Tag Archive: oscars

“…only things that are creative and not destructive… hatred is wasted energy.”

The secret of happiness and purpose endures as our highest aspiration. From its science and psychologyto its geography to its empirical application, we go after it with ceaseless zeal.

In this brilliantly wise and articulate short excerpt from an archival interview, the great Alfred Hitchcock shares his definition of happiness — a definition that makes my own heart sing, and harks back to this morning’s meditation on kindness and the lack thereof. Read more here: http://bit.ly/157pAas

A clear horizon — nothing to worry about on your plate, only things that are creative and not destructive… I can’t bear quarreling, I can’t bear feelings between people — I think hatred is wasted energy, and it’s all non-productive. I’m very sensitive — a sharp word, said by a person, say, who has a temper, if they’re close to me, hurts me for days. I know we’re only human, we do go in for these various emotions, call them negative emotions, but when all these are removed and you can look forward and the road is clear ahead, and now you’re going to create something — I think that’s as happy as I’ll ever want to be.”

Beautifully said, with a blend of personal vulnerability and firm conviction worthy of profound respect.

The Academy Award winning director talks about his nod to heist films and classic noir

Director Danny Boyle used electronic and retro jazz sounds in the new art-heist film 'Trance.'Director Danny Boyle used electronic and retro jazz sounds in the new art-heist film “Trance.” (Fox Searchlight)

In the films of English director Danny Boyle, music frequently emerges as an important (if unseen) character. The drug-addict drama Trainspotting was fueled by a jam-packed, manic soundtrack of songs by Iggy Pop, Brian Eno and the electronic duo Underworld. He teamed up with Indian composer A.R. Rahman for 127 Hours and the highly successful Slumdog Millionaire, for which Boyle won a Best Director Oscar.

His new movie Trance, starring James McAvoy and Rosario Dawson, pays homage to two beloved genres: the high-tech heist movie and shadowy film noir.

Boyle enlisted a frequent collaborator, Rick Smith of Underworld, to craft dance beats for action sequences, while using pre-existing jazz and French chanson for sequences involving hypnosis and dreams.

Known for using pre-existing songs, Boyle doesn’t use a music supervisor and selects tracks himself. “It’s one of the deepest pleasures for me. It helps shape the film in so many ways, [beyond] just the music. It informs the film completely for me,” he told Soundcheck‘s John Schaefer. “I’m very proud to be able to associate myself with these artists via film.”

He talked with John Schaefer about choosing music for Trainspotting, 28 Days Later and the opening ceremonies for the 2012 Olympic Games in London. Read more the conversation here: http://wny.cc/ZpoOi0

JS: On using “Deep Blue Day” from Brian Eno and Daniel Lanois’ album Apollo: Atmospheres and Soundtracks, for the notorious Trainspotting scene involving “the worst toilet in Scotland”:

DB: That album is, to me, one of the greatest atmospheric albums ever. It is just an extraordinary piece of work. I’ve used it multiple times. I used it in a TV series before I moved into films. And I used it so many times, in so many different ways, that eventually Brian Eno wrote to me and said, “I’ve done other things, you know.”

JS: Tell us about a song that you thought would be perfect for a scene, but couldn’t get permission to use.

DB: We tried to get Laurie Anderson’s “O Superman” for 28 Days Later. There’s an amazing sequence where [Cillian Murphy’s character, Jim] walks home. London is deserted, apparently apart from this threat, and he finds his way back to his old home where his parents lived. And he finds them in bed, passed away. They passed away peacefully and left a message for him. It’s very moving within this apocalyptic horror.

And her amazing song was [initially] on the soundtrack. And we approached her about it, and she said she didn’t want it to be associated with anything else because she wanted to do something else with it in the near future. So she declined, and I was really sad. [TheatricallyReally sad.

But her decision was a good one – and good things come out of it. And we used a hymn instead which actually had an even greater significance instead, especially for a British audience. You’re trying to suggest the past of the city, and hymns sonically do that. Something that we’re all familiar with through schooling, and so we used “Abide With Me.”

JS: Will there be a third film in the 28 Days Later zombie franchise?

DB: I wish we’d had shares in The Walking Dead, the TV show! There had been a whole zombie movement, and then I think we helped refresh it with 28 Days Later. […] I was very keen for it not to be known as a zombie movie. I had this idea that the threat is much more rage-filled. But it’s become absorbed in the zombie landscape and is referred to constantly as a zombie movie. I have to accept that. [laughs] I’m lucky to be there. There is an idea for a third part, cause we did a 28 Weeks Later, and so the 28 Months Later or whatever it would be called — the third one — there is a plan for that. How realistic it is given the success of something like Walking Dead, I have no idea. Who knows? Fingers crossed.

“People call me a director, but I really think of myself as a sound man.” –David Lynch, quoted in Michael Chion’s David Lynch

David Lynch‘s electro-pop album Crazy Clown Time has left a lot of music fans and critics scratching their heads. But, looking back at the filmmaker’s long history of re-purposing pop music in his films and other work, it’s possible that Crazy Clown Time is one of the least strange moves that the veteran film director, meditation guru, coffee entrepreneur, and amateur weatherman has made in his entire career.

This isn’t intended to be a complete list of David Lynch’s musical ventures, as a number of music videos, Lynch-penned compositions, and other collaborations have been left out. Rather, consider it a smattering of some of Lynch’s strangest, presented in chronological order.

Feature artwork by Cap Blackard. Read more the review here: http://bit.ly/1527Ddf

“In Heaven” from Eraserhead (1977)

Lynch’s history both as a musician and as a feature filmmaker begin here withEraserhead. Following several mostly animated short films, Lynch received a small grant from the American Film Institute to begin what would become his first full-length movie. Filmed piecemeal from 1971 to 1976, it was met with mixed reactions at festivals, but early championing from famous fans including David Bowie and Charles Bukowski helpedEraserhead become one of the midnight circuit’s most popular movies.

The various musical performances in Lynch’s debut come courtesy of the Lady in the Radiator, a charming, tumor-cheeked woman who appears to Henry in visions at several points in the film. The most famous of these is her performance of “In Heaven” (famously covered by The Pixies), a simple, yet creepy, little song written by Peter Ivers at Lynch’s request. (In another segment, The Lady in the Radiator performs a memorably stomach-turning dance where oversized sperm creatures drop from the ceiling and are squished under her feet.)

Sting’s scantily clad space prince in Dune (1984)

“I met David [Lynch] and I loved him. He’s a madman in sheep’s clothing, and I just felt I had to do the movie because I know he’s going to do something extraordinary.” -Sting inRolling Stone Magazine #403, September 1983

“I didn’t even like the film, I don’t have a clue what it was about, it was very confusing.” – Sting to The Courier Mail, July 1985

Following the cult success of Eraserhead and the critical acclaim of his Academy Award-nominated Hollywood debut, The Elephant Man, Lynch was pegged to direct a big-budget adaptation of Frank Herbert’s science fiction classic, Dune. (Lynch had recently declined George Lucas’s offer to direct Return of the Jedi.) Lynch’s grandiose vision forDune would have resulted in a three-plus-hour film, which the studio cut down to a still-grueling 137 minutes. While more than a few distinct Lynch-isms survived the chopping block, the film that arrived in theaters was a convoluted mess and wound up being a huge commercial and critical flop.

