Stanley Kubrick rides along for a crane shot during the 1959 filming of Spartacus. This pic is one of nearly two dozen rare production photos from Kubrick’s gladiatorial epic posted on Twitter yesterday by Refocused Media. Check out the rest here.
Pan’s Labyrinth and Pacific Rim director Guillermo del Toro (standing next to camera in the picture above) talks about his childhood Super 8 movies, from an interview with Rob Feld in the Winter 2014 issue of DGA Quarterly:
Somebody gave my dad a Super 8 camera, projector and screen as a down payment for a car, or something like that. Back then you could buy a Super 8 version of Star Wars or a Hammer horror film. I bought Boris Karloff movies—The Curse of the Crimson Altar, The Raven—and a Planet of the Apes. I must have been seven or eight. I was fascinated because you could do reverse on the projector—I watched the movie in reverse so much that the projector burned the movie. So we bought a splicer and all of a sudden I understood editing. By pure accident….I grabbed my dad’s camera and started doing an action movie with my Planet of the Apes figures. You would ship the film to Kodak and a week later it would come back developed. When I opened that envelope and I projected that first Super 8 reel, something happened that was absolutely life changing. I saw images on the screen like I had seen in the Planet of the Apes Super 8 or The Raven, and they were mine. I cannot explain it except that it was the best film experience I’ve ever had. It’s never been topped. I got the right first kiss.
Test screenings are sometimes viewed with disdain as an intrusion into the artistic vision of a filmmaker in the name of placating the unwashed masses. But they can be tremendously helpful as well, particularly for comedies. That was the case for National Lampoon’s Vacation (1983). Read More →
John Wayne and Montgomery Clift prepare for a dolly shot during the studio portion of Howard Hawks’ Red River (1948). A Western variation on Mutiny on the Bounty, the movie was Hawks’ first in the genre – and his first of five collaborations with Wayne.
Photo courtesy of Cinema Behind the Scenes.
A Field in England – the latest from Kill List and Sightseers director Ben Wheatley – hit stateside Video on Demand a few weeks ago. And with it came the most comprehensive production diary I’ve ever laid eyes on. Read More →