Titane - Featured Film of Interest - Winner of the 2021 Cannes Film Festival Palme d'Or

Titane, directed by Julia Ducournau and winner of the 2021 Palme d'Or at Cannes, is my most anticipated film of 2021.  Though it was released in October, I have yet to see it due to zero opportunity.  I'm hoping for a local theater screening in the upcoming months (Violet Crown, please), but have yet to see notice of one.  I do not think it is yet streaming, but if it is, I'm pretty certain that I will hold out for the big screen.  I may have to travel a bit, Richmond/DC style.  For those of my friends and colleagues in major markets and larger cities that have had the chance to see Titane, well, keep it quiet - you already know I'm jealous.

Director Julia Ducournau after her win

'Titane - an outlandish film packed full of sex and violence - has won the top award at the 2021 Cannes Film Festival.

Director Julie Ducournau is only the second woman to receive the Palme d'Or and the first female to win it alone.'

Links:  

- BBC - Cannes Film Festival:  Titane wins top Palme d'Or prize 

- The Guardian - Julia Ducournau:  "Women Kicked serious ass this year"

Cigarettes & Red Vines - Featured Blog of Interest

I'm not quite sure how i am just now discovering PT Anderson's gem of a blog, but here it is.

Link:  Cigarettes and Red Vines - The Definitive Paul Thomas Anderson Resource since 1998

Graduation Advice from 'the peoples' pervert' - John Waters’ RISD 2015 Commencement Speech

Why can't we all be so lucky as to have a brilliantly twisted mad man of this caliber to offer us advice upon graduation from art school/film school?  The Class of 2015 at RISD was treated with face to face guidance from the master of transgressive independent cinema himself, John Waters.  I can't even remember who spoke at my graduation. Wait, was I even at my graduation?  Hmm?  Can't remember that either.  Enjoy, and be sure to watch the video posted below.

Link to full article:  Addicting Info - Best Graduation Advice Ever: "Go Out Into The World And F*ck It Up Beautifully"

If you don’t have time to watch Waters’ entire 12-minute speech, here are the top 13 take-aways.

1. Get used to rejection: “Hopefully you have been taught never to fear rejection in the workplace. Remember, a no is free.”
2. Find your partners in crime: “A career in the arts is like a hitchhiking trip. All you need is one person to say “Get in” and off you go. And then the confidence begins.”
3. Stay inspired: “If you’re a visual artist, go see the shows in the galleries that are frantically competing to find the one bad neighborhood left in Manhattan to open up in.”
4. Ask you’d make something better: “Watch every movie that gets a negative review in the New York Times and figure out what the director did wrong.”
5. Keep informed: “Read, read, read!”
6. Learn from your enemies: “Listen to your political enemies, especially the smart ones, and then figure out a way to make them laugh.”
7. Hone your sense of humor: “Humor is always the best defense and weapon. If you can make an idiot laugh, they’ll at least pause and listen before they do something stupid – to you.”
8. Use the world for artistic inspiration: “Watch people on the streets. Spy, be nosy, eavesdrop.”
9. Stay open to new things: “As you get older, you’ll need youth spies that will keep you abreast of new music that nobody has heard of yet.”
10. Don’t hate rich people: “They’re not all awful. Believe me, I know some evil poor people, too. We need some rich people: Who else is going to back our movies or buy our art?”
11. Use technology wisely: “Outrage outdated critics. Use technology for transgression, not lazy social living.”
12. Screw what others think: “Design clothes so hideous that they can’t be worn ironically.”
13. Do something fabulous: “Go out into the world and f*ck it up beautifully.”

GUY MADDIN - The Heart of the World

Extraordinary!

The Heart of the World is a short film written and directed by Guy Maddin, produced for the 2000 Toronto International Film Festival. Enjoy.

Filmmaker Quotes and Video: Stan Brakhage

Imagine an eye unruled by man-made laws of perspective, and unprejudiced by compositional logic, an eye which does not respond to the name of everything but which must know each object encountered in life through an adventure of perception.

~ Stan Brakhage, from Metaphors on Vision

One of my favorite Brakhage pieces.

