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The Art Gallery / Re: i'll be sharing
« Last post by jenkins on Today at 11:35:24 PM »

release date: aug 31 (rumor)
pages: 80 maybe

i own a book by the cover artist, so he was this guy i liked and that worked out.

xixax exclusive: the title is a line David Carradine says while he shoots the Plumed Serpent's crazed priest as he prepares to ritually murder Quinn to resurrect his "god" in Q – The Winged Serpent, directed/written/produced by Larry Cohen
The Small Screen / Re: Game of Thrones (spoilers)
« Last post by Fernando on Today at 10:32:39 PM »
Called it.

can you imagine a giant white walker? he would end all, they'd probably need a catapult full of dragon glass to beat that thing.

and not one, three that we saw...

It just occurred to me that when Bran meets Jon and Sansa and tell them who really Jon is son of, because of the way he is, I think he will step aside and Sansa will take the northern throne since she would be the only Stark that can do so, obviously Bran is out and Arya if she lives wont be interested in that.

OK I'm saying it like it's a given, maybe he doesn't meet both but at least one of them, Jon seems the logical choice if he goes to Castle Black for Ghost, or Bran takes Ghost to Winterfell...

Now if Sansa becomes Queen of the North, who will she choose to marry if it comes to that? Won't be her fucking cousin or LF, that's for sure...  :yabbse-undecided:
News and Theory / Re: All things Cult Cinema
« Last post by jenkins on Today at 10:00:10 PM »
it was such a fucking gem

she transports from witch school to human school, and this is what happens to teachers

i slapped my thigh and yelled "oh my god." everyone in this movie is utterly human a total fucking rascal

so, these boys

they're running from the law

and what's happened is they've stolen the lexicon of magic, which the witch brought from magicworld, and so the boys transform themselves in order to hide from the cops pulling them over

i laughed so hard. so hard. then they keep going but the cops are suspicious. so the cops pull them over again and lookie here

the popes or whatever are angry! i was dying. the witch was following along

the boys turn themselves into some old men in a truck, so they can stop and get some food. they're trying to figure out the lexicon and they accidentally summon an ass on the table

then the cops arrive, then the witch arrives, she gets the lexicon back with her sneaky stretch arm, and she turns the boys into teddy bears

i felt so good i wanted to call my mother and tell her i love her and everything is going to be alright
This Year In Film / Re: Dunkirk
« Last post by BigSock on Today at 09:56:35 PM »
This is surely Nolan's most accomplished film technically: the sound design is as loud as I've ever heard a movie, the 70mm is gritty and dreary

But he's really let down by the script, and since the film is in constant stop and start climax, there's huge moments where the momentum drags and the intended emotion isn't as cathartic
This Year In Film / Re: Dunkirk
« Last post by Lottery on Today at 09:46:56 PM »
For what it's worth, I like a lot of Nolan characters. But this is Nolan's most stripped down film and it steps away from the characterisation and conceptual/philosophical chatter of his earlier works. Because it's so in-the-moment, a lot of the character building stuff is quick action and reaction type stuff. Those, as character moments are great. You don't get much time to get attached to the characters but I think it works in its favour- I was still definitely rooting for a handful of them.

The Director's Chair / Re: dave depraved cronenberg
« Last post by wilder on Today at 06:17:49 PM »
David Cronenberg Novel ‘Consumed’ To Be Developed As TV Series By ‘FTWD’s Dave Erickson & ‘Lucifer’s Sheri Elwood At AMC
via Deadline

David Cronenberg’s novel Consumed is getting drama series treatment at AMC. Fear The Walking Dead showrunner Dave Erickson has teamed with Lucifer executive producer Sheri Elwood to develop the novel as an hourlong drama series for AMC, where Erickson is under an overall deal.

Erickson and Elwood will pen the adaptation and showrun. Consumed is described as a mind-bending psychological thriller that follows two journalists who set out to solve the cannibalistic murder of a controversial Parisian philosopher. The book was published in 2014 by Charles Scribner’s Sons. Erickson and Elwood will executive produce with Cronenberg, who also may direct. Cronenberg’s longtime collaborator Robert Lantos of Serendipity Point, which produced Cronenberg’s Eastern Promises, will also executive produce.

The project falls under Erickson’s new multi-year overall deal with AMC he signed in March. He announced at that time that he’ll be stepping down as showrunner at the end of the current third season of Fear The Walking Dead to focus on developing new shows for AMC but will remain as EP on the series. He is now in San Diego for FTWD’s panel tomorrow.

Erickson worked closely with The Walking Dead creator Robert Kirkman to develop Fear the Walking Dead as a companion series to TWD, His previous credits include Marco Polo, Sons of Anarchy and Canterbury’s Law.

Multi-hyphenate Cronenberg’s credits include Maps To The Stars (director), Cosmopolis (director, writer), and A Dangerous Method (director). His 1996 film Crash won the Jury Prize at the Cannes Film Festival.

Elwood is repped by CAA and manager Robyn Meisinger. Erickson is repped by CAA and attorney Gregg Gellman. Cronenberg is repped by ICM Partners.
DVD Talk / Re: Random DVD and Blu-ray announcements
« Last post by wilder on Today at 05:48:37 PM »

For the discerning science fiction fan, this is the best of the Eastern-bloc Cold War Sci-fi epics, a genuinely brilliant and warmly human 'Voyage to the End of the Universe' restored in 4k resolution. It's from before 2001: A Space Odyssey and has an equally wondrous but totally different vision of the future. Hopefully this will soon be readily available here; buying it required some clever footwork by Foreign Exchange of Culver City. Starring my favorite Czech personalities Radovan Lukavský, Zdenek Stepánek, Frantisek Smolík, Irena Kacírková and Dana Medrická. Please Marek, forgive my incompetent diacritical marks! On Blu-ray from NFA (Czech).

