July 5, 2024
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Diary of a bit player May 2023

0 degrees of Kevin Bacon
Warner Brother
GEP alumn cinematographer Eliot Rockett
True Romance
July 4, 2024
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TBT: OCT 21 2005 NYT review of THE ROOST

Read at The New York Times

July 4, 2024
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From the review by By Jeannette Catsoulis:

read full review at The New York Times

July 3, 2024
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‘Crumb Catcher’ – Poster Warns Nothing Will Prepare For Whats Ahead in Home Invasion Thriller

July 2, 2024
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Ti West profiled in LA Times

from the article by Amy Nicholson

“It’s a weird thing to point a camera at if you’re not making ‘Psycho,’” says West, 43, as he heads farther into the darkness, lighted only by a handful of eerie red lanterns. He calls his trilogy “movie-flavored movies” — artifice and dreams are the top notes. “X” is about scrappy strivers trying to break into the business; “Pearl,” about the dangers of buying into the fantasies onscreen. “MaXXXine,” the highest-profile film of West’s career, wrestles with accepting that Hollywood isn’t quite what one hopes.

“He was ready to deal with this kind of scale, and it’s definitely something he was hungry for,” Goth says, chiming in over Zoom. In addition to playing multiple roles across this mini-franchise, Goth co-wrote “Pearl” and executive-produced the last two films. “We just kind of manifested it,” she continues, “built this entire trilogy into existence. And it’s been incredible to see it unfold.”

West, however, tends to be scrupulously anti-hype. “It is not lost on me that there is a meta thing happening with these movies and me and Mia, and that’s gratifying and strange,” he says. “And it’s also something that we’ve never taken any time to stop and talk about. We were too busy making movies.”

While the marketing team at A24 is all in on “MaXXXine” — “I’ve never had a billboard before,” the director beams — West has been a legitimate filmmaker for well over a decade. His resume of well-regarded independent movies includes the 2016 cowboy vengeance drama “In a Valley of Violence” with Ethan Hawke and John Travolta, plus a string of festival hits like 2009’s “The House of the Devil,” which disposed of a pre-celeb Greta Gerwig early on in a marvelously nasty Hitchcock-esque shock.

West spent his youth in Wilmington, Del., renting five VHS tapes for $5 on Fridays at his local video store. One weekend, he rented “Habit,” a grungy but brilliant microbudget vampire flick made by filmmaker Larry Fessenden. Shortly after, he moved to New York and took a film class taught by director Kelly Reichardt, who’d played a cameo in the film. Reichardt introduced the two and Fessenden became West’s mentor, eventually producing his debut feature, “The Roost,” shot exactly 20 years ago with more moxie than money.

Read full profile at The Los Angeles Times

July 1, 2024
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Collider.com July preview highlights 2 from Glass Eye Pix creators: MAXXXINE and CRUMB CATCHER

Created by numerous GEP alums Ti West, Jacob Jaffke, Peter Phok, Eliot Rocket, Neal Jonas; Featuring Fessenden as “the guard”

CRUMB CATCHER (director Chris Skotchdopole) opens July 19

a Glass Eye Pix production created by numerous GEP pals.

read full preview at Collider.com

June 27, 2024
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Trailer drops for Chris Skotchdopole’s CRUMB CATCHER

First-time director Chris Skotchdopole is putting a new spin on the home invasion thrillerwith his debut feature Crumb Catcher. Premiered at Fantastic Fest last year, the film follows a pair of uneasy newlyweds whose honeymoon is crashed by two strangers hawking their latest invention, the titular Crumb Catcher. They have no intention of leaving until they get their money and quickly overstay their welcome in an uncomfortable and deeply troubling visit. Collider is excited to share the official trailer for the film, which teases their cringe-inducing attempts at selling the invention and the deeper horror behind their arrival…

Read More at Collider.com

June 21, 2024
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YOU’RE NEXT coming to 4K with loads of extras!

from comingsoon.net

Special Features 

  • New 4K restoration and HDR Dolby Vision grade approved by Director Adam Wingard
  • Dual format edition including both UHD and Blu-ray with main feature and bonus features on both discs
  • New audio commentary with Director Adam Wingard and Writer Simon Barrett
  • Audio commentary with Adam Wingard, Simon Barrett, Sharni Vinson and Barbara Crampton
  • Children of the 80s: A new interview with Adam Wingard and Simon Barrett
  • The Most of Us: A new interview with Producers Keith Calder and Jess Wu Calder
  • Script as a Blueprint: A new interview with Actor AJ Bowen
  • Down in the Basement: A new interview with Actor Joe Swanberg
  • Be Funny and Die: A new interview with Actor Amy Seimetz
  • Falling into Place: A new interview with Production Designer Tom Hammock
  • Slashers Don’t Die: Tim Coleman on You’re Next
  • Who’s Next? The Making of You’re Next
  • Animated Storyboards

Limited Edition Contents

  • Rigid slipcase with new artwork by 
  • 120-page book with new essays by Martyn Conterio, Andrew Graves, Kurt Halfyard, Alexandra Heller-Nicholas, Shelagh Rowan-Legg and Heather Wixson
  • 6 collectors’ art cards
June 20, 2024
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TBT: 3 May 2023

June 19, 2024
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GEP collab Will Bates flaps his gums for Little Black Book

GEP composer (BENEATH, DEPRAVED, BLACKOUT, WHITE TRASH, WILD RIDE) interviewed in Little Black Book:

Thinking in Sound: Will Bates on Searching for the ‘Eureka Moment’

Will> When I was 6 years old I sang the entire score of Star Wars to my parents. They promptly went out and bought me a violin which I then tortured them with until I was given a saxophone. So John Williams has a lot to answer for. When I first understood that one person had written all those melodies I was humming I realised that’s what I wanted to be when I grew up.

The first record I bought was Ennio Morricone’s score to The Good, The Bad And The Ugly. It’s become so ingrained in our pop culture, but to imagine that one person could combine all those colours and have them actually make sense is still amazing to me.

I adore Miles Davis. His constant re-invention, his use of negative space, his collaborations with Gil Evans are a huge inspiration. Again, all those amazing colours. Vangelis’ score to Bladerunner started an obsession with analogue synths, as well as listening to a lot of early Prodigy records and other house and techno of the late 90s that left its mark on me.

Will> My wife is a painter. And she shares this work ethic from Francis Bacon, that there is no true lightening bolt of inspiration. That moment only comes from regular work, and honing the craft through discipline is a route to true creativity. I think Brian Eno has a similar work ethic. And it doesn’t mean it can’t be fun and deeply rewarding, but I try to structure my work days with a similar attitude. 

Read full article at Little Black Book