John Cassavetes: Movie Directors and the Means of Production - Image of Intrigue

Thanks to (for the image) and Link: If Charlie Parker Was a Gunslinger,There'd Be a Whole Lot of Dead Copycats: Movie Directors and the Means of Production #16: "Movie Director: John Cassavetes, Means: Camera, Hidden Camera Operator, Production: Too Late Blues (1961)"

First Poster and Synopsis for Terrence Malick’s THE TREE OF LIFE

The Tree of Life opens May 27, 2011.

The Synopsis:

From the Desk of Terrence Malick….

We trace the evolution of an eleven-year-old boy in the Midwest, JACK, one of three brothers. At first all seems marvelous to the child. He sees as his mother does with the eyes of his soul. She represents the way of love and mercy, where the father tries to teach his son the world’s way of putting oneself first. Each parent contends for his allegiance, and Jack must reconcile their claims. The picture darkens as he has his first glimpses of sickness, suffering and death. The world, once a thing of glory, becomes a labyrinth.

From this story is that of adult Jack, a lost soul in a modern world, seeking to discover amid the changing scenes of time that which does not change: the eternal scheme of which we are a part. When he sees all that has gone into our world’s preparation, each thing appears a miracle—precious, incomparable. Jack, with his new understanding, is able to forgive his father and take his first steps on the path of life.

The story ends in hope, acknowledging the beauty and joy in all things, in the everyday and above all in the family—our first school—the only place that most of us learn the truth about the world and ourselves, or discover life’s single most important lesson, of unselfish love.

Follow the link for more info.

Darren Aronofsky On Budgets, Bad Apples, And 'Black Swan' - NPR, All Things Considered

Natalie Portman plays Nina in Darren Aronofsky's Black Swan.

NPR - All Things Considered - Darren Aronofsky Interview

(Dec. 3, 2010)

Listen to the story through the above link.

Vincent Gallo - Relevant Quotes/ Recent News/ Featured Artist

"I don't trust or love anyone. Because people are so creepy. Creepy creepy creeps. Creeping around. Creeping here and creeping there. Creeping everywhere. Crippity crappity creepies." - Vincent Gallo

"I`m not an artist, I`m a hustler. As a hustler I`ve done many things. You should really believe it when I tell you that, `cause I`m not being sarcastic. I`m a total hustler. What that means is I`ve hustled to make a buck and I`ve hustled to change the world and I`ve hustled to take revenge - but it`s always hustling. I`ve never had a career or a single goal. I`ve never been formally educated. To get things together, to make a living, I constantly have to hustle."

"The good thing about bicycling is that, since I`m a public figure, I don`t have to interact with people. If I walk from here to West Broadway, 50 people will stop me. On my bike, I can just wave. More public figures should ride bikes. It`s a good way to deal with people."

"I`m the happiest the saddest guy in the world can be."

"I never wanted to be an actor. I never want to be an actor. I want to be a movie star. The whole idea of having to act is too gruesome. It`s too ambitious for me."

"I stopped painting in 1990 at the peak of my success just to deny people my beautiful paintings. And I did it out of spite."

- Vincent Gallo

Outside of being one of the more interesting characters to emerge from the bohemian sublayers of 70's/80's NY scene, and that is saying quite a bit in itself, he has managed to become one of the true renaissance men of underground/indy pop culture - an intriguing existence indeed, good and bad. He had a shared musical project with Jean Michel Basquiat and was part of Warhols inner circle - what else need be said. On the other side, arguably aware or not, he has become renowned for comments that express less than scrupulous social perspectives, often provoking criticism for the seemingly tactless ignorance and anarchist flare. He has also left a bold signature on the world of cinema as a filmmaker and an actor, undeniably, regardless of a somewhat contentious and often incredulous reception (aka. Brown Bunny). However, let us not forget Buffalo '66, one of my favorite cinematic love stories of all time. He has been accused of being a provocateur (well, he has been accused of a lot less flattering things, and always manages to ignite it into fuel). I would argue that, IF this is a valid accusation, it is rooted in a basic artistic premise that is honest and intrinsic to Gallo's life experience - hence justified - as if he needs any F'n justification!

Gallo was recently awarded the Coppa Volpi for Best Actor at the 67th Venice Film Festival, for his performance in Jerzy Skolimowski's film, Essential Killing.

He also has a new film, written and directed by, as well as acted in, Promises Written in Water, that debuted at Venice and Toronto. Admittedly, I have not read much on it, but am intrigued by the concept and, of course, Gallo as an auteur.

