I am surprised that SUPERFLY hasn’t earned a mention yet. The movie itself is decent blaxploitation but Curtis Mayfield’s score catapults this title into film history as an essential in this genre category. This is one of the most memorable collaborations between film and soundtrack/score available.
He would not only be able to offer up great conversation about some of the best films ever made, he would probably also be able to cook up a hell of a lunch himself.
Stanley Kubrick- EYES WIDE SHUT
David Lynch- INLAND EMPIRE
Lawrence Kasdan- DREAMCATCHER
Brian De Palma- THE BLACK DAHLIA
M. Night Shyamalan- THE HAPPENING, LADY IN THE WATER
Wong Kar Wai- MY BLUEBERRY NIGHTS
You might want to work backwards in seeking the answer to this question.
Pick the lab where you plan to do your digital-to-film transfer and ask them what settings work best for them. Each house will have different requirements, recommendations and tips so it is best to get in sync with them even before principal photography.
The term censorship cannot be legitimately applied to the NC-17 rating as it is a voluntary, commercial designation. Filmmakers, production companies, distributors, studios and theater chains agree to participate in the MPAA’s ratings program but it is not mandatory. In America, the only true censorship cannot be imposed by the government.
Of course, it is easier if you fall in line and play along with the game but one can go their own way if they wish. Without a rating, a film might find itself shutout of advertising in mainstream media and kept off the shelves at Blockbuster. But art finds a way when it needs to… and wants to.
A filmmaker cannot cry censorship in response to a rating that they first seek out and then accept from a third party private organization.
Censorship through money… comes down to a decision for the filmmaker.
A choice.
And it seems like a filmmaker’s fate is sealed in this regard when they make the decision to take the money.
Film is a unique art in that it is also a collaborative commercial endeavor that, in most cases, requires vision, craft, business and profit.
However, now more than ever, there are ways for a filmmaker to produce and distribute a film without touching the Hollywood studio system that uses the MPAA as its moral regulator. Today, a determined and resourceful filmmaker can stand alone in defense of his art against any form of editorial restriction.
Don’t want to be censored? Then don’t ask the MPAA to rate your film (and don’t take funding from parties that will need your film to be rated by the MPAA).
Want money from Hollywood? Then you will need to play by the rules that allow your investors to distribute a commercial property.
The presence of a choice belies the censorship claim.
Censorship through money… is only possible once you cash the check.
It is officially being called WALL STREET 2: WEEKEND AT GEKKO’S.
The plot covers a few crazy days during which Bud Fox (Charlie Sheen) and Marvin (John C. McGinley) must convince everyone that the just deceased Gordon Gekko is still alive and kicking and eligible for his TARP bailout bucks.
In a bit of stunt casting, Andrew McCarthy is set to play the bailout investigator who needs to sign off on the deal before the funds get wired to Gekko’s Swiss bank account.
While the understandable first reaction to the idea of a SEVEN SAMURAI remake by any self-respecting cinephile is likely to be cries of sacrilege, sometimes these new works turn out to be diamonds in their own right.
In this regard, the original remake of this film, THE MAGNIFICENT SEVEN, is a brilliant western that ranks as a Hollywood classic.
Just about two weeks ago, I saw a fascinating documentary titled “Stanley Kubrick’s Boxes” on the Sundance Channel (or was it IFC?).
The premise was built upon the thousands of boxes of research that Kubrick kept warehoused at his home and the insights that they revealed about his work process and mindset toward precision, detail and accuracy.
I am not a fan of Kubrick’s work but this was a very interesting peak into Kubrick’s professional life.
(One bit that is revealed- he had all of his out-takes burned!).
For the most part, Hollywood combines a healthy, liberal outlook on social issues with a fiscal conservatism in regard to their own self-preservation.
For whatever reason, the creative and production side of the film industry tends to attract more liberals than conservatives and this outlook naturally comes through in the themes presented on screen.
However, Hollywood is also a business and, for the sake of box office, the smart producers do not lose site of the fact that they want to appeal to the largest audience possible. What makes it to the multiplex is sometimes a compromise between a liberal leaning themes and the desire to appeal to both liberals and conservatives- the mainstream audience.
Several press outlets are covering the collaboration between Martin Scorsese, the WCF and theauteurs.com:
“Martin Scorsese, as ardent an advocate as there is for serving up film the old-fashioned way, has decided to embrace digital distribution for movies restored by his World Cinema Foundation.
