Film

Inglourious Basterds TRAILER !!

By Callaghan ⋅ February 11, 2009 ⋅ Post a comment

Inglourious Basterds [sic] is an upcoming ensemble war film/spaghetti western[2] written and directed by Quentin Tarantino. It has the largest cast of characters (with speaking roles) of any Tarantino film to date and is currently in production with several locations, among them Germany and France. Tarantino plans to complete production of Inglourious Basterds in time for release at the Cannes Film Festival in May 2009[3]. Filming began in October 2008[4]. The title (and partial premise) of the upcoming film is inspired by Italian director Enzo Castellari’s 1978 movie Inglorious Bastards. The Weinstein Company has slated August 21, 2009 as the tentative U.S. release date.

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De Palma’s THE BOSTON STRANGLER and more Inglorious Basterd’s Pics !

By J.R. Hudson ⋅ October 27, 2008 ⋅ One comment

This morning story courtesy AICN via Jenna Busch and UGO Movie Blog.

It’s been quiet since THE BOSTON STRANGLERS was announced last June as a vehicle for Brian De Palma, but, according to producer Gale Anne Hurd (Terminator 2, The Abyss, Aliens, The Terminator and De Palma’s Raising Cain), it’s still in the pipeline and slated for a Spring production. The screenplay is based off the book “The Boston Stranglers: The Public Conviction of Albert DeSalvo and the True Story of Eleven Shocking Murders,” by Susan Kelly.

The Master.

It’s based on Susan Kelly’s book called The Boston Stranglers, because everything that we think we know is wrong. There was a film made right after the events called THE BOSTON STRANGLER starring Tony Curtis and Henry Fonda. And it posits that Albert DeSalvo was the Boston Strangler, but the truth is, if you scratch beneath the surface, Albert DeSalvo was never charged with the crimes. He was actually incarcerated for another series of assaults, and there was not one shred of evidence linking him to the crimes. So the film is very much (about) how did things go so wrong, that to this day we all think Albert DeSalvo was tried and convicted as the Boston Strangler?

The screenplay draft by Alan Rosen went over 160 pages starts off with DeSalvo’s first foray into the crimes as he talks his way into the homes of desperate women pretending to be a modeling scout and then dramatizes the police investigation, the intense media scrutiny, and DeSalvo’s jailhouse confession to convicted murderer George Nassar. It’s kinky and bloody and chalk full of conspiracy; standard faire for De Palma, a certified master of the genre. I personally loved The Black Dahlia and if Brian’s name is on it, I’ll be satisfied just watching the direction and visual tour de force he commands. No one, and I man, no one understands films visual language better than De Palma, cut from the cloth of Hitchcock, he is a master.

Spring of 2009 with a 2010 release date is the projection on this one.

You can read the Busch interview with Gale and for up to date news from the best De Palma site on the net, check out De Palma Ala Mod and you can talk about Brian in our own forums Here.

In other cinejunkienessism news; what’s another post without some Inglorious Basterd’s news ? And before you message me to let me know I spelled the title wrong again, it has been confirmed that Quentin Tarantino’s upcoming WWII-spaghetti western remake of Enzo Castellari’s Inglorious Bastards (which filming began this month), that QT’s “misspelled” title is official.

When the script (which you can download here) made its onto the internet (accident, I’m sure) this summer, many simply thought he was a poor speller but according to the Weinstein Co. and Universal Pictures, who confirmed the title after releasing a new synopsis for the film:

“Inglourious Basterds begins in German-occupied France, where Shoshanna Dreyfus (Mélanie Laurent) witnesses the execution of her family at the hand of Nazi Colonel Hans Landa (Christoph Waltz). Shosanna narrowly escapes and flees to Paris, where she forges a new identity as the owner and operator of a cinema.

Elsewhere in Europe, Lieutenant Aldo Raine (Brad Pitt) organizes a group of Jewish soldiers to engage in targeted acts of retribution. Known to their enemy as “The Basterds,” Raine’s squad joins German actress and undercover agent Bridget Von Hammersmark (Diane Kruger) on a mission to take down the leaders of The Third Reich. Fates converge under a cinema marquee, where Shosanna is poised to carry out a revenge plan of her own…”

Tarantino’s international cast includes Brad Pitt Diane Kruger, Mike Myers, Eli Roth, Cloris Leachman, Rod Taylor, Daniel Brühl (The Edukators), Samm Levine (Freaks and Geeks), Til Schweiger (King Arthur), B.J. Novak (The Office), Michael Fassbender (300), Mélanie Laurent (Days of Glory), Michael Bacall (Death Proof), Omar Doom (Death Proof), Julie Dreyfus (Kill Bill Vol. 1), August Diehl (The Counterfeiters), Richard Sammel (Casino Royale), Christian Berkel (Black Book), and more. The film reunites Tarantino with Kill Bill Vol. 1 and 2 cinematographer Bob Richardson, longtime production designer David Wasco, Oscar-nominated editor Sally Menke (Pulp Fiction), and producer Lawrence Bender.