Below is a link to Gallo's Official Website and i highly encourage that you explore his work, and perhaps his character, further. Other links of related interest follow as well. Regardless of critical dispute and public discrepancies (who cares anyway), his work captures the originality of HIS reality - and what else can we ask? This is intended as neither a statement of consent or condemnation (i know him by his work alone, and barely credible press), but merely a recognition of intrigue and originality in his work and life.

Links:

Official Website for Vincent Gallo by Vincent Gallo: vincentgallo.com

The Warhol: www.warhol.org

Basquiat: basquiat.com

Filmmaker Quotes: Gus Van Sant

The following is a recent email that I received from a close friend, collaborator, and fellow filmmaker. I couldn't agree more - with my friend and Van Sant.

After the financial success of Good Will Hunting, Gus Van Sant had this to say:

"I came to realize since I had no need to make a lot of money, I should make films I find interesting, regardless of their outcome and audience."

And then he gave us Elephant and Paranoid Park. This man is my hero.

Robert Rodriguez - A Message for Arizona - in Movie Trailer Form

AintitCoolNews.com claims that Rodriguez (co-director with Ethan Maniquis) and Danny Trejo (lead actor) dropped off this "illegal" trailer for their soon-to-be-released film, Machete - a message in response to the absurd immigration bill in Arizona - and in honor of Cinco de Mayo. Rodriguez continues to find ways to do as he pleases - in the fine independent spirit that we have come to expect of him, and the fans get a nice treat as a result - bravo. Don't F#@k with Robert Rodriguez - and let's hope that the national backlash against Arizona's horridly regressive legislation continues. Follow the title link for the AICN posting. Enjoy the trailer.

Filmmaker Quotes: Cassavetes

"Most people don’t know what they want or feel. And for everyone, myself included, It’s very difficult to say what you mean when what you mean is painful. The most difficult thing in the world is to reveal yourself, to express what you have to… As an artist, I feel that we must try many things – but above all, we must dare to fail. You must have the courage to be bad – to be willing to risk everything to really express it all." –John Cassavetes

For more relevant quotes from notable filmmakers and an all around informative blog on film, music, and photography, follow the link: World Wide Angle

The Limits of Control, by Jim Jarmusch - Reopen the dialogue?

The Limits of Control (2009), the newest film by Jim Jarmusch, opened last May (in US limited release, of course) to poor critical reviews and was subsequently swept under the rug - with very little legitimate discourse or critical contemplation. I will be screening the film soon, for the first time, and am still quite excited, regardless of the initial reception (as i am with each Jarmusch film). I cannot imagine that the collaboration of Jarmusch, one of the true active American auteurs, and cinematographer, Christopher Doyle (renowned for his masterful work with Wong Kar-Wai), did not produce some level of cinematic excellence or curiosity - we'll see. Considering the quick dismissal of the film, I cannot help but to reflect on the flat reception of last year's Synecdoche, NY, Charlie Kaufman's directorial debut - one of the truly brilliant films of the year that was simply too complex, conceptually and narratively, for critics or the general viewing audience to fully appreciate. I have read the reviews consistently citing the complete lack of narrative in Jarmusch's latest, though I'm quite certain it is an intentional deconstruction of narrative or exercise in minimalist observation. I'm anxious to find out, and will post a response. Perhaps, the dialogue should be reopened on The Limits of Control.

News from Cannes - Tim Burton, President of the Jury of the 63rd Festival de Cannes

American film director Tim Burton is to be Jury President for the 63^rd Festival de Cannes, which takes place from May 12^th to 23^rd 2010. Upon accepting the invitation from Gilles Jacob and Thierry Frémaux, Tim Burton declared: "After spending my early life watching triple features and 48-hour horror movie marathons, I’m finally ready for this. It’s a great honour and I look forward, with my fellow jurors, to watching some great films from around the world. When you think of Cannes you think of world cinema. And as films have always been like dreams to me, this is a dream come true."

I'm a little late to the game, as the official press release was in late January. However, I found it to be an interesting selection, and it made me smile a bit.

I wonder if the Cannes selection committee had screened Alice in Wonderland yet? Yes, that was a cheap shot. No more comments on Alice beyond this - It made me quite sad due to overall disappointment (particularly, aspects of the storytelling were flat and underdeveloped), but the root of the sadness was the lost cinematic opportunity. Refer to Bressonian Quote #2. With that being said, the high level of disappointment would not have been possible without an endearing respect for Burton and his body of work. His filmography and the general honesty of his vision afford him quite a bit of forgiveness. There is a quality retrospective of his work on the Festival de Cannes home page.

An early Tim Burton film for your viewing pleasure.

Stan Brakhage - Eye Myth (1972) and more...

"If Maya Deren invented the American avant-garde cinema, Stan Brakhage realized its potential... Brakhage single-handedly transformed the schism separating the avant-garde from classical filmmaking into a chasm. And the ultimate consequences have yet to be resolved; his films appear nearly as radical today as the day he made them." At the end of the video, options to play more Brakhage films will reveal as thumbnails at the bottom of the screen. I recommend Black Ice (1994) as a more contemporary sample of his work. To find out more about Stan Brakhage and his films, visit the link to the post title.

Bressonian Quote #1 - Notes from a Master Filmmaker

above image from A Man Escaped (1956)

"Rid myself of the accumulated errors and un-truths. Get to know my resources, make sure of them." - Robert Bresson

From time to time, i will post quotes from Notes on the Cinematographer (Notes sur le Cinematographe), by Robert Bresson. This is a journal of Bresson's accumulated knowledge and contemplation on the art of cinema, written in short anecdotal form. It is the equivalent of Confucius' Analects (or the bible, if you will) for filmmaking - or, what he refers to as, "cinematographe." However, the wisdom transcends beyond his craft as he spent a lifetime seeking artistic clarity, spiritual awareness, and a higher understanding of humanity.

If you are a patron of cinema as a complex medium of art, a true lover of film, a cinephile of any sort, and are not familiar with Robert Bresson, please, cross that bridge quickly. Bresson, his body of work, and his theoretical approach define the purest intent of "auteur." He is one of the rare masters of film - a child, a tyrant, a philosopher king, and an artist. i recommend beginning with:

Un condamné à mort s'est échappé ou Le vent souffle où il veut (1956) (scenario and dialogue)
... aka A Man Escaped (International: English title)

Pickpocket (1959)

Procès de Jeanne d'Arc (1962)
... aka The Trial of Joan of Arc (USA)

http://www.mastersofcinema.org/bresson/

Stan Brakhage - giving and taking

A response to a reading from A Moving Picture Giving and Taking Book, by Stan Brakhage:

Brakhage, in his filmmaking and writing, never fails to reveal an endearing nature that somehow rests between primal, child-like perceptions and sophisticated comprehension of formal artistic technique. The technical guidance that he provides in his writings from A Moving Picture Giving and Taking Book offers invaluable direction for the creation, or giving, of motion film imagery through various techniques of light source and filmstock manipulation. Though his technical references may seem basic in some regards, particularly to an informed student or maker of film, his insight and neverending wanderment remains inspiring and endlessly useful. It seems, in many regards, that Brakhage has managed to deconstruct the concept of motion imagery and then rediscover (or reinvent) it with unabated curiosity. He shows infinite generosity in his desire to share personal discoveries, technical and conceptual, while also expressing a constant desire and respect for new discoveries that may extend beyond his humble realizations. Though I was completely inthralled by the nature and language with which he communicates, often reverting to the poetry and stream of consciousness so evident in his work, he still manages to share explicit techniques that offer groundwork from which to begin. I was particularly humored by his humble (which he is by no means obligated to considering his mastery of craft and art) invitation to quit reading the material and get to work, repeated at regular intervals throughout the essay. The ultimate advice herein is the encouragement of personal discovery. However, he also articulates the importance, though somewhat begrudgingly, of technique and the mastery and full comprehension of... While adamently encouraging a selfless exchange of technical information amongst filmmakers (i'm sure partly selfish due to his own unquenchable desire for artistic exploration), he is careful to state, "...many creations are still-born out of technical inadequacy." Miles Davis once stated that a musician should first learn as much technique and theory as possible, and then forget it all. At this point, a true musician is born. Brakhage seems to have a similar approach of integrating knowledge and technical ability with his child-like sense of discovery. In all, Brakhage most impresses with his infinite curiosity and attempt to purely express his minds eye - a subjective feat all too obscure in motion filmmaking.