We’ve seen a few instances of big directors making a couple bucks directing live webstreams, the most high-profile probably being Terry Gilliam’s collaboration with Arcade Fire last year. But I did a triple-take when a press release landed on top of the inbox this afternoon, because it proudly announced that David Lynch will, on March 23, direct a livestream webcast featuring a performance by ’80s synth-pop chart-toppers Duran Duran. (With all original members!)
If you’re as confused by this as I am, check the full release after the break. Read More »
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Slate has put together a video which shows us what it might be like if filmmakers like Quentin Tarantino, David Lynch, Wes Anderson, and Jean-Luc Godard directed the Super Bowl. Sadly, they didn’t include versions by Michael Bay or Steven Spielberg. Also, am I the only one who thinks they get the Tarantino one all wrong? Watch the video embedded after the jump.
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Here’s the best news I’ve heard all day: David Lynch says that footage previously thought lost from a rough cut of Blue Velvet has been found and may be included on the forthcoming Blu-ray release of the film. A new HD transfer of the director’s landmark picture — which will hopefully showcase the incredible cinematography of Frederick Elmes with new detail and subtlety — is exciting enough. But to think we might get some new footage is absolutely thrilling. Details after the jump. Read More »
What is Page 2? Page 2 is a compilation of stories and news tidbits, which for whatever reason, didn’t make the front page of /Film. After the jump we’ve included 33 different items, fun images, videos, casting tidbits, articles of interest and more. It’s like a mystery grab bag of movie web related goodness. If you have any interesting items that we might’ve missed that you think should go in /Film’s Page 2 – email us!
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The last proper feature from maverick director David Lynch was the 2006 shot-on-DV effort Inland Empire. Since then he’s made commercials and music videos, done quite a lot to promote Transcendental Meditation, and worked on multiple albums. The most high-profile of those was with Danger Mouse and Sparklehorse [RIP], called Dark Night of the Soul. Music has always been one of the director’s passions — he’s had a big hand in writing and recording much of the music for his films — but the Danger Mouse project must have left him wanting more in a similar vein.
This week the director dropped a digital single on iTunes featuring two songs. They’re the first inking of the music project Mr. Lynch is working on now, which he’s calling “a kind of modern blues.” Read More »
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After the Telluride Film Festival premiere of his latest film, I had the opportunity to sit down and interview director Mark Romanek for a long-form interview. It was a collaboration between Alex from FirstShowing and myself, which explains how we were able to get so much time with the filmmaker.
Mark Romanek is one of the best music video directors to come out of the 1990’s. His videos have included Nine Inch Nails’ “Closer”, “Scream” – Michael Jackson’s grammy award winning collaboration with sister Janet Jackson (at $7 million, one of the most expensive music video ever made), Janet Jackson’s “Got ‘Til It’s Gone”, Johnny Cash’s gut-wrenching cover of Nine Inch Nails’ “Hurt”, En Vogue’s “Free Your Mind”, Lenny Kravitz’s “Are You Gonna Go My Way”, Beck’s “Devil’s Haircut”, Jay-Z’s “99 Problems” and Fiona Apple’s “Criminal”. His 2002 feature film One Hour Photo is probably best known for Robin Williams’ dramatic turn. While the film is beloved by cinephiles, it pretty much went under the radar of mainstream audiences. It did however gain Romanek a lot of the respect in the movie industry. His follow-up, a big screen adaptation of Kazuo Ishiguro‘s novel Never Let Me Go, premiered at the 37th Telluride Film Festival. The book was named one of TIME’s 100 Best Novels (from 1923 to the Present), featured on many top ten books of 2005 lists, and a finalist in the National Book Critic Circle Award.
After the jump is part one of the chat, where we talk about the director’s influences, how he became a music video director, his long journey back to feature filmmaking, and what it took to create his latest movie, Never Let Me Go.
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As the movie industry slowly goes through major changes, unusual funding methods might start to be more prominent. Crowd-sourcing isn’t a fringe tactic any longer, when Ridley Scott is using it to gather footage for a film (following in the footsteps of Bruce MacDonald and others) and Kevin Smith has talked about using the method to finance a film.
Now David Lynch is getting into the game. He’s producing the last of three documentaries about, er, himself, and is offering a handful of goodies to those who drop a $50 investment on the film. Read More »
Trailers are an under-appreciated art form insofar that many times they’re seen as vehicles for showing footage, explaining films away, or showing their hand about what moviegoers can expect. Foreign, domestic, independent, big budget: I celebrate all levels of trailers and hopefully this column will satisfactorily give you a baseline of what beta wave I’m operating on, because what better way to hone your skills as a thoughtful moviegoer than by deconstructing these little pieces of advertising? Some of the best authors will tell you that writing a short story is a lot harder than writing a long one, that you have to weigh every sentence. What better medium to see how this theory plays itself out beyond that than with movie trailers?
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David Lynch has dipped into the world of advertising more than once. His ads for Calvin Klein’s Obsession, for example, were lush black and white glamour shoots featuring Benicio del Toro and Heather Graham. (Before Graham appeared in Twin Peaks.) Now Lynch has directed Marion Cotillard in Lady Blue Shanghai, a sixteen-minute film/ad for Dior. Read More »