#David Schrader

[whoops-im-obsessed]

If I had a nickel for every time I had a character who was an english puzzle enthusiast turned unwitting detective with an L name that isn't his own, childhood trauma, and an estranged brother, and where the plot involves some kind of identity hijinks and swapping with the brother in some way, and he is assisted by a redhead and a child and one of them has a name which means 'of light/light-giving', and he at one point goes to visit his school mentor who taught him about puzzles as part of an investigation, and there is some angst about how he has no significant other or family and he's a terrible driver

I'd have 2 nickels. Which isn't a lot but is better than no nickels at all ig anyway go play professor layton and watch ludwig

[shrimpscocktail]

Everybody wants to talk. It's like a compulsion. My philosophy is: you got nothing to say, don't say it. They figure you can tell a D.D. anything, things they would never tell anyone else. Of course they're stoned to start.

Light Sleeper (1992) | dir. Paul Schrader

[victusinveritas]

[brokehorrorfan]

1982: Greatest Geek Year Ever! will be released on Blu-ray and DVD on October 22 via MVD's Rewind Collection. Directed by Mark A. Altman, the four-part documentary miniseries premiered on The CW in 2023.

It explores the impact of 1982 cinema like E.T. The Extra-Terrestrial, Blade Runner, The Thing, Star Trek II: The Wrath of Khan, Poltergeist, Creepshow, Night Shift, The Dark Crystal, 48 Hrs., First Blood, Tron, Conan the Barbarian, Cat People, Fast Times at Ridgemont High, and The Road Warrior.

Interview subjects include Ron Howard, Paul Schrader, John Sayles, Amy Heckerling, Henry Winkler, William Shatner, Sean Young, Joanna Cassidy, Keith David, Cameron Crowe, Michael Deeley, Lisa Henson, Dean Devlin, Bruce Campbell, Dee Wallace, Felicia Day, Roger Corman, Barry Bostwick, Marc Singer, Bryan Fuller, Mick Garris, Leonard Maltin, and more.

Rachid Lotf designed the cover art. No special features are listed. Read on for the trailer.

1982: Greatest Geek Year Ever! takes viewers behind the scenes to a time when fandom was in its infancy, featuring eye-opening interviews with stars, directors, writers, producers and pop culture historians, plus rare behind-the-scenes footage and exclusive never-before-seen clips.

Pre-order 1982: Greatest Geek Year Ever.

[genevieveetguy]

Old Boyfriends, Joan Tewkesbury (1979)

[elfoscuro]

The Last Temptation Of Christ (1988) by Martin Scorsese

Cinematography by Michael Ballhaus

[oneheadtoanother]

[letterboxd-loggd]

Light Sleeper (1992) Paul Schrader

February 5th 2025

[tunasaladonwhite]

[closetofcuriosities]

Button Pushers x Director Fits - THE BUTTON DOWN

[spilladabalia]

Giorgio Moroder featuring David Bowie ''The Myth''

[burningdreambanana]

Cat People (1982)

Idc what critics say this movie is great and the superior version. It's an absolutely gorgeous movie visually and the soundtrack by David Bowie is incredible and so eerie!

[spryfilm]

Blu-ray review: “The Last Temptation of Christ” (1988)

[sleepythug]

What are some movies that every aspiring cinephile should watch?

battleship potemkin (sergei eisenstein, 1926)

city lights (charlie chaplin, 1931)

M (fritz lang, 1931)

freaks (tod browning, 1932)

brief encounter (david lean, 1945)

out of the past (jacques tourneur, 1947)

the third man (carol reed, 1949)

late spring (yasijuro ozu, 1949)

kiss me deadly (robert aldrich, 1955)

a man escaped (robert bresson, 1956)

touch of evil (orson welles, 1958)

la dolce vita (federico fellini, 1960)

peeping tom (michael powell, 1960)

man who shot liberty valance (john ford, 1962)

the exterminating angel (luis buñuel, 1962)

shock corridor (samuel fuller, 1963)

kwaidan (masaki kobayashi, 1964)

dragon inn (king hu, 1967)

playtime (jacques tati, 1967)

once upon a time in the west (sergio leone, 1968)

two-lane blacktop (monte hellman, 1971)

aguirre, wrath of god (werner herzog, 1972)

touki bouki (djibril diop mambety, 1973)

the conversation (francis ford coppola, 1974)

the passenger (michelangelo antonioni, 1975)

nashville (robert altman, 1975)

the killing of a chinese bookie (john cassavetes, 1976)

mikey and nicky (elaine may, 1976)

sorcerer (william friedkin, 1977)

days of heaven (terrence malick, 1978)

blow out (brian de palma, 1981)

