Mangold

Heavy / Cop Land / Girl, Interrupted / K&L / Identity / Walk The Line / 3:10 To Yuma / K&D / Logan / Ford v Ferrari / IJ & TDOD / A Complete Unknown

[Mangold @mang0ld]

As often happens on X, I think you are (with good intentions) examining an off the cuff point i made in an interview with an academic’s microscope. I never meant to assert that Billy Wilder NEVER made anything humorous till mid career. I was simply trying to offer up the idea that it seemed to me that he explored genre and tone for an extended period before settling into the movies we associate with his “style”.

[Cʜʀɪs Sᴛᴇɪɴ @chrissteinplays]

Mel Brooks is 100!
LA 2016

[Mangold @mang0ld]

I love that soundtrack, the wonderful people who helped me put it together and the amazing musicians who perform on it (Evan Dando, The Plimsouls, Freedy Johnston and the magical score by Thurston Moore). It was released by TVT Records in the 90's. While I doubt there is an appetite for a new CD release, I think it would be great if TVT made it available on iTunes or Spotify.

[Mangold @mang0ld]

Score can play many roles in movies. It can create tone and style, it can support subtext in scenes, frame characters and their secrets, create thematic unity between separate storylines, create tempo or propulsion or pathos or even a loose comedic feeling and it can facilitate transitions. But you are right that some film makers have grand collaborations with composers where the direction and music work in glorious unison. And sometimes the musical aspects on a film can seem perfunctory. This might be a failure of the film maker or the composer to get in "harmony", or it might be that a score is not of interest to a particular film maker on a particular film. But some of us attempt to get to that glorious place you are talking about where the images and the music are a unique and braided experience. This requires time and commitment, courage, generosity and craftsmanship between the principals. It also requires the film maker to create spaces in their film where the composer can assert themselves without too much talking and sound effects and rapid cuts. In most of the greatest director/composer collaborations you will see that the film maker gave the composer some moments they could take center stage instead of fighting their way through.

https://t.co/p0p1rGJuPB

[Mangold @mang0ld]

Score can play many roles in movies. It can create tone and style, it can support subtext in scenes, frame characters and their secrets, create thematic unity between separate storylines, create tempo or propulsion or pathos or even a loose comedic feeling and it can facilitate transitions. But you are right that some film makers have grand collaborations with composers where the direction and music work in glorious unison. And sometimes the musical aspects on a film can seem perfunctory. This might be a failure of the film maker or the composer to get in "harmony", or it might be that a score is not of interest to a particular film maker on a particular film. But some of us attempt to get to that glorious place you are talking about where the images and the music are a unique and braided experience. This requires time and commitment, courage, generosity and craftsmanship between the principals. It also requires the film maker to create spaces in their film where the composer can assert themselves without too much talking and sound effects and rapid cuts. In most of the greatest director/composer collaborations you will see that the film maker gave the composer some moments they could take center stage instead of fighting their way through.

https://t.co/p0p1rGJuPB

[Mangold @mang0ld]

It was thrilling to collaborate with Howard Shore on my 2nd film and he wrote and conducted a wonderful evocative score that i fondly remember recording in a beautiful church in the outskirts of London. https://t.co/22jzq1lnxd

[Mangold @mang0ld]

@slaphappycookie @HighDefDiscNews It is startling to me to realize that they never released a 4K. That decision would be up to Disney Home Video. I will investigate!

[Mangold @mang0ld]

@HighDefDiscNews @slaphappycookie In the works!

[Mangold @mang0ld]

"Heavyweights" are generally called heavyweights because they are very good. And because these actors were very good, they brought game to my set. So that part was wonderful. I didn't feel like I was "dealing" with them as much as enjoying their talent and having the honor to harvest their performances. But I think you might be really asking whether they were kind to me as a fledgling film maker. And yes, they were. They were still heavyweights and wanted the work to be good. But they were supportive and kind. I adored them and stayed friendly with many and worked again with several.

[Desda @Desdakon]

Girl, Interrupted (1999)
Director: James Mangold

[The Academy @TheAcademy]

June Carter invented “fine, I’ll do it” energy.

Film: WALK THE LINE (2005)

[Mangold @mang0ld]

I cannot use the past tense to describe Diane Keaton. She is & will always be a one of a kind beacon of brilliance, honesty, strength, vulnerability, humor, poetry and warmth. And a profoundly important and completely unique artist who elevates everything & everyone she touches.

[Mangold @mang0ld]

RIP Remo. A great actor who left us brilliant work.. and a true gentlemen. 💔

[The Hollywood Reporter @THR]

Remo Girone, who starred as a mob boss on the classic Italian mafia TV series La Piovra and portrayed Enzo Ferrari in James Mangold’s Ford v Ferrari, has died. He was 76. https://t.co/pTiK3XpTfq

[Mangold @mang0ld]

The power & beauty of nature, investigating the intricacies of human life, and unwavering kind support to art makers — These were the pillars of the Bob Redford I knew. The world will miss him. Film will miss him. Sundance will miss him. I will miss him. He changed everything.

[Sheet Music Library @LibrarySheet]

Ennio Morricone and Sergio Leone (1971)

Music: Giù la testa (Once upon a time... the dynamite)
#smlpdf
https://t.co/KOduF8Q223

[TIFF @TIFF_NET]

“You really got this sense that this is what they were like at home.” 🎵

At a TIFF ‘05 press conference for James Mangold’s WALK THE LINE, Joaquin Phoenix shares about the power of Johnny Cash and June Carter’s music, and his experience witnessing their love firsthand. #TIFF50

[Mangold @mang0ld]

@MovieAddictMatt Agreed!

[Mangold @mang0ld]

Taken w/ Leica SL, Noctilux 50mm, ISO 1600 1/1000 ƒ1.7 -- by JM

[Cinephilia, anti-authoritarianism, & fuck AI @CCinephilia]

68 years ago today, Sweet Smell of Success was released—icy, cynical, and still razor-sharp. We look back at Alexander Mackendrick’s noir masterpiece with rare insights, behind-the-scenes gems, & more. 🖤

👉 https://t.co/mN0EIS7n3L