Deep Fried Links – Wes Anderson, The Room, Alfred Hitchcock’s Rope and more

Wes Anderson collection
Deep Fried Links is a new feature I’m going to try to roll out weekly to share a few interesting nuggets from around the world wide web. This is never going to be the place you come for breaking news about Batman casting, but it will be a useful resource to discover stories you might have missed.

For the inaugural post, we’ve got new books about Wes Anderson and the cult film The Room, a NY Times interview with Carrie director Kimberly Pierce, movie lists courtesy of Quentin Tarantino and Robert Rodriguez and an ode to the “O” face from Lars von Trier. Plus much more. (Continue reading)

Anderson collection #2

Matt Zoller Seitz has penned a retrospective on the work of Wes Anderson, featuring artwork, production stills and extended interviews with Anderson covering the entirety of his filmmography.

Art of the Title Sequence

Art of the Title Sequence features an interview with Danny Yount detailing the retro-look for the opening credits of Iron Man 3.

“(Iron Man 3 director) Shane (Black) is open to retro things — as evidenced in (Black’s last film) Kiss Kiss Bang Bang — so he wanted something kind of like an old film title… like Pablo Ferro’s Bullitt titles. And I’m a product of the ’70s and ’80s so I love old TV crime drama titles like The Dukes of Hazard and Get Smart. I’m also a huge fan of the classic comedies like Airplane! and The Naked Gun, which to me are all about taking a very serious subject and finding the right way to make it extremely unserious.” – Danny Yount

Alton, set of 1954's Witness to Murder

Cinematographer John Alton on the set of 1954’s Witness to Murder.

A feature on noted noir cinematographer John Alton from the American Society of Cinematographers. Alton’s credits include The Big Combo, He Walked by Night, Reign of Terror and Raw Deal.


A.V. Club’s feature Random Roles – which finds actors relaying the stories behind an assortment of their credits – is consistently one of Deep Fried Movies’ favorite reads. The column has been on a roll lately featuring interviews with Craig T. Nelson, Sam Rockwell, George Segal, William Forsythe, Peter WellerSam Elliott and Christopher Plummer, . For a little taste, here’s Sam Elliott recounting the tale of how he ended up in the Coen Brothers’ The Big Lebowski.

“I was in Texas doing a picture called Rough Riders that John Milius directed, and I got this script sent to me. I read it one night after we’d been shooting. I certainly knew the Coens. I hadn’t seen every movie that they’d made, but I certainly knew who these guys were. But I read the script, and I was like, “Hmmm…” There’s this description of a guy doing this voiceover, and it says in the script, “There’s this Western voiceover, and ‘Tumblin’ Tumbleweeds” is playing in the background, and the voiceover sounds not unlike Sam Elliott.” This is in the pages! So I read a little further on, and then this character appears, and it says, “And here’s The Stranger, looking not unlike Sam Elliott.” So it was, like, that was the pitch: “Let’s put his name in the script. Maybe he’ll bite for it.” [Laughs.] And I did.” – Sam Elliott


An interview from the New York Times with Boys Don’t Cry director Kimberly Pierce about her adaptation of Carrie, which opens Friday. Below, Pierce talks about discussing one of Carrie’s iconic moments with the director of the 1978 film version, Brian De Palma.

“We were talking about the pig-blood dump. I asked him how he did the scene. He said, ‘What are you talking about?’ I explained that we went through five-gallon, four-gallon and three-gallon buckets. We tried a five-foot drop, a three-foot drop and a four-foot drop. We had a butterfly opening, we had three cameras and on and on. And he said: ‘I don’t know. Jack” — Fisk, the art director — “was on a ladder, and he poured a bucket of blood.’ ” – Kimberly Pierce

A breakdown of the 10 edit points in Alfred Hitchcock’s 1948 film Rope. This was put together by editor Vashi Nedomansky, but I found it at the excellent site No Film School.

You’re tearing me apart, NY Times book review. That’s right, there is now a book about the making of Tommy Wiseau’s midnight movie classic The Room. The book, titled The Disaster Artist, is co-written by actor Greg Sestero, who plays Wiseau’s cuckolder in the film, which incomprehensibly cost $6 million to make. Here’s the NY Times’ book review and a clip with six minutes worth of Wiseau gems.

Flash Gordon

Machete Kills director Robert Rodriguez lists his favorite cult movies – a list that includes Mad Max, The Thing and Flash Gordon.

And for good measure, here’s a one-minute claymation recap of the first Machete.


Quentin Tarantino Archives has released Tarantino’s list of the Top 10 Films of 2013 So Far. The director has been putting out a list of favorites for years, and anyone who has ever seen one knows that he likes to be a contrarian. This year is no different, with the uber-bomb The Lone Ranger making Tarantino’s cut.

Kier orgasm face

A rather unsexy series of character posters have been released for Lars von Trier’s Nymphomaniac featuring various cast members making their best orgasm face.

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