tyler harrah

filmmaker, filmbreaker

[tyler harrah @tyler_distracto]

it took one of my idols dying, but here it is — my finest work up to this point. L’ENTREVUE is available now: https://t.co/TV84THR32P

[TrueAnon @TrueAnonPod]

@AuronMacintyre We will take what is ours by birthright.

[log @xlahtl]

Every time I think about this story, I get a little emotional 🥺

[juno ٠࣪⭑꩜.ᐟ @knovxille]

jackass crew and their letterboxd top 4

[⚢ @_pt0lemaea_]

my contribution

[largest rodent @capybaroness]

when you understand the answer to this question, you will understand the medium

[Josh Lewis @thejoshl]

As someone who has a hilariously massive Blu-ray collection I want you to know that some of these Criterions orders we’re packing today are psychotically large. Put some money away for retirement folks…

[Esme 😵 @irltechnogatsby]

ok fuck it the devils 1971 closer nine inch nails edit flash warning oliver reed vanessa redgrave excellence

[👸🏽💓Mother Strawberry Sativa Pharmaceutica🍓🏥 @Mae_DayJ]

Danny Trejo's son posted this about his father's upcoming movie. It's very sad and eye opening

[Louise Charlotte Weard @weardjupiter]

all the indie films are bad and these guys dont understand audiences. the industry really hasnt caught up to the modern environment yet and as i said during my tiff panel “thank god these guys cant figure it out because it means more market share for me”

[Benzo Stray Dogs @benzostraydogs]

Not remotely true. The literal 9/11 movies all suck because they’re simulating the event. The great 9/11 movies were either predictive or captured the sociopolitical essence of America after the attacks. These are my favorites

[bailey @baileylikemovie]

Obsessed with this old lady’s letterboxd reviews

[Will 🦥 Menaker @willmenaker]

Trailer for "ee" the short film I'm in, premiering at @fantasticfest and then @TheNYFF

👇👇👇👇👇

[Master of the Flying Jetski @jetskitosway2]

absolutely my favorite part of the Kirk discourse was the conspiracy theories about Snake Eyes

[Richard Brody @tnyfrontrow]

A reminder that Megalopolis, playing tonight at @FilmForumNYC at 8:20pm, isn't available any way but in theatres, and it's an experience I wouldn't want to be without; few movies so thrill to the power of creation itself, to art as play:
https://t.co/AAccylYHvL

[Luis A. Mendez @MendezMovieRPT]

This is the week when sh*t gets real for awards season. Last year 'After The Hunt' was dead on arrival, we started to see the red flags about 'Jay Kelly', and 'Hamnet' emerged as the real deal. "Frankenstein' did play like crap at Venice & Telluride but bounced back huge at TIFF

[Dustin @thatkaijukidd]

Side note, the @Unearthedfilms release of Tetsuo: The Bullet Man includes a “multi-format” version of the film that is the entire movie, but only uses behind the scenes, storyboards, sketches, and stills.

Kind of an incredible insight into Tsukamoto’s filmmaking process.

[Hunter Biden @HunterBiden]

@Kenneth_Belkin Do I look like I’m a part of the elite oligarch class. This was taken at a super 8 motel off I95 by the way.

[Scarred for Life @ScarredForLife2]

H.R. Giger finally got to use his astonishing design for Baron Harkonnen's castle (from Alejandro Jodorowsky's cancelled Dune film) in this 1985 ad for Pioneer. Cor, what we could have had...

[DepressedBergman @DannyDrinksWine]

Steven Soderbergh on George Miller's "Mad Max: Fury Road" (2015):

"Interviewer: You never storyboard?

Soderbergh: No. The ability to stage well is a skill and a talent that I value above almost everything else. And I say that because there are people who do it better than I’ll ever be able to do it after 40 years of active study. I just watched 'Mad Max: Fury Road' (2015) again last week, and I tell you I couldn’t direct 30 seconds of that. I’d put a gun in my mouth. I don’t understand how [George Miller] does that, I really don’t, and it’s my job to understand it. I don’t understand two things: I don’t understand how they’re not still shooting that film and I don’t understand how hundreds of people aren’t dead.

I could almost see that’s kind of possible until the polecat sequence, and then I give up. We are talking about the ability in three dimensions to break a sequence into a series of shots in which no matter how fast you’re cutting, you know where you are geographically. And each one is a real shot where a lot of things had to go right. I’m going to keep trying; I’m not going to keep trying in the sense that I’m going to volunteer to direct the next Mad Max movie. I’m going to keep trying in the sense that when I have sequences that demand a certain level of sophistication in terms of their visual staging, I’m going to try and watch the people who do it really well and see if I can climb inside their heads enough to think like that.

But he’s off the chart. I guarantee that the handful of people who are even in range of that, when they saw Fury Road, had blood squirting out of their eyes. The thing with George Miller, it’s not just that, he does everything really well. The scripts are great, the performances are great, the ideas are great. He’s exceptional. I met him once for about 30 seconds at the Directors Guild Awards in Los Angeles the year of Fury Road. But you don’t want to say that stuff to somebody’s face; it’s embarrassing."

(Steven Soderbergh's interview with Gavin J. Blair, The Hollywood Reporter, 2017)

P.S: On this day, 11 years ago, "Mad Max: Fury Road" (2015) premiered in Hollywood, California.