8 diagram pole fighter (lau kar-leung, 1984)

mishima: a life in four chapters (paul schrader, 1985)

tampopo (jūzō itami, 1985)

blue velvet (david lynch, 1986)

something wild (jonathan demme, 1986)

landscape in the mist (theo angelopoulos, 1988)

sonatine (takeshi kitano, 1993)

salaam cinema (mohsen makhmalbaf, 1995)

fallen angels (wong kar-wai, 1995)

taste of cherry (abbas kiarostami, 1997)

cure (kiyoshi kurosawa, 1997)

the thin red line (terrence malick, 1999)

beau travail (claire denis, 1999)

yi yi (edward yang, 2000)

all about lily chou chou (shunji iwai, 2001)

memories of murder (bong joon-ho, 2003)

dogville (lars von trier, 2003)

tropical malady (apichatpong weerasethakul, 2004)

silent light (carlos reygadas, 2007)

sparrow (johnnie to, 2008)

holy motors (leos carax, 2012)

phoenix (christian petzold, 2014)

personal shopper (oliver assayas, 2016)

[dostoyevsky-official]

Coralie Fargeat, director

His films opened gates towards imagination. Towards an endless mental space where each could project its own inner world. We could wander in his films. Go back to them again and again. They were thick with secrets, with the unexplained. They were full of the unnecessary.

That was so essential. It requires a lot of strength: the deliberate act of creating worlds with no boundaries. To create paths where our mind can follow its own way. Carpets. Back yards. Heavy rooms. Roads. A whole unseen world was infusing behind each of those spaces. They were becoming open spaces for our imagination. I loved his work for that.

Paul Schrader, director

David couldn’t get Blue Velvet made. Dino De Laurentiis told David he’d pay me to rewrite the script and David gave it to me. It was one of the best scripts I’d ever read. I told Dino there was no way I could improve it. David thanked me and Dino financed the film. The rest is film history. The only thing to add is this: smoking kills.

Stephen Woolley, programmer and producer

When I finally caught up with Eraserheead, I was so mesmerised and besotted with its beautiful design, disturbing imagery and surreal humour that I programmed it for two months exclusively at the Scala cinema in London. It was one of the most important films I had ever seen and still is.

He came for the opening. But, looking at the programme, he appeared suddenly alarmed (his expressions usually vacillated between open-faced exuberance and intense curiosity). I asked what was wrong. He apologetically explained in what can only be described as a Jimmy Stewart drawl that there was a mistake: it said the film was playing during the day. He went on to explain: nobody watched it in daylight; it was a midnight movie; it would flop at 3pm.

Ironically, Lynch liked to describe Eraserhead as his Philadelphia Story – not the charming romcom with Stewart, Hepburn and Grant, but a tale inspired by his time living in the most violent and crime-ridden neighbourhoods in the city. He had lived all over the US, after being born in Montana, but kept that adorable, sing-song midwest accent throughout his life.

I told him there was no mistake – and happily David was wrong. Eraserhead is a transgressive and pleasurable enigma, existing alongside movies like Tod Browning’s Freaks, Buñuel’s Un Chien Andalou and Jodorowsky’s El Topo – as a masterpiece of grotesquery as beauty – like a Francis Bacon painting or a Louise Bourgeois sculpture.

Peter Strickland, director

I first saw Eraserhead at the Scala cinema on Saturday 10 February 1990 and to say it was an influence is an understatement. It pointed to an aesthetic pathway hitherto hidden from view, and most tellingly, as with many altering experiences, it revealed something within me that was probably always latent, but required unveiling.

At one point I fell asleep. But my dream state was porous enough to allow in fragments from the film, such as the Lady in the Radiator song, which made the whole experience even more indelible.

