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Erich der Rote
el duderino
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Beiträge: 3257
Registriert: 15.04.06
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 #766 09.06.16 - 08:58
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Aha, Ende Juni soll also schon gedreht werden, Script steht auch schon, das erste mal, dass wir davon ueberhaupt hoeren. Hoert sich mir nach ner Ente an.
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Bierdurst - ein Durst nach Bier, der nur zu vergleichen ist mit dem unstillbaren Hunger nach Ei - Eihunger. |
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EZR
i won.
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Beiträge: 6071
Registriert: 20.12.03
Wohnort: The Black Lodge |
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gold watch
unser mann in mexiko
Geschlecht:
Beiträge: 3448
Registriert: 11.01.04
Wohnort: mexico city |
| #768 21.07.16 - 07:24
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wie immer, quentin labert viel. habe das mit den "nach x filmen ist schluss" nie wirklich erst genommen. heute sagt er dieses und morgen sagt er jenes.
fest steht, dass er sich für seinen nächsten film wieder besinnen und was massentauglicheres hervorzaubern muss, damit die weinsteins keinen herzkollaps bekommen und er erneut die grosse anerkennung einheimsein kann, nach der er heimlich so sehr strebt - auch wenn er sagt, er mache filme in erster linie für sich.
bin da eigentlich ziemlich optimistisch, denn unter druck ist er immer wieder zurück zu bei den leuten gewesen; nach dem interessanten experiment JB kam popkulturbeeinflussend KB, nach dem egoistischen abstecher ins grindhouse-genre kam IB. mit DU konnte er die latte daraufhin nochmal hoch halten und mit H8 hat er kommerziell wieder abgeloosed.
von daher muss er jetzt wieder angestachelt sein, mit seinem nächsten geek-film wieder den geschmack der masse zu erreichen - allein nur schon, damit vic wieder aus seiner sozi-höhle gekrochen kommt.
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Mueder Joe
bad motherfucker
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Registriert: 21.03.13
Wohnort: Frankenland |
| #769 22.07.16 - 18:42
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_________________
from one redskin to another |
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EZR
i won.
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Wohnort: The Black Lodge |
| #770 25.07.16 - 19:05
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Das ist ganz schön viel slo-mo. Dabei hab ich das, bis auf die Titelsequenz von RD, eigentlich nie so ikonisch wahrgenommen.
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gold watch
unser mann in mexiko
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Registriert: 11.01.04
Wohnort: mexico city |
| #771 28.07.16 - 07:54
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stimmt, so auf einem haufen habe ich quentins slow motions noch nie gesehen. ist natürlich eindrücklich, weil er die slow-mos immer sehr platziert und in einem kontext einsetzt. schon klar, dass er diesen effekt nicht als erster einsetzt.
der clip ist trotzdem sehr zu empfehlen, weil auch gute mucke.
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Mueder Joe
bad motherfucker
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Beiträge: 776
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Wohnort: Frankenland |
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EZR
i won.
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Wohnort: The Black Lodge |
| #773 09.10.16 - 14:12
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Kann ich schon glauben. "Produzent" kann ja vieles heißen und oftmals dient der Titel nur dazu, einen bekannten Namen aufs Plakat zu drucken. Mittlerweile scheint mir auch jeder zweite Horrorfilm von Guillermo del Toro "produziert" zu sein. Dass das ganze gut funktioniert, hab ich daran gesehen, wie viele Leute mir damals zum Start von Hostel erzählen wollten, das sei ein neuer Tarantino-Film.
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Mueder Joe
bad motherfucker
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| #774 09.10.16 - 19:15
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Vielleicht ist es möglich, aber die Faktenlage ist dünn, oder habt ihr was Neues dazu?
Quent dementierte (Video) das jedenfalls vor geraumer Zeit... (in gewisser Weise)
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from one redskin to another |
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gold watch
unser mann in mexiko
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Beiträge: 3448
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Wohnort: mexico city |
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Mueder Joe
bad motherfucker
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Wohnort: Frankenland |
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Erich der Rote
el duderino
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Beiträge: 3257
Registriert: 15.04.06
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| #777 13.10.16 - 15:01
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Wikipedia, v.a. die deutsche ist halt nicht immer so geil als Quellengrundlage. Denke mal Quent tueffelt gerade an nem Script, in 2-3 Monaten wirds dann auch "ausversehen" geleaked und wir wissen mehr ueber den (vermutlich) neuen QT Western...
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Bierdurst - ein Durst nach Bier, der nur zu vergleichen ist mit dem unstillbaren Hunger nach Ei - Eihunger. |
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vega brother
reservoir dog
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Registriert: 31.08.06
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| #778 14.10.16 - 14:32
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QT ist gerade in Lyon auf dem Festival Luimere und präsentiert dort eine 1970er Retro und gibt noch eine Masterclass.
 Zitat: |
Quentin Tarantino : 1970
Three years after receiving the Lumière Award, the cinephile filmmaker sent the festival a selection of films, all from 1970; certain will have introductions during double feature evenings.
Double feature 1
Love Story by Arthur Hiller (1970, 1h39)
Jenny and Oliver come from vastly different backgrounds. When they meet at Harvard, they fall in love. Soon, tragedy strikes... A great melodrama, with Ali MacGraw and Ryan O'Neal, to unforgettable music.
Followed by
Deep End by Jerzy Skolimowski (1970, 1h40)
Mike, 15, is hired to work at the municipal baths in a lower-class London neighborhood. There he meets Susan, an older woman, engaged to another man... A beautiful story of apprenticeship in the vibrant atmosphere of swinging London.
Institut Lumière Mon 10 at 7pm
Double feature 2
The Bird with the Crystal Plumage by Dario Argento (L’uccello dalle piume di cristallo, 1970, 1h32)
An American journalist, passing through Rome, witnesses an assault at an art gallery. He becomes the new target of the mysterious killer... Original screenwriting and graphic power in this first film by Dario Argento.
Followed by
The Lady in the Car with Glasses and a Gun by Anatole Litvak (1970, 1h45)
A young secretary is asked to bring her boss's car to Paris. She finds herself accidentally on the southern route, but decides to keep on driving... A tense road movie set to the very-seventies music of Michel Legrand.
CNP Terreaux Tue 11 at 7:45pm
Double feature 3
Claire's Knee by Eric Rohmer (1970, 1h45)
Jérôme (Jean-Claude Brialy), 35, spends a few days on holiday at Lake Annecy. He falls in love with the young Claire and her knees... A bright and stylish film, a delicate evocation of seduction and desire.
Followed by
Le Boucher by Claude Chabrol (1970, 1h33)
At a wedding, a school director (Stéphane Audran) meets Popaul (Jean Yanne), the village butcher. Soon, a crime is committed... Two totally opposite people, a perverse game of seduction, a study of the human soul, to which Chabrol holds the secrets.
CNP Terreaux Wed 12 at 7:15pm
Double feature 4
The Kremlin Letter by John Huston (1970, 1h40)
A mysterious letter reveals a pact between the United States and the Soviet Union against China... a thrilling plot and absurdist humor, served by an exceptional cast: Bibi Andersson, Max von Sydow, George Sanders, Orson Welles...
Followed by
The Private Life of Sherlock Holmes by Billy Wilder (1970, 2h05)
Gabrielle Valladon, a young woman saved from the waters of the Thames, asks Holmes and Watson find her missing husband. Their investigation leads them to the edge of Loch Ness... A marvel of humor and romantic adventure.
CNP Terreaux Fri 14 at 7:45pm
Other films
Five Easy Pieces by Bob Rafelson (1970, 1h38)
Robert Dupea (Jack Nicholson), a worker on a drilling site, leaves to visit his ailing father. He encounters Catherine, the fiancée of his brother... a deep and tender road movie, a veritable hymn to freedom.
Villa Lumière Tue 11 at 6:45pm
Beyond the valley of The Dolls by Russ Meyer (1970, 1h49, Int -16 ans)
Three young women, members of a rock band, find themselves mixed up in orgies and drug parties in strange company... A sexy satire on the world of American show business, a blend of music, horror and sex.
Pathé Bellecour Sun 9 at 2:15pm
M.A.S.H by Robert Altman (1970, 1h56)
Korea. In a field hospital, three new doctors (Sutherland, Gould and Skerritt) are determined to turn the camp life upside down... Altman blows apart all the codes of the war movie. 1970 Palme d'Or in Cannes.
Institut Lumière Sat 15 at 10pm | UGC Ciné Cité internationale Sun 16 at 2:30pm
The Liberation of L.B. Jones by William Wyler (1970, 1h42)
In a small town in Tennessee, L. B. Jones, an African-American manager of a funeral home, wants to divorce his young wife who is cheating on him with a sheriff... A melodrama with a backdrop of racial tensions, the last film by William Wyler.
Institut Lumière Thu 13 at 10:45am
Drive, he said by Jack Nicholson (1970, 1h35, Prohibited -16)
Hector, a college basketball player, is in a complicated relationship with Olive. His friend Gabriel protests against the Vietnam war... The first film by Jack Nicholson, a daring comedy about the anxieties of a generation.
Comoedia Mon 10 at 4:15pm
Zabriskie Point by Michelangelo Antonioni (1970, 1h40)
1969. Mark a revolutionary student wrongly accused of murder, encounters young secretary Daria in the heart of Death Valley... A journey of incredible beauty into the heart of a paradise lost and broken dreams.
Villa Lumière Mon 10 at 5pm
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Quelle
Das Filmjahr 1970 scheint es ihm angetan zu haben, da könnte mehr kommen:
| Zitat: |
Here are eight things Tarantino said about that year to Fremaux when they took the stage in front of some 2,000 cheering French fans.
– How his passion for 1970 started
It started because I read the book Mark Harris wrote “Pictures at a Revolution” that takes place in 1967. That’s the year that chronicles the real emergence of New Hollywood. The point that he makes in the book is that by the end of 1967 New Hollywood had won, only they didn’t know it yet. And Old Hollywood was over, even though they didn’t know it yet. By 1970 New Hollywood had won: New Hollywood was The Hollywood, and anything that even smacked of Old Hollywood was dead on arrival.
– Why New Hollywood Did Not Survive
The more I started going to the library and looking up what was coming out that year, I realised that -yeah – the New Hollywood had won the revolution, but whether it would survive was not clear, because cinema had changed so drastically that it had alienated a lot of the audience that Hollywood had counted on for years, and years, and years. Particularly the family audience, the audience that made “My Fair Lady” or “The Sound of Music” play for five years in movie theatres. That was the audience that Hollywood had always been trying to get; well, they abolished that audience.
-Why 1970 was crucial to keep New Hollywood going for a few years
What we think of as New Hollywood cinema that existed until at least 1976 was more fragile that I thought it was. That experiment could have died in 1970. It could have not worked. But ultimately it did because enough New Hollywood influence did happen, in particular “M.A.S.H.” and “Five Easy Pieces,” to keep the experiment going. But if “M.A.S.H” and “Five Easy Pieces” hadn’t worked in 1970, it’s very doubtful that there would have been an “The Exorcist.” There never would have been a “The Godfather.”
-What is Tarantino going to do with this project
What am I going to do with this project? Am I going to write book about it? Maybe. Am I going to do it as a six-part podcast? Maybe. Will I do a documentary about it? Maybe. I don’t know, I’m figuring it out. But my first stop in dealing with it is coming to Lyon.
-On the freedom Hollywood directors had in 1970
In spending four years constantly looking at that year — and seeing what came before and what came afterwards — you start seeing patterns emerge. And one of the things that happened was there were a lot of promises made in cinema; of possibilities, of a new cinema. It was almost like an immigrant time, it was like Hollywood had never had this kind of freedom before. Could the public handle that kind of freedom that seemed almost limitless at that time? Directors could shoot any book they ever wanted. They could write any screenplay. They could deal with any subject matter. Nothing had to be diced, nothing had to be watered-down. That was a first for Hollywood.
-On new black cinema not emerging after 1970
But there were promises that were not fulfilled. There was a promise in 1970 that a new genuine black cinema would emerge. You had one of the best movies of that year “The Landlord,” Hal Ashby’s directorial debut. That was written by black playwright and screenwriter Bill Gunn. You had Ossie Davis making his directorial debut with “Cotton Comes to Harlem.” You had Melvin Van Peebles doing “Watermelon Man.”…So then there was a thought that a new black voice, that new black directors would emerge, that would be a part of cinema. That ended up not happening. Blaxploitation ended up taking its place. I’m known as a fan of blaxploitation, but now I’m seeing that blaxploitation did derail a true black voice [from] rising in cinema as much as I appreciate it.
-Erotic cinema also did not manage to free itself after that year
The same thing happened for a lot of cinema. There was the promise in 1970 that eroticism in cinema would be taken out of the raincoat crowd, out of the pornography circuit and would actually achieve mainstream success. They [the movies] would play in nice theatres and it would be a cinema for couples to and appreciate, and we had some wonderful artists dealing in eroticism at that time, one was Russ Meyers…That promise seemed to live for a little while. In 1971 you had “Last Tango in Paris,” you had carnal knowledge…However this promise was not fulfilled…Eroticism went back to porno and sexploitation again.
-How 1970 symbolises the end of the 60’s
Nobody in the ’60’s could see how the 60’s would end in the ’70’s. And considering that at least half of the movies that came out in 1970 were made in 1969 that generated a big dilemma. For example one of the big things that was in the news then was the campus radicalism that existed then. In 1970 five movies came out dealing with campus radicalism, including “Zabriskie Point,” “Getting Straight,” and “The Strawberry Statement.” Pretty much they all died when they came out because by the time they came out the audience, the consciousness, had moved on. Only six months later they actually seemed dated.
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“Basically, I’m afraid of everything in life, except filmmaking.” – Lars von Trier |
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Vic 
k-billy fan
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gold watch
unser mann in mexiko
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Registriert: 11.01.04
Wohnort: mexico city |
| #780 22.10.16 - 05:58
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bist du immer noch nicht drüber weg, man?
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über Quentin, dies & das - Seite 52
Schwer zu glauben, dass das der Wahrheit entsprechen soll, wo er doch auf der Comic-Con noch angekündigt hat, seinen nächsten Western selbst drehen zu wollen. Bei Imdb wurde der noch nicht als kommender Film aufgenommen.
