manho
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Jan 17, 2010 5:50:05 GMT -5
Post by manho on Jan 17, 2010 5:50:05 GMT -5
Mark Kermode: It's only a movieThe great iconoclastic film-maker Werner Herzog is used to shooting films – but being shot at? In this extract from his cinematic memoir Mark Kermode tells the remarkable story of how, in the middle of interviewing the German director on a hilltop in Los Angeles, he gets shot. And refuses to go to hospital. And there's the day he meets Angelina... and other stories from a life obsessed with films… www.guardian.co.uk/books/2010/jan/17/mark-kermode-only-movie-extract
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Jan 19, 2010 9:08:50 GMT -5
Post by Cat Stevens on Jan 19, 2010 9:08:50 GMT -5
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Jan 20, 2010 15:19:12 GMT -5
Post by hobo on Jan 20, 2010 15:19:12 GMT -5
that's quite a cast Obi Wan Kenobi, the fourth best James Bond and The Ugly guy from The Good, the Bad and The Ugly. Tim Hutton's good too.
Maybe Roman Polanski didn't do a badness after all
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digit
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Jan 29, 2010 13:46:41 GMT -5
Post by digit on Jan 29, 2010 13:46:41 GMT -5
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Feb 7, 2010 11:25:28 GMT -5
Post by dinofucker on Feb 7, 2010 11:25:28 GMT -5
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manho
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Feb 9, 2010 5:32:44 GMT -5
Post by manho on Feb 9, 2010 5:32:44 GMT -5
Johnny Dankworth: The jazz bringer
When directors wanted their films to ooze cool, they called on Johnny Dankworth. Richard Williams on the man who made British cinema swing
Richard Williams guardian.co.uk, Monday 8 February 2010
There was a time when jazz and film formed a natural partnership. When a údirector wanted a hectic úaccompaniment to criminal activity, or a splintered melody to echo an on-screen psychodrama, or a cool, lush sound to accompany a cocktail-lounge seduction, jazz was the sound to use. And Johnny Dankworth was one of the men who could provide it, on time and to length.
Dankworth, who died at the úweekend, was a fine musician, although not úperhaps a great one. His playing and his composing did not alter the course of jazz, and he has no disciples. His real achievement, and his knighthood, came as a result of his ambition to make jazz acceptable on the concert platform and in the conservatory. He will also be remembered as one of those who popularised the music by úexposing its sounds and gestures in film soundtracks and television themes.
Starting with Karel Reisz's We Are the Lambeth Boys in 1958, over the next decade Dankworth built up such an impressive list of soundtracks to important British films that he almost seemed to úenjoy a monopoly of the role. He worked with Reisz again on Saturday Night and Sunday Morning, on Morgan: A Suitable Case for Treatment, and with John Schlesinger on Darling in 1965. But it was with Joseph Losey's films that he made his greatest impact: The Criminal (1960), a prison drama úfeaturing Stanley Baker, was úfollowed by The Servant (1963), the first of Losey's three highly successful úcollaborations with Harold Pinter, and by úAccident in 1967. (The soundtrack for the third, The Go Between, was úassigned to Michel Legrand.) For Losey, Dankworth was adept at creating a sound that reflected WH Auden's Age of Anxiety.
Jazz and film had been úassociated since the inter-war years, but the úrelationship deepened in the 1950s, when directors found that it úprovided the ideal accompaniment to movies with social or underworld themes. úSurprisingly, it took a while for film noir to catch on. The genre was in decline by the time Miles Davis úimprovised an atmospheric and highly influential soundtrack for Louis Malle's Ascenseur Pour l'Echafaud (Lift to the Scaffold) in 1957, the year that Roger Vadim used the Modern Jazz Quartet to accompany Sait-on Jamais (No Sun in Venice), a drama of amoral hedonists.
What most directors wanted was not actual jazz but music that sounded "jazzy", and that was what the úversatile Henry Mancini gave úOrson Welles for A Touch of Evil in 1958: úchattering bongos, smeary saxes and cocktail-lounge vibes. The úresults tended to be even úbetter when úproduced by actual jazz úmusicians, such as úDankworth. In 1959, Duke úEllington displayed aspects of his compositional genius and úfeatured his orchestra's great soloists in his úsoundtrack to Anatomy of a úMurder, a courtroom drama in which Otto Preminger úexplored the theme of rape.
