- Kent Jones on Film Criticism’s Condition – Rather, the two complementary actions embodied in Wood’s approach—discarding surface detail in order to look to the inner core, and restoring the film and/or the filmmaker to a state of phantom wholeness—have become habitual over the years, and resulted in a dramatic gulf between how, why, and for whom films are actually made, and the way they are commonly written about by critics. I don’t believe that the gulf between artistic practice and criticism is as wide in any other art form.
- Francis Ford Coppola Reveals Every ‘Godfather’ Film Took Place In Same Narrative World – “Observant fans sometimes point out that a character named Michael Corleone appears in all three movies and that he’s played by Al Pacino each time, and I can assure you that’s no coincidence,” said Coppola, who noted that “all the puzzle pieces are there” for anyone who looks hard enough at the three motion pictures. “In fact, those aren’t three different people, but rather one character who appears three times. Michael in New York in the first film, Michael in Lake Tahoe in the second one, then Michael back in Manhattan in the third—they’re the very same man.”
- How many people work on a Hollywood film? –
- The reviewer projects confidence, the critic displays curiosity –
- Dave Holmes Revisits 1987 Box Office – Dragnet has pretty much been forgotten and there’s no need to remind you of it here, unless you want to see the music video for the soundtrack’s lead single, “City of Crime,” in which Dan Aykroyd and Tom Hanks rap and dance. Does that sound like something you’d be interested in?
- David O. Russell interviewed by Louis CK – And then you said, "Go big or go home. What are we here for? This isn't like, Let's just hang out in this room for a while then go home. This is big shit." It was inspiring. I've actually taken to that myself. I've said it a few times on the set of my show—"Let's go, guys. Go big or go home. This is not worth doing in half measures."
- David Bordwell: The pivot point of film criticism is 16 May 1955 – These anthologies revealed that these writers had done great things, and at a terribly young age. In 1940 Agee was thirty-one, Tyler twenty-six, and Farber twenty-four. Their youth, I think, made them plucky enough to try to think boldly about commercial cinema in America. Neither highbrow nor lowbrow (nor middlebrow), neither pure journalists nor Algonquin intellectuals, they created a daredevil criticism that remains audacious and dazzling. We have here three guys who smuggled themselves into the literati without becoming pale versions of Edmund Wilson.
- Guillermo del Toro talks about creature design and stuff – Q: What makes a creature come alive for you?
A: The first thing you have to resolve is the silhouette. Once the silhouette captures the gait and personality of the character, then you define color. Then you define the details. The mistake a lot of people do is they start with the details. A lot of people say, ‘I want a creature with five wings and huge tentacles and teeth,’ and they start accumulating. And I think a great creature is never done by accumulation but by doing each element very, very carefully.
- David Cronenberg on The Metamorphosis and The Fly – When I went on my publicity tour for The Fly, I was often asked what insect I would want to be if I underwent an entomological transformation. My answers varied, depending on my mood, though I had a fondness for the dragonfly, not only for its spectacular flying but also for the novelty of its ferocious underwater nymphal stage with its deadly extendable underslung jaw; I also thought that mating in the air might be pleasant.