Razno

[kobni zelaya]

Ja bih to preveo kao "crtanije i crtač"

[Hippie]

Evo ja sam duže izdržao. :)

 

Mada, dosta zanimljiva lista, sviđa mi se što je pisao neko ko ima malo šire znanje, obično pišu neki klinci koji trpaju filmove iz poslednjih desetak godina. I ja sam gledao relativno malo filmova tu.

 

jej :)

 

da da.. super je taste of cinema, retko kvalitetna stranica o filmu... 

[katamaran]

[roksi]

...

 

:D

 

/

 

 

kubrick & sylvetser

[steins]

ne znam gde da pitam pa ću ovde - dajte mi na pp adresu neke dobre trafike sa HDovima.

[Sludge Factory]

[Jimmy Kowalski]

Odlicna naslovna..

 

 

Da dodam i EW text sa sajta:

 

Somebody’s dying today—you can hear it in Samuel L. Jackson’s voice. On a soundstage in Hollywood this April, the actor who plays Major Marquis Warren in Quentin Tarantino’s The Hateful Eight is swirling up a tornado of a monologue—one, it’s safe to say, that contains great vengeance and furious anger—and preparing to deliver his hapless victim a new pair of breathing holes courtesy of Mr. Samuel Colt. Squibs are packed and ready to spew twin gooey bursts of fake blood all over the cozy rustic interior of Minnie’s Haberdashery. 

You can be sure this won’t be the only time someone comes down with an acute case of lead poisoning in Tarantino’s bloody new production, which traps eight of the West’s nastiest gunslingers in a snowbound frontier way station, each wrapped in as many layers of deceit as they are clothing. The film scales down from Tarantino’s last two films, the revisionist revenge epics Inglourious Basterds and Django Unchained, going for something more intimate if no less violent, like a stick of dynamite in a shoebox. “For me it has more of a Western Iceman Cometh kind of vibe about it,” says Tarantino. The film also takes a belt from the bottle of the director’s first film Reservoir Dogs. “A bunch of guys in a room who can’t trust each other,” he says. “That wasn’t a marching order when I sat down to write the script, but pretty quickly I realized this is kind of a nice coming-full-circle.” 

The cast is a Who’s Who of the Tarantino-verse, including Jackson, Kurt Russell, Tim Roth, Michael Madsen, Walton Goggins, Bruce Dern, as well as newbies Demián Bichir and Jennifer Jason Leigh. “I knew Quentin, but I had never had a chance to work with him, and I really wanted to,” recalls Leigh. The film, which hits theaters later this year, almost never happened. After a script leak last January shot the horse out from under the project, Tarantino injuredly announced he was shelving the film, but some time and a successful live script read later that year thankfully convinced him to renege.

This week’s EW cover story brings you a first look at the highly anticipated new western, as well as a behind-the-scenes with Tarantino and his formidable cast. So down that shot of two-bit rotgut, holster your six-shooter, and pick yourself up a copy. You’ll be more grateful than hateful.

Edited May 7, 2015 by Jimmy Kowalski

[Jimmy Kowalski]

Jos fotki:

 

 

 

 

 

[Hippie]

citav dan mi izlechu te slikice kad god se nakacim na net taj film che da suta dupe... i to jako!

 

evo i ovo;

 

 

 

[Čutura]

kako je kurt rasel dobro ostario :)

[Hippie]

o da

 

[Takeshi]

50 weeks to learn film

 

 

 

1. A week on colour: Goethe’s ideas about contrasting hues, and the colours in shadows; colour in nature, in the beaches of Harris and Lewis in Scotland; costume and design in the movies of Jacques Demy.

2. Eyeline: Oliver Hardy looking at the camera, the eyelines of the Madonna in Russian icon painting (they look almost at the viewer but not quite), eyelines in the films of George Cukor and Ozu Yasujiro.

3. Wedding films: many of the most profitable films ever made (judged by percentage return on investment) are about weddings – The Wedding Banquet, My Big Fat Greek Wedding, Monsoon Wedding, Four Weddings and a Funeral, Muriel’s Wedding,Bridesmaids, Mamma Mia!. What can we learn from why they work?

4. Nude figure drawing.

5. Focus: in Nuri Bilge Ceylan, Hitchcock, Kira Muratova, Leonardo da Vinci andMantegna.

6. Obsessive motifs: Scorsese on Lower Manhattan, Picasso on the face of Dora Maar,Lyonel Feininger on the church at Gelmeroda. The students choose a motif and make a different film about it every day.

7. Nature studies: Scandinavian films of the 1910s, the work of Albrecht Dürer, the writing of Rousseau.

8. Thought: in Virginia Woolf, James Joyce, Federico Fellini, Scorsese and Forough Farrokhzad.

9. Storytelling, blocking and emotion in 13th- and 14th-century Italian painting: Duccio,Cimabue, Giotto (including a trip to the Scrovegni chapel).

10. Walkabout: each student disappears, goes off grid, for a week, with no means of communication.

11. Other: each student lives a life or has an experience that is totally foreign to them.

12. Kick the truth out: The Emperor’s Naked Army Marches On, and how to show what you aren’t allowed to show.

13. The sublime: in Werner Herzog, Caspar David Friedrich and Burke.

14. Storytelling in three-minute pop songs: The Kinks, Squeeze, PJ Harvey.

15. The art of persuasion: how to charm officials to let you in to places (includes Herzog’s advice that you should always “carry bolt cutters everywhere”).