“In Dreams” from Blue Velvet (1986)

Lynch bounced back from Dune with the smaller, more personal Blue Velvet. A mystery set against the dark underbelly of small-town America, Blue Velvet earned David Lynch his second best director Academy Award nomination and resurrected Dennis Hopper’s career with his turn as Frank Booth, the movie’s unforgettable gas-huffing villain.

Teenage sleuth Jeffrey Beaumont finds himself in way over his head when the dangerously unpredictable Frank Booth takes him along for a wild ride. Frank takes him to the home of his “suave” drug dealer, Ben, who lip-syncs Roy Orbison’s “In Dreams” into an electric light. This sends Frank down an emotional roller coaster and prompts one of the most terrifying scenes in the movie.

“Blue Velvet” from Blue Velvet (1986)

Though far less disturbing than Dean Stockwell’s performance of “In Dreams”, Isabella Rosselini’s nightclub performance of Bobby Vinton’s “Blue Velvet” has become one of the film’s most iconic scenes. With her sensual allure and an evening of song, beleaguered nightclub singer Dorothy Vallens pulls the young Jeffrey Beaumont irrevocably into her dark world.

David Lynch initially brought in Angelo Badalamenti to serve as Isabella Rosselini’s voice coach for this scene, but wound up finding one of his most frequent collaborators in the composer. (Badalamenti appears as the piano player in this scene.)

Julee Cruise – Floating Into the Night (1989)

Rights issues prevented David Lynch from using a This Mortal Coil cover of Tim Buckley’s “Song to the Siren” in Blue Velvet. Unable to find another song that conveyed the same feelings, Lynch penned the lyrics to “Mysteries of Love”, which composer Angelo Badalamenti set to music. Lynch asked for a singer with an “ethereal” voice. Badalamenti suggested Julee Cruise, whom he had met in a theater workshop. The results play in Blue Velvet over a sweetly emotional dancing scene.

Industrial Symphony No. 1 (1989)

Following the success of Blue Velvet, The Brooklyn Academy of Music approached David Lynch and Angelo Badalamenti to produce a 45-minute stage production to open their New Wave Music Festival. The pair agreed and put the entire show together in just two weeks, creating imagery to pair with several of the songs they’d written for Julee Cruise.

Presented only twice in November of 1989, the original production starred Cruise, as well as Nicolas Cage and Laura Dern, with whom Lynch was currently filming Wild at Heart, and Michael J. Anderson, who would go on to fame as the diminutive, backwards-talking Man From Another Place in Twin Peaks.

“Love Me” / “Love Me Tender” from Wild at Heart(1990)

David Lynch juggled a wide variety of projects in the late 1980s, perhaps the quickest to get off the ground being Wild at Heart. Within six months of being given a copy of the Barry Gifford novel that served as the film’s source material, Lynch had wrapped shooting on an adaptation that strongly showed the filmmaker’s bizarre stamp and contained more than a few less-than-subtle allusions to The Wizard of Oz.

Starring Nicolas Cage and Laura Dern as Sailor and Lula, outlaw lovers on the lam from both law enforcement and a contract killer, Wild at Heart calls back to Elvis Presley’s acting career without once actually vocalizing the singer’s name. Nicolas Cage musically breaks into songs made famous by Presley at two points in the movie: first in a version of “Love Me” that Sailor sings to Lula after pummeling a kid senseless in a bar fight and second (and even more bizarrely) in a rendition of “Love Me Tender” that’s sung under the credits.

“Just You And I” from Twin Peaks (1990)

It’s not surprising that two of the strangest musical moments in Twin Peaks come from David Lynch-directed episodes. Early on in season two, James and Donna, friends and classmates of the late Laura Palmer, and her near-identical cousin, Maddie, gather to record a ’50s-style pop song. The song isn’t mentioned before this moment and isn’t referred to again, making the almost-random, three-minute performance one of the most inexplicable, yet surreally sweet, scenes in the show.

David Bowie in Twin Peaks: Fire Walk With Me(1992)

Ratings for Twin Peaks took a serious plummet in the second season, as a move to a Saturday evening time slot and the resolution of the central “Who killed Laura Palmer?” mystery caused viewers to lose interest. Following the show’s cancellation, Lynch announced he’d signed a three-picture deal with French company CIBY that would include a spin-off prequel. The world of Twin Peaks would live on for one more feature film, despite several of the show’s lead actors declining to be involved.

David Bowie, an early fan of Lynch’s Eraserhead, appears in a very brief cameo as a disappearing special agent with a laughably terrible Southern accent. Bowie filmed his role in just a few days while rehearsing for his Tin Machine tour, and only this scene survived into the film’s final cut.

“Sycamore Trees” / “Questions in a World of Blue” from Twin Peaks: Fire Walk With Me (1992)

Twin Peaks: Fire Walk With Me was a critical and commercial flop in the United States, perhaps because of its near incomprehensibility, particularly to those who hadn’t invested almost 30 hours in the TV show’s many threaded plotlines. To fans of the director, however, it could be seen as his most hallucinatory and surreal film since Eraserhead.

Many of Lynch’s trademarks are quite visible throughout, including his penchant for including on-screen singing. The first is a short appearance by “Little” Jimmy Scott, a jazz vocalist with a distinctively high voice caused by a rare genetic disorder that prevented him from reaching puberty, singing “Sycamore Trees”, a new song by Lynch and Angelo Badalamenti.

The second is an in-film performance by Lynch’s frequent musical collaborator, Julee Cruise, singing the Lynch and Badalamenti composition “Questions in a World of Blue”, which would later appear on her sophomore album, also produced by Lynch.

“The Mr. Peanuts Song” from On the Air (1992)

On the Air was one of two short-lived television shows from David Lynch and his Twin Peaks co-creator, Mark Frost, following the success of that series. Starring several of the smaller-role actors from Twin Peaks in the lead and filmed with much of the same crew, the old-timey throwback to 1950s live variety programming flopped in the ratings with only a handful of episodes making it to air.

While possibly one of the least Lynch-esque projects he’s attached his name to, On the Air played in the same world of innocent nostalgia that was turned on its head in films likeBlue Velvet and Mulholland Drive. Several pieces of music are fit into the show-within-a-show’s variety format, one of the most memorable being “The Mr. Peanuts Song”, sung by one of the show’s leads, coming to the aid of a disgraced puppeteer.

Michael Jackson’s Dangerous teaser (1993)

David Lynch directed the introduction to Michael Jackson’s Dangerous: The Short Filmscollection, and as far as 90-second pop music commercials go, they don’t get much Lynch-ier than this. Featuring flickering lights, industrial noise, and a dancing dwarf, this little-scene video packs a lot of directorial trademarks into a small amount of time.

Marilyn Manson and Twiggy Ramirez as porn stars inLost Highway (1997)

Nine Inch Nails frontman Trent Reznor had reached out to Lynch previously to direct one of his music videos but was unable to pin down the filmmaker. Impressing producers with his work on the Natural Born Killers companion soundtrack, Reznor was approached to reprise that musical compiler role for Lost Highway as well as composing a few original pieces of music for the movie. The final result was released on CD in advance of the film’s opening and featured tracks by Nine Inch Nails, Marilyn Manson, David Bowie, Rammstein, and The Smashing Pumpkins.