And here is another pics from the set of the newly constructed French farmhouse that will open Inglorious Bastards in a soon-to-be-classic and nail-biting fashion. The window on the far right will presumably frame and foreshadow a showdown between the female main character and the Jew Hunter

The Farmhouse from the scripts opening scene.

That’s all for today. I have some writing to do and then it’s off to work.

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INDEPENDENT SPOTLIGHT – BERLIN

By J.R. Hudson ⋅ August 10, 2008 ⋅ Post a comment

The set design on Berlin is simply wonderful.

In the independent spotlight series, I want to showcase films with a true indie spirit. A film, made by ‘no one’, on a limited shoestring budget, the guerrilla filmmaker. Films that come to mind that fit this mold include ONCE, a small Irish Film that won this years Best Song Oscar, PRIMER, a 2004 science fiction film about the invention of time travel. Written, directed and produced by Shane Carruth, and completed with a budget of just $7000 and the last DVXFEST winner O2 (Shameless plug for Fat Monster).

BERLIN is a short film with large ambition written and directed by Norm Sanders. Norm is a sort of peer / virtual friend that I have known for years via DVXUSER. I have watched him grow as a filmmaker and have followed closely this new film from him and it is the most mature and polished film yet.

Shot on a microbudget of $4,500, with the largest expenditures being (taking over half) food & insurance (The rest went towards MUA/Hair Stylist kits, MINOR rentals, art direction costs and wardrobe) Sanders added “We got so much free, it should have been illegal!”

“You want me to what ?!”

The film tells a story, set in Nazi Germany circa WW2, of love and betrayal and features Rebecca L. Dunn, Shan Applegate and Sanders. Our story starts off with the introduction of Katherine and Edwin, a young couple who met while Katherine was touring Europe as a singer. Hitler has made the world a difficult place and Edwin, unable to wait for America’s commitment has decided to fly planes in Europe, much to the dismay of his young wife.

As which happens in war, Edwin’s plane is shot down over Nazi Germany and Katherine, hearing that there were survivors, does the only thing she knows. 10 months later, we find ourselves smack dab in the middle of the Third Reich, Berlin. Katherine is working as a singer in The Double Eagle Club as Miss Kate and Her Orchestra.

“Die Nazi, Die!”

Here is where she meets Robert (Shan Applegate) and asks him to do the unthinkable, sneak into the POW camp that holds Edwin and rescue him. As Robert reluctantly agrees, what a man will do for a woman, right ? It turns out, Katherine and Robert have a past and shared some time together. But this relationship went south long ago, still, she has no where else to turn, nor anyone to trust.

Personally, I find this to have feature potential. Although the story is simple enough, and sort of a throwback to a bygone era, I see this as a classic love story with all of the ingredients that make it so mad. Lost love, faith and hope, betrayal and lies. Our characters are interwoven by fate and the choices each makes that lead to a final resolve.

This award winning short film is loaded with Extras, Behind the Scenes, Set Design, Bloopers and trailers and has a wonderful Score by Herman Witkam. The set design, wardrobe and cinematography (beautifully shot by Steadicam Masta Flyer Dan Ayers; Righteous Kill, Bordertown, Nip/Tuck) all lend to the nice feel of this small film. It feels like Berlin, it feels like we’re there all along.

I miss some elements I was hoping to see, Edwin flying or being shot down and especially more of a sense of the Nazi presence. Easier to ask for than pull off, I would love to have seen this film stretched out a bit, giving us a bit more character, especially for Edwin. But nevertheless, I found it a moving story with a payoff I did not see coming, if even it felt as if it was missing that certain motivated ingredient. Although I get the motivation of Robert, I’m afraid that isn’t enough.

I can’t spoil it for you, because the film is worth your time, whether a film buff, an independent supporter or struggling filmmaker, I think you’ll find your time invested worth it.

Cine Rating:

So go ahead, help a filmmaker out, you can have the DVD at the films official site for a mere $14.95.

Before and After in the selling of Berlin.

The DVD value is awesome. Slickly polished and professionally produced, it puts many mainstream Hollywood releases to shame. I had a chance to sit down with Norm Sanders and grill him on some information on the film, all for you, the struggling filmmaker.

=

1. How did you get the idea for Berlin ?
BERLIN was inspired by the DVXuser SpyFest. When researching “Spies” in Wikipedia, it talked about the history of them used in wars, etc. I then started to think of WWII, and the romantic era that embodies the 1930’s – 1940’s, and wanted to have a film that would stand apart from what I felt would be many James Bond style films. As the script developed, it quickly outgrew the 6 minute festival time limit, so I withdrew it from the fest & ultimately suspended production for 6 months until the time was right to make it, which even included the beautiful fall colors for the exterior shots.