The films that the organization restores every year — often obscure titles like “Dry Summer,” a Turkish picture from 1936 — will now be made available online through theauteurs.com, a Web site that calls itself a “virtual cinematheque.” Many will be free."
This film is going to run for free on the HDNet Movie channel starting on May 20th. It might just be limited to that day, not sure, so check your DVR’s scheduler.
blaxploitation about 3 years ago
I am surprised that SUPERFLY hasn’t earned a mention yet. The movie itself is decent blaxploitation but Curtis Mayfield’s score catapults this title into film history as an essential in this genre category. This is one of the most memorable collaborations between film and soundtrack/score available.
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What 2008 film deserves the Criterion treatment? about 3 years ago
DEFIANCE
A great movie with an even greater underlying true story that could be explored in a Criterion disc.
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What was the first Criterion movie you watched? about 3 years ago
I think it was CITIZEN KANE on laser disc. Not the great three disc set they put out, but a simpler before that.
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If you could have lunch with one filmmaker, alive or dead, who would it be? about 3 years ago
Francis Ford Coppola
He would not only be able to offer up great conversation about some of the best films ever made, he would probably also be able to cook up a hell of a lunch himself.
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most overrated oscar performances or robberies about 3 years ago
Marisa Tomei’s performance in MY COUSIN VINNY did not deserve an Oscar.
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If you could have lunch with one filmmaker, alive or dead, who would it be? about 3 years ago
If Godard doesn’t show, do you get a second pick?
Welles would be a great choice but bring cash because he would definitely stick you with the bill.
Kubrick would be fascinating but I wonder if the restaurant would kick him out at about the 11th or 12th time he sent his order back to the kitchen.
Jarmusch would be cool but coffee and cigarettes are not much of a lunch.
And Maya Deren doesn’t do lunch.
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How could such a great director make such a lousy movie? about 3 years ago
Stanley Kubrick- EYES WIDE SHUT
David Lynch- INLAND EMPIRE
Lawrence Kasdan- DREAMCATCHER
Brian De Palma- THE BLACK DAHLIA
M. Night Shyamalan- THE HAPPENING, LADY IN THE WATER
Wong Kar Wai- MY BLUEBERRY NIGHTS
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Movies Teenagers Should Watch about 3 years ago
AMERICAN GRAFFITI
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Digital to Film transfer about 3 years ago
You might want to work backwards in seeking the answer to this question.
Pick the lab where you plan to do your digital-to-film transfer and ask them what settings work best for them. Each house will have different requirements, recommendations and tips so it is best to get in sync with them even before principal photography.
Go to Comment
The Auteurs' Fake Criterion Covers about 3 years ago
Great thread. All these covers are amazing.
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Hard-Boiled Type Films about 3 years ago
Anthony Mann’s RAW DEAL is a particularly good hard boiled noir.
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Censorship about 3 years ago
The term censorship cannot be legitimately applied to the NC-17 rating as it is a voluntary, commercial designation. Filmmakers, production companies, distributors, studios and theater chains agree to participate in the MPAA’s ratings program but it is not mandatory. In America, the only true censorship cannot be imposed by the government.
Of course, it is easier if you fall in line and play along with the game but one can go their own way if they wish. Without a rating, a film might find itself shutout of advertising in mainstream media and kept off the shelves at Blockbuster. But art finds a way when it needs to… and wants to.
A filmmaker cannot cry censorship in response to a rating that they first seek out and then accept from a third party private organization.
Go to Comment
Censorship about 3 years ago
Censorship through money… comes down to a decision for the filmmaker.
A choice.
And it seems like a filmmaker’s fate is sealed in this regard when they make the decision to take the money.
Film is a unique art in that it is also a collaborative commercial endeavor that, in most cases, requires vision, craft, business and profit.
However, now more than ever, there are ways for a filmmaker to produce and distribute a film without touching the Hollywood studio system that uses the MPAA as its moral regulator. Today, a determined and resourceful filmmaker can stand alone in defense of his art against any form of editorial restriction.
Don’t want to be censored? Then don’t ask the MPAA to rate your film (and don’t take funding from parties that will need your film to be rated by the MPAA).
Want money from Hollywood? Then you will need to play by the rules that allow your investors to distribute a commercial property.
The presence of a choice belies the censorship claim.
Censorship through money… is only possible once you cash the check.
