Razno

[Jimmy Kowalski]

 

Quentin Tarantino On Retirement, Grand 70 MM Intl Plans For ‘The Hateful Eight’

 

The lack of action at AFM is attributable in part to foreign buyer distraction over the fest’s A+ title, Quentin Tarantino’s The Hateful Eight. I am hearing offers are five deep for just about every territory and that the auction will be resolved by week’s end. That means big distributors aren’t focusing on much else. All this began when the director himself strode into a Casa del Mar ballroom filled with buyers late last week. Flanked by Harvey Weinstein and cast members Walton Goggins, Samuel L. Jackson, Kurt Russell and Jennifer Jason Leigh, Tarantino stoked the fires by regaling prospective offshore distributors with his grand plans. All had read most of Tarantino’s shooting script and knew the setup: Eight hate-filled firebrands from the Old West hole up in an establishment to seek shelter from a blizzard. The talk is as tough as the food. Some use harsh language merely to vent, while others come out vented by bullets, and nobody knows who is lying. Tarantino focused on many things in his talk — including a proclamation that he’ll definitely retire after his 10th film — but his main goal was to make offshore distributors his accomplices in a plan to establish The Hateful Eight as such an epic 70 mm effort that it will remind the world why, compared to film, digital projection is like coming to a gunfight with a knife.

“If we do our jobs right by making this film a 70 mm event, we will remind people why this is something you can’t see on television and how this is an experience you can’t have when you watch movies in your apartment, your man cave or your iPhone or iPad,” Tarantino said. “You’ll see 24 frames per second play out, all these wonderfully painted pictures create the illusion of movement. I’m hoping it’s going to stop the momentum of the digital stuff, and that people will hopefully go, ‘Man, that is going to the movies, and that is worth saving, and we need to see more of that.”

I moderated the talk with Tarantino right after he’d finalized a cast that includes Bruce Dern, Tim Roth, Michael Madsen, Demian Bichir and Channing Tatum. Goggins, Jackson, Russell and Leigh were aglow from a table read days before in which bounty hunters, confederate generals, lawmen and a lady outlaw trade salty banter that seems headed for the trademark Tarantino violent climax (nobody was shown the film’s last chapter). The big surprise to me was that the inspiration for Tarantino’s first real Western wasn’t some John Wayne, Peckinpah or Clint Eastwood screen classic, but rather the TV series that dominated the 1960s primetime network landscape and provided early jobs for actors that included Russell and Dern.

“It’s less inspired by one Western movie than by Bonanza, The Virginian, High Chaparral,” Tarantino said. “Twice per season, those shows would have an episode where a bunch of outlaws would take the lead characters hostage. They would come to the Ponderosa and hold everybody hostage, or to go Judge Garth’s place — Lee J. Cobb played him — in The Virginian and take hostages. There would be a guest star like David Carradine, Darren McGavin, Claude Akins, Robert Culp, Charles Bronson or James Coburn. I don’t like that storyline in a modern context, but I love it in a Western, where you would pass halfway through the show to find out if they were good or bad guys, and they all had a past that was revealed. “I thought, ‘What if I did a movie starring nothing but those characters? No heroes, no Michael Landons. Just a bunch of nefarious guys in a room, all telling backstories that may or may not be true. Trap those guys together in a room with a blizzard outside, give them guns, and see what happens.’ ”

From the partial script I read, the back and forth between those ornery characters — it was six years after the Civil War, when everybody was pissed about something — has Tarantino’s trademark macho lyricism. After that table reading, it was clear the cast members present were already getting started on each other, and on Tarantino.

After Leigh said how much she sparked to her outlaw character, and how fresh and original Tarantino’s dialogue felt to her, Jackson butted in with a retort that left the room in stitches.

“Not all the dialogue felt that fresh and new to me,” he said. “The first words to my character are, “Howdy, n*gger.’ I feel like some version of this has been said to me before.”

After Tarantino scanned the crowd of buyers, he noted “there are a whole lot of people in this room who helped build my career over 20 years, outside of the last two movies. As good as my films do in America, they do better overseas, and part of that has been how you guys sold Reservoir Dogs, Pulp Fiction and Kill Bill.”

Russell jumped in quickly: “What about Death Proof?”

And when Leigh lamented that Tarantino had brought her into his repertory company just in time to hear he was not far from retiring, both Russell and Jackson opened fire.