2. What was the budget ?
Roughly $4,500 for production (largest single expenditures being Catering & Craft Services – got an incredible deal/favor by “Catering By Caprice” in Portland – to feed everyone exceptionally well, and Insurance for liability and rentals. Everyone (cast & crew of 70+) made this a labor of love, and donated their time). Total budget was set for $6K, including all post production, DVD replication, posters, etc. Our Exec Producer funded the initial budget, which I’ve since supplemented with my own funds, as I wanted the final product to surpass anyone’s hopes or expectations with regards to final DVD, Posters, number of festivals to submit to (submitted to 13 so far, and doing well), etc.

3. What was the most difficult aspect of production ?
This is tough to answer, as production itself went surprisingly smooth. The stress & planning that went with pre-production, was another story, as well as post production. I did much of the casting & location scouting/negotiating, so there was more than once where we were still missing a CRITICAL location, or cast, right up until 2 days prior to shooting! This, of course, is all covered in the special features in the DVD.

Post production took longer than expected as well, especially as the person that was supposed to handle all the special features ended up not doing any of the post work on the BTS video they acquired. So I had to scramble & set up key interviews, and then add a truck load of additional work to my plate for the final DVD, with regards to editing, etc.

4. The production design of the Hall is amazing, how did you go about creating this ?
I believe you’re speaking of the Cabaret setting. Much of this was stock, as the restaurant, Hubers (Portland’s oldest establishment since about 1887), is all original or refurbished 1910 decor. From there, our Art Department simply had to redress some of it by taking away or hiding anything modern, replacing a picture of the original chef/owner with a picture of Hitler, adding Nazi flag/banners, and creating the old sign showcasing the singer & band.

The wardrobe, designed & provided by Jay Lance, also helped to further sell the entire production, especially in that room, with it all being authentic period outfits, right down to the real Nazi/SS uniforms, etc.

Finally, the stage was set up with two small risers, and some instruments & old microphone donated by a couple of local schools.

5. Would you do anything different if shooting this one again ?
Absolutely. I can’t imagine a single filmmaker that wouldn’t want do do something differently, after learning in such an experience of what could have been done better, etc.

For me, the biggest thing would come down to allowing more time for shooting, and doing more pre-production/shot planning with the DP. During the entire phase of pre-production, our DP was actively working in LA on the 2nd season of THE RICHES for FX. He flew back both weekends to shoot this on his own dime. Seriously! But since he wasn’t around prior to production, there were some growing pains here or there, or shots we’d have to combine or sacrifice, once we were both able to be on set at the same time & actually see what I wanted vs. what was possible, both in setting as well as time allowed.

6. Is there anything you were unhappy about in the final result ?
Since I was personally in the film, and I’m always my own worst critique, I could point to my own performance … but I think that’s common for most everyone.

But the ONE thing that bugs me most in the film is this ONE slow motion shot, where the character Robert looks at this German Police Officer, and a Gestapo, that eye ball him in the club. I hang on that shot for FAR too long, and it just nags the heck out of me every time I see it. I thought it was a cool shot, so that’s why I initially held it for as long as I do, but should have cut it in half of what it is, as it makes the moment bigger or more crucial than it should be. In other words, that shot/edit takes itself too seriously, and should have been off the screen much sooner.

Again, learning from the entire experience, there are all kinds of things I could nit pick at, but thankfully I can still say that even after seeing the film so many times now, it’s still a project I’m proud of, and enjoy having people watch & experience.

7. What’s next on the pipeline ?
As BERLIN makes the festival circuit and continues to pick up “Official Screenings”, and awards and/or “Official Nominations”, I have two features of VERY different story lines/genres that I’d like to see made, both of which can very easily be done for $500K or less, with exceptional production value. So it’ll be a matter of finding the backing for those to be able to move forward …. hopefully the success of BERLIN will have a hand in that.

In the meantime, to stay active, I’ve got a short (or two) that I’m working on for the current DVXuser TwilightFest, due at the end of October.

8. What advice would you give to aspiring filmmakers ?
If you’re like me, and you’re going to produce your own work as well (the only way to guarantee that what you direct will ever be finished), then I would give the following tips, which is also in a way Sales 101 (being good at sales, I believe, is CRUCIAL to being an effective Producer):

If you don’t ask, the answer is already “No”. (NEVER assume someone wouldn’t be interested in your project, but when you DO approach them, be confident & articulate of what you’re trying to accomplish).

Leave no stone unturned. (Sometimes the coolest opportunities come out of the most unexpected avenues, so network, network, network).

Stick with it, and never give up. (It’s hard enough to START a project, but then to actually see it through – many drop out … don’t be one of them).

If you think you can’t, you’re right (a quote from the guy who started Ford Motor Company, and it’s true), so believe you CAN, and don’t let anyone tell you differently.

Mistakes are good, IF YOU LEARN FROM THEM! Make each project better than the last, or in my opinion, you’re wasting yours & everyone else’s time.