For all the genuinely repellent scenes in Eraserhead, the film’s ignition is in its confoundingly wayward tonality and how Lynch saw and heard the world. It was the first time I considered sound as something expressive rather than illustrative and considered film as something impressionistic rather than representative. The film functioned as an environment more than anything. I kidded myself that I could live in that inner world, though my only concession to that was in purchasing the film’s poster from a shop in Reading called But Is it Art?.

Carol Morley, director

It’s hard to believe Lynch has gone, but incredible to contemplate all that he did, and just how his avant garde art bravely made it out into the big wide world and continues to thrive. His film-making turned everything upside down and inside out and he did it with such originality it was breathtaking. He didn’t analyse. He felt, he had dreams and he tried to catch something in the air. In the book Lynch on Lynch, he said: “There are things that cinema can do that are very difficult to talk about.” He understood the mystery and magic like nobody else.

The best thing in the world for him was to have an idea. And he inspired me to stay true to my own ideas even when navigating the tricky and sometimes suffocating parts of film-making that are essentially commerce above art. Over the years I’ve watched and read interviews with him, and once spent a morning in bed reading his insights into life and creativity in his alternative self-help book, Catching the Big Fish. I’d begun the day never wanting to get up again and certainly never wanting to make a film again, but he returned my desire to do both. And through this, he taught me to hang on to the personal, to always return to the beginning of a process – to remember what you fell in love with when you had the initial thoughts and to never let go of that feeling and to keep going deep.

Lynch dreamed up his films – literally. The ending of Blue Velvet came to him in a dream. He inspired me to connect with my unconscious, to pay it respect. I loved how he explored the unmentionables in life, shone light into darkness, created monsters and outsiders, how he reconciled opposites such as the innocence and horror of small-town America, how he looked at “the weird on top” (as Laura Dern’s character in Wild at Heart says) and then took us underground.

The original Blue Velvet trailer says: “It will open your eyes to a world you’ve never seen before.” That pretty much sums up all of Lynch’s oeuvre. There’s a familiarity, but then again … I was around when Twin Peaks aired on TV in 1990 and my friends and I couldn’t stop talking about it. We began to see things differently. Life became Lynchian. I swear he altered the structure of our brains.

His work has always been a great challenge for the mind, but it’s the emotion in his films that has kept me returning for clues. As inventive as he was with performance, image, sound and music, nothing he did was embellishment for the sake of style, everything Lynch did was in service to the story. And It’s clear how much he loved his actors, how he gave them a safe and freeing space to do the very delicate and personal work actors have to do.

Alice Lowe, director

Many remember the first time they encountered Lynch’s indelible images, heard his sound and music for the first time. To me, he’s just always been there. And that’s when a cultural loss feels hard: when you’ve not met someone, but their work feels personal to you, part of your psyche.

But what’s strange is how many feel that way. The strangeness and intimacy of his work is counterintuitive to its popularity, its sheer power to force its way into culture collectively. His work spoke its own language, but a language that was strangely universal. In a time when the very nature of film as an individual’s perspective and the human auteurship of art is in question, it feels seismic to have lost him.

He reminded us that genius can be coupled with kindness and humanity. To me his greatest collaboration was with his audience. The generosity to allow people to project their own interpretation upon his work, forging powerful bonds with it.

For me it is the power of colour within his work; the soul-shifting nature of the sound design; his unforgettable characters: Bob crawling over the sofa, Diane Ladd covering herself with lipstick, Nicolas Cage’s sweetness in Wild at Heart, the log lady, the lady in the radiator, The Elephant Man choosing to die. He deftly mixed tones – nigh impossible. Humour and darkness and horror and sadness and wonder. All human experience contained.

He was the best magician. His spell was to dispel accusations of elitism or pretension with the sheer primality of his incantations. It is happening again. You may not be able to explain it, but deep down, you understand it. Universal. He showed us monsters without being a monster. And his showmanship was filled with empathy.

I’m going try to find something in the wreckage of this loss: a promise to be creative, to trust in art, in humanity, that there is a collectivity to our experience, and it’s worth sharing it. I hope his family are comforted by the love pouring out for this wonderful human.

[moesasaur]

ALL TBOM ELDERS + all canon information on them

I am making this to help out anyone who is writing fanfics or drawing fan art of The Book Of Mormon and wants to draw the elders accurately or keep them in character. I will involve all lines from each character + their fandom given first name and other small things that indicate their personality or traits. I will also state the animal they brought up in I Am Africa since I believe the animals do reflect their personalities in some way.

Elder Church

- Elder “James” Church

- Given the name James by the fandom

- OBC actor: Brian Sears

- Comes from Cheyenne, Wyoming

- When he was young his parents were in an abusive relationship, with his alcoholic father abusing him and his mother

- “Okay, okay, HOLD ON! I mean… We COULD… SAY that we had some baptisms” Is the elder that suggests lying about how many baptisms district 9 has achieved

- “We were SO worried about you” Is the first elder that tells Kevin they were SO worried about him when he fell asleep at the bus station

- In I Am Africa he sings “(with) The Noble Lion King”

- In I Am Africa he also sings “A tribal woman who doesn’t wear a bra”

Elder Michaels

- Elder “Michael” Michaels

- Given the name Mike by the fandom

- OBC actor: Clark Johnsen

- Comes from Provo

Elder Thomas

(I could not find a photo of him, please accept this photo of the actor as an offering)

- Elder “Chris” Thomas

- Also goes by Elder Poptarts

- Given the name Chris by the fandom

- OBC actor: Scott Barnhardt

- His sister died from cancer and he was unable to say goodbye since he was at the apple store in line for a new iphone. Her last words were “Where is my brother”

- “You, too?! I had the hell dream after I accidentally read a Playboy!” Had his first hell dream after accidentally reading a playboy

- “Well, somebody needs to tell that General Butt-F-ing Named that people should be free to do what they want!” Is the elder that gives Kevin the idea of speaking to the general.

- In I Am Africa he sings “(with) The meerkat”. A lot of the fandom compares him to being like a meerkat

Elder Davis

Same thing, take this photo of him (right) standing next to Andrew Rannells (left)

- Elder “Robert” David

- Given the name Robert by the fandom

- OBC actor: Jason Michael Snow

- Is the first elder to ask if Elder McKinley is okay when he is panicking about the mission president

- “Elder Cunningham we must always work in PAIRS. Remember?” Is the first elder to complain about Arnold and Kevin arguing before being shut down by Elder McKinley

- “Looks like you fell asleep at the bus station!” (to Kevin after SMHD)

Elder Schrader

- Elder “Brian” Schrader

- Given the name Brian by the fandom

- OBC actor: Benjamin Schrader

- Please note that he isn’t called Elder Schrader in every performance, he sometimes takes the last name of the actor that plays him since he is named after Benjamin Schrader, his OBC actor

- “Are you an IDIOT?! MORMONS don’t LIE!” could come across as him being outspoken + rude personality wise

- In I Am Africa he sings “With the rhino”

Elder Neeley

Same thing AGAIN. Have a photo him (left) standing next to Jason Michael Snow (right)

- Elder “Ted” Neeley

- Given the name Ted by the fandom

- OBC actor: Kevin Duda

- “I told a lie once when I was twelve, and I had a dream that I went to hell! It was REALLY SPOOKY.” Had his first hell dream after telling a lie when he was 12

- “Yeah, we have to go home!” “But the mission president said we’re all as far from the Latter-Day Saints as it gets!” Seems to be the elder that wants to go home most after being shunned by the mission president

Elder Zelder

I scoured the internet and found no photos of him at all this is all I got sorry guys

- Elder “Elder” Zelder

- Given this name by the fandom, frequently referred to as an alien. I assume this is due to him having fewer lines compared to the other elders. People joke that Elder Zelder is his full name

- OBC actor: Justin Botton

- In I Am Africa he sings “(we are) A monkey with a banana”

PAIRINGS

Here is a photo of the chalk board that lists the pairings of all the elders:

If you can’t read it,

Elder McKinley + Elder Thomas

Elder Zelder + Elder Michaels

Elder Neeley + Elder Schrader

Elder Church + Elder Davis

also it’s a good example of Elder Schrader’s name changing based on the actor portraying him!!

Thank you for reading my little infodump, I did this mostly for myself but I would be happy to know that other people found this helpful!!