“You don’t actually believe that shit, do you?” Russell asked everybody. Added Jackson: “What’s Quentin going to do with himself if he’s not doing this?”

Tarantino said his days would consist of “writing plays and books, going gracefully into my tender years.”

Despite the audience opposition to that notion, Tarantino said he was serious.

“I don’t believe you should stay onstage until people are begging you to get off,” he said. “I like the idea of leaving them wanting a bit more. I do think directing is a young man’s game, and I like the idea of an umbilical cord connection from my first to my last movie. I’m not trying to ridicule anyone who thinks differently, but I want to go out while I’m still hard. … I like that I will leave a 10-film filmography, and so I’ve got two more to go after this. It’s not etched in stone, but that is the plan. If I get to the 10th, do a good job and don’t screw it up, well that sounds like a good way to end the old career. If, later on, I come across a good movie, I won’t not do it just because I said I wouldn’t. But 10 and done, leaving them wanting more — that sounds right.”

Tarantino got serious in speaking about his motives for putting foreign territories up for grabs at AFM after Sony released his previous film Django Unchained overseas and Universal released the one before it, Inglourious Basterds, internationally. “I didn’t want to split it up the way I did the last two movies,” Tarantino said. “Harvey Weinstein wanted the whole damn thing. He said, ‘Quentin, just give me the ball and let me run with it and I’ll go back to all your old friends, the ones who helped build your career.’ We are not simply looking to sell to the highest bidder; this is a very special release, and you know your markets better than we do. Once you hear what we want, and how much we want to push the whole 70 mm thing, we want you to come back and tell us, ‘OK, this is how we think it will work best in Spain, or Scandinavia or Latin America. I was down with that idea. This film needs special attention, and we want your expertise, telling us the best way we can achieve what we want to in each market.”

Several times in the script, shots are described as being depicted in “glorious 70 mm.” That isn’t just lip service, Tarantino said. Christopher Nolan — another film stock proponent who along with Tarantino and a few others persuaded Kodak to keep making more — gave theaters with film capable projectors an exclusive early window to display Interstellar. Tarantino plans to take it even further.

“I know this business has gone digital, even more in foreign countries than in America where it’s 90%,” he said. “Digital presentation is just television in public, we’re all just getting together and watching TV without pointing the remote control at the screen. I have worked 20 years, too long to accept the diminishing results of having it come into theaters with the quality of a f*cking DVD, shot with the same shit they shoot soap operas with. It’s just not good enough for me.

“I thought, ‘How can I make them show [the beauty of] film?’ Well, I can shoot in 70 mm and leave them asking, ‘What’s the point of showing it any other way?’ I had a plan and asked the Weinsteins to tell me how it could be realized. Now that film has become endangered, and the theatrical experience is become more and more a throwaway, what we could do was go back to the ’60s style, when there were big roadshow productions of big films like The Sand Pebbles, Mutiny On The Bounty, Battle Of The Bulge, or It’s A Mad Mad Mad Mad World. There would be an exclusive engagement in 70 mm in a big theater or opera house that would play for a month. It felt like a night at the theater or the symphony. Then they would cut it down and it would show up at the theaters and the drive-ins, near you.”

That is Tarantino’s template.

“We’re doing this 70 mm, and we are trying to create an event,” he said. “I need to know from all of you if this can last a month in your territory in that format, or two weeks. Then we roll it out in 35 and eventually digital. We’re not doing the usual 70 mm, where you shoot 35 mm and blow it up. We’re shooting 65 mm which, when you turn it into a print, is 70 mm. Panavision is not only behind this movie, they look at it as a legacy. They are inventing a lot of the stuff we need, and this is being supervised by my three-time Oscar-winning cinematographer Bob Richardson, who’s back with me after Kill Bill, Inglourious Basterds and Django Unchained. I couldn’t do this if he wasn’t in my corner. He went to Panavision to check out lenses for this big Sherman Tank of a camera he’ll use. He goes into the warehouse room and sees all these big crazy lenses. He asks, ‘What are those?’ It was the ultra-Panavision lenses that haven’t been used since How The West Was Won, Mutiny On The Bounty, Battle Of The Bulge and It’s A Mad Mad Mad Mad World, which were all bigger than the normal 70 mm. If the normal scope is 235, this is 278, the widest frame possible on film. The projectors need a decoder, an adapter, to blow it out that way. That’s why Mad Mad World, Battle Of The Bulge and Ice Station Zebra look the way they do. The last movie to use these lenses was Khartoum with Charlton Heston and Laurence Olivier. We’re using those lenses for this movie. We’ve been testing them the last month and everything is A-OK. They look amazing. We are literally coming out with the biggest widescreen movie shot in the last 40 years.”