Soundtrack contributors Marilyn Manson and bandmate Twiggy Ramirez have brief, almost-background cameos as porn stars in a snuff flick that’s viewed by the characters in one of the movie’s skeezier scenes.

“Llorando” in Mulholland Drive (2001)

“The music has to marry with the picture and enhance it. You can’t just lob something in and think it’s going to work, even if it’s one of your all-time favorite songs. The piece of music may have nothing to do with the scene. When it marries, you can feel it.” –David Lynch in his book, Catching the Big Fish

Initially conceived as a TV pilot that was later rejected by ABC executives, Lynch went back and shot additional scenes to turn it into one of his most critically acclaimed feature films, Mulholland Drive. The unusual production history of the film and the open-ended narrative structure, as well as Lynch’s typically surreal style, make viewing the film a hallucinatory and dreamlike feeling.

In all of the scenes listed here, Rebekah Del Rio’s Spanish, a capella performance of Roy Orbison’s “Crying” (retitled “Llorando”) may be the most haunting. Lynch had originally intended to use this song rather than Orbison’s “In Dreams” for Blue Velvet, but used it here instead after hearing Del Rio’s cover. At a critical point in the film, lovers Betty and Rita visit the mysterious and mostly empty Club Silencio. “No hay banda,” a performer announces; there is no band, yet we hear one. Any further description of this scene would be spoiling it for those who haven’t yet experienced it.

BlueBob (2001)

A music video was released for “Thank You, Judge”, which featured appearances by Naomi Watts and Eli Roth, as well as both Lynch and Neff.

“Sinnerman”, “Imaginary Girl”, and “Ghost of Love” from Inland Empire (2006)

Shot without a script over the course of more than two years with a stable of Lynch regulars, Inland Empire remains Lynch’s most recent film. Here, for the first time sinceWild at Heart, the filmmaker saves the weirdest musical moment for the end credits. The film closes with a Lynch-esque dance number set to Nina Simone’s rendition of “Sinnerman”, including a few of the director’s recurring thumbprints, from the blinking lights to a log-sawing lumberjack.

David Lynch makes his singing debut (without heavy distortion filters) for the soundtrack of Inland Empire, singing two original songs: “Ghost of Love” and “Imaginary Girl”.

Moby’s “Shot in the Back of the Head” music video (2009)

It doesn’t seem that unusual that electronic artist Moby and David Lynch would be email pen pals. As Moby describes it, he would occasionally send Lynch pieces of music that he thinks he would like. In the case of “Shot in the Back of the Head” from 2009 album Wait for Me, Lynch sent the song back with visuals attached to it.

Lynch’s animated music video interpreted Moby’s song as a surreal narrative involving a love affair between a man and a woman’s severed head.

Dark Night of the Soul (2010)

Dark Night of the Soul was a collaborative album written by Danger Mouse and Sparklehorse and featured a wide cast of indie rock luminaries in guest appearances, including Wayne Coyne, Iggy Pop, Gruff Rhys, Jason Lytle, James Mercer, Black Francis, Julian Casablancas, Suzanne Vega, Nina Persson, Vic Chesnutt, and Scott Spillane. It included some of the last recordings by Sparklehorse’s Mark Linkous and Vic Chesnutt before their respective suicides.

A limited-edition version of the set came with a book that included more than 100 pages of photos taken by David Lynch. The filmmaker sang in two of the songs, including “Star Eyes”, which is below set to his accompanying photographs.

In closing…

“Sound is almost like a drug. It’s so pure that when it goes in your ears, it instantly does something to you.” -David Lynch

In the end, when put into the context of a long and idiosyncratic career that’s included its fair share of left turns, an electro-pop album from David Lynch really isn’t a surprising move. Popular music has long played such an integral role in Lynch’s creative output that it may just be the logical next step.

Enjoy Crazy Clown Time, and try to have a good day today.

Jessica Misener from buzzfeed.com recently make 22 facts about 90’s teen movies that will blow your mind. Check ’em out or read more here: http://bit.ly/Xz3NW1

1. She’s All That was filmed at the same high school as Buffy the Vampire Slayer.

She's All That was filmed at the same high school as Buffy the Vampire Slayer.

2. The title 10 Things I Hate About You was meant to sound vaguely similar to The Taming Of The Shrew,the Shakespeare play that inspired its story.

The title 10 Things I Hate About You was meant to sound vaguely similar to The Taming Of The Shrew, the Shakespeare play that inspired its story.

Source: fanpop.com

3. Ryan Phillipe was so worked up after the slapping scene with Reese Witherspoon in Cruel Intentions that he ran off set and did a real, unscripted barf.

4. To replicate an erection in one scene of American Pie, crew members cooked a sausage, stuck it on a pencil and wrapped it in aluminum foil. It was still warm when it was placed between Jason Biggs’ legs.

To replicate an erection in one scene of American Pie, crew members cooked a sausage, stuck it on a pencil and wrapped it in aluminum foil. It was still warm when it was placed between Jason Biggs' legs.

5. Elijah Wood was supposed to star opposite Melissa Joan Hart in Drive Me Crazy, but producers thought he looked too young.

Elijah Wood was supposed to star opposite Melissa Joan Hart in Drive Me Crazy, but producers thought he looked too young.

6. Alicia Silverstone actually didn’t know how to pronounce “Haitians” in the classroom scene, but producers thought it was hilarious, didn’t correct her and put in the movie.

7. This Ford truck was not actually used in the movie.

This Ford truck was not actually used in the movie.

8. James Van Der Beek was originally considered for the role of Luke McNamara in The Skulls.

James Van Der Beek was originally considered for the role of Luke McNamara in The Skulls.

9. The apple pie was from Costco.

The apple pie was from Costco.

10. Never Been Kissed was James Franco’s film debut.

Never Been Kissed was James Franco's film debut.

11. To keep Drew Barrymore looking scared and crying, Scream director Wes Craven kept telling her real life stories about animal cruelty.

To keep Drew Barrymore looking scared and crying, Scream director Wes Craven kept telling her real life stories about animal cruelty.

12. The Dazed and Confused cast drank real beer for most of their scenes.

The Dazed and Confused cast drank real beer for most of their scenes.

13. M. Night Shyamalan reportedly did a script polish for She’s All That.

M. Night Shyamalan reportedly did a script polish for She's All That.

14. Claire Danes’ hair was a wig.

Claire Danes' hair was a wig.

15. Aaron Sorkin rewrote this script before production.

Aaron Sorkin rewrote this script before production.

16. Lois Duncan, author of the book I Know What You Did Last Summer, has declared openly that she hates this movie.

Lois Duncan, author of the book I Know What You Did Last Summer, has declared openly that she hates this movie.

17. In the “peeing on a tree” scene in Linda’s yard inElection, Matthew Broderick is actually urinating.

In the "peeing on a tree" scene in Linda's yard in Election, Matthew Broderick is actually urinating.

18. In Idle Hands, when Anton is afraid and trying to search his house, he pushes his dog into the hallway before him. During this scene, the dog has an erection.

