Here’s Wes Anderson’s new short for Prada.
Don’t care about those twin frenchies but gee whiz, Lea Seydoux is some sort of lady…
Episode two is here.
Here’s Wes Anderson’s new short for Prada.
Ricky Gervais brings back David Brent for a new 10-Minute short
Look out for ‘Serpent who gaurds the gates of hell’
Harry Dean Stanton: Partly Fiction by Sophie Huber premieres at SXSW
What comes across at least a bit in this trailer for Harry Dean Stanton: Partly Fiction is the way cinematographer Seamus McGarvey’s alternating shots in grainy color and high-contrast black and white beautifully enrich each other. What doesn’t come across, what can’t come across in just over two minutes, is the intelligence of director Sophie Huber’s design—not just the way a choice snippet from an interview is placed next to a clip, which might then smoothly segue into a song, but the overall, underlying infrastructure of the doc. The centerpiece of the “astonishing career of the man who’s perhaps Hollywood’s pre-eminent post-war character actor,” as Neil Young‘s put it in the Hollywood Reporter, would have to be Paris, Texas (1984), Stanton’s first and, depending on how you define these things, probably only real leading role. And while that film’s certainly given its due, with Wim Wenders and Sam Shepard being consulted and all, it’s not the one Partly Fiction is meandering toward. That would be, oddly enough, Cisco Pike (1972), whose milieu and storyline—Stanton plays a junkie sidekick bandmate of Kris Kristofferson’s—seems to resonate with so many of the roles Stanton’s taken in well over 200 films in the nearly 60 years he’s been at it now. The range within Stanton’s niche, though, is wide, stretching from a tour de force monologue in The Missouri Breaks (1976) to the quietly moving final moments of The Straight Story (1999). Speaking of which, David Lynch’s interview with Stanton is, as you’d expect, grandly entertaining.
One more thing about that trailer. The song might raise a suspicion in some that a man getting on in years—Stanton will be 87 in July—is being exploited, but what becomes more than clear over the course of Partly Fiction, and what’s eventually confirmed by Stanton’s assistant, is that, for all the detours his personal life may have taken (losing Rebecca De Mornay to Tom Cruise, losing track of his kids, even losing track of the number of kids he may have sired), Harry Dean Stanton is still in complete charge of his persona.
Noah Baumbach’s new film is Frances Ha.
Greta Gerwig does have a certain natural quality… No?
Or does she have too many teeth in a mouth that’s just a bit large?
Either way I think she’s fantastic.
Martin Scorsese on one of his favorite films, John Ford’s The Searchers, in a piece for The Hollywood Reporter:
"Like all great works of art, it’s uncomfortable. The core of the movie is deeply painful. Every time I watch it — and I’ve seen it many, many times since its first run in 1956 — it haunts and troubles me. The character of Ethan Edwards is one of the most unsettling in American cinema. In a sense, he’s of a piece with Wayne’s persona and his body of work with Ford and other directors like Howard Hawks and Henry Hathaway. It’s the greatest performance of a great American actor."
Can’t wait til my bar opens and I can show this film on repeat.
Port Magazine has just posted their full 12 part profile of Will Ferrell.
It’s a great read, I could do without the fashion tips through…
The first thing you notice about Will Ferrell is just how tall he is. He’s around 6’3’’, which seems even taller in Los Angeles. He also moves with the graceful gait of an athlete. And he even seems preternaturally comfortable walking around posh hotel in a somewhat ridiculous mustache. As a sea of hotel employees parted for him, I wondered what it was like to get back into character. Was the facial hair helping him with some method technique? Was he beginning to channel the character who once explained that San Diego meant “whale’s vagina” in German? Ferrell paused and thought for a moment. “It’s not like a huge transition or anything,” he said thoughtfully. “It’s really just a playful bombastic idiot. So that’s really easy for me.”
Photo: Tim Barber
A new trailer for Verena Paravel’s and Lucien Castaing-Taylor’s Leviathan, a documentary shot in the North Atlantic and focuses on the commercial fishing industry.
NYTimes: In rough seas and frigid temperatures nearly 200 miles off the coast, perpetually wet and rarely sleeping more than two hours at a stretch, the filmmakers faced constant reminders that fishing has one of the highest mortality rates of any occupation. Mr. Castaing-Taylor was seasick much of the time; Ms. Paravel was so physically battered from the outings that twice she had to be taken to the emergency room upon returning. They made six trips in all, each one lasting up to two weeks.
“The film became a physical reaction to the experience of being out at sea,” Ms. Paravel said, speaking by Skype from Brittany. She added that the meaning of “Leviathan,” the title from the get-go, evolved as the film progressed. Originally an allusion to Melville, who used it to refer to great whales, and to the philosopher Thomas Hobbes, for whom it symbolized the state (and who also argued that all thought originates in sensory experience), the word became most apt in its original biblical sense of a sea monster.
Melville remained a guiding spirit. “Moby-Dick,” which Ms. Paravel and Mr. Castaing-Taylor took turns reading to each other on the boat, also has a pronounced documentary aspect, as Ms. Paravel pointed out. “He has all these endless descriptions of all kinds of whales,” she said.