The crowd responded enthusiastically to Tarantino’s grand ambition. To the actors, this was more about a filmmaker and a script good enough for them to endure the cold of the Colorado Rocky Mountains this winter.

“They had an incredibly wet summer, so we should have an incredibly snowy winter,” Tarantino enthused. “Should be deep snow, the Rockies right behind us, and part of the idea for shooting it out there is that cold makes for misery.” Turning to Jackson, he said: “I want to see a little misery in this man’s eyes. Every line of dialogue, I want it to be punctuated by hot breath.”

The cast sounded game, though Russell noted that the camera always froze up in his last tundra experience on The Thing. Leigh said an outlaw character she loved more than life would sustain her through the cold, and Jackson and Goggins said they were up for anything Tarantino can throw at them.

“I’d rather shoot in the tropics, but when I did Long Kiss Goodnight, the average temperature in the heat of the day was -37 degrees,” he said. “I’ve spent 4 1/2 months in the cold before.”

Goggins, not an ounce of fat on him from filming the swan song of his Boyd Crowder character in the final season of FX’s Justified, said he would have to gain some weight to withstand the cold. But he’d do anything Tarantino asked of him.

“That’s the fire inside, and Quentin’s the kind of general you follow anywhere and provide whatever he demands of you,” Goggins said. “On Django Unchained, it was hot, hot, hot in New Orleans, sitting on a horse for 14 hours a day. You sign on for a Quentin Tarantino movie, you’re in with the best and you expect to be put in extreme conditions, physically and psychologically. Game on.”

Jackson and the others indicated that the key temperature is the one they began to achieve at the table read, where good actors first collided over strong dialogue that has the chance to be memorable when so little these days is.

“Movies tend to be a show-me process, and you read a lot of what you’re going to do — running, diving, looking this way or that,” Jackson said. “When you get a Tarantino script, you get dialogue that expresses who you are, how you feel about things and how others feel, and you develop relationships in the midst of all that. You get to say some pretty interesting and dynamic things. I’ve always loved a monologue. I’m one of those ‘look at me’ people. When I did plays, my only regret was I couldn’t watch those plays with me in them. I’m not one of those actors who say, ‘Oh, I can’t stand to watch myself.’ Bullshit. I love watching myself, and I really love watching myself in Quentin Tarantino movies. When I’m at home, flipping channels and I come across a Quentin film I’m in, I’m stopping to watch. I appreciate him for that.

“I’ve missed doing monologues and especially with him because he loves it so much,” Jackson continued. “We’ve had to stop and yell ‘cut,’ because he’s laughing over my motherfu*king lines. He’ll be making some noise, and I’ll be like, [voice goes high] ‘What’s up, motherfu*ker?’ He has a Shakespearean literary prowess tapered for the cinema. He writes what we want to say and what people in the audience want to hear. It’s a real blessing to have said a lot of the things that he’s written. People can go through their careers and nobody remembers one line they’ve said. There’s not a day goes by that I don’t see someone on the street, feeding some Quentin Tarantino line back at me. That is the sign that something’s going to last.”

[Hippie]

ne znam zasto uopste ne verujem da che posle ovog filma da se penzijonise.... njemu je tek 51 + previse voli film da bi u njemu izivao samo kao gledalac

 

isto kao i sto nikad nisam verovala da che stvarno odustati od The Hateful Eight..... misim, 1 takav projekat je morao da prezivi :)

[Jimmy Kowalski]

Nije mislio da se penzionise posle ovog, nego posle 10. filma (dakle jos dva).

 

Ali slazem se. Njemu je pisanje i snimanje filmova u krvi, nema sanse da se tako rano penzionise. Ima onaj behind the scenes sa snimanja Djanga gde ponavlja dubl jos jednom - "zasto? zato sto volimo da pravimo filmove"..

