Started by wilder, September 13, 2014, 11:31:06 AM
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Quote from: WikipediaBegan his career as a Creative Director for Larry Flynt Publications. He's co-written, designed and directed the motion-pictures Nightdreams (part 1,2,3), Cafe Flesh, Party Doll a-Go-Go and Dr. Caligari, a semi-sequel to the 1919 film The Cabinet of Dr. Caligari. The film premiered as an opening night selection (Midnight Madness) at the Toronto Film Festival. In addition to film and videos, he's designed and directed for network television, MTV and the stage. As a print art director he's collaborated on numerous motion-picture one-sheets including films by Brian De Palma, John Carpenter and Tobe Hooper. His print work has appeared in many publications including Zoom.
Quote from: John PaizsWhat about your own style, how would you describe that?My style grew out of my limitations. At first I didn't shoot in sound because I didn't have the ability to, and I didn't move the camera because all I had was this old rickety tripod. Working within my limitations proved to be a good thing, however, as it gave my work something that was visually different from the majority of other films of that time. If you look at my older shorts, the more successful ones are the ones where I didn't have a lot of dialogue. Basically, they were almost silent movies with narration, which is a great device to use to tell a story, because you're able to jump around in time without confusing anybody—it's very easy to organize your material with it. And it's also a great way to get into your character's head to communicate their interior life, or what have you.
Quote from: Review by Jane BlackThere's this feeling I get sometimes as I watch a movie. I can't say when or how it comes about, but it's that feeling I get when I realize I'm watching something special, something that isn't just going to make me think or feel, but something that is going to knock me over. Sometimes, like with Late Spring or Make Way for Tomorrow, it's tied to this profound sadness that hits you as the dramatic punchline rolls. Sometimes, like with Chain, it's because the film makes an idea crystalize in my mind. It spurs an epiphany, major or minor. Sometimes, like with L'ange or Feherlofia, it's simply a matter of being floored by technical mastery and a sense of wonder--grim or bright--that comes from seeing something imaginative.With Crime Wave, like with UHF and Rubin and Ed and Pink Flamingos, it was because it tapped into this deeply held delight in camp, in absurdity, and in a kind of cool corniness that is nearly impossible to pull off. In the first ten minutes of this film, something clicked, and I knew that--barring some horribly offensive characteristic suddenly showing up--I was watching a new favorite. It was in the overblown delivery of the narration, the painfully precocious performance of the female lead, the Technicolor homage, and the little details that defied my expectations that did it.The last one on that list is crucial. When the little girl shows her obsession with the writer above her garage to her parents, I expected scorn or some sort of repressive response, but instead, they were amused and oddly supportive. The tone of the film remained consistent; the world it exists in was one where dreams matter most. When things finally do get dark, it's only in service of the weird narrative and not some tired twist. Even at its darkest, the film is at its funniest, anyway. And while dreams matter most, the film slyly suggests that their fulfillment is not always what we expect. It is almost Buddhist in its suggestion of contentment over achievement.While this might work well enough with a slick aesthetic or a different visual style, the one used--a mixture of 1950s and 1980s that fits the film's setting and the main character's throwback obsessions--is perfectly suited. It's a VHS world where bright colors are inherent, a world seen through the eyes of a child whose best friend is a 30 year old greaser failed screenwriter. It captures the distorted sense of reality when a kid just old enough to almost get it has that cooler older friend who opens up the world to them, and it marries all of this to a setting that is a half-step away from a cartoon. Everything is heightened somewhere between melodrama and Looney Tunes.
QuoteJohn Paizs's 'Crime Wave' examines the Winnipeg filmmaker's 1985 cult film as an important example of early postmodern cinema and as a significant precursor to subsequent postmodern blockbusters, including the much later Hollywood film Adaptation. Crime Wave's comic plot is simple: aspiring screenwriter Steven Penny, played by Paizs, finds himself able to write only the beginnings and endings of his scripts, but never (as he puts it) "the stuff in-between." Penny is the classic writer suffering from writer's block, but the viewer sees him as the (anti)hero in a film told through stylistic parody of 1940s and 50s B-movies, TV sitcoms, and educational films.In John Paizs's 'Crime Wave,' writer and filmmaker Jonathan Ball offers the first book-length study of this curious Canadian film, which self-consciously establishes itself simultaneously as following, but standing apart from, American cinematic and television conventions. Paizs's own story mirrors that of Steven Penny: both find themselves at once drawn to American culture and wanting to subvert its dominance. Exploring Paizs's postmodern aesthetic and his use of pastiche as a cinematic technique, Ball establishes Crime Wave as an overlooked but important cult classic.