And be sure to check out the productoin journal here !

CAST

KATHERINE – Rebecca L. Dunn
ROBERT – Shan Applegate
EDWIN – Norm Sanders
GERMAN SS OFFICER – Joe Rosanek
GERMAN SOLDIER #1 – Reid Phillips
GERMAN SOLDIER #2 – Aaron Truman
GERMAN WAITRESS – Teresa Decher
CABARET PROPRIETOR – Paul Kisser
ANGRY WIFE – Megan Powers
CABARET PATRON – Joe Grigsby
OLDER KATHERINE – TBD
OLDER ROBERT – TBD

EXTRAS

Orchestra Member – James Donaldson
Orchestra Member – Tim Oakley
Orchestra Member – Alex ____
Orchestra Member – David ______
Orchestra Member – Brady Patterson
Orchestra Member – Clayton Peirce
Cabaret Bartender – Keith Korter
German Civilian – Andrea Krecklow
German Civilian – Garrett ______
German Civilian – Flossy McShane
German Civilian – Lauren Green
German Civilian – Karen Grosskreutz
German Civilian – Donna Rapp
German Civilian- Desiree Mariscal
German Civilian – Ted Grigsby
German Civilian- Tiffany Cook
German Civilian – Sam Kimpton
German Guard – Mack _____
German Gastapo – Matt Dotson
German Police Officer – David Smith

CREW
Norm Sanders ……………… Writer / Editor / Producer / Director
Rebecca L. Dunn ………….. Writer / Co-Producer
Dan Ayers ………………….. Director of Photography
Herman Witkam ………….. Composer, Sound Editing & Mix, German Translator
Bree Dennis ……………….. 1st Assistant Director
Susan Funk ……………….. Production Supervisor
Amanda Russell ………….. Script Supervisor
Ryan E. Walters ………….. 1st Assistant Camera – A Cam
Isaak Lane Koval ………… B Camera Operator
Brad Reeb ………………… 1st Assistant Camera – B Cam
Adam Resare …………….. 2nd Assistant Camera (A/B Cams)
Jerry Turner ………………. Digital Input Technician
Matt Semchee ……………. Key Gaffer
Fro Waters ………………… Key Grip
Peter Hermes …………….. Swing Gaffer/Grip
James Eubank ……………. Art Director, Graphic Artist, Carpenter
Oakley Design Studios ….. Prop Fabricator
Tim Oakley ………………… Prop Master, Graphic Artist, Carpenter
John Kirkley ……………….. Set Dresser, Carpenter
Valerie Powers …………….. Prop Fabricator
Tavia Onstad ……………… Art Department Assistant/Runner
Ken Kupelian ………………. Sound Mixer
A.J. Brooks …………………. Boom Operator
Erik Griekspoor ……………. Sound Designer, Foley Artist, Sound Editing & Mix
Jay Lance ………………….. Historical Consultant, Wardrobe, Props
Paul Sutfin ………………… Wardrobe Assistant
Rose Barclay ……………… Key Hair Stylist & FX Artist
Miranda Sutton …………… Hair Stylist
Stephanie June Johnson .. Key Makeup Artist
Tarah Shuler ……………… Makeup Artist
Kristina Quevedo ………… Production Assistant
Tyler _________ …………… Production Assistant
Denise Gibbs ……………… Extras Coordinator
Steve Armenakis …………. VFX Artist
Jeremy Tuttle …………….. Graphic Design Artist (Poster, Promotional)
Hans de Koomen ………… German Translator
Amy Asivido ………………. Lyrics/Song Writer
Juliana Tobon ……………. Onset Still Photographer
Kevin Hayes ……………… Behind The Scenes Videographer
Krysta Kelley ……………… Catering
Darcy Robertson …………. Craft Services

SPECIAL THANKS/VENDORS

Huber’s (Cabaret Set/Location)
City of Vancouver, WA (Officer’s Row Set/Location)
Vancouver National Historic Reserve Trust (Officer’s Row Set/Location)
Charlotte Swartwood (Officer’s Row Set/Location)
Monte’s Pump (Old German Barn Set/Location)
Gear Head Grip (Electrical/lighting & Grip)
235 Studios / Ryan E. Walters (Camera Package)
Koval Productions (Camera Packag)
Bryan Edwards / 7th Trumpet Productions (Camera Equipment/Monitors)
Nelson Entertainment (Sound Equipment)
Roosevelt High School (Orchestra Instruments/Props)
Wally’s Music (Orchestra Instruments/Props)
Cromwell’s (Tuxedos for Orchestra Members)
Portland Roasting Coffee (Craft Services)
Peter Corvallis Productions (Stage Risers/Park Bench)

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DYNAMIC RANGE AND LIGHTING FOR FILM

By J. Van Auken ⋅ July 30, 2008 ⋅ 2 comments

The new vision3 stock.