Edited November 11, 2014 by Jimmy Kowalski

[Hippie]

Ana Lily Amirpour’s World: ‘A Girl Walks Home Alone at Night’

 

pocinjem da obozavam ovu zenu.... vanpiri, romantici, spaghetti westerni, post pank bendovi, skejtborderi, pihhh...

[maheem]

 

Cruising for Fares, a Song in His Heart

‘Love Hunter,’ About a Serbian Musician in New York

 

 

“Love Hunter” kicks off on an energetic note, when a taxi passenger, having discovered that her driver is a musician, offers a hefty tip if he can cheer her up with a song. Milan (Milan Mumin, of the Serbian band Love Hunters) pulls over, retrieves a guitar from his trunk and gives her a sidewalk concert. At once fantastical and gritty, this sort of uninflected street vignette sets the movie apart.

Milan, a character based on Mr. Mumin’s experiences in New York, is celebrated back home but is eager for success in America. Preparing for a recording, he struggles with money and rehearsals, particularly after his band’s bass guitarist bows out. Much of the movie simply watches Milan as he drives, tapping rhythms on the steering wheel, meeting passengers both encouraging and not.

Continue reading the main story

RELATED COVERAGE

Love HunterNOV. 14, 2014

The arrival of his girlfriend (Jelena Stupljanin) in New York challenges their relationship. Then there is Milan’s new bass player (Eleanor Hutchins). The pair make great music; is it something more? The film delicately illustrates how the emotions of performance and life can bleed together.

Nemanja Bala and Brane Bala, brothers who wrote and directed, regard Milan’s single-minded focus on his music without judgment or romanticism; Milan may be playing for an audience of one, but that’s not the same thing as selfishness. In its feel for nocturnal light, this is one of the most refreshing New York independent features since Ramin Bahrani’s “Man Push Cart.” Both acoustically and dramatically, Mr. Mumin is a winning performer.

http://www.nytimes.com/2014/11/14/movies/love-hunter-about-a-serbian-musician-in-new-york.html?partner=rss&emc=rss&_r=0

 

 

ja sam ovo propustio :( gledo neko?

Edited November 17, 2014 by maheem

[Haralampije]

 

Ladno Ekrem sa ovom dvojcom!

[Jimmy Kowalski]

pocele probe

 

[Ravanelli]

big lebowsky nategnute teorije

 

Edited November 24, 2014 by Ravanelli

[Hippie]

pocele probe

 

ole!~

 

uff kako me interesuje koje che pesmice Tarantino da izabere...

[Ajant23]

ajante, kada se vratiš... koliko si filmova gledao od ovih?

 

 

http://www.tasteofcinema.com/2014/20-overlooked-80s-thrillers-that-are-worth-your-time/

 

Gledao sam većinu što je i logično obzirom da su nanizali opštepoznate filmove.

 

Lista je inače nebuloza. Pola filmova jedva da i zaslužuje da bude na njoj i našlo se zbog nebuloznog bukvalnog shvatanja osamdesetih.

 

Curtis Hanson je već u sedamdesetim imao jako važan triler: The Silent Partner (1978), koji nije režirao, ali je dramatizacijom romana skandinavskog novog realizma najavio mnoge trendove, koji će na priličnim - najnovijim krilima skandinavskog uticaja - vladati bitnim delom Holivuda devedesetih. Ovaj film je mnogo značajniji, a ne film sa zvezdom serije Downton Abbey koja je tada bila toliko poznata da je film teško mogao biti overlooked.

 

Robert Benton je snimio slabašan hičkokovski film, žali bože i njegovog talenta i glumaca. Na drugoj strani, Last Embrace (1979) je jedan od značajnijih hičkokijanskih filmova. U svakom pogledu, Demme je nadmašio ovim filmom Bentona, ali je ovaj film važniji i od Demmea koji se našao na listi a, imajući Scheidera u glavnoj ulici, osetno značajniji i od ovog navedenog bledog filma sa Scheiderom. Dakle, zbog jedne godine ranije, nije se našao film koji je ispred i Still of the Night (1982) i Something Wild (1986) i 52 Pick-Up (1986).

 

Od Frankenheimera je tu pre trebalo da se nađe ili prethodni The Holcroft Covenant (1985, po Ludlumu) ili sledeći Dead Bang (1989) koji tematizuju problem povampirenja nacizma, a ne taj slabašni filmić, u kome je kadar punog stadiona na bejzbol utakmici najupečatljivija scena. A, šta tek reći, ako odemo samo malo ranije i setimo se filma Black Sunday (1977).

