WATCH >> Shining
“Meet Jack Torrance”
WATCH >> The Title Design of Saul and Elaine Bass
“I want to make beautiful things, even if nobody cares, as opposed to ugly things. That’s my intent.”
READ >> Lars von Trier: ‘I’ve started drinking again, so I can work’
“I believe that if you are an artist and you’re drunk (laughing), you’re more sensitive. I have this theory: scientists say that 80% of our mental work is to stop the senses. So we have filters to block useless information. But if you are sensitive, then it means these filters are a bit broken.”
WATCH >> Jeremy Saulnier on his new film “Green Room”
“Green Room was tough for me because the way that I funded my own films, it was a rough budget and then I just fed it what it needed… The stakes were so high, if you go 4% over budget and you have exactly what you wanted, then that’s fine… I’m not used to having the excel sheets dictate things. It was a big learning curve for me… It’s a big union budget. It’s 10x what I had for Blue Ruin, but the same amount of days.”
READ >> An electrician remembers: I worked with Jack Nicholson and Stanley Kubrick
“I’d just been sacked from a job when my dad’s mate took me on. He knew a guy who had worked on A Clockwork Orange and when they were crewing up for The Shining they invited me along. It was 1979.”
GO TO >> Live Read: Hannah and Her Sisters
“A week ago I bought a rifle, I went to the store – I bought a rifle! I was gonna, you know, if they told me I had a tumor, I was gonna kill myself. The only thing that might-ve stopped me – MIGHT’VE – is that my parents would be devastated. I would have to shoot them also, first. And then I have an aunt and uncle – you know – it would’ve been a blood bath.” – Mickey
WATCH >> Guillermo Del Toro talks Alfred Hitchcock
He’s someone that you are not intimidated by as a young filmmaker… Imagine for example as a young filmmaker trying to decipher Tarkovsky, immediately you get a brain freeze, but with Hitchcock he was on TV, in magazines, he had books, he seemed approachable…But the more you delve into his work the more you realize how precise and intricate and how woven together his fabric is.
WATCH >> Christopher Tucker on creating the Elephant Man
Prosthetic make-up artist Christopher Tucker talks about creating the make-up effects for David Lynch’s The Elephant Man. After Lynch’s own unsuccessful efforts to recreate John Merrick’s terrible deformities, Tucker was brought in to create the effects for John Hurt’s transformation, a complex arrangement of prosthetics that had to be applied in 15 separate sections.
WATCH >> The Onion Looks Back At JAWS
In the opening sequence, a young woman swimming alone is violently attacked by a blood thirsty great white shark. A shark that viewers quickly realize is actually the physical projection of Brody’s paralyzing fear of his own sexuality.
GO TO >> The Metrograph
Metrograph is a unique experience of seeing prestigious films; of stepping into a special, curated world of cinema, a world of hospitality harkening back to the great New York movie theaters of the 1920s, as well as the Commissaries of the Hollywood Studio back lots, a world inhabited by movie professionals screening their work, taking meetings, watching films. It’s the ultimate place for movie enthusiasts.