FIRST COW, the latest film from Glass Eye collaborator Kelly Reichardt
(RIVER OF GRASS, WENDY & LUCY) is now available on digital today!
TBT: 2010, A red carpet pic of Fessenden, Ti West, Peter Phok
and Jim Mickle at the 25th Annual Spirit Awards.
Reichardt will be taking part in a virtual Q&A on July 9 at 7 p.m.
at the Northwest Film Center and the Seattle International Film Forum.
FIRST COW will be available to watch by video on demand on
July 10 after a lengthy release delay.
The News Tribune: Has there been a film of yours that you didn’t edit for?
Reichardt: Larry Fessenden cut “River of Grass.” In the years where I really couldn’t get a film made, I was just practicing cutting. Larry Fessenden really did teach me how to edit for the most part. Also “Ode” I worked with an editor on. By that point I was sort of starting to find it very frustrating to talk through someone to get to what I wanted. I thought it wasn’t that fun of an experience for either of us. So I decided I should just figure out how to just do it on my own. At that point I was really finding a lot of what was happening in the film in the editing. Like “Night Moves” or even in a lot of cases “First Cow” where one thing dictates what comes next. It’s a different kind of cutting than a film like “Meek’s Cutoff.” We’re certainly following a script and a plan but ultimately there are a lot of small ways that things could go together differently. It’s just nice, after having a collaborative experience with a crew, to get back in a room and have a direct relationship with whatever you just made.
From Austin Chronicle: In The Beach House, as the name would imply, it’s the sea. Ominous bubbling from an undersea thermal vent give dark warning that something sealed in the ocean is awakening. But the depths of most concern to Emily (Liberato, Light as a Feather) and Randall (Le Gros, last seen playing the source corpse in Larry Fessenden’s Frankenstein reenvisioning Depraved) are those of their strained relationship. It’s not fractured or broken yet, but his plan to take her away for a weekend retreat at his estranged father’s Massachusetts beach house is intended to relieve the pressure of what could become divergent paths. She has ambitions of academia, he (the son living in the shadow of the never-seen “Doc”) would rather waste his time on the coast than in the classroom. Their efforts to bind their bonds together again face additional stresses when a couple of Doc’s friends, Mitch (Weber) and Jane (Nagel), turn out to have been invited to stay as well, but they’re nice enough.
The Pale Men announce a summer recess
and chat about their Macabre Audio Series.
Glenn McQuaid & Larry Fessenden
Recorded Zoom Call June 30 2020
for more TALES physical media, info and Swag, visit
From The Guardian: “It’s funny how a single day can drag while entire years go by in a flash,” sighs Cozy (Lisa Bowman), the narrator of Kelly Reichardt’s debut film River Of Grass. Ain’t that the truth. It was made in 1994 but you might say Cozy is already in her own private lockdown. An unhappily married mother of two, she fills her baby’s bottle with Coca-Cola and spends long afternoons yearning for the day when some nice couple in a station wagon will arrive to take the children off her hands. One night, she absconds to a bar where she meets Lee (Larry Fessenden), a loner with a high forehead and wild tendrils of hair. They flee into the night together, climb a fence and splash around in a stranger’s swimming pool. When the homeowner finds them, Lee lets his gun do the talking, turning himself and Cozy into the Bonnie and Clyde of the Florida Everglades.”
4- Birth of the Living Dead: This is a wonderful documentary about the making of Night of the Living Dead and was directed by Rob Kuhns. There isn’t anything necessarily new in this documentary in terms of the actual making of NotLD, but the various interviews that Kuhns put together are all well done and fascinating, especially the main interview with Romero. You get a real sense of the overall impact of the movie in cinema culture, not just the horror genre. The documentary is also just well-made and slickly produced. I’m still amazed that Kuhns and producer/interview subject Larry Fessenden were able to put together such a watchable and entertaining documentary on such a worn over topic. And if you get the DVD, you have to check out the extended interview segments with Romero. The bits and anecdotes here are terrific.