In honor of my visit last week to Los Angeles’ New Beverly Cinema for a gloriously imperfect print of Sam Peckinpah’s rodeo rider slice of life Junior Bonner, here’s a collection of posters covering the breadth of Peckinpah’s career. The New Beverly recently underwent renovations – or de-renovations, if there is such a thing – giving its digital projector the boot in favor of a 35mm projector at the behest of new owner and programmer Quentin Tarantino. Read More →
“My father always used to say to me, ‘When you have success, just taste it and spit it out, because it’s really poisonous.” – Alejandro Inarritu in The New York Times
Alejandro Inarritu earned his reputation – and a pair of Oscar nominations – with a series of sprawling, solemn dramas featuring interconnected stories and disjointed timelines. His latest, Birdman, is an inversion of that formula – a dark comedy that follows (largely) one character in one location in a single shot. Inarritu’s musings on fame, self-doubt and ego expand from major cities into the hinterlands this weekend. Here’s a Birdman primer to prepare you (or skip ahead to the bottom of the page for a behind the scenes photo gallery). Read More →
It’s hard to imagine two more disparate films than God Help the Girl and Young Ones. The former – shot in Glasgow on 16mm – is anarchic, whimsical and vibrantly colored, echoing the spirit of the French New Wave. The latter – lensed on anamorphic 35mm during a smoldering South African summer – is formalist, brooding and nearly monochromatic, recalling both the vistas of the American Western and the hard-scrabble Dustbowl sagas of John Steinbeck.
Yet for cinematographer Giles Nuttgens, the projects held a common thread. Read More →
(Above) Artwork by Tim Doyle.
Bill Murray’s turn in St. Vincent as an irascible drunk and degenerate gambler who becomes the after-school caretaker of a 12-year-old expands nationwide this week. Seems like a good excuse to look back at Murray’s filmmography via the ancient art of film posters – a collection that, out of deference to Mr. Murray – has been shorn of both Garfields. Read More →
Steven Spielberg sets up a shot on his theatrical directorial debut, The Sugarland Express (1974). That’s actor William Atherton – king of the 1980s dickheads in Die Hard, Ghostbusters and Real Genius – in the front passenger seat. Spielberg’s next film would be Jaws.
The tab marked “85” on the camera’s matte box refers to the filter used to allow tungsten-balanced film stock to be shot in daylight without a blue tint.
Photo courtesy of the Twitter feed of Will McCrabb.