QuoteFor someone who shaped much of the visual aesthetic of film in its formative years, Cedric Gibbons isn't well known outside of art and production editors and classic film enthusiasts. Surprising, considering that his name is associated with more than 1500 films between 1924 and 1956, thanks to a stipulation in his MGM contract that ensured he received art director credit for every movie the studio released in the US, and he took the Academy Award statue he designed (allegedly on a paper napkin) home 11 times. In terms of Oscar wins, he's the Academy's most successful art director. It's not just contemporary audiences who are unaware of Gibbons' influence, it's likely that audiences of the day were unaware of the man and perhaps even his work – after all, set design is meant to fade into the background and complement the 'action'.[...]Gibbons often opted for luxury even if the screenplay didn't call for it – this was an amped-up ideal of everyday life, where polished floors, mirrored surfaces and crystal surfaces were de rigeur.
Quote from: 03 on October 22, 2016, 12:42:35 AMi promoted him pretty heavily on here in my hyper douchey era circa 2004. i stumbled upon crimewave because the coens made an equally bizarre film of the same title that no one really talks about.
QuoteIn 1985 director Paul Schrader chose her to be the production designer for his 1985 film Mishima: A Life in Four Chapters. Her work went on to win her a special award for artistic contribution at the Cannes Film Festival that year. Eiko's work with Francis Ford Coppola on the poster for the Japanese release of Apocalypse Now led to their later collaboration in Coppola's Dracula which earned Eiko an Academy Award. She has also worked on four of Tarsem Singh's films beginning with the Jennifer Lopez starrer The Cell in 2000 and including The Fall, Immortals, and Mirror Mirror.She has also done costume design for theater and circus. In 1999 she designed costumes for Richard Wagner's Der Ring des Nibelungen at the Dutch Opera. She designed costumes for Cirque du Soleil: Varekai, which premiered in 2002 as well as for Julie Taymor's Broadway musical Spider-Man: Turn Off the Dark, which premiered in 2011. She also directed the music video for Björk's "Cocoon" in 2002 and designed costumes for the "Hurricane" tour of singer Grace Jones in 2009.Ishioka's work is included in the permanent collection of museums throughout the world, including the Museum of Modern Art in New York.
Quote from: wilder on September 14, 2014, 04:21:21 PMFrancis DeliaA collaborator of Sayadian's, Director Francis Delia, credited as F.X. Pope on Nightdreams (1981) and Cafe Flesh (1982), directed a couple episodes of Michael Mann's "Crime Story" (1986), as well as his own movie Freeway (1988), shot by Frank Byers. Frank Byers, who also shot the entirety of the Twin Peaks TV series, has to be one of the great unsung DP's, but his career went strange places after 1991. On a visual level, Tarantino had to have been inspired by this movie for Death Proof, no?poster for FreewayFreeway (1988) - AmazonDelia also directed his share of music videos, including---among others.LinksFrancis Delia - Official Site
Quote from: wilder on September 14, 2014, 04:21:21 PMStephen SayadianDirector Stephen Sayadian aka Rinse DreamQuote from: WikipediaBegan his career as a Creative Director for Larry Flynt Publications. He's co-written, designed and directed the motion-pictures Nightdreams (part 1,2,3), Cafe Flesh, Party Doll a-Go-Go and Dr. Caligari, a semi-sequel to the 1919 film The Cabinet of Dr. Caligari. The film premiered as an opening night selection (Midnight Madness) at the Toronto Film Festival. In addition to film and videos, he's designed and directed for network television, MTV and the stage. As a print art director he's collaborated on numerous motion-picture one-sheets including films by Brian De Palma, John Carpenter and Tobe Hooper. His print work has appeared in many publications including Zoom.Stephen Sayadian is a born provocateur. A gregarious storyteller. A genre unto himself. The genre he created, dominated and left behind could best be described as surrealist nightmare art-porn. But funny. With his twin early-'80s epics Nightdreams and Café Flesh created under the pseudonym "Rinse Dream", Sayadian lifted from experimental theatre (where he has also worked extensively), silent cinema and absurdist comedy to create X-rated films that are hallucinations that stick with you." (Twitch Film)Cafe Flesh (1982)Dr. Caligari (1989)
Quote from: wilder on October 19, 2016, 06:10:52 PMJohn PaizsJohn Paizs (born in 1957) is a Canadian director, writer and actor. In 1985 his independent comedy Crime Wave was presented at the Toronto International Film Festival. He was the male lead and also wrote and directed the film.Crime Wave (1985)A seminal film in Winnipeg independent film-making in the 1980's Crime Wave is a work of incredible imagination and inventive ideas. Upon its release in the mid 1980's the film played to terrific acclaim at film festivals across North America. Crammed with B movie gags and pop cultural references, the movie follows the story of Steven Penny, a crime writer who wants to create the perfect colour crime movie but he is only good at writing beginnings and endings (and not the stuff in the middle).