 

After Hours (1985) je tu zalutao samo da se ispoštuje reditelj, objašnjenje im je komično žongliranje.

 

Staviti Dead Ringers kao reprezenta Cronenberga preko scenarija jednog Jeffreya Boama u kome je dramatizovao Stephena Kinga je obična bljuvotina. Naravno, pričati od Dead Ringers kao overlooked filmu je iskonstruisana nebuloza. Jebote, pre je onda overlooked svaki scenario Jeffreya Boama. Koliko ljudi zna ko je on, a koliko ljudi zna da je Irons igrao blizance! Dakle, Dead Ringers (1988) The Dead Zone (1983).

 

Ono što je pak moralo da se nađe na listi je barem jedan Peter Yates. Pre svih, verovatno najbolja sudska drama osamdesetih, Suspect (1987). Ili je možda bolje reći antisudska drama obzirom na originalni scenario Erica Rotha.

 

Što se tiče Richarda Marquanda, pre bih rekao da je overlooked Jagged Edge nego ovaj klasik sa Sutherlendom, ali dobro.

 

Ko će mu ga znati šta je njima overlooked, ali gde je bar jedan Crichton iz osamdesetih: ili Looker (1981) ili Runaway (1984), teško da im nije bilo mesta upravo po njihovoj logici da nategnuto udare po jednog: Bentona, Scrosesea, Demmea, Hansona, i tako dalje na listu. Ili dva Penna, pri čemu teško da je Target overlooked.

 

Da ne pišem dalje (čuj, onaj Lumet i onaj Noyce overlooked), od cele liste, čini mi se da im je jedini pun pogodak: Eight Million Ways to Die (1986). Jeste poslednji film velikog Ashbyja, ali još nije izdan niti na dvd-ju niti na blurayu.

[zakintos]

2015 FILM INDEPENDENT SPIRIT AWARD NOMINATIONS

 

BEST FEATURE  (Award given to the producer; executive producers are not awarded.)

Birdman or (The Unexpected Virtue of Ignorance)
Producers: Alejandro G. Iñárritu, John Lesher, Arnon Milchan, James W. Skotchdopole

Boyhood
Producers: Richard Linklater, Jonathan Sehring, John Sloss, Cathleen Sutherland

Love is Strange
Producers: Lucas Joaquin, Lars Knudsen, Ira Sachs, Jayne Baron Sherman, Jay Van Hoy

Selma
Producers: Christian Colson, Dede Gardner, Jeremy Kleiner, Oprah Winfrey

Whiplash
Producers: Jason Blum, Helen Estabrook, David Lancaster, Michel Litvak

 

BEST DIRECTOR

Damien Chazelle
Whiplash

Ava DuVernay
Selma

Alejandro G. Iñárritu
Birdman or (The Unexpected Virtue of Ignorance)

Richard Linklater
Boyhood

David Zellner
Kumiko, The Treasure Hunter

 

BEST SCREENPLAY

Scott Alexander & Larry Karaszewski
Big Eyes

J.C. Chandor
A Most Violent Year

Dan Gilroy
Nightcrawler

Jim Jarmusch
Only Lovers Left Alive

Ira Sachs & Mauricio Zacharias
Love is Strange

 

BEST FIRST FEATURE  (Award given to the director and producer.)

A Girl Walks Home Alone at Night
Director: Ana Lily Amirpour
Producers: Justin Begnaud, Sina Sayyah

Dear White People
Director/Producer: Justin Simien
Producers: Effie T. Brown, Ann Le, Julia Lebedev, Angel Lopez, Lena Waithe

Nightcrawler
Director: Dan Gilroy
Producers: Jennifer Fox, Tony Gilroy, Jake Gyllenhaal, David Lancaster, Michel Litvak

Obvious Child
Director: Gillian Robespierre
Producer: Elisabeth Holm

She’s Lost Control
Director/Producer: Anja Marquardt
Producers: Mollye Asher, Kiara C. Jones 

 

BEST FIRST SCREENPLAY

Desiree Akhavan
Appropriate Behavior

Sara Colangelo
Little Accidents

Justin Lader
The One I Love

Anja Marquardt
She’s Lost Control

Justin Simien
Dear White People

 

JOHN CASSAVETES AWARD  (Given to the best feature made for under $500,000. Award given to the writer, director and producer; executive producers are not awarded.

