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Martin Scorsese is a big fan of Carol Reed's "The Third Man" (1949). When he was 18 & studying at NYU, he wrote a paper on the movie & gave it to his professor. The professor wrote a note on the paper which said: "Remember, it's only a thriller." Scorsese disagreed.
Scorsese later wrote,
"Has "The Third Man" had an influence on my career? When I saw it, I was ripe for it – ready to understand what you can do with the camera. The themes of the picture made me feel comfortable about dealing with similar kinds of characters, characters you'd consider undesirable - the charm of evil. I did a paper on the film when I was 18 at NYU. The professor had different ideas. He wrote a note on the paper: "Remember, it's only a thriller." I disagreed.
We know what happens in 'Psycho' (1960) or 'Vertigo' (1958) or 'The Red Shoes' (1948). So why do we keep watching? If some dismiss a work because it "fits" into a genre, then why does it sustain repeated viewings? It's more than the plot twists and surprises of the story. Certainly, it's the characters, the world they inhabit, the love stories, the trust and betrayals – the human heart. Each presented with intelligence, wit, and a very real joy of film-making, while still feeling fresh."
("Martin Scorsese on 'The Third Man': The best revelation in all cinema", Independent, 2015)
P.S: On this day, 77 years ago, Carol Reed's "The Third Man" (1949) premiered at Hastings, UK.
When Dolly Parton approached Robert Plant for permission to record her version of “Stairway to Heaven,” she reportedly worried about how he would react. Instead, Plant’s response was wonderfully simple: “Of course you can, you’re Dolly Parton.”
And somehow, that feels like the perfect answer. Dolly didn’t try to copy Led Zeppelin — she took one of rock’s most iconic songs and made it unmistakably her own, adding a touch of country, gospel, and her unmistakable voice.
Sometimes, a legend recognizing another legend is all the permission you need.
@moggerMark@apiedepuerto@sergi_lopezegea Et pour les idiots qui viennent polluer ma correspondance : je ne suis pas fan d’Evenepoel, bien au contraire. Les petits cerveaux pullulent ici.
@moggerMark@apiedepuerto@sergi_lopezegea J’aurais préféré qu’il soit suspendu 2 à 5 ans pour dopage, mais je prends ce qui vient, c’est toujours bon pour le cyclisme. Je ne suis pas français et je ne vis pas en France. Retourne enc.ler tes chèvres.
James Stewart and Kim Novak in Vertigo (1958), directed by Alfred Hitchcock.
• Kim Novak was constantly paired with way-older actors during this era. James Stewart often gets singled out as being “too old” for her, but Stewart is just one example. Novak's previous love interests had been played by Fred MacMurray (25 years older), Tyrone Power (19 years older), Frank Sinatra (18 years older), Jeff Chandler and William Holden (both 15 years older). Her subsequent leading men would include Fredric March (36 years older), Ray Walston (19 years older), Kirk Douglas and Peter Finch (both 17 years older). Except for the movie she did with Fredric March, these age differences were never addressed in the plot.
• Uncredited second unit cameraman Irmin Roberts invented the famous “zoom out and track in” shot (now sometimes called “contra-zoom” or “trombone shot”) to convey the sense of vertigo to the audience. The view down the mission stairwell cost $19,000 for just a couple of seconds of screentime.
@tweetspastweets@jwoodmwq@cyclingsickos On est surtout nettement moins naïf que les neuneus qui considèrent cela comme normal ! Mais la naïveté aide à vivre certains esprits faibles. Bon courage
@cyclingsickos Tant qu’il n’est pas là ça nous fera des vacances. Le sport reprend ses droits. On va pouvoir regarder du cyclisme sans s’endormir devant ou zapper à 50 km de l’arrivée. Une nouvelle ère commence. Puisse t’elle durer LONGTEMPS.
@moggerMark@apiedepuerto@sergi_lopezegea Tant qu’il n’est pas là, ça nous fera des vacances. Le sport reprend ses droits. Une nouvelle ère commence, puisse t’elle durer LONGTEMPS.