What if I told you you could get a crisper, poppier, higher contrast, more film like image out of your camera, spend less that $40, and save hours in post at the same time?

Keep reading.

The digital age has allowed for countless people who would otherwise be unable, to have the means of making their own films for a fraction of what it cost not 20 years ago. It has also allowed for them to become fat and lazy filmmakers, who have become dependant on the technology, and have abandoned the old, “obsolete,” techniques in favor of ‘easier’ ways of doing things.

The biggest crutch kids entering filmmaking cling to is their LCD monitor. The sales reps at Best Buy trick them into thinking that what they see on the screen is what they get, and the Spielbergs-to-be run off under the impression that they have everything that they need to make a great picture.

The problem is that the LCD on your camera isn’t calibrated. At all. And let’s say you have a big fancy external monitor, calibrated and leant to you by Roger Deakins for the weekend; well, that’s great, but the problem remains that you still aren’t seeing what you get. If you use that monitor as your only guide, you won’t be able to take full advantage of your camera’s dynamic range, and end up with a picture that was not lit for film, but lit for TV. So, unless you’re shooting for Monday afternoon Telemundo, read on.

First, the technical background;

Your LCD, under perfect circumstances (which you’ll never have) can resolve about 6 stops of latitude. That’s six f-stop levels between the darkest area where you can perceive detail, and the brightest area that you can perceive detail. Your camera, however, has greater range. How much? well, the majority of digital cameras have between 8 – 9 stops, Vision2 has near 10, Vision3 more than that, and Kodak Tmax400 has well over 14 stops of latitude.

That difference between what you can’t quite see on the screen, and what your camera is still picking up, can encompass a lot of screen space and detail. Leaving it under lit, only to find that there were details or problems you missed later on is taking a big chance. It also robs you of true “contrast.” Contrast shouldn’t be something you add to a shot in post with an effect slider. Doing that only cuts your dynamic range more, increases artifacting and visible noise, and leaves you with a messy picture that any 6 year old with a handycam can make. As a cinematographer, your frame is your canvas. You can’t go cutting portions out or leaving chunks of it to chance.

“But Joe!” you whine, “If I can’t easily see everything on my preview monitor, how could I predict how to light for it?”

Now we get to why the article is entitled “lighting for film.”

Though there are a number of tools that help in determining proper lighting and exposure, the one we are going to cover today is the classic: the Light meter. When we shoot film, there is no accurate preview. If you’re lucky enough to have a video tap, it still suffers from the same problems of all LCD’s as listed above. So, you need to break out the ol’ light meter, and do things the old fashioned way.

In short, a light meter is a tool that measures the amount of light falling on an element of your scene. You can find them on ebay. I’ve seen Sekonic studio meters go for $40, and it does the job.

HOW TO ADD CONTRAST WITH A LIGHT METER:

Contrast in a shot can be set using the principle of lighting ratios. A ratio is determined by finding the intensity or brightness of your key light (in a unit of measure known as a footcandle), and then finding the intensity of your fill light. To do so, you turn on ONLY the light you’re trying to measure, and then take a light reading from your subject. When you have the two values, you add the key light value to the fill light value, then divide the sum by the fill light value.

Para exemplo: if you have a key light of 800 foot candles, and a fill of 200 footcandles, then your equation would be (800+200) / 200. which reduces to 5 /1, which makes your lighting ratio 5:1. That’s right. I just used math in the real world. Call Ripley’s.

Now, the higher your lighting ratio, the more contrast is in your scene. A ratio of 2:1 is relatively low contrast, and would be used for comedies, or sitcoms. A ratio of 8:1 is high contrast, and would be in use for horrors or noirs.

Okay, so let’s say you’re shooting a drama. You’ve decided you want a 5:1 light ratio. Cool. How does dynamic range come into play?

LIGHTING FOR DYNAMIC RANGE:

So, you have a scene. Your ratio is 5:1, and your key light is 800 foot candles, and you’re shooting with your HVX which has 8 stops of latitude, and coincidentally, a broken LCD (cause you tried a flip hack and voided the hell out of your warranty).

Well, if you set exposure with your light meter, and the key light on your subject was at 800 footcandles, that makes 800 your peg. What’s a peg? Consider a peg the middle of your dynamic range. When you take a meter reading, and the meter gives you the f-stop to set your camera to, that’s the middle of your range. If you have 8 stops of dynamic range, that means you have 4 stops above (brighter) the peg, and 4 stops under (darker).

Stops of light are measurable exponentially, in that every stop of light is twice as much as the one under it.

Knowing that, we can take our peg, 800, and measure 4 stops up; 1600, 3200, 6400, 12,800. So, we know that anything in our frame that meters over 12,800 foot candles will blow out, and we won’t be able to see it.

On the other side, if we measure down, (400, 200, 100, 50) we find that objects metering below 50 foot candles will not show up in our frame.

Great. We did all that math, and now our heads hurt. Now What?

If you light every element within your frame so that at least 50 footcandles of light fall on it, and no more than 12,800 footcandles fall on it, then everything in the frame will be visible. More over, if you include some elements in your frame that are lit at the bottom of your dynamic range, and some that are lit at the top, along with a subject metered in the middle, you are taking full advantage of your medium. This is called being a cinematographer.

THE BEAUTY PART:

You now know enough so that

you can make your frame as contrasty as you want
you know exactly the most and least amount of light to put on any object in the frame.

By following these steps, you keep everything in your frame within your dynamic range and take full advantage of your camera, while at the same time avoiding flat and low contrast pictures, and avoid losing all your range by correcting in post.

Perhaps the biggest benefit will be training yourself to use the industry standard method of exposing a picture. Heaven willing, you’ll get on a big shoot with a budget some day, and you don’t want to be the laughingstock on set because you spent half an hour trying to find the flipout LCD on an Arri. I see a lot of kids come in, representing themselves as ‘pros’, but lacking the skillset that’s required to make a living in feature films. Don’t be a casualty of the comforts offered by digital technology, and learn the skills now.

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EQUATION OF A FILM CLASSIC

By Callaghan ⋅ July 29, 2008 ⋅ 3 comments

Mention the word “classic” in different circles, and the responses you’ll get will be as varied as Tara Reid’s bajungas. Go on, try it out; I’ll wait – ‘sides, I gotta light my stogie anyhow. What’s that? Not in a circle right now? Me neither, though I do pal around with a few squares (no offense, Dean).

Golfer Ben Hogan is undeniably a classic, but so equally is Tiger Woods. The Twilight Zone; classic, classic stuff…but couldn’t the same also be said about The Sopranos? See what I’m getting at here?

Jimmy Stewart in It’s a Wonderful Life

Just so I’m clear…
One saying “They don’t make ‘em like they used to” is something else entirely. Hell, I catch myself saying that all the time (being the old soul that I am.) Understand one thing though: Classic doesn’t necessarily equal old…and being old sure as shit ain’t an auto-qualifier for classic status. Cinematically, I could point you to many an old turd. On the other hand, every decade does sire true blue classics (even, gasp, this decade we call our own.)

Many who know me know me as “The Classic Film Guy”. Often I will be asked to talk about the golden age of cinema or the studio era; both of which I’ll babble on and on (and on) about. But eventually I pause long enough to order another drink. It is at this point that I turn to my co-conversationalist(s) and (in my best Cleavon Little) say, “Excuse me while I whip this out!” I then proceed to pull out my now infamous Callaghan Top 100 Movie List (yeah, so I carry it around in my wallet…what’s the big deal?) I always am quick to point out that my film picks straddle the vast chasm that spans from the 1930’s right up to the aughts (twenty-aught one, twenty-aught two…)

Are you not entertained ?

You know how we look to the renaissance masters’ paintings to really get under the skin of fifteenth and sixteenth century life? Well, in the distant future, historians will study our film classics as the art form of our civilization. It’ll happen, just wait. You can’t convince me otherwise.

So what does make a film a classic? Many critics consider the year 1960 to be the “1 AD” of the film world. I have already spelled out my distaste for this vintage = classic malarkey. I think that, like the overly clichéd pornography definition, you know a classic when you see it. Simple as that. An authentic classic will retain its magic through multi-generational screenings; and, like Andy Dufresne, will “…come out clean on the other side.”

Dude, you spelled Hitler wrong.

Casablanca, It’s a Wonderful Life and Singin’ in the Rain…classic, classic and classic. Those are give-me’s. Now consider if you will all the film classics that came out in the 80’s, 90’s and 2000’s: Raiders of the Lost Ark, Schindler’s List and Gladiator respectively, just to name a few. Like their older brethren, they will stand the tests of time.

So next time you think classic, think epic, timeless, filmic goodness. If, on the other hand, you are in need of a word to describe an older film…might I suggest the term “vintage”. I guess now that makes me the “Vintage Film Guy”. Now if only I could find me a circle…

Cheers,
Callaghan

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TOP MOVIE ENDINGS

By J.R. Hudson ⋅ July 15, 2008 ⋅ One comment

David over at DVXUSER posted an article on the TOP 20 MOVIE ENDINGS as listed by the TIMES ONLINE and after a review I’m wondering how certain films are missing and why some films are even being breathed.

A Best Ending must just leave you jaw dropped and wanting more. You’re thinking about it for hours,, even days after you saw it. The kind of ending where you can’t tell your friends, you just gotta tell them to go see it.

Like most lists, they will always create a stir. Alas, here are Cineobscure’s Top Movie Endings in no particular order. Some of these You Tubes aren’t available due to some exec at a studio not realizing it is free publicity for the film.

Now onto my personal favorites !

Se7en

This thriller portrays the exploits of a deranged serial-killer. His twisted agenda involves choosing seven victims who represent egregious examples of transgressions of each of the Seven Deadly Sins. He then views himself as akin to the Sword of God, handing out horrific punishment to these sinners. Two cops, an experienced veteran of the streets who is about to retire and the ambitious young homicide detective hired to replace him, team up to capture the perpetrator of these gruesome killings. Unfortunately, they too become ensnared in his diabolical plan….

Her head. Her head is in the box. What the ………. I would have done the same thing as Mills. Shocking, twisted, scary, plausible. Her head is in the box.

Planet of the Apes

Taylor and two other astronauts come out of deep hibernation to find that their ship has crashed. Escaping with little more than clothes they find that they have landed on a planet where men are pre-lingual and uncivilized while apes have learned speech and technology. Taylor is captured and taken to the city of the apes after damaging his throat so that he is silent and cannot communicate with the apes.

It’s earth. He is on earth and is now the new Adam. Way ahead of its time.

The Sixth Sense

Child psychologist Malcom Crowe is one night visited by an ex-patient named Vincent, angry, enraged. He wounds Crowe, then kills himself. A few months later, Crowe is visited by a 9-year old boy named Cole. He sees dead people who do not know they are dead. Because of this, he is called a freak in school. Crowe, at first thinks he is seeing things, but after spending a lot of time with Cole (much to his wife’s dismay), he discovers Cole may be seeing dead people after all…

Realizing he is dead when he does is superb. What an incredible film and what a killer ending.

The Road Warrior

If there is one franchise on the planet that is dying for a sequel, this may be it.

A former police officer is now a lone wanderer, travelling through a devastated Australia after a nuclear war looking for the now-priceless fuel of petrol. He lives to survive and is none too pleased when he finds himself the only hope of a small group of honest people running a remote oil refinery. He must protect them from the bike gang that is terrorising them whilst transporting their entire fuel supply to safety.

When you first see sand pouring out of the wrecked rig you just get it. You feel the pain, you feel Max’s realization that he’s just been used. And then he just laughs at it all. The end dolly pull of Max is one of my favorite shots ever in film.

and MAD MAX

and BEYOND THUNDERDOME

Can you tell I am in love with the Mad Max films and their endings ? What is it about Max just being screwed each and every time ? The best line in the franchise is Tina Turner’s exchange at the end of Thunderdome; as she and her cronies approach and once again banged up Max “Ain’t we a pair raggedy man ?” (she laughs and they walk away) “Goodbye Warrior!”

I sort of made that up from my memory but you get the idea.

The Empire Strikes Back

The story of Luke Skywalker, Han Solo, Princess Leia and the others didn’t end with the destruction of the Death Star – it continues in THE EMPIRE STRIKES BACK. Imperial forces have since driven the Rebels to hide on the ice world Hoth. But even on such an icy, backwater world, they cannot escape the wicked Darth Vader’s eye for long, and he devastates the Rebel base in an assault with the horrible AT-AT walkers. Luke flees to Dagobah to begin Jedi Knight training with Yoda, while Han Solo, Chewbacca, Princess Leia and C-3PO run the blockade of Imperial Star Destroyers in the Millenium Falcon. The Imperials pursue them across the galaxy and eventually catch up with them at Bespin. Now Darth Vader plans to use them as bait to lure Luke Skywalker to him, and turns Han Solo over to Boba Fett as a prize to be delivered to crime lord Jabba the Hutt. Luke learns a terrible family secret after losing a swordfight with Vader. Will he – and the others – escape the Empire’s clutches?

Maybe better than the original and definitely better than any other film is the broken down meddled franchise. Han is frozen, Vader is Luke’s father’ this film was too much as a wee 11 year old.

The Silence of the Lambs

Clarice Starling, a young intelligent FBI trainee, has been sent to the Batlimore state hospital for the Criminally insane to interview an inmate Dr. Hannibal-the cannibal- Lecter. A Brilliant renowned psychiatrist turned infamous Psychopathic Serial killer. She must match wits with Lecter -who has the darkest of all minds- and trust him to give her clues in the search for “Buffalo Bill”. a nick name for a loose,unknown, unstoppable Pyschopathic Serial killer…

Whereas we wanted John Doe from Se7en to be executed, is it too much to admit, we wanted Hannibal to escape ? The most likable serial killer ever. You could almost hang out with this guy and share a drink.

Rocky

Rocky Balboa is a struggling boxer trying to make the big time. Working in a meat factory in Philadelphia for a pittance, he also earns extra cash as a debt collector. When heavyweight champion Apollo Creed visits Philadelphia, his managers want to set up an exhibition match between Creed and a struggling boxer, touting the fight as a chance for a “nobody” to become a “somebody”. The match is supposed to be easily won by Creed, but someone forgot to tell Rocky, who sees this as his only shot at the big time.

When Rocky yells out Adrienne, goose bumps take over.