Blue Ruin
Writer/Director: Jeremy Saulnier
Producers:Richard Peete, Vincent Savino, Anish Savjani

It Felt Like Love
Writer/Director/Producer: Eliza Hittman
Producers: Shrihari Sathe, Laura Wagner

Land Ho!
Writers/Directors: Aaron Katz & Martha Stephens
Producers: Christina Jennings, Mynette Louie, Sara Murphy

Man From Reno
Writer/Director: Dave Boyle
Writers: Joel Clark, Michael Lerman
Producer: Ko Mori

Test
Writer/Director/Producer: Chris Mason Johnson
Producer: Chris Martin

 

BEST FEMALE LEAD

Marion Cotillard
The Immigrant

Rinko Kikuchi
Kumiko, The Treasure Hunter

Julianne Moore
Still Alice

Jenny Slate
Obvious Child

Tilda Swinton
Only Lovers Left Alive

 

BEST MALE LEAD

André Benjamin
Jimi: All Is By My Side

Jake Gyllenhaal
Nightcrawler

Michael Keaton
Birdman or (The Unexpected Virtue of Ignorance)

John Lithgow
Love is Strange

David Oyelowo
Selma

 

BEST SUPPORTING FEMALE

Patricia Arquette
Boyhood

Jessica Chastain
A Most Violent Year

Carmen Ejogo
Selma

Andrea Suarez Paz

Stand Clear of the Closing Doors

Emma Stone
Birdman or (The Unexpected Virtue of Ignorance)

 

BEST SUPPORTING MALE

Riz Ahmed
Nightcrawler

Ethan Hawke
Boyhood

Alfred Molina
Love is Strange

Edward Norton
Birdman or (The Unexpected Virtue of Ignorance)

J.K. Simmons
Whiplash

 

BEST CINEMATOGRAPHY

Darius Khondji
The Immigrant

Emmanuel Lubezki
Birdman or (The Unexpected Virtue of Ignorance)

Sean Porter
It Felt Like Love

Lyle Vincent
A Girl Walks Home Alone at Night

Bradford Young
Selma

 

BEST EDITING

Sandra Adair
Boyhood

Tom Cross
Whiplash

John Gilroy
Nightcrawler

Ron Patane
A Most Violent Year

Adam Wingard
The Guest

 

BEST DOCUMENTARY (Award given to the director and producer.)

20,000 Days on Earth
Directors: Iain Forsyth & Jane Pollard
Producers: Dan Bowen, James Wilson

CITIZENFOUR
Director/Producer: Laura Poitras
Producers: Mathilde Bonnefoy, Dirk Wilutzky

Stray Dog
Director: Debra Granik
Producer: Anne Rosellini

The Salt of the Earth
Directors: Juliano Ribeiro Salgado and Wim Wenders
Producer: David Rosier

Virunga
Director/Producer: Orlando Von Einsiedel
Producer: Joanna Natasegara

 

BEST INTERNATIONAL FILM  (Award given to the director.)

Force Majeure
(Sweden)
Director: Ruben Östlund

Ida
(Poland)
Director: Pawel Pawlikowski

Leviathan
(Russia)
Director: Andrey Zvyagintsev

Mommy
(Canada)
Director: Xavier Dolan

Norte, the End of History
(Philippines)
Director: Lav Diaz

Under the Skin
(United Kingdom)
Director: Jonathan Glazer

 

ROBERT ALTMAN AWARD  (Given to one film’s director, casting director and ensemble cast.)

Inherent Vice
Director: Paul Thomas Anderson
Casting Director: Cassandra Kulukundis
Ensemble Cast: Josh Brolin, Martin Donovan, Jena Malone, Joanna Newsom, Joaquin Phoenix, Eric Roberts, Maya Rudolph, Martin Short Serena Scott Thomas, Benicio Del Toro, Katherine Waterston, Michael Kenneth Williams, Owen Wilson, Reese Witherspoon

 

SPECIAL DISTINCTION AWARD

Foxcatcher
Director/Producer: Bennett Miller
Producers: Anthony Bregman, Megan Ellison, Jon Kilik
Writers: E. Max Frye, Dan Futterman
Actors: Steve Carell, Mark Ruffalo, Channing Tatum

 

18^th ANNUAL PIAGET PRODUCERS AWARD – The 18^th annual Producers Award, sponsored by Piaget, honors emerging producers who, despite highly limited resources, demonstrate the creativity, tenacity and vision required to produce quality, independent films. The award includes a $25,000 unrestricted grant funded by Piaget.

