This week’s assortment of celluloid delights begins tonight with Liev Schreiber’s directorial debut and continues with the seminal David Lynch road movie, a foul-mouthed British political parody, a profile of a sexy French coed, and Martin Scorsese doing what he does best. Sit back and enjoy the ride, because this road’s gonna take you anywhere you want to go.
Why don’t most directors want to work with Leonardo DiCaprio more than once?
You can count on two fingers the number of times DiCaprio has collaborated with a filmmaker on multiple films: Martin Scorsese (on numerous projects) and Baz Luhrmann. On the flip side, you’d need an abacus to tally the number of high-profile directors who hired DiCaprio once and never went back for seconds. James Cameron (TITANIC), Woody Allen (CELEBRITY), Steven Spielberg (CATCH ME IF YOU CAN), and Danny Boyle (THE BEACH) are just a few names that come to mind. Boyle’s one-off feature with DiCaprio premieres Saturday, November 3, on Sundance Channel, and was the film that got us contemplating this topic.
Oh, man. People say the golden age of music videos is in the past, so we must be living in the platinum era! The latest Black Keys video hit the webz yesterday and it’s a fairly curious, and entertaining, collaboration with Harmony Korine (KIDS, TRASH HUMPERS). Oh, I’m sorry…it’s not a video, but “a film by Harmony Korine.” Anyway, if you’ve ever wanted to see Patrick Carney and Dan Auerbach as babies carted around by prosthetic versions of themselves then Gold on the Ceiling is your chance! As for Korine, hopefully this little endeavor didn’t distract him from finishing up SPRING BREAKERS, because there are not enough bikini pics of Vanessa Hudgens and Selena Gomez out there yet to satisfy my curiosity. Anyway, check out the video below, along with a few of our other favorite auteur-helmed musical collaborations.
Article: Film intelligence: We've been framed
Every week there are dozens of film news stories. Every week, we read them all and bring you the five most important ones in the single most important blog post you’ll ever read (today [at this moment]). This week: folks have some lovely bones to pick with Peter Jackson’s new filmmaking format, Martin Scorsese still loves his new filmmaking format and — hang on a sec, I have a call coming in.
Francis Ford Coppola, Woody Allen and Martin Scorsese
Over the course of a four hour interview Fast Company conducted with Martin Scorsese, a director you may have heard of (his latest film HUGO picked up 5 Oscars on Sunday for best cinematography, art direction, and other technical achievements), Scorsese made references to 85 different films. Fast Company organized these films from A to Z (including the director’s comments about them) with the “cumulative total reflecting a life lived entirely within the confines of movie making, from his days as a young asthmatic child watching a tiny screen in Queens, New York to today, when Scorsese is as productive as he’s ever been in his career–and more revered than ever by the industry that once regarded him as a troublesome outsider.” Replace “movie making” with “Internet meme observing” and this could be the summary of my life. Anyhoo, it’s an interesting browse for any fan of Scorsese or film buffs that underscores his deep knowledge.
Article: At the Oscars, it's hip to be square
The Los Angeles Times just posted a massive investigation into the demographics of the Academy of Motion Picture Arts and Sciences, the 5,765 largely anonymous voters who every year decide who will receive the highly coveted and ultra-influential Oscars. Their findings, which will come as a shock to no one who has watched the Oscars at any point in the last 25 years, revealed a membership that is very old and very uncool. 94% of Academy voters are white; 77% are male. 54% are over the age of 60; just 2% are under the age of 40.
A gorgeous new print of THE RED SHOES (1948) is having a two week run at the Film Forum, thanks to Martin Scorsese’s longtime passion for the film. Written, directed and produced by Michael Powell and Emeric Pressburger, the story follows a young ballerina as she struggles to balance her obsession for dancing with her love life, ultimately leading to her downfall. The famous exchange early in the film between the ballerina Victoria Page (played by Moira Shearer) and the ballet company impresario Boris Lermontov (Anton Walbrook) is hard to forget. “Why do you want to dance?” he asks. “Why do you want to live?” she fires back.