FerLeonR

[RadiantFilm @RadiantFilm]

Billy Wilder on Stanley Kubrick and his films:

Wilder: "I was at his house once, nice man. But a very strange man, he will not fly. The Shining [1980]—very smooth . . . and then there's that labyrinth. I love all his movies. Kubrick, he was a wonderful director, but sometimes . . . for instance I could never understand—and I cannot discuss it with anybody, because people have not seen that picture, that costume picture, Barry Lyndon [1975] . . ."

Cameron Crowe: "What about it?"

Wilder: "He worked like six months trying to find a way to photograph somebody by candlelight, not artificial light. And nobody really gives a shit whether it is by candlelight or not. What are the jokes? What is the story? I did not like it. That's the only Kubrick picture that I did not like, but look, what's the last one that he made?"

Cameron Crowe: "Full Metal Jacket [1987]."

Wilder: "The first half of Full Metal Jacket was the best picture I ever saw. Where the guy sits on the toilet and blows his head off? Terrific. Then he lost himself with the girl guerrilla. The second half, down a little. It's still a wonderful picture. You know, if he does a thing, he really does it. But this is . . . this is a career to discuss. Every picture, he trumps the trump. These are all pictures any director would be proud to be associated with, much less make. At a picture like The Bicycle Thief [1947], you forget that this is your profession. You just get lost in the picture."

Cameron Crowe: "What did you think of Dr. Strangelove [1964]?"

Wilder: "Oh, I love that. That's one of my favorite pictures, Dr. Strangelove. I was bewildered, but then I put some order in it, as I thought about it, and as I saw it again. It was a wonderful picture, but so was Lolita [1962]. She was a little too old. He had to make a little sacrifice there. I hear they've remade it again, getting the characters’ ages closer to the book. [Pause.] I'm ninety-one—I'm the right age. [Laughs.] But I don't know, except for Spartacus [1960], he did very good."

— Conversations with Wilder by Cameron Crowe (Alfred A. Knopf, New York, 1999)

[DepressedBergman @DannyDrinksWine]

Mel Brooks on how he got the idea to make "History of the World: Part I" (1981):

"I was walking across the parking lot at 20th Century-Fox on my way to my office when one of the grips who had worked on ''High Anxiety'' (1977) shouted to me from the back of a moving truck. ''Hey, Mel, what's next? Planning a big one?''

From out of the blue the biggest title I could think of popped into my mind: ''Yes, the biggest movie ever made. It's called 'History of the World.' ''

Someone else on the truck yelled: ''How can you cover the whole world in one movie?'' ''You're right,'' I shouted. ''Maybe I'll call it 'History of the World - Part I.' '' Actually, if truth be told, I hadn't a clue as to what I was going to do next. That was two years ago, but now - this Friday - ''History of the World - Part I'' opens.

(...)

Will there be a ''History of the World - Part 2''? No. Maybe a ''Part 4,'' never a ''Part 2.''"

("The World According to Mel Brooks", Mel Brooks, The NY Times, 1981)

P.S: On this day, 45 years ago, "History of the World: Part I" (1981) was released in the USA.

[FerLeonR @FerLeonR]

Ya

[FerLeonR @FerLeonR]

Ozu https://t.co/ciQPKiljMT

[𝔰𝔢𝔩𝔢𝔠𝔱𝔬𝔯 @SelectedCinema]

Femme Fatale. 2002 / Out of the Past. 1947

[best of mafia cinema @TheMafiaPoint]

Once Upon a Time in America (1984) was meant to be Leone’s grand gangster epic, running over four hours. For its U.S. release, it was cut down to about 2 hours and 20 minutes and rearranged in chronological order, destroying the dreamlike structure he had spent years building. For mafia cinema lovers, it remains a true tragedy.

[FerLeonR @FerLeonR]

Y

[cinesthetic. @TheCinesthetic]

By 1982, Ridley Scott had already made Alien and Blade Runner, and he brought the same stylised mood to Roxy Music's “Avalon”, his only music video directing credit.

[FerLeonR @FerLeonR]

Vaya

[Lauren Wilford @lauren_wilford]

recently I saw an art exhibition that truly made me both laugh and cry: a retrospective of a painter I had never heard of before, Mexican surrealist Alfredo Castañeda (1938-2010). Every painting felt like an "instant classic," as if it had always been part of the canon
1/

[Bill Simmons @BillSimmons]

You just can’t explain 1985.

[luls @novetiate]

strait-jacket (1964)