In Idle Hands, when Anton is afraid and trying to search his house, he pushes his dog into the hallway before him. During this scene, the dog has an erection.

19. Can’t Hardly Wait was Jason Segel’s film debut.

Can't Hardly Wait was Jason Segel's film debut.

20. Marilyn Manson had a cameo in Jawbreaker,mostly because he was engaged to cast member Rose McGowan at the time.

Marilyn Manson had a cameo in Jawbreaker, mostly because he was engaged to cast member Rose McGowan at the time.

21. Melissa Joan Hart turned down the role of Jennifer.

Melissa Joan Hart turned down the role of Jennifer.

22. Wild Things originally had a scene with Matt Dillon and Kevin Bacon showering together.

Wild Things originally had a scene with Matt Dillon and Kevin Bacon showering together.

To celebrate QT’s 50th birthday, Ali Gray from ign.com countdown his greatest characters. Oscar-winning screenwriter, foot fetishist and shutter-down of buttsQuentin Tarantinoturns 50 this week; a birthday that ages all who remember him being labelled “the hottest young director in Hollywood”. Tarantino has gifted cinema dozens of classic characters in his half century, from Reservoir Dogs through Django Unchained – plus, of course, via movies he wrote, like True Romance and Natural Born Killers. It’s easy to forget the wealth of talent that has at some point agreed to be QT’s mouthpiece – Pitt! Clooney! Willis! De Niro! Oldman! – so whether or not the quality of Quentin’s output decreases as he begins the backslide into old age as he predicted, let’s just be grateful that for now, the Tarantino universe boasts an unforgettable cast of heroes, villains and everyone in between.


50. Captain Koons (Christopher Walken) – Pulp Fiction

First we have a quintessential single-serving Tarantino character: one scene, four minutes of dialogue and buckets of charisma. Koons, a decorated Vietnam vet, tells little Butch the story of how he and the young man’s father hid a watch up their asses for seven years. It could come off as crude, but Walken sells the scene with laser-beam intensity. http://go.ign.com/ZyMHGj

49. Bridget von Hammersmark (Diane Kruger) – Inglourious Basterds

Impossibly glamorous with charm to spare, German film star Bridget is actually on the side of the good guys. A double agent working with British intelligence and the Basterds, von Hammersmark escapes with her life from the bloodbath at the La Louisianne tavern, but later dies at the hands of Hans Landa (technically the hands of Tarantino himself).

48. Gogo Yubari (Chiaki Kuriyama) – Kill Bill

A cartoon character villain in essence, complete with her own unique weapon (a chain whip-cum-rope dart), O-Ren’s bodyguard Gogo makes a brief but memorable appearance in Kill Bill. First she disembowels a guy for making a drunken pass – her being 17 and all – then she engages in a scrap with The Bride, losing her life to a chair leg.

47. Floyd (Brad Pitt) – True Romance

Permanently stoned and probably fused to his dirt-encrusted sofa, Dick’s horizontal roommate in True Romance is none other than mega star Brad Pitt in an early role. He might look like a useless, unkempt waste of space, but… well, he is. But once you’re out of earshot, he’ll tear you a new one: “Fuckin’ condescend me, man… I’ll fuckin’ kill you, man.”

46. The Gimp (Stephen Hibbert) – Pulp Fiction

A mystery wrapped in a riddle wrapped in studded tight leather, The Gimp resides in pawn shop owner Maynard’s basement – and we’re guessing he’s not dusting down there. Killed by his own kink, he’s hung out to dry when Bruce Willis‘ Butch wriggles free and cold-cocks him, leaving him hanging by his own leash. We bet he loved every second of it.

45. Max Cherry (Robert Forster) – Jackie Brown

Frosty cool with an unflappable demeanour, Jackie Brown’s bail bondsman is that rare Tarantino creation: a quiet, reserved man who’ll use one word where most others use ten. That said, he’s still a textbook QT badass, teaming with Pam Grier‘s drug smuggler for the mother of all double-crosses. Also, he likes big butts.

44. Hugo Stiglitz (Til Schweiger) – Inglourious Basterds

Til Schweiger truly puts the ‘glorious’ in his Basterd as a defected German sergeant with a penchant for murdering Nazis in the sickest ways possible. Quickly recruited to the Basterds’ cause, Stiglitz is most notable for mercifully ending the epic La Louisianne face-off, giving Dieter Hellstrom a killer kiss-off: “Say auf Wiedersehn to your Nazi balls!”

43. Vernita Green (Vivica A Fox) – Kill Bill

One of five assassins on The Bride’s hitlist, the woman otherwise known as Copperhead is living a quaint suburban lifestyle when Beatrix Kiddo comes calling for revenge. The domestic scuffle between the two women sets the tone for the two volumes to come: bloody, brutal, backstabby and bitchy: “I should have been motherfucking Black Mamba!”

42. Pumpkin & Honeybunny (Tim Roth & Amanda Plummer) – Pulp Fiction

Opening Pulp Fiction with – you guessed it – a lengthy diatribe, this one about the relative safety of robbing banks over liquor stores, petty thieves Pumpkin and Honey Bunny (aka Ringo and Yolanda) eventually kick off the action by pulling out their guns and yelling: “Everybody be cool!” The rest of the movie duly complies.

41. Clifford Worley (Dennis Hopper) – True Romance

It’s not difficult to see where Christian Slater‘s chancer Clarence gets his big clanging balls: his old man Clifford laughs in the face of death. With gangster Vincenzo Coccottinursing a bullet with his name on it, Worley Sr at least exits this life with a smile, spending his last minutes on Earth insulting his killer’s DNA: “You’re part eggplant!”

40. Louis Gara (Robert De Niro) – Jackie Brown

Feckless criminal Louis is the antithesis of the gangsters Robert De Niro usually plays. Slow-witted but quick to anger after Bridget Fonda‘s sun-worshipper mocks his manhood, Louis shoots his partner in crime in a parking lot and ends up suffering the same fate at the hands of Sam Jackson’s heavy. De Niro bad at crime? Who’d have thought it!

39. Mr Brown (Quentin Tarantino) – Reservoir Dogs

Tarantino’s token cameos in his own movies tend to draw focus, given that they’re usually awful, but we’ll forgive him his turn in Reservoir Dogs. Mr Brown opens the film, and indeed Quentin’s entire career, with a discussion on the meaning of Madonna‘s ‘Like A Virgin’; apparently it’s a metaphor for large penises. So now you know.

38. Lt Archie Hicox (Michael Fassbender) – Inglourious Basterds

Fassbender’s Basterd is perhaps the coolest of the bunch, thanks mostly to his cut-glass English accent and his love of good scotch. He’s also handy with white lies, spinning a convincing yarn about his upbringing to throw off a nosey Nazi – alas, he was three fingers away from avoiding the stickiest of pickles. Nonetheless: damn good stuff, Sir.

37. The Wolf (Harvey Keitel) – Pulp Fiction

“I’m Winston Wolf. I solve problems.” Not only does Pulp Fiction’s fixer possess the unnerving ability to bend space and time, travelling a distance that should take 30 minutes in ten, The Wolf is a man capable of un-screwing any situation, lickety split. He also dresses like he’s en route to his own wedding.

36. Pai Mei (Gordon Liu) – Kill Bill

“Your so-called Kung fu is really quite pathetic!” Pai Mei is a stern teacher indeed, but he’s earned the right to insult his students, what with being able to use his beard and his crotch as a weapon. Creator of the infamous Five Point Palm Exploding Heart Technique, Pai Mei will have you writhing in agony while he’s stroking his moustache and laughing.

35. Ray Nicolette (Michael Keaton) – Jackie Brown

ATF agent Ray Nicolette is one of Elmore Leonard’s good guys, later popping up in Out Of Sight – one of those rare occasions in which the same character appears in two separate movies. Ray shines brightest in Jackie Brown, turning Pam Grier‘s stewardess onto Sam Jackson’s villain Ordell. Few men can wear black leather as effectively asMichael Keaton.

34. Mickey & Mallory Knox (Woody Harrelson & Juliette Lewis) – Natural Born Killers

In the media circus of life, they were the main attraction: lovers Mickey and Mallory knew the value of a good killing spree, and milked the attention for everything it was worth. Two of Tarantino’s most despicably heartless characters, you still find yourself rooting for them – that’s the strength of Quentin’s writing in action.

33. Drexl Spivey (Gary Oldman) – True Romance

Gary Oldman pulled off his chameleon act once more in his role as True Romance’s racially-befuddled pimp, rocking dreads, gold teeth, a cloudy eye and a stormy temper. “It ain’t white boy day, is it?” he asks, unaware that every day is white boy day for him. Still,  perhaps Drexl can take solace in the fact his name is worth a hundred points in Scrabble.

32. Stephen (Samuel L Jackson) – Django Unchained

Leo DiCaprio’s cackling madman Calvin Candie is the obvious villain in Django Unchained, but there’s something even more insidious about his house slave Stephen; a man who’s seemingly turned his back on his entire race. He won’t take his eyes off Django and Broomhilda, and in turn, you can’t take your eyes off him.

Every QT cameo has an element of wish fulfilment, but none moreso than in Tarantino’s vampire thriller. Quentin’s serial killer Richie drinks tequila from the long leg of snake-fondling exotic dancer Santanico, right before she morphs into a hellbeast and kills him. Totally worth it, as brother George Clooney yells: “Now that’s what I call a fuckin’ show!”

30. Donny Donowitz (Eli Roth) – Inglourious Basterds

Possessor of possibly the coolest entrance scene in all of Tarantinoland, you hear The Bear Jew before you see him, bashing his baseball bat off the underpass walls to intimidate his prey. Eventually he emerges, grinning, knowing full well he’s going to hit a home run and spray the rest of the Basterds with Nazi brain. And the crowd go wild!

29. O-Ren Ishii (Lucy Liu) – Kill Bill

Another Deadly Viper on The Bride’s to-do list, O-Ren gets the most fleshed out of Kill Bill’s back-stories: orphaned by the Yakuza, she exacts revenge, becomes a master assassin and heads a Tokyo crime syndicate, complete with her own Crazy 88 army. Alas, she can’t best The Bride in blade-to-blade combat, tasting the steel of her Hanzo sword.

28. Marsellus Wallace (Ving Rhames) – Pulp Fiction

We’re first introduced to the back of crime boss Marsellus’ head as he gives boxer Butch his orders. The front is no less intimidating; Rhames gives Pulp Fiction its greatest presence with his gargantuan frame and deep voice. When he threatens to “get medieval” on the asses of the men that raped him, you’re grateful he spares the grislier details.

27. Alabama Whitman (Patricia Arquette) – True Romance

This hooker gives True Romance its heart of gold. Call girl by trade, she packs in the prostitution after meeting devoted Elvis fan Clarence, marrying him the very next day. The wrath they face from assorted pimps, gangsters and hitmen is horrendous, but Alabama makes it all worthwhile. Who wouldn’t snap up a girl who loves Kung fu movies?

26. ‘Nice Guy Eddie’ Cabot (Chris Penn) – Reservoir Dogs

Perennially decked out in the finest casual tracksuits the 90s could offer, Nice Guy Eddie is the only Reservoir Dog not to be given a coloured codename, given that he’s the son of the heist organiser, Joe. That family connection is the reason he’s so cocksure of himself, but daddy can’t protect him in the Mexican stand-off to end all Mexican stand-offs.

25. Zoe (Zoe Bell) – Death Proof

Tarantino gave stuntwoman Zoe Bell her first big break – as herself. Quentin’s half of Grindhouse saw Bell prove that she was the one who was Death Proof as she shackled herself to the bonnet of her girlfriends’ car for shits and giggles. Stuntman Mike attempted to make her death-wish a reality, but you can’t frighten a girl with no fear of dying.

24. Earl McGraw (Michael Parks) – Assorted

Along with Mr Wolf, Earl McGraw and his son Edgar are the only characters that can traverse between Tarantino’s ‘Realer than real’ universe and his ‘Movie movie’ universe – that’s why you’ll see him pop up in Death Proof, From Dusk Till Dawn and Kill Bill. Each time, Parks’ sheriff brings the same tobacco-chewing grit to the role: he is the law.

23. Vincenzo Coccotti (Christopher Walken) – True Romance

The real big bad in True Romance, Coccotti is the most charismatic of criminals. Fully aware his reputation precedes him, Sicilian sleaze Vincenzo introduces himself as “the anti-Christ” and gets more intimidating from there on in. Catch him in a vendetta kinda mood and he’ll waste you, but not without sharing a Walken-esque laugh with you first.

22. Calvin Candie (Leonardo DiCaprio) – Django Unchained

Sporting a gob of yellow teeth and a wardrobe of the best duds 19th century Mississippi affords, Candie is a chilling villain indeed. The plantation owner makes his slaves fight to the death for fun, like a child playing with his toys – those that escape, he hunts down with dogs. Django learns the hard way: you never take away a spoilt child’s toys.

21. Butch Coolidge (Bruce Willis) – Pulp Fiction

“In the fifth, your ass goes down.” Except boxer Butch ain’t nobody’s bitch. Fleeing from the scene after accidentally killing his opponent in the ring, Coolidge is still the closest thing Pulp Fiction has to a good guy. Butch later embraces his bloodlust by slicing and dicing his would-be rapists, who couldn’t have picked a worse guy to screw with.

20. Mr Pink (Steve Buscemi) – Reservoir Dogs

Mr Pink is a quibbler. He’s not happy with his codename; he’s insecure enough to suggest ‘Mr Purple’. He doesn’t tip; apparently “the words ‘too fucking busy’ shouldn’t be in a waitress’ vocabulary’”. He is, however, an utmost professional, and come Reservoir Dogs’ cordite-scented climax, Mr Pink is the only man smart enough to escape with his life.

19. Ordell Robbie (Samuel L Jackson) – Jackie Brown

When you absolutely positively have to kill every mother in the room? Ordell Robbie is your villain. A gun-runner extraordinaire and a devious bastard to boot, he’s also the owner of Sam Jackson’s funkiest facial hair to date; a braided goatee which you suspect no one has ever survived mocking. Bad to the bone.

18. Clarence Worley (Christian Slater) – True Romance

There’s more than a hint of Tarantino about hero Clarence, the fast-talking, Elvis-imagining lover of Kung fu flicks. Upon meeting love-of-his-life Alabama in a movie theatre, Worley moves heaven and earth to ensure their union – drug deals, shoot-outs and a room full of pimp corpses are a small price to pay for true romance. It’s what The King wanted after all.

17. Richie Gecko (Quentin Tarantino) – From Dusk Till Dawn

Of all Tarantino’s movie cameos, Richie Gecko is the most significant, and the weirdest by quite a long margin. The sick and twisted brother to George Clooney‘s tattooed outlaw, little Richie can’t even be trusted to look after a hostage without splaying her guts all over the bedsheets. This is as creepy and perverse as Tarantino gets.

16. Shosanna (Mélanie Laurent) – Inglourious Basterds

Revenge is a dish best served cold, or if you’re war survivor Shosanna, a dish best served roasted and marinaded in Nazi blood. Narrowly avoiding being massacred, she sets her sights high and with the help of the Basterds, brings down Hitler and his Third Reich with a fiery massacre of her own, set – where else? – in a movie theatre.

15. Mr White (Harvey Keitel) – Reservoir Dogs

His name is White, but even he can’t make a clean getaway. A white knight of sorts to the fatally-wounded Mr Orange after their diamond heist went pear-shaped, White shows himself to be loyal to a fault. Stoic and composed, Keitel’s criminal displays chinks of humanity that the rest of the Reservoir Dogs fill with greed.

14. Mia Wallace (Uma Thurman) – Pulp Fiction

With a wit only as sharp as her bob, Mrs Mia Wallace is a very modern gangster’s moll: a livewire thrill-seeker whose actions are even more irresponsible than her husband’s. If you ignore the overdose, she’s a delightful dinner companion, able to alleviate any awkward silences and capable of tearing up the dance floor. Just remember: look but don’t touch.

13. Elle Driver (Daryl Hannah) – Kill Bill

The coolest of Bill’s hit squad, Elle Driver also has the nattiest accessory: a patch covering the gaping socket from whence Pai Mei pulled her eye. A direct rival with The Bride for the affections of their master, the trailer tussle between them is a super-charged cat-fight. Alas, she loses and ends up another eye down, but out? We wouldn’t count on it.

12. Lt Aldo Raine (Brad Pitt) – Inglourious Basterds

Head Basterd and Apache descendant Aldo is in the killing Nazi business, and friend, business is booming. Each and every man under his command owes him one hundred Nazi scalps, and they duly deliver: Lt Raine’s campaign of fear ends up helping turn the tide in Tarantino’s alternate take on World War II. Long may Aldo reign.

11. Dr King Schultz (Christoph Waltz) – Django Unchained

A bounty hunter par excellence, Tarantino’s Dr King is also a righteous campaigner for racial equality, teaming up with ex-slave Django to free his wife from tyrannical rule. A man of tall tales and multiple coats, Schultz is a sharp-shooter but a sharper dresser. Above all, King is a man of principle, even when it costs him the ultimate price.

10. Stuntman Mike (Kurt Russell) – Death ProofTarantino has amassed quite the rogue’s gallery of wrong-un’s over the years, but few feel as downright depraved as Kurt Russell‘s Stuntman Mike. A psychopath hard-wired on murdering innocent female passengers by crashing his ‘death proof’ stunt car, kinky killer Mike is even madder than Max when it comes to disrespecting the rules of the road.

9. Mr Orange (Tim Roth) – Reservoir Dogs

Tim Roth spent half the filming of Reservoir Dogs covered in blood and making wailing guttural noises, but it was worth it to convey the damage and suffering a single bullet can cause. An undercover cop all along, he was a wolf in Dog’s clothing, but he should have known better: as in The Godfather, the colour orange was to be the death of him.

8. Bill (David Carradine) – Kill Bill

Kung fu master, expert swordsman and excellent sandwich maker, Bill was nonetheless destined to be killed the moment he pulled the trigger on his pregnant Bride. “Do you find me sadistic?” he asks, proving over the course of two movies that he’s no Samaritan. Climatically, he dies a fitting death: The Bride explodes his black heart.

7. Vincent Vega (John Travolta) – Pulp Fiction

John Travolta pulled a dramatic career U-turn as Vincent Vega, the icy calm at the centre of Pulp Fiction’s manic universe. Whether shooting up or shooting perps, Vincent remains the picture of coolness, even when he’s on brain detail or administering a shot of adrenaline to a prone Mia’s chest. Travolta’s career would recover almost as swiftly.

6. Jackie Brown (Pam Grier) – Jackie Brown

Nowhere is Tarantino’s love of blaxploitation cinema more evident than in Jackie Brown. His heroine, Pam Grier, is a blaxpolitation legend in her own right (Foxy Brown, Coffy etc), and her stewardess/smuggler checks in that baggage to her advantage. Expertly playing off the cops and the criminals, Jackie is one of the baddest asses in Tarantino’s oeuvre.

5. Django (Jamie Foxx) – Django Unchained

The ‘D’ is silent, but Django’s payback was anything but quiet: off the freakin’ chain thanks to Dr King Schultz, Jamie Foxx’s slave-turned-slayer was a man on a mission. Crucially though, it wasn’t pure vengeance driving him but the love of his woman, making Django one of the most well-rounded and sympathetic Tarantino characters yet.

4. Col Hans Landa (Christoph Waltz) – Inglourious Basterds

The role that introduced Christoph Waltz to Hollywood – and to Oscar – Hans Landa is a once-in-a-lifetime part: a comic-book bad guy with a silver tongue and a nasty streak a mile wide – a bastard among Basterds. Waltz gave him character to spare, plus a childlike outlook on some very adult situations. As Landa himself would say: “That’s a bingo!”

3. Mr Blonde (Michael Madsen) – Reservoir Dogs

“Are you gonna bark all day, little doggie? Or are you gonna bite?” Of all the Reservoir Dogs – none of whom are remotely puppy-like – Blonde is the blackest of the black: a man for whom torture is an activity to be set to music. Madsen nails the queasy tone, adding style and swagger to ear-slicing sadism, becoming Tarantino’s most vicious villain to date.

2. Jules Winnfield (Samuel L Jackson) – Pulp Fiction

It’s tough to define cool, particularly in a Tarantino movie that’s cooler than a deep freeze, but hear this: Jules Winnfield is the coolest cat of all. A Bible-spouting, burger-eating, jheri-curled hitman, every syllable the man utters is quotable and every look he gives could stop you in your tracks. Sam Jackson’s sparkling performance makes Jules a cinematic gem.

1. Beatrix Kiddo aka The Bride (Uma Thurman) – Kill Bill

Introduced via the dulcet tones of Nancy Sinatra’s ‘Bang Bang’, we first meet Beatrix Kiddo at her most vulnerable: pregnant, beaten, shivering and at the mercy of her former lover, she’s staring down the barrel of a gun that’s about to go off. Thus begins the epic journey of The Bride, who never made it down the aisle: left for dead by Bill, she miraculously survives – her unborn baby too – purely so she can embark on what Tarantino calls “a rip-roaring rampage of revenge”.

