Metrograph pays tribute to filmmakers and activists Robert and Irwin Young. Their father Al Young, founded DuArt, the NYC film processing lab. Irwin Young took over his fathers duties at DuArt, prioritizing projects by passionate but cash-strapped indie filmmakers, including Fessenden with HABIT and many other GEP films.
David Gulpilil, the late, legendary Yolngu actor who, beginning as a teenager with his very first film role in Nicolas Roeg’s WALKABOUT, redefined the the way that Indigenous people were represented in Australian cinema and became an international ambassador for the resilience and dignity of his culture.
Beat the heat and go to the movies! Metrograph in NYC
unspools a selection of movies from the Magic City,
opening with SCARFACE on 35mm.
“I don’t mean to put writers down because without them, there’s no tale, but the words are pretty much secondary. I mean, they’re important to start the thing off, but when you look at film, it’s all about behavior. It’s real life, it’s something real, you’re not just talking words.”
Goodfella with a camera from Little Italy.
Part 1 of the Martin Scorsese story.
Film at Lincoln Center presents Human Conditions: The Films of Mike Leigh, a retrospective of the widely lauded director’s career, running from May 27-June 8.
If you give artists a lot of creative freedom and a little money upfront but a big stake in the movie’s or TV show’s commercial success, more often than not the result will be both commercial (the filmmakers are incentivized to make films that will resonate with audiences) and artistically interesting (creative freedom!).
… As someone who has made both hits and flops, I’ve always thought it fundamentally unsustainable for a company to treat all participants as if they had made a hit before the project is even produced. – Jason Blum
But what I would like to question — and, honestly, attack — is the idea of “old” movies.
Peter Bogdanovich, the late director hated that term. “There are no old movies,” he liked to say.
“There are only movies you haven’t seen before.”
Even while he embodies unnatural evil, though, there is also something pitiable about the decrepit Orlok.
“He is utterly scary and devastatingly sad at the same time,”
