#Peter Winterbottom

[tibsnews]

England legend Peter Winterbottom on his debut being overshadowed by a streaker, losing a Rugby World Cup final, touring apartheid South Africa... and his charity work for the Doddie Weir foundation

England legend Peter Winterbottom on his rugby union career and doing charity work for @MNDoddie5 | @AlexWorth17 #EnglandRugby

The date was January 2, 1982, the referee blew for half-time, 14 – sweaty and bruised rugby union players sat on the freezing-cold, muddy Twickenham pitch, discussing their tight affair with Australia and what pub they were going to later.   The 15th player Peter Winterbottom, making his debut, followed quietly.   He had been told by his mentor, former onside flanker Tony Neary, to concentrate…

[lobbycards]

The Claim, French Lobby Card. 2000

[grandhotelabyss]

Thank you, David! I do know what you mean—a particular quality of certain movies, where the film can seem somehow longer and bigger than its running time. (This is why exorbitantly long movies or prestige TV shows can seem an overly literal attempt at this effect, magnitude mistook for meaning.) As a caveat, there’s a lot of movies I haven’t seen, including Barry Lyndon and Tár, so I’m sure I’ve missed obvious examples. Excluding novel adaptations, which usually feel thin if you’ve read the novel anyway—if it’s a great novel, that is, and not, say, The Godfather or The Exorcist, schlock on the page but gold on film—my somewhat idiosyncratic candidates would include:

—Wings of Desire. Cinema as modernist city epic, complete with an epic bard and streams of consciousness, but not so literary—Peter Handke co-wrote the screenplay—as to neglect images, performances, and, above all, sounds. Mark Fisher called it “Epic Trite,” and Wim Wenders can be cloying in that way, but Wings, whose heroine is an acrobat, maintains the balance and remains aloft. 

—Nixon. Not only the biopic to end all biopics—and, I confess, exorbitantly long—but the closest I’ve seen cinema approximate the paranoid postmodern novelistic styles of DeLillo and especially Pynchon. Stone’s alienating Brecht-Godard stylistic kaleidoscope is grounded in Hopkins’s weighty Shakespearean performance, in the same way that Pynchon buries his authentic hippie romanticism (“They are in love. Fuck the war.”) inside a similarly contrived avant shell. 

—Daughters of the Dust. Just as Oliver Stone approaches Pynchon, so Julie Dash channels Morrison with an initially befuddling and then eventually immersive magical realist excavation of a Gullah family around the turn of the century. As in many great novels, each character embodies a distinct social role and worldview until the discordance of their clash rises to the concord of art.

—Code 46. An underrated science-fiction romance that is short on plot and long on tone, mood, and its own polyglot language. As with Daughters of the Dust, it takes a few minutes to adjust to the film’s particular universe, a quality of trust in audiences I find more common in fiction than in cinema—no doubt due to the vastly higher cost of the latter to produce. (Trigger warning for the instantly dated Coldplay song that plays over the final shots: Epic Trite indeed.)

—Suspiria. Guadagnino reimagines the giallo horror classic as less an aