The Belgian release poster for Mike Nichols’ The Graduate (1967). Despite playing one of cinema’s most iconic May-December dalliances, Dustin Hoffman and Anne Bancroft were actually only six years apart in age.
Check out more pics of the day here.
From my Filmmaker Magazine column, a talk with Green Room cinematographer Sean Porter. Here’s a sample:
(Above) Quentin Tarantino and Steve Buscemi rehearse a scene from Reservoir Dogs (1992) at the 1991 Sundance Director’s Lab. This comes from a gallery of Sundance lab pics that recently went up on Indiewire.
The French release poster for Alfred Hitchcock’s Dial M for Murder (1954) bears no mention of the film’s 3D origins. Originally shot as a “deepie,” after a brief preview run in 3D the film’s release was shifted to “flat.”
Below are Hitchcock’s thoughts on the 3D process, from an issue of Prevue magazine. This image comes from 3D Film Archive, which offers an extensive history of the film’s production and release.
(Above) The practical portion of one of Swiss Army Man’s many inventive effects that give superhuman powers to flatulent corpse Manny (Daniel Radcliffe). Here’s the film’s cinematographer Larkin Seiple on the various fake Radcliffes constructed for the movie, via an interview with Seiple I did for Filmmaker Magazine. Continue Reading ›
Here’s a link to an interview I did with Swiss Army Man cinematographer Larkin Seiple for Filmmaker Magazine. And here’s a quick sample of Larkin talking about working with the various animal critters in the film:
Filmmaker: Do you have any horror stories about the bear or the raccoons?
Seiple: The raccoons were good. I believe their names were Boris and Natasha. Raccoons can really only either grab something or run away and each of the raccoons had a specific move that it could do. So they weren’t too bad, we just had to do a lot of takes and they were constantly trying to escape, which made the owners nervous because we were in a giant forest.
The bear was challenging to shoot in that we didn’t have a lot of time with it. We had to set up an electric fence around the bear wherever we were shooting just in case something went wrong, which is nerve-wracking to shoot any sequence where you’re surrounded by an electric fence for your protection. The owners also seemed a little intimidated by the bear. (laughs) They looked very nervous when he wasn’t in the cage. Its main lure was ice cream sandwiches. They would throw five or ten of them back into his cage whenever they finished a take. He loved them. The bear’s name was Tag and he was very sweet but you could hear him rolling around in the cage and you thought, “My god, how much does he weigh?” The suspension on the truck was just shaking.