filmnerd
To keep up on the movies I've been devouring:
I'm now in love with Hiroshi Teshigahara, and I watched both Face of Another and Woman in the Dunes. I might have to go and read another Abe Kobo book now. What else? I finished Hong Song-soo's Virgin Stripped Bare by her Bachelors and between it and Teshi, I've been inspired with yet another brand new(ish) idea and I'm trying to plot an elliptical feature script now. At least I'm keeping busy and along the way, writing halves of scripts. (I have every intention of finishing the "Hiram" script, by the way.)
I watched two Fritz Lang noirs, The Big Heat and Scarlet Street and each took a little warming up to get into, but by the end I loved them both. Great, surprisingly dark stories considering the time in film history when they were made. The occasional gem of kickass dialogue in there, as well. Then I watched Hitchcock's 50th film, Torn Curtain, the notorious one where he doesn't get along with Paul Newman (who, as I understand it, demanded an open discourse with the director on subjects like motivation and character--whereas Hitch was more accustomed to the Jimmy Stewarts and Cary Grants, actors from an age of "tell me where to stand and let me know if I said that too loud"). It was surprisingly convoluted and un-suspenseful, all things considered, but that's only because I compare it to other Hitchcock films. Overall it was still a pretty decent movie with some memorable scenes.
It's ten to 7am and the reason I'm still up is, I need to take Vasiliki's camera to the Film Center early "tomorrow" and I didn't feel like getting up and driving into Portland at 9am. My original plan was just to nap on the couch here at the studio; instead, more movies happened. But since most the movies migrated home, I'm actually watching the recent batch of rentals and Netflixes.
And on that note, I now return to Masahiro Shinoda's Pale Flower, which I am allowing to inspire new directions for that aforementioned elliptical feature story.
I'm now in love with Hiroshi Teshigahara, and I watched both Face of Another and Woman in the Dunes. I might have to go and read another Abe Kobo book now. What else? I finished Hong Song-soo's Virgin Stripped Bare by her Bachelors and between it and Teshi, I've been inspired with yet another brand new(ish) idea and I'm trying to plot an elliptical feature script now. At least I'm keeping busy and along the way, writing halves of scripts. (I have every intention of finishing the "Hiram" script, by the way.)
I watched two Fritz Lang noirs, The Big Heat and Scarlet Street and each took a little warming up to get into, but by the end I loved them both. Great, surprisingly dark stories considering the time in film history when they were made. The occasional gem of kickass dialogue in there, as well. Then I watched Hitchcock's 50th film, Torn Curtain, the notorious one where he doesn't get along with Paul Newman (who, as I understand it, demanded an open discourse with the director on subjects like motivation and character--whereas Hitch was more accustomed to the Jimmy Stewarts and Cary Grants, actors from an age of "tell me where to stand and let me know if I said that too loud"). It was surprisingly convoluted and un-suspenseful, all things considered, but that's only because I compare it to other Hitchcock films. Overall it was still a pretty decent movie with some memorable scenes.
It's ten to 7am and the reason I'm still up is, I need to take Vasiliki's camera to the Film Center early "tomorrow" and I didn't feel like getting up and driving into Portland at 9am. My original plan was just to nap on the couch here at the studio; instead, more movies happened. But since most the movies migrated home, I'm actually watching the recent batch of rentals and Netflixes.
And on that note, I now return to Masahiro Shinoda's Pale Flower, which I am allowing to inspire new directions for that aforementioned elliptical feature story.