Behind the Scenes

from Brad Brevet at RopeofSilicon.com

f-davis:

A few of my unused covers for the Criterion Collection release of Michael Mann’s Thief. The director had some very specific ideas for the cover and the final is pretty much true to his request.

Christian Bale and Amy Adams in American Hustle. Watch the trailer here.

Christian Bale and Amy Adams in American Hustle. Watch the trailer here.

2013 Toronto Sked

I am in the early throes of putting together my schedule for the 2013 Toronto Film Festival and have only really looked at the first day, but as of right now this is how it looks like it may shape out:

Thursday, September 5th

The Fifth Estate - 11:30-1:30 (Bell Lightbox 1)
Blue is the Warmest Color - 3:00-6:00 (Scotiabank 1)
Blue Ruin - 9:30-11:00 PM (Scotiabank 1)

The only film not listed that I want to see but it conflicts with Blue is the Warmest Color is Kill Your Darlings which plays at 5:30 PM (Scotiabank 2).

The full schedule is supposed to be available tomorrow (Aug. 21) at some point, after which I will be able to give you much more specific details on what I will be seeing and when.

Hoping to get to Django Unchained, Cleopatra, Andrei Rublev and Repo Man by the end of day Sunday. Never seen Rublev of Repo Man so I’ll be starting there.

Hoping to get to Django Unchained, Cleopatra, Andrei Rublev and Repo Man by the end of day Sunday. Never seen Rublev of Repo Man so I’ll be starting there.

Censorship in Spain was, at the time, notorious for its petty formality, and since Viridiana’s original ending showed her knocking at her cousin’s door, entering, and the door closing slowly behind her, the board of censors rejected it out of hand. I had to invent a new one, which in the end was far more suggestive than the first because of its implications of a ménage à trois. In this second ending, Viridiana joins a card game being played between her cousin and his mistress. “I knew you’d end up playing tute with us,” the cousin smiles.

In any case, the film created a considerable scandal in Spain, much like the one provoked by L’Age d’or; but, happily, the hue and cry absolved me in the eyes of my Republican friends in Mexico. Hostile articles appeared in L’Osservatore Romano, and although the film won the Golden Palm at Cannes, it was outlawed in Spain. The head of the cinema institute in Madrid, who’d gone to Cannes to accept the award, was forced into a premature retirement because of it. Finally, the affair created such a storm that Franco himself asked to see it, and according to what the Spanish producers told me, he found nothing very objectionable about it. After all, given what he’d seen in his lifetime, it must have seemed incredibly innocent to him, but he nonetheless refused to overturn his minister’s decision.

In Italy, the film opened first in Rome, where it was well received, and then in Milan, where the public prosecutor immediately closed the theatre, impounded the reels, and sued me in court, where I was condemned to a year in jail if I so much as set foot in the country.

The whole affair still amazes me. I remember when [Producer Gustavo] Alatriste saw the film for the first time and had nothing to say about it. He saw it again in Paris, then twice in Cannes, and again in Mexico City, after which he rushed up to me, his face wreathed in smiles.

“Luis!” he cried happily. “You’ve done it! It’s wonderful! Now I understand it all!”

I had, and still have, no idea what he was talking about. It all seemed so simple to me—what was there to understand?

On the other hand, when [Vittorio] de Sica saw it in Mexico City, he walked out horrified and depressed. Afterwards, he and my wife, Jeanne, went to have a drink, and he asked her if I was really that monstrous, and if I beat her when we made love.

“When there’s a spider that needs getting rid of,” she replied, laughing, “he comes looking for me.”

Luis Buñuel | My Last Sigh

(Source: strangewood)

2013 Cannes Screening Schedule

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I will be continually updating the following schedule so you know just what exactly I’ll be seeing/doing in Cannes as the 2013 Cannes Film Festival carries on.

I have a preview of the fest and my top ten most anticipated films online right here.

All screening times are Central European Summer Time (CEST) so if you want to know when I’ll be seeing them based on your time zone you’ll have to do the calculations.

Wednesday, May 15

19:30 - Heli (dir. Amat Escalante) [read the review]

Thursday, May 16

8:30 - Jeune & Jolie (dir. François Ozon) [read the review]
11:00 - The Bling Ring (dir. Sofia Coppola) [read the review]
14:00 - Fruitvale Station (dir. Ryan Coogler) [read the review]
19:30 - The Congress (dir. Ari Folman) [read the review]

Friday, May 17

8:30 - The Past (dir. Asghar Farhadi) [read the review]
18:00 - Weinstein Presentation [read the coverage]

Saturday, May 18

8:30 - Jimmy P. (dir. Arnaud Desplechin) [read the review]
19:30 - Inside Llewyn Davis (dirs. Joel & Ethan Coen) [read the review]

Sunday, May 19

11:00 - Seduced and Abandoned (dir. James Toback) [read the review]
13:00 - Monsoon Shootout (dir. Amit Kumar)
16:30 - Blood Ties (dir. Guillaume Canet) [read the review]

Monday, May 20

8:30 - Shield of Straw (dir. Takashi Miike) [read the review]
14:00 - As I Lay Dying (dir. James Franco) [read the review]
22:00 - The Last Days on Mars (dir. Ruairi Robinson) [read the review]

Tuesday, May 21

8:30 - Behind the Candelabra (dir. Steven Soderbergh) [read the review]
14:00 - The Bastards (dir. Claire Denis) [read the review]

Wednesday, May 22

8:30 - Only God Forgives (dir. Nicolas Winding Refn) [read the review]
11:00 - All is Lost (dir. J.C. Chandor) [read the review]

Thursday, May 23

8:30 - Nebraska (dir. Alexander Payne) [read the review]
19:00 - Michael Kohlhaas (dir. Arnaud des Pallieres) [read the review]

Friday, May 24

8:30 - The Immigrant (dir. James Gray) [read the review]
19:30 - Only Lovers Left Alive (dir. Jim Jarmusch) [read the review]

Saturday, May 25

8:30 - Venus in Fur (dir. Roman Polanski) [read the review]