Beatrix Kiddo is unlike any other Quentin character, in that her arc spans two movies – room enough for Uma Thurman to create Tarantino’s most relatable hero yet. Showing a much broader range than we might have expected from the star of Even Cowgirls Get The Blues, Thurman – whom her director called “my Dietrich” – is astounding in the central role. Tarantino’s zig-zag narrative throws The Bride all over the emotional map, tossing her from heartbreaking loss to heart-racing action in a matter of minutes, but Uma is more than up to matching the colossal task at hand.

Volume 1 sees her channel Bruce Lee via his yellow jumpsuit and his ‘take on all comers’ attitude, memorably cutting the Crazy 88s into eighths. If the first movie had an Eastern vibe, Volume 2 cast Kiddo as a gunslinger in her very own Western, tasting the bitter dirt like every outlaw should as she escapes being buried alive. It’s The Bride’s second resurrection and typical of a character who doesn’t know when to die – a vengeance-seeking, justice-dealing, Bill-killing girl who just wants to live the life that was so savagely taken from her. That she succeeds is no surprise – the clue’s in the title after all – but The Bride remains Quentin Tarantino‘s greatest character to date. Great work, Kiddo.

  • The Incredible Burt WonderstoneWarner Bros.

How much of an underrated presence has Steve Buscemi been in all of our lives? Over the span of 25 years, he’s gone from “King of the That Guys” (current co-Kings:Bruce McGill and James Cromwell) to “Oh, right — that’s an actor named Steve Buscemi” to “Steve Buscemi” to “Golden Globe-Winning Steve Buscemi” to, finally, “Champion of Our Hearts Steve Buscemi.” Of all of the Buscemier actors out there, Steve Buscemi is easily the Buscemiest. That much is certain, and that’s why we’re excited for his role in “The Incredible Burt Wonderstone.” A little more difficult to determine? The Buscemiest roles of Steve Buscemi’s career. See below and read more here: http://bit.ly/12WdUrf

1. ‘Desperado’ (1995)

It frankly doesn’t get any Buscemier than Buscemi in “Desperado” as (according to the credits) “Buscemi,” where he Buscemis the f**k out of the patrons of a grimy Mexican bar at the beginning of Robert Rodriguez’s Buscemified landmark second film. Not only does he rock a sweet Buscemi-esque faded goate but he makes everyone super uncomfortable and rants about the legend of Antonio Banderas’ character in the most Buscemi way imaginable. (NOTE: As you may have figured, Buscemi’s “Buscemiest” roles pretty just mean his most memorable roles. But ask yourself this: What’s a more fun adjective: “most memorable” or “Buscemiest”? (silence) That’s what I thought.)

2. ‘Armageddon’ (1998)

Leave it to Buscemi to be the only actor in Hollywood who can make a character in a Michael Bay movie be actually funny instead of very, very strongly attempt a character to be funny and wildly fail. Indeed, in a dramatic disaster flick featuring such caricatures of themselves as Bruce Willis, late ’90s Ben Affleck, Michael Clarke Duncan and Billy Bob Thornton, Buscemi is the predictable scene stealer. Above we have a short montage of Buscemi rocking houses, beginning with Will Patton and William Fichtner fighting each other because they weren’t named the co-Kings of the That Guys mentioned at the beginning of this post.

3. ‘The Wedding Singer‘ (1998)

Buscemi has established himself a home in many an Adam Sandler film as “The super weird guy with patchy facial hair who has two minutes of screen time,” of which none were arguably more memorable than “Dave Veltri” in “The Wedding Singer.” Here, he drunkenly rambles to a wedding crowd during his Best Man speech, complete with descriptions of prostitution and sibling inferiority and a part down the middle of his hair … and we’re all better people for having watched it.

4. ‘Fargo’ (1996)

No one complements a Buscemi character just by silently making weird, drugged-out faces better than Peter Stormare, and their back-and-forths (along with an Oscar-winning performance from Frances McDormand, of course) are pretty much the reason to see “Fargo.” Above, we have small-time criminals Buscemi and Stormare Buscemi-ing and Stormaring the f**k out of each other in a conversation about how Stormare never speaks. It’s hard to imagine this scene wasn’t written directly for these two particular actors by the Coen Brothers, and even if it wasn’t, the Coens have earned enough respect that they can say it was and no one would argue.

5. ‘Con Air’ (1997)

We as a nation have let ourselves down. It’s my fault. It’s your fault. It is, yes, Obama’s fault. “Con Air” isn’t typically mentioned as one of the great films of the 1990s, and we each have to take our fair share of the blame. John Malkovich as a bad guy named “Cyrus the Virus.” Nic Cage rocking flowing long hair and just being Nic Cage at the height of his powers (1995-2002 or so). And yes, Steve Buscemi as Garland Greene. Fast forward to the :32 second part of the above clip for what may be the best part of the whole movie: Some nameless officer looks at Buscemi and asks out loud to no one, “What the f**k is that?” to which someone responds off camera, “That’s Garland Greene, man.” Oh, okay.

6. ‘Big Fish’ (2003)

In “Big Fish” as Norther Winslow — Spectre, Alabama’s resident poet laureate — Buscemi got to flaunt all of his Buscemisms under the guise of a down-home Southern boy who can’t actually write poetry, and it (of course) only adds to the magic of the movie itself. As if director Tim Burton felt bad not giving Buscemi a character that had deeper emotional issues a-la other Buscemi roles, Norther robs banks later in the movie for fun. Safe to say that wouldn’t have happened had Buscemi passed on the role and Billy Zane had taken it.

7. ‘Billy Madison‘ (1995)

Long before Adam Sandler stopped giving a flying f**k about the quality of the movies he produces, there were those like “Billy Madison,” wherein Buscemi steals the entire movie with less than two minutes of screen time in the scene above, featuring the aftermath of the phone call Billy makes to him apologizing for bullying him in high school, and, of course, Buscemi’s favor to Billy at the end of the movie because of it. “Man, I’m glad I called that guy.” So are we, Adam. So are we.

8. ‘Reservoir Dogs’ (1992)

It’s hard not to watch the scene above, where Buscemi as Mr. Pink delivers what has become the standard Tarantino “the sole purpose of this rant is to reveal a character’s deeply held beliefs about a relatively insignificant issue” monologue, and wonder why Buscemi wasn’t cast in future Tarantino movies with the exception of “Pulp Fiction” as the waiter dressed as Buddy Holly. Then again, who was he going to play? One of Bill’s minions? Aldo Raine? Stuntman Mike? Actually, he would have been awesome as Stuntman Mike. For shame, Quentin.

9. ‘The Big Lebowski‘ (1998)

The quintessential, Buscemiest Buscemi role of them all, “Lebowski” could have realistically garnered acting Oscars for each of Jeff Bridges, John Goodman and Buscemi, if we’re really being honest with ourselves, but you can understand the Academy for paying more attention to “Shakespeare in Love” that year (vomits). It’s funny to watch this movie — now 15 years old, which is a good reminder that we’re all going to die one day — and contrast Buscemi’s “Donny” with his current role as Nucky Thompson on HBO’s “Boardwalk Empire.” Just goes to show the man’s range and talents. We are all Buscemites.