Chad Burris
Elisabeth Holm
Chris Ohlson

 

21^st ANNUAL KIEHL’S SOMEONE TO WATCH AWARD – The 21^st annual Someone to Watch Award, sponsored by Kiehl’s Since 1851, recognizes a talented filmmaker of singular vision who has not yet received appropriate recognition. The award includes a $25,000 unrestricted grant funded by Kiehl’s Since 1851.

A Girl Walks Home Alone at Night
Director: Ana Lily Amirpour

H.
Directors: Rania Attieh & Daniel Garcia

The Retrieval
Director:Chris Eska

 

20^th ANNUAL LENSCRAFTERS TRUER THAN FICTION AWARD – The 20^th annual Truer Than Fiction Award, sponsored by LensCrafters is presented to an emerging director of non-fiction features who has not yet received significant recognition. The award includes a $25,000 unrestricted grant funded by LensCrafters.

Approaching the Elephant
Director: Amanda Rose Wilder

Evolution of a Criminal
Director: Darius Clark Monroe

The Kill Team
Director: Dan Krauss

strong>The Last Season
Director: Sara Dosa

[Jimmy Kowalski]

ole!~

 

uff kako me interesuje koje che pesmice Tarantino da izabere...

 

Ja bih voleo da ponudi Morriconeu da mu uradi score. To je hteo i za Basterdse, pa Ennio nije mogao zbog nekih obaveza, za Djanga mu je napisao jednu kompoziciju (Ancora Qui). Neka bude treca sreca..

[Hippie]

 

2015 FILM INDEPENDENT SPIRIT AWARD NOMINATIONS

 

 

BEST FIRST FEATURE  (Award given to the director and producer.)

A Girl Walks Home Alone at Night

Director: Ana Lily Amirpour

Producers: Justin Begnaud, Sina Sayyah

 

BEST CINEMATOGRAPHY

Lyle Vincent

A Girl Walks Home Alone at Night

 

21^st ANNUAL KIEHL’S SOMEONE TO WATCH AWARD – The 21^st annual Someone to Watch Award, sponsored by Kiehl’s Since 1851, recognizes a talented filmmaker of singular vision who has not yet received appropriate recognition. The award includes a $25,000 unrestricted grant funded by Kiehl’s Since 1851.

A Girl Walks Home Alone at Night

Director: Ana Lily Amirpour

 

to lutko!! daklem biche nesto od ovog filma.. odma sam nanjusila 

[Ajant23]

Onaj Frankenheimer koji su oni dali je još slabiji. Opet, oba su slabija od trećeg koji sam naveo, a sva tri su slabija od gotovo svih njegovih filmova iz prethodne i naredne decenije. Mislim da je trebalo da ti bude jasno u kom sam kontekstu pisao (osamdesete nastaju već tamo 1976, tada se dešavaju ključni lomovi, jebo formalne okrugle godine). Slažem se da su slabe ekranizacije Ludluma, ali baš su mi zato bolji slabašni Frankenheimer i TV Roger Young, tipični za srce osamdesetih, od pretencioznog smaranja sina gromade u borbi za ljudska prava, kojim je počeo bombastični serijal u prošloj deceniji.

 

Nisam znao da je Eight Million Ways to Die izašao na DVD-ju. Doduše, izašao je u ovoj deceniji, a poslednji film je velikog Ashbyja. Kada se uzme ko je reditelj, smešno je koliko je i dalje potrebno da se dođe i googlom do tog izdanja. Slično kao i sa pravnom serijom Sidneya Lumeta, koja ima samo australijsko izdanje, a skoro je kao i da ga nema, kada se uzme značaj. Drugim rečima, opravdano je reći za taj film da je overlooked. A, tamo su komentarisali da je Ashby imao podršku Townea, a ovaj je zapravo rekao glumcima da igrorišu Stoneove replike i otpušten je pre montaže filma. Ipak, film je svakako upečatljiv.

[ToniAdams]

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