I love Nic Roeg movies. Along with Ken Russell he was an artistic touchstone in the British film industry through the 70’s and 80’s, they were provocative, original, broke new ground, caused trouble and most important, were never boring. Nic Roeg died on Sunday aged 90, rest in peace.
From his early years as a clapper boy, Roeg had progressed to world-class cinematographer, working for second unit camera under Freddie Young on David Lean’s masterpiece Lawrence of Arabia (1962). Roeg’s work on this led to important credits including Roger Corman’s The Masque of the Red Death (1964), Francois Truffaut’s Fahrenheit 451 (1966) and on John Schlesinger’s Far From the Madding Crowd (1967).
By the late 60s, after a career in cinematography which would have been quite enough for most mortals, he came to directing remarkably late: Performance (1970) Walkabout (1971), Don’t Look Now (1973), The Man Who Fell to Earth (1976) and Bad Timing (1980). And even after that he continued to make excellent movies, including Eureka (1983), Insignificance (1985), the fantasy of Marilyn Monroe meeting Albert Einstein, Track 29 (1988), the sensually charged Dennis Potter drama with Gary Oldman and Roeg’s partner Theresa Russell, and his excellent Roald Dahl fantasy The Witches (1990) with Anjelica Huston.
After his run of brilliant films in the 70s, the British antipathy to experimentation, and films lacking conventional narrative-based realism, resulted in the comparative neglect of Roeg had no liking for self-publicity, which resulted in some projects falling to other directors. As he remarked, he “refused to join the club”.
What an extraordinary film-maker Nic Roeg was, a man whose imagination and technique could not be confined to conventional genres. He should be remembered for a clutch of masterly films, but perhaps especially for his classic Don’t Look Now, not merely the best British scary movie in history, but one infused with compassion and love.
Burt Reynolds, the mustachioed megastar who first strutted on screen more than half a century ago, died Thursday, according to his agent, Todd Eisner. He was 82.
The Michigan native, whose easy-going charms and handsome looks drew prominent roles in films such as “Smokey and the Bandit” and “Boogie Nights,” suffered a cardiac arrest, Eisner said. A call for an ambulance came from his estate in Martin County, Florida, 911 records show.
An iconic Hollywood sex symbol in front of the camera, Reynolds also tried his directorial hand behind it, and later earned a reputation for philanthropy after founding the Burt Reynolds Institute for Film & Theatre in his home state of Florida. His roles over the years ranged and pivoted from Southern heartthrob to tough guy to comedy, notably in his role as Rep. David Dilbeck in the 1996 film “Striptease,” which flopped at the box office but earned him widespread praise for his comedic prowess.
As we near the start of Westworld Season 2, the marketing machine has clicked into gear, teasing with a new teaser , revised new website HERE and cool poster with hidden binary code. Producers Jonathan Nolan spoke to EW today:
“We don’t like to endlessly build mystery; we like to settle our debts by the end of the season,” Nolan said. “We want to feel like the show is rocketing ahead. The first season was a journey inward; this is a journey outward. It’s a search for what else is in the park, and what else is beyond the park.”
As this show attempts to question our understanding of reality, we still haven’t explored outside the confines of this manufactured theme park.
“If we were to describe the show as one camera angle, it would be a steady pull out revealing more and more context,” Nolan says. “So as the hosts learn more about their world—and other worlds, and the real world—the audience is doing the same thing.”
While the creators were hesitant to say if they’d be spending much time in Shogun World, they do confirm that it will take place outside of Westworld.
“This year is much more of a road show—Sweetwater isn’t home anymore,” Nolan tells EW, teasing that leaving behind Westworld is only the beggining into where and when the real world begins. “These hosts don’t live on the same time frame we do and don’t have the four-year life span of replicants [like in Blade Runner]. If left to their own devices, they could live forever. So our story has some real scope to it.”
Certainly they’ve left it open for the inevitable Seasons 3-7, but for now, I can’t wait to see where Season 2 takes us next month.
Welcome to 2036. Niander Wallace introduces his new line of replicants.
Thirty years after the events of the first film, a new blade runner, LAPD Officer K (Ryan Gosling), unearths a long-buried secret that has the potential to plunge what’s left of society into chaos. K’s discovery leads him on a quest to find Rick Deckard (Harrison Ford), a former LAPD blade runner who has been missing for 30 years.
The first of 3 Blade Runner 2049 Short Films.
If you loved Aussie zom flick Wyrmwood: Road Of The Dead, check out this peek at the TV series Wyrmwood: Chronicles Of The Dead. It’s gore-tastic.
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Films which make the strongest impression on us make that impression for a reason. Sometimes that reason might be a slight one: you were in the right mood, you had nothing else to watch, everyone else liked the film and you can see exactly why. However, as you continue to study films, you will soon discover that the movies you remember the most typically have one thing in common: the story structure is solid.
As this thorough video essay by Cristobal Olguin points out, Wes Craven’s films are perfect to study for their structure. His films teach us that within any scene that truly frightens you, there are numerous relationships and correspondences that produce that feeling of fear. If one is missing, the entire effect might be lost.
Many of these elements are bound up in storytelling, in the little tricks Craven uses to move his tale along. This video takes a close look at a couple of the techniques Craven uses in Scream, written by Kevin Williamson.
[Spoiler alert twenty-one years later: this video reveals whodunnit in Scream.]
By the time you find out who the real killer is in Scream, you might not care. The movie has become less about suspense and more about how to tell a story. Using traditional story techniques in new and interesting ways can give your story a unique structure, such as Craven achieved from Williamson’s script for Scream.