Culled from over 2800 entries, the 60 films that will play in New York will compete for Oscar contention.

WHERE THEY GO: Elijah Wood
Katy Winn/Getty Images

The Tribeca Film Festival‘s 2013 lineup has added 60 short films that run the gamut from documentary to narrative and experimental and include stars such as Elijah WoodElle Fanning and Lauren Ambrose.

The program is broken down into eight categories, with themes that include first person narrative, late night genre (think: vampires and werewolves), New York City and apocalyptic disasters.

Beyond festival recognition, the winners of Tribeca’s Best Narrative Short award and Best Documentary Short awards will be automatically qualified for next year’s Academy Awards, circumventing other required points of entry.

The festival, in its 12th year, received over 2800 entries, and the final selection of 60 films represent 19 different nations. Read more here: http://bit.ly/WFmFDj

The Tribeca Film Festival will run from April 17-28, kicked off by an opening night documentary about and concert starring indie rock band The National. The roster of full length features that will play at the festival include projects from Paul RuddJulianne MooreRussell CroweJohn Slattery and Naomi Watts.


SXSW Danny Boyle

So far one of the highlights of SXSW was the panel featuring director Danny Boyle. The enthusiasm he shared with Jack Giroux from filmschoolrejects.com about the event was evident during his Q&A. Even when the nifty “Danny Boyle’s Filmography” montage Fox Searchlight cut together was playing we saw Boyle dancing to it. He was happy to be there, and so were we.

While the Slumdog Millionaire director was there to promote Trance, Boyle discussed many of his films, and the lessons he learned from them. Unfortunately he didn’t have time to reminisce about all his movies, but what the director of Trance did talk about was noteworthy. Read more here:  http://bit.ly/Y7DUbk

That’s why we took notes:

Become a Great Filmmaker By Showing Interest in Priesthood 

“There are similarities [between a director and a priest]. There’s directing in priesthood and pouncing around. There are a number of directors who were going to be priests, like, Martin Scorsese and John Woo. Confessing your sins with movies is nice. You go to these dark places and access your darker side.”

Study Actors

“Theater is a much easier place to access, and you learn skills there. I learned how to deal with actors and the secrets. In the new film, TranceRosario Dawson says, ’5% of the population is extremely suggestible.’ They use techniques to find the 5%, and they’re often actors who want to change and do things that change them. I think you get that with an actor: wanting to experience something as an actor and as a storyteller. You have to trust your actor be a storyteller. Most people go to the cinema to see the actors.”

Your First Movie Has a Magic You Might Not Get Back

“Yeah, I think there’s something wonderful about your first time. Film is so technical. There’s so many elements that are manipulative, which you construct specifically to produce an effect. There’s a worry you’ll lose the innocence of your first try.

Lie to Financiers and Win an Oscar 

“There’s a perversity in there that’s delicious. We used Slumdog‘s impact to make a film we wanted to make. Nobody was going to make [127 Hours] because it’s a guy alone for six days and cuts his arm off. You lie to them, ‘Yeah, it’s an action movie with one guy!’. [For Slumdog] We didn’t tell them a third of it was going to be in Hindi. Sure, some kids get their eyes taken out, but it’s like Amelie crossed with Trainspotting! You’ll say anything to get your film made.

“Too MTV” Isn’t a Bad Thing 

“I was watching The Big Chill on the way over here, and those were bold choices. The Doors and Ride of the Valkyries in Apocalypse Now…I mean this whole realistic world is now being shown through this prism. When we started with Shallow Grave and Trainspotting we did that, but we were attacked as being ‘too MTV.’ They said they were like music videos. I thought it was a compliment at the time. People are living their life like that. I see my life like pop music, singing to myself and seeing it here and there.”

The Power of Music

“My coming of age was puck. In 1978 I was 20, and that was an amazing time for me. 15 years later there was rave culture in Britian, and I was just about old enough to go enjoy that. I was 35, around when I started making films. Although the book [“Trainspotting”] is about drugs, the film is about dance culture. We did that unapolgetically. We wanted to make a drug movie you could watch, since most are so depressing. Maybe someone does heroin, throws up, and sits in a corner for 10 hours, but that’s not cinematic. The drug does destroy people in the film, but the rhythm of the film can be expressed with a different tempo. That’s why the music in Trainspotting…there’s a hidden path from pop to electronic down music and then to Brit pop.”

Movies Should Assault

“I love energy in movies. I want my films to mesmerize people. I used to get that with Nic Roeg films, where I’m pinned by the characters and there’s no oxygen…I want the rabbit in the headlights. We don’t go to a dark room to discuss a film, but feel it and experience it. If it’s a dumb action movie, you may not want to. Depends on the context. When you’ve paid 12 dollars, I want you to be assaulted by the film. I want the film to assault you.”

A Few Other Tidbits From Boyle

  • “In the films we make, we try to change genre so you don’t go in, ‘I know how to do this.’ I’ve done that before, and it’s not good for you. You should try to work it out.”
  • “The risk taking you shouldn’t do is what you should do, but you should cover your back. Those risks make your films standout.”
  • “I was never a fan of zombie movies. I never thought we were making one [with 28 Days Later], but that’s what everyone calls it. It’s gone on to kick off a renewal of interest, including a TV show we have no rights for.”
  • “When I go to a movie I’m happy to let myself be changed by the experience.”
  • “I have a terrible temper. There were a few moments on The Olympics where I was vile, which was surprising. In a huge, corporate thing like that, you have to defend your patch.”
  • When it came to turning down knighthood, Boyle said, “Just wasn’t my cup of tea, really. I have no interest in that.”

Sight and Sound asked filmmakers to list their favorite films of all-time. Take a look at Quentin Tarantino’s top picks and then take our poll below.

Apocalypse Now (1976) – Francis Ford Coppola
The Bad News Bears (1976) – Michael Ritchie
Carrie (1976) – Brian De Palma
Dazed and Confused (1993) – Richard Linklater
The Good, the Bad, and the Ugly (1966) – Sergio Leone
The Great Escape (1963) – John Sturges
His Girl Friday (1939) – Howard Hawks
Jaws (1975) – Steven Spielberg
Pretty Maids All in a Row (1971) – Roger Vadium
Rolling Thunder (1977) – John Flynn
Sorcerer (1977) – William Friedkin
Taxi Driver (1976) – Martin Scorsese

Read more about Tarantino here: http://bit.ly/Xk0rr4


You’ve heard (and certainly made) jokes about the striking resemblance between Tilda Swinton and David Bowie, particularly when the latter was in his glam rock period. It’s a fun little connection that, thankfully, both have fully embraced: they’ve shot a music video for the musician’s new single, “The Stars (Are Out Tonight),” which depicts the duo as a married couple being terrorized by those hoping to emulate Ziggy Stardust in look and sound. As directed by Floria Sigismondi, and with cinematography from frequent Fincher collaborator Jeff Cronenweth, it’s more akin to a song-accompanied short than traditional music video. Read more here: http://bit.ly/13fSnZU

The Next Day will be released in America on March 12, and the video can be seen below (viaDavidBowie.com):


%d bloggers like this: