It is inevitable that this will pick up and people around the world will start doing it – certainly far more than who were doing it before The Wolf of Wall Street came out – we will see it here, there, and everywhere in days to come, and when it does, we can refer to it as The McConaughey. The chest thumpin’ meditative hum. It came from him, and he has now immortalized it on screen. Heck, with 2013 already being the year of McConaughey (coming off solid hits and performances like Magic Mike, Killer Joe, and Bernie, he bats it right out the park with Mud, Dallas Buyers, and Wolf, and then reigns supreme with HBO’s best show in years, True Detective), it’s great it now has it’s own signatory move, so to speak. I love it, and it’s perhaps the best battle motion of solace I’ve seen since The Bunk wailed Jimmy in Season 4. So, without further ado, ladies and gents, the McConaughey:
Great interview with Philip Seymour Hoffman on Craig Ferguson. RIP Philip Seymour Hoffman, one of the absolute best.
Bobby, I know you loved this film more than anything last year… now, as much as I had a blast with it, during the first viewing I was thrown for a fucking loop on the pacing… I was wondering what the fuck was with all the compacted action scenes, constantly followed by the drawn-out, seemingly improvised, scenes about fucking bullshit (midget tossing, money exchanges), but chewed on it for a while, and started to put some of the pieces together as to what Marty was on to… overall, that is the fucking point – where importance lies for debauchers – but the rhythms were jarring to me at times (especially that fucking Foo Fighters cue). Other moments I fucking relished (HOWLIN WOLF! Ludes)… but ultimately, Marty talking about the structural rhythm edits in this interview was exactly what I was looking at – it came across clear as crystal in the film.
PTA talks with Marty about Wolf
Marty/PTA part 2
Marty/PTA part 3
Marty, Leo, Jonah, and Terence Winter on THR:
Open letters are everywhere these days, but here’s a good one from the master himself, Scorsese, to his daughter, Francesca, about the bright future of movies.
I’m writing this letter to you about the future. I’m looking at it through the lens of my world. Through the lens of cinema, which has been at the center of that world.
For the last few years, I’ve realized that the idea of cinema that I grew up with, that’s there in the movies I’ve been showing you since you were a child, and that was thriving when I started making pictures, is coming to a close. I’m not referring to the films that have already been made. I’m referring to the ones that are to come.
I don’t mean to be despairing. I’m not writing these words in a spirit of defeat. On the contrary, I think the future is bright.
We always knew that the movies were a business, and that the art of cinema was made possible because it aligned with business conditions. None of us who started in the 60s and 70s had any illusions on that front. We knew that we would have to work hard to protect what we loved. We also knew that we might have to go through some rough periods. And I suppose we realized, on some level, that we might face a time when every inconvenient or unpredictable element in the moviemaking process would be minimized, maybe even eliminated. The most unpredictable element of all? Cinema. And the people who make it.
I don’t want to repeat what has been said and written by so many others before me, about all the changes in the business, and I’m heartened by the exceptions to the overall trend in moviemaking – Wes Anderson, Richard Linklater, David Fincher, Alexander Payne, the Coen Brothers, James Gray and Paul Thomas Anderson are all managing to get pictures made, and Paul not only got The Master made in 70mm, he even got it shown that way in a few cities. Anyone who cares about cinema should be thankful.
And I’m also moved by the artists who are continuing to get their pictures made all over the world, in France, in South Korea, in England, in Japan, in Africa. It’s getting harder all the time, but they’re getting the films done.
But I don’t think I’m being pessimistic when I say that the art of cinema and the movie business are now at a crossroads. Audio-visual entertainment and what we know as cinema – moving pictures conceived by individuals – appear to be headed in different directions. In the future, you’ll probably see less and less of what we recognize as cinema on multiplex screens and more and more of it in smaller theaters, online, and, I suppose, in spaces and circumstances that I can’t predict.
So why is the future so bright? Because for the very first time in the history of the art form, movies really can be made for very little money. This was unheard of when I was growing up, and extremely low budget movies have always been the exception rather than the rule. Now, it’s the reverse. You can get beautiful images with affordable cameras. You can record sound. You can edit and mix and color-correct at home. This has all come to pass.
But with all the attention paid to the machinery of making movies and to the advances in technology that have led to this revolution in moviemaking, there is one important thing to remember: the tools don’t make the movie, you make the movie. It’s freeing to pick up a camera and start shooting and then put it together with Final Cut Pro. Making a movie – the one you need to make – is something else. There are no shortcuts.
If John Cassavetes, my friend and mentor, were alive today, he would certainly be using all the equipment that’s available. But he would be saying the same things he always said – you have to be absolutely dedicated to the work, you have to give everything of yourself, and you have to protect the spark of connection that drove you to make the picture in the first place. You have to protect it with your life. In the past, because making movies was so expensive, we had to protect against exhaustion and compromise. In the future, you’ll have to steel yourself against something else: the temptation to go with the flow, and allow the movie to drift and float away.
This isn’t just a matter of cinema. There are no shortcuts to anything. I’m not saying that everything has to be difficult. I’m saying that the voice that sparks you is your voice – that’s the inner light, as the Quakers put it. That’s you. That’s the truth.
All my love, Dad”
A new short film by Wes Anderson, Castello Cavalcanti featuring Jason Schwartzman:
We entered the National Film Challenge this weekend and though we were thrown a curveball with which genres we were given – Horror and Martial Arts – we made what we feel is a rock solid effort in the Horror Genre, and had a great time doing it. The film had to include the following:
GENRE: Horror or Martial Arts
DIALOGUE: “Not everyone can be perfect.”
CHARACTER: Carl Leffler, Dog Trainer
Many many thanks to those of you who were on call for whatever ideas were borne out of the elements given, and super special thanks for all those who helped pull this thing off: Dwayne for the first-class GoPro camera operation skills, and producing this bad boy. Davey for slipping into the role of The Neighbour like shivers slip up your spine. James, for the craft services, dog wrangling, and playing trusty Mr. Carl Leffler. The Laing Gang for bringing their familial love and care to the project. And of course Brasco the Dog for just nailing it – they say not to work with animals because it’s difficult, but Brasco proved an incredible exception to that rule. Best movie dog since that one in The Artist! Brasco even deserves credit for helping score the film thru an exaltation of barks… and speaking of the score, thanks to Mr. Martin Rae for coming through with the wonderfully eery auditory landscapes!
Muzzle is the name of the movie we made, and we have five weeks until we find out the results.
Let’s get lucky.
Earlier this month, we posted about the Wes Anderson book, and now the trailer for the new Wes Anderson film, The Grand Budapest Hotel, just dropped and it looks amazing, not unlike the usual Wes – chock-full of visual splendor, painstakingly detailed frames and costumes, and incredible one-liners. Happy to see him put out a live-action so quickly; this is his fastest turnaround, as Moonrise Kingdom was just last year.
For the Wes Anderson lover, this is lover’s point. Sweet jesus, if you were into the little fold-out booklet that came with the Tenenbaums Criterion package, you’ll be drooling all over this:
Late? Kinda. Latest best-of list ever? Perhaps. Well, turns out I never did a Best of 2012 list… I thought about it a bunch, but never put finger to keyboard, so to speak. I recall thinking I’d see more flicks from the year (i.e: Holy Motors) and the list would solidify into its concrete positions, but alas, 2012 remains a wonky year for me… I’m really looking forward to 2013′s list, as I have several noteworthy films already. That said, here we go, the best of 2012:
10. Goon – Seann William Scott delivers. It’s not only one of the best comedies of the year, but one of the best hockey movies ever.
9. Bernie – had been too long since we saw a strong Linklater live-action outing. And it has Jack Black’s best performance in a decade.
8. Silver Linings Playbook – I have a soft spot for David O. Russell.
7. Killer Joe – William Friedkin’s best since the 70s.
6. Ted – classic comedy.
5. Cabin In The Woods – fresh take on the Evil Dead genre.
4. The Master – a damn magnetic piece. Joaquin for performance of the year.
3. Moonrise Kingdom – Wes’ best live-action since Zissou.
2. Beasts of the Southern Wild – debut of the year. Wonderful, Malick-like, and wholly original.
1. Django Unchained – QT having fun in the western genre turns out to be the most entertaining movie of the year. Great dialogue, great firecracker set-pieces… Waltz for supporting actor, indeed. Great to see DiCaprio in the Tarantino world as well. He is a rambunctious sort.