16. Tension in storytelling: Hitchcock, Stephen King, Patricia Highsmith, Mohammad-Ali Talebi.

17. Poetics: in Aristotle, David Lynch, Le Corbusier and Pier Paolo Pasolini.

18. The mirth of nations: comedy cinema around the world.

19. Vengeance and violence: in Djibril Diop Mambéty, Quentin Tarantino and John Woo.

20. Movement and blocking: in the films of Tsui Hark, King Hu and Orson Welles, and the paintings of Tintoretto.

21. Sound poetics: in the movies of Kira Muratova, Paul Thomas Anderson and Hitchcock, and the work of Walter Murch.

22. Music week: taught entirely in the dark.

23. “What might never have been seen”: Films that showed lives that had never before been on screen – the work of Kim Longinotto, John Sayles, Anand Patwardhan andKenneth Anger.

24. Voice, and how to find it: the distinctive look and feel of the movies of John Ford,Apichatpong Weerasethakul and Michael Mann, and the paintings of Francis Bacon.

25. Performance: A whole week on the film by Nicolas Roeg and Donald Cammell, which will include the students undergoing changes.

26. How to end a film: 2001, the endings in Ozu films, Claire Denis’s Beau travail, Imamura’s Tales from the Southern Islands, Antonioni’s L’eclisse, Billy Wilder’s The Apartment.

27. The psychology of crying: crying and pathetic fallacy, Douglas Sirk, trying not to cry, and the ending of It’s a Wonderful Life.

28. LSD: those students who want to, take acid and allow themselves, if they want, to be filmed. The experience then leads to studies of Kandinsky, musique concrète, surrealism, David Lynch, Maya Deren and Jonathan Glazer films.

29. Iconoclasm and media portrayals: a visit to Esfahan in Iran.

30. Interview: filmmakers conduct interviews and are, regularly, interviewed themselves. So this week is a study of the best interviews ever done, in film, TV, radio and print. TheParis Review, Paul Morley, Face to Face, etc.

31. Secret: a study of films with secrets, such as The Crying Game, Vertigo, The Usual Suspects, Kiarostami’s ‘Koker’ trilogy. How do plot twists, or style twists, work, and what are the best ways to do them? This week should, itself, contain an unexpected twist for its students.

32. The frontier: students go and live for a week on the island of Lampedusa, or another place of migratory movement where human rights are being abused.

33. Sex: how to do sex in cinema, looking at Courbet’s L’Origine du monde, the sex scenes in Jean-Luc Godard, Catherine Breillat and Souleymane Cissé.

34. Lubitsch: five of his silent masterpieces, and why they work.

35. Panic and calm: the psychology of fight or flight, and its opposite, and its depiction in story and cinema – Tsui Hark, Apichatpong, and the performances of Jack Lemmon.

36. The human face: how to look at it, film it, hide it, in the paintings of Rembrandt, the films of Rohmer, and the performances of Gong Li, Ruan Lingyu and Hideko Takamine.

37. Memory: in Shakespeare, Sergio Leone, the masterpieces of Guru Dutt, Moufida Tlatli and Alain Resnais.

38. Self: should I put myself into my film? The movies of Agnès Varda, François Truffaut and John Ford, and the writing of Virginia Woolf.

39. Literal: how to avoid on-the-nose dialogue, story signposting and gong metaphors.

40. Silent: a week not speaking at all. “I tell stories not to speak, but to listen” – Rudiger Vogler in Alice in the Cities.

41. Beginnings: the great openings in cinema, and why they work – Blue Velvet, Kaagaz Ke Phool, Psycho, etc.

42. Costume and story: In the Mood for Love, The Conformist, Jezebel, The Red Desert, Throne of Blood.

43. Recut: re-editing great films that are flawed because of bad pacing or endings, or too many endings, or extraneous scenes – Steven Spielberg’s War of the Worlds, Kwaidan, the Brazilian film Limite, etc.

44. Rescore: great movie scenes given new sound and music tracks – the shower scene in Psycho, the ending of Tarkovsky’s Mirror, the opening of Scorsese’s Taxi Driver, the whole of The Jungle Book.

45. Life: Kierkegaard, De Beauvoir, Lao Tzu, Montaigne, George Eliot, Bentham, Clarice Lispector, Amartya Sen, Jesus Christ, Jung, Walter Benjamin, Joseph Brodsky, Merleau-Ponty.

46. Love: in the work of Samira Makhmalbaf, Joan Didion, Frank Borzage and Howard Hawks.

47. Death and grief: in The Ballad of Narayama, J-horror, Amour, Three Colours Blue, The Babadook, Gravity.

48. Watch Kieslowski’s Dekalog and ten films directed by Stanley Donen, alternating one of each.

49. The turning of the Earth: the magic moments of the year. A recap of what we have learnt.

50. Destroy: the students burn their notes from the 50-week course, and write the themes and outline for next year’s 50 weeks.

 

 

[kud u maglu Simoviću]

point brake remake

 

pa ništa im nije sveto

[Jimmy Kowalski]

Kakav naslov jebote.

 

Nikad nisam razumeo tu kuknjavu oko pravljenja rimejkova, sta je tu svetogrdje? Ako ispadne sranje (kao sto vecina bude), jos vise se ceni original.  

[kobni zelaya]

Ja isto nemam problem sa ovakvim rimejkovima tries' godina kasnije. Nerviraju me rimejkovi koji se prave jer američke gledaoce mrzi da čitaju titl. To mi je već totalna stupidarija