This is a fantastic and rare interview with Stanley Kubrick from 1966. It’s with Jeremy Bernstein for the the New Yorker. He talks about his childhood, living off playing chess and how he started out in movies. It’s really candid, it’s bizarre to hear his New York accent complete with effing and jeffing. He’s very specific about everything he says, even about the slightest of details, it reminded me of the hilarious 15 page instructions he left for his daughter on how to look after his cats. (Click to hear about that)
Click here to learn the story behind the interview (Kubrick gave 10 pages of notes on the draft he saw)
and click to download the full New Yorker magazine pdf
So, another year, another Star Wars rerelease – this time with enhanced Ewok blinks and amplified Sith-angst. To be honest, as long as they fix that awful CGI Jabba, I’m happy. I think we can all accept that George Lucas is going to continue tinkering with these films until the end of time, so we might as well get used to it.
And here’s my prediction: with always-online home entertainment and digital distribution to cinemas, it’s only a matter of time before Star Wars is released as a perpetually up-dateable file. It’ll basically be an app on your telly – you’ll get home to find an “install updates” message on each film, as Lucas makes incremental adjustments every few days. And then the rest of the film industry will jump onboard. Imagine the opportunities for constantly updated product placements in films. You know all those logos of defunct companies in the background of Blade Runner? They’re not making anyone any money any more, so why not replace them every week with new sponsors? Basically, the studios will charge you a subscription fee just so that they can throw more adverts at you.
Five years. I bet this happens within five years. (via)
I’m getting more and more worried about this movie The Rum Diary. Those Jennifer Lopez sunglasses that he’s wearing in the trailer better be a joke. I’m not keen on the new poster either, this cover of Port magazine is much nicer.
“[Werner] Herzog is a miserable, hateful, malevolent, avaricious, money-hungry, nasty, sadistic, treacherous, blackmailing, cowardly, thoroughly dishonest creep. His so-called ‘talent’ consists of nothing but tormenting helpless creatures and, if necessary, torturing them to death or simply murdering them. He doesn’t care about anyone or anything except his wretched career as a so-called filmmaker. Driven by a pathological addiction to sensationalism, he creates the most senseless difficulties and dangers, risking other people’s safety and even their lives -just so he can eventually say that he, Herzog, has beaten seemingly unbeatable odds.
…If he wants to shoot another take because he, like most directors, is insecure, I tell him to go fuck himself. Every scene, every angle, every shot is determined by me, and I refuse to do anything unless I consider it right. So I can at least partly save the movie from being wrecked by Herzog’s lack of talent…He should catch the plague! Syphilis! Yellow fever! Leprosy! It’s no use; the more I wish him the most gruesome deaths, the more he haunts me.”
-Klaus Kinski, via his autobiography Kinski Uncut
“Kinski’s fits can partly be explained by his egocentric character. Egocentric is perhaps not the right word; he was an outright egomaniac. Whenever there was a serious accident, it became a big problem because, all of a sudden, he was no longer the center of attention. He was no longer important.
[On the set of Fitzcarraldo], a lumberman was bitten by a snake while cutting a tree. This was the most dangerous snake of all. It only takes a few minutes before cardiac arrest occurs. He dropped the saw and thought about it for five seconds and then he grabbed his saw again and cut off his foot. It saved his life, because the camp and serum was 20 minutes away. When that happened, I knew Kinski would start raving with some trifling excuse, because now he was just a marginal figure.
In another incident, a plane crashed, which was bringing people here. Luckily, they all survived, but some were seriously injured. Kinski saw that he was no longer in demand. So, he threw a fit, because his coffee was only lukewarm that morning. For hours he screamed at me, that close to my face. Incredible. I didn’t know how to calm him down, and then I had an inspiration. I went to my hut, where, for months I had hidden a piece of chocolate. We would almost have killed one another for something like that. I went back to him, going right into his face and ate the chocolate. All of a sudden he was quiet. This was utterly beyond him.
Kinski’s raving fits strained things with our Indian extras. They were Machiguengas, these two here, and a lot of Campas, too. Normally, they speak very softly and physical contacts are gentle. They were afraid. They would sit huddled together, whispering.
Towards the end of shooting, the Indians offered to kill Kinski for me. They said: “Shall we kill him for you?” And I said: “No, for God’s sake! I still need him for shooting. Leave him to me!”
I declined, at the time, but they were dead serious. They would have killed him, undoubtedly, if I had wanted it. I at once regretted that I held the Indians back from their purpose.”
-Werner Herzog, via his documentary My Best Fiend (1999)
It’s hard to find out much about Steve McQueen’s follow up to Hunger, again teaming up with Michael Fassbender with Shame. There’s no trailer yet but the wildly comprehensive film blog The Daily Notebook has a compilation of festival reports:
“Michael Fassbender and Carey Mulligan give dynamite performances in Shame, a terrific second feature from the British artist Steve McQueen,” begins the Guardian’s Xan Brooks. “Fassbender is Brandon, a sex-addicted corporate drone, directing a radioactive stare at random women across the aisle on the New York subway. Mulligan plays Sissy, his sister, who sings for her supper, self-harms for kicks and is surely pointed towards disaster. ‘We’re not bad people,’ Sissy assures her sibling. ‘We just come from a bad place.’”
There’s a little clip of the film at the end of this video It looks pretty good, i just hope that Out Of Africa style score doesn’t take over
I just found a blog called Future Noir that’s all about Bladerunner. There’s a heap of content over there, i’ve selected some pics of the best character, Rutger Hauer’s Roy Batty. (click on these for hi res). I love the photo at the top, which must be one of Leon’s photos that he’s so desperate to save, it’s not the exact one that Deckard zooms into, ‘enhance, enhance…. enhance’ but it’s still got a spooky quality reminiscent of that Jan Van Eyke painting The Arnolfini Portrait (1434). Where the entire scene was recreated in the mirror at the back of the room.
Oh and this is a weird little video of John Tivits talking to Rutger.
This is a short film, from Contacts, Volume 1. in which photographer William Klein takes through his contact sheets. His impersonation of New Yorkers is rad.
The picture is taken at 1/125 of a second. What do you know of a photographer’s work? A hundred pictures? Let’s say 125. That comes out to one second. Let’s say, more like 250 photographs? That would be a rather large body of work. And that would come out to two seconds. The life of a photographer — even of a great photographer, as they say — two seconds.