That's what I'm talking about. Some restored footage:

Again, I'm reminded of the thing Matt said in the Ghost Story thread, which is beginning to feel like a manifesto for filmmaking in the 21st century:

One thing I'll say is that I've recently been thinking about how we've reached the limit of how deep a literal/realistic approach to storytelling in film can go. At least for me as a viewer. There've been a bunch of recent movies that have done a great job of being observant and understated and demonstrating all these things that are true about how people behave and how things happen and so on, but... I find that I can't give that much of a shit about it anymore. Meanwhile, movies that engage with symbolism and theme are striking me as able to probe much deeper into its ideas, because of the distillation of its ideas into images and moments. There is so much more feeling in it. I would never say "cinema is dead" but I agree with Scorsese that "images don't mean anything anymore" in the great majority of contemporary cinema, especially when compared to older cinema. Most filmmakers aren't even trying to create new and striking and meaningful images.

My favorite movies of the past few years are incredibly playful with the filmmaking, even when the themes are serious. There is a joy in it. An engagement with the form, and the possibilities. Even though the word "playful" sounds unserious, it's really the only way to be serious.

THE SEVENTH SEAL is playful. PUNCH-DRUNK LOVE is playful. ERASERHEAD is playful. CITIZEN KANE is playful. POINT BLANK is playful. THE LOVE WITCH is playful. THE RED SHOES is playful. A GHOST STORY is playful.

So many of these older Russian and Czech movies are great examples of this storytelling style. Most of them are fairly difficult to find in official home video releases, at least English-friendly ones.

The Cremator (1969)

Set in World War II, a demented cremator believes cremation relieves earthly suffering and sets out to save the world.

Hell yeah. My boy Juraj. He also made a super cool adaptation of Beauty and the Beast.

Quote from: Senses of Cinema
The 1978 adaptation by the Czechoslovak film-maker Juraj Herz is both a vital addition to – and a radical departure from – the tradition of fairy tales on film. Its title, Panna a netvor, has been translated with equal validity as The Beauty and the Beast or The Virgin and the Monster. As this alternate title implies, the dimension of horror (not to mention outright revulsion) is far stronger in this version than in any of its more mainstream rivals. The Graeco-Roman myth of Cupid and Psyche confronts its heroine with the very real fear that “the husband who comes secretly gliding into your bed at night is an enormous snake, with widely gaping jaws, a body that could coil around you a dozen times and a neck swollen with deadly poison.”1 Not one of the better-known film versions conveys anything like this degree of terror.

Beauty and the Beast (1978) trailer on Vimeo

Three Wishes for Cinderella (1973)

Life changes dramatically for a Czech housemaid when the house driver gives her three magical hazel nuts.

One of the most beloved films in all Eastern European cinema, Václav Vorlíček's reworking of the classic Cinderella tale is both delightful and unconventional. Deviating from the original story, yet retaining an air of real magic and beauty, Three Wishes for Cinderella takes the familiar fairy tale and invests it with a feisty and rebellious Cinderella who - far from being some passive beauty - rides a horse, knows how to hunt and actively pursues her handsome Prince.

Shot on location in around the famous Švihov castle and the surrounding forests of Bohemia, the film grounds the familiar fairy tale in a realistic setting with down-to-earth characters, and a remarkable central performance by the young Libuše Šafránková.

Three Wishes for Cinderella became a treasured Christmas holiday classic in various European countries, and one which continues to charm and attract new audiences.

Never heard of this. Looks really interesting.
News and Theory / Re: All things Cult Cinema
« Last post by wilder on Today at 05:26:27 PM »
You're on fire today.
Filmmakers' Workshop / Re: The Black List (Scripts)
« Last post by WorldForgot on Today at 05:23:22 PM »

A baby chimp is adopted by the pop star Michael Jackson. Narrating his own story, Bubbles the Chimp details his life within The King of Pop’s inner circle through the scandals that later rocked Jackson’s life and eventually led to Bubbles’ release.

Please God let this happen

Netflix wants it to, I think.
Filmmakers' Workshop / Re: Film School
« Last post by WorldForgot on Today at 05:21:46 PM »
my spontaneous reaction was to become great and show them fuckers what I can do, but how do you keep that spirit up when you fail again and again?

Hmm, I'd say that you could give yourself perspective by considering some of your favorite films that weren't well received. I think some of our biggest inspirations have failures we can learn from, and even, failures that can put us at ease. Some of my favorite films are critical "failures." Don't see it as a judgement on You as You, it's really only their take on You as Institution's Candidate.

I went to film school, even did an internship at a (moderately) successful production company, yet , post-graduation, I can't seem to get any gigs in the industry. Rather than think of the interviews I'm taken and see them as "failures," I have started considering that this industry is often one of self-starters. As soon as I have a script that I feel is audience-worthy, I'm going to rework it until it's producible at my current budget... Even if it doesn't get into festivals (which has happened to shorts of mine before) there are many ways to get eyeballs now... I think even if only the Xixax community liked it, I'd consider it a personal success.
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