MGM sucks. They just are relentless with their material being posted online; but it’s free advertising, wake up. Incidentally, Rocky Balboa (part 6) is awesome, awesome, awesome.

Rocky One Sheet

The Godfather

Bad Ass

The story begins as “Don” Vito Corleone, the head of a New York Mafia “family”, oversees his daughter’s wedding. His beloved son Michael has just come home from the war, but does not intend to become part of his father’s business. Through Michael’s life the nature of the family business becomes clear. The business of the family is just like the head of the family, kind and benevolent to those who give respect, but given to ruthless violence whenever anything stands against the good of the family. Don Vito lives his life in the way of the old country, but times are changing and some don’t want to follow the old ways and look out for community and “family”. An up and coming rival of the Corleone family wants to start selling drugs in New York, and needs the Don’s influence to further his plan. The clash of the Don’s fading old world values and the new ways will demand a terrible price, especially from Michael, all for the sake of the family.

Michael becomes the new Godfather and tells Kate to never ask about the family business again. They don’t make men like this anymore.

Night of the Living Dead

One of my goals is to make a horror film that lives forever; a classic that defines and reshapes a genre.

Chaos descends upon the world as the brains of the recently deceased become inexplicably reanimated, causing the dead to rise and feed on human flesh. Speculation rests on a radiation-covered NASA satellite returning from Venus, but it only remains a speculation. Anyone who dies during the crisis of causes unrelated to brain trauma will return as a flesh-eating zombie, including anyone who has been bitten by a zombie. The only way to destroy the zombies is to destroy the brain. As the catastrophe unfolds, a young woman visiting her father’s grave takes refuge in a nearby farmhouse, where she is met by a man who protects her and barricades them inside. They both later discover people hiding in the basement, and they each attempt to cope with the situation. Their only hope rests on getting some gasoline from a nearby pump into a truck that is running on empty, but this requires braving the hordes of ravenous walking corpses outside. When they finally put their plans into action, panic and personal tensions only add to the terror as they try to survive.

Ben survives the ordeal only to be shot by the rednecks. Classic.

Scarface

A remake of Hawks masterpiece from Brian De Palma (a god).

When Fidel Castro opens the harbor at Mariel, Cuba, he sends 125,000 Cuban refugees to reunite with their relatives in the United States. Among all the refugees, there is one who wants it all, his name is Tony Montana. Tony and his friend Manny when they arrive in the United States and start in small time jobs, soon they are hired by Omar Suarez to pay money to a group of Colombians. When the deal goes wrong, Tony and Manny leave with the money and succeed in their job. Soon Tony meets with drug kingpin Frank Lopez and falls for his boss’s girl Elvira. Pretty soon Tony will know that those who want it all, do not last forever and that is the price of power. The world will know Montana by one name….SCARFACE.

“Say hello to my litle friend !”

Rudy

If you have not invested the time to watch possibly the greatest sports film ever made, do it now. The end scene leaves chills and electricity in your body. The feel good type.

Rudy grew up in a steel mill town where most people ended up working, but wanted to play football at Notre Dame instead. There were only a couple of problems. His grades were a little low, his athletic skills were poor, and he was only half the size of the other players. But he had the drive and the spirit of 5 people and has set his sights upon joining the team.

When Rudy not only gets in the game, he sacks the QB. Yes !

Psycho

Phoenix office worker Marion Crane is fed up with the way life has treated her. She has to meet her lover Sam in lunch breaks and they cannot get married because Sam has to give most of his money away in alimony. One Friday Marion is trusted to bank $40,000 by her employer. Seeing the opportunity to take the money and start a new life, Marion leaves town and heads towards Sam’s California store. Tired after the long drive and caught in a storm, she gets off the main highway and pulls into The Bates Motel. The motel is managed by a quiet young man called Norman who seems to be dominated by his mother.

I haven’t seen Hitch’s masterpiece on any list, but who can deny that realizing Norman Bates mother is a dead corpse and he’s been dressing in drag ? One of the great films ever and an ending that simple rules. The following link is a fan made music video; kind of fun.

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VISUAL LANGUAGE – Schindler’s List

By J.R. Hudson ⋅ June 10, 2008 ⋅ 6 comments

Although JAWS is my all-time favorite film (for so many reasons) I find Schindler’s List to be director Steven Spielberg’s greatest achievement; a masterpiece on every level and a film that must be put into a time capsule for future generations to bare witness.

Schindler’s List is a 1993 biographical film directed by Steven Spielberg and written by Steven Zaillian, telling the story of Oscar Schindler, a German businessman who saved the lives of more than one thousand Polish Jews during the Holocaust. It was based on the novel Schindler’s Ark by Thomas Keneally, and starred Liam Neeson as Schindler, Ralph Fiennes as Schutzstaffel officer Amon Göeth, and Ben Kingsley as Schindler’s accountant Itzhak Stern. The film was both a box office success and recipient of seven Academy Awards, including Best Picture, Best Director and Best Score.