excellent. The Hill is one of those movies that I often catch half-way through on TV and one that I must sit down at watch properly. I've added The Offence to my queue (which Lumet is quickly dominating). At the moment I've got Fail-Safe to see - a production which Kubrick aparently sued over similarities to Strangelove (did this start the big K/Lumet comparisons in this thread?).
Back to my Big Chill fear: there should be a movie list of people singing along to old songs in kitchens (preferably whilst doing the dishes). I'm sure Running on Empty would take the top spot, though.
I just viewed murder on the orient express. What a pleasant surprise, packed with a huge amount of memorable performances that some young people would classify as 'old actors over the hill'. Being an agatha christie fan, didn't hurt either. Yeah yeah I've read over three of her books. Call me a pussy, call me gay, I don't give a fuck what you call me because I like what I like and nothing stop me otherwise.
During the whole film, if you haven't seen the credits you'd be surprised to view who pops up in this gem. Bergman, Turner, Perkins, York, Connery, with Finney heading everything and making every scene with him and the characters on the screen ridiculous and yet predicably accurate to an agatha christie story.
Any one who hasn't read any of the books but just loves Sidney L's stuff, the detective character played by Albert F, is one of those that everyone mis-underestimates and then breaks down everyones confessions, sort of like columbo which I'm sure one of you guys have seen an episode of...
The main attraction isn't really the story but how its played out and seeing some classic actors in moments of revieting scenes.
Video essay on Prince of the City
Deep Focus: Prince of the City - Part 1 (http://vimeo.com/27686730)
Deep Focus: Prince of the City - Part 2 (http://vimeo.com/27689068)
Dog Day Afternoon: A Video Essay (http://vimeo.com/22513968)
Who's read Lumet's book? It's pretty good but it's very clear that teamsters must have murdered his childhood sweetheart or something.