Go to Comment
WHO IS / WAS THE MOST BEAUTIFUL FILM ACTRESS EVER? about 3 years ago
Ingrid Bergman
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Our favourite paintings: the great Auteur Gallery about 3 years ago
New York Movie, Edward Hopper
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Wall Street Redux about 3 years ago
It is officially being called WALL STREET 2: WEEKEND AT GEKKO’S.
The plot covers a few crazy days during which Bud Fox (Charlie Sheen) and Marvin (John C. McGinley) must convince everyone that the just deceased Gordon Gekko is still alive and kicking and eligible for his TARP bailout bucks.
In a bit of stunt casting, Andrew McCarthy is set to play the bailout investigator who needs to sign off on the deal before the funds get wired to Gekko’s Swiss bank account.
Go to Comment
Espionage about 3 years ago
THREE DAYS OF THE CONDOR is the personal favorite that I find myself returning to again and again.
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Seven Samurai Remake, anyone? about 3 years ago
While the understandable first reaction to the idea of a SEVEN SAMURAI remake by any self-respecting cinephile is likely to be cries of sacrilege, sometimes these new works turn out to be diamonds in their own right.
In this regard, the original remake of this film, THE MAGNIFICENT SEVEN, is a brilliant western that ranks as a Hollywood classic.
Go to Comment
Our favourite paintings: the great Auteur Gallery about 3 years ago
I didn’t realize my selection would come out so big here. Sorry about that.
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K.U.B.R.I.C.K. about 3 years ago
Just about two weeks ago, I saw a fascinating documentary titled “Stanley Kubrick’s Boxes” on the Sundance Channel (or was it IFC?).
The premise was built upon the thousands of boxes of research that Kubrick kept warehoused at his home and the insights that they revealed about his work process and mindset toward precision, detail and accuracy.
I am not a fan of Kubrick’s work but this was a very interesting peak into Kubrick’s professional life.
(One bit that is revealed- he had all of his out-takes burned!).
Go to Comment
Is there a liberal bias in the film community? about 3 years ago
For the most part, Hollywood combines a healthy, liberal outlook on social issues with a fiscal conservatism in regard to their own self-preservation.
For whatever reason, the creative and production side of the film industry tends to attract more liberals than conservatives and this outlook naturally comes through in the themes presented on screen.
However, Hollywood is also a business and, for the sake of box office, the smart producers do not lose site of the fact that they want to appeal to the largest audience possible. What makes it to the multiplex is sometimes a compromise between a liberal leaning themes and the desire to appeal to both liberals and conservatives- the mainstream audience.
Go to Comment
Last movie you saw and rate it about 3 years ago
Star Trek 9/10
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Well...Cinematography is Dying. about 3 years ago
Cinematography is not dying. It is evolving with the technology.
The solution is for cinematographers to be made (and to make themselves) as much a part of the DI process as possible.
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Theauteurs.com (and the World Cinema Foundation) gets some press in the NY Times about 3 years ago
Several press outlets are covering the collaboration between Martin Scorsese, the WCF and theauteurs.com:
“Martin Scorsese, as ardent an advocate as there is for serving up film the old-fashioned way, has decided to embrace digital distribution for movies restored by his World Cinema Foundation.
The films that the organization restores every year — often obscure titles like “Dry Summer,” a Turkish picture from 1936 — will now be made available online through theauteurs.com, a Web site that calls itself a “virtual cinematheque.” Many will be free."
Full article here-
http://carpetbagger.blogs.nytimes.com/2009/05/15/martin-scorsese-to-bring-neglected-films-from-around-the-world-to-the-web/
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favorite short film. about 3 years ago
La Jetee by Chris Marker.
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The Auteurs' Fake Criterion Covers about 3 years ago
This is one of the greatest threads in the history of the internet.
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Why does Harmony Korine make so few films? about 3 years ago
In an interview that I saw several years ago, Harmony Korine said “I don’t believe in plot”.
I have seen some of his work and he would be far better off if he did.
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Rethinking piracy: E-distribution network in e-market about 3 years ago
Piracy is indefensible.
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Any remakes that you prefer to their originals and if so why? about 3 years ago
John Huston’s 1941 version of The Maltese Falcon is far superior to the two previous takes on this story in 1931 and 1936.
Huston brought the film into the realm of noir where it belonged and Bogart provided the definitive characterization of Sam Spade.
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Girlfriend Experience about 3 years ago
Was that on-demand viewing free or for a fee?
This film is going to run for free on the HDNet Movie channel starting on May 20th. It might just be limited to that day, not sure, so check your DVR’s scheduler.
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