Certain directors, mostly úEuropeans, demonstrated a notable affinity for the music's innate modernity. Michelangelo Antonioni invited the Italian úpianist and composer úGiorgio Gaslini to úprovide an evocative soundtrack for La Notte in 1961, and in 1962 the young Roman úPolanski used the band of his úcompatriot Krzysztof Komeda, úanother gifted pianist and composer, for Knife in the Water. When Polanski and úAntonioni came to make their portraits of Swinging London, both men used American jazz úmusicians – the Chico Hamilton úQuartet for the former's Repulsion in 1965, and the quintet of Herbie Hancock for the latter's Blow Up a year later.
By the end of the 60s, mainstream cinema had begun to move away from jazz, although úthe útimbre of the saxophonist Gato úBarbieri, úArgentina's greatest jazz musician, lent distinction to Bernardo Bertolucci's Last Tango in Paris in 1972. The old use of jazz on the screen now survives only in the work of Clint Eastwood, who retains an affection for the cool sounds of his youth.
Dankworth's television work úincluded the original music for The Avengers (replaced in 1964 by Laurie Johnson's better-known theme) and the signature tune for Tomorrow's World. Had they asked him, you can bet he would have come up with just the thing for Mad Men: bongos, vibes, a hint of disquiet.
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Feb 16, 2010 8:49:42 GMT -5
Post by Cat Stevens on Feb 16, 2010 8:49:42 GMT -5
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david
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Feb 16, 2010 13:27:52 GMT -5
Post by david on Feb 16, 2010 13:27:52 GMT -5
Taxi Driver 2: The Wrath of Khan . . . yeah, I'd probably go see that
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Feb 16, 2010 14:14:27 GMT -5
Post by cripes on Feb 16, 2010 14:14:27 GMT -5
"You talkin' to me? I'm just asking, I'm not doin' a fuckin' bit here. I can't see shit without my glasses. You may be talkin' to me or you may be talking on one of those bluetooth earpiece things, which, by the way, if you are wearing one of those things makes you look like a stupid asshole."
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manho
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Feb 16, 2010 16:15:30 GMT -5
Post by manho on Feb 16, 2010 16:15:30 GMT -5
just discovered there's a town called buscemi not far from here.
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Feb 16, 2010 17:43:55 GMT -5
Post by Cat Stevens on Feb 16, 2010 17:43:55 GMT -5
hey, you're alive? everything ok in your part of Sicilia?
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manho
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Feb 16, 2010 18:09:27 GMT -5
Post by manho on Feb 16, 2010 18:09:27 GMT -5
just normal stuff happening. landslides are carrying away whole towns but no sf style tsunamis as yet.
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manho
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Feb 19, 2010 5:53:40 GMT -5
Post by manho on Feb 19, 2010 5:53:40 GMT -5
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manho
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Mar 8, 2010 16:33:07 GMT -5
Post by manho on Mar 8, 2010 16:33:07 GMT -5
nine tmes out of ten the oscars leave me cold but i have to admit to feeling a small buzz of happiness for the dude today.
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manho
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Mar 11, 2010 5:54:48 GMT -5
Post by manho on Mar 11, 2010 5:54:48 GMT -5
"Around the screen, in London's Sprüth Magers gallery, a bunch of 21st-century trendies and stoners are watching this film, called Invocation of My Demon Brother, in awe, their ages ranging from late teens to late 80s. Next door, hallucinogenic photographs eyeball you from the wall. You walk in, you walk out – and the show's all over in a flash. It can only mean one thing. Kenneth Anger is back in town" www.guardian.co.uk/film/2010/mar/10/kenneth-anger-interview
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manho
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Mar 21, 2010 6:41:58 GMT -5
Post by manho on Mar 21, 2010 6:41:58 GMT -5
just had the misfortune to watch scorsese's casino. a monstrosity. same old shtick as goodfellas (would have been quite funny if it was a parody). i'm figuring what with all the recent garbage with di caprio and his energy investment into documentaries that the guy has gone. the well is dry.
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manho
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Apr 2, 2010 17:05:30 GMT -5
Post by manho on Apr 2, 2010 17:05:30 GMT -5
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david
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Apr 3, 2010 12:31:53 GMT -5
Post by david on Apr 3, 2010 12:31:53 GMT -5
Hitchcock's interviews, including the ones he did for Truffaut's book, are notoriously unreliable. Hitch didn't take interviews seriously except as a means for publicity. So he always preferred a good story over the truth, and would cheerfully agree with the opinions of whoever was interviewing him, even if it contradicted interviews he'd given weeks earlier. That said, there's no reason to believe the stripper's memory is any more accurate than Janet Leigh's.
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Apr 8, 2010 22:09:51 GMT -5
Post by Cat Stevens on Apr 8, 2010 22:09:51 GMT -5
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Apr 20, 2010 19:07:04 GMT -5
Post by Cat Stevens on Apr 20, 2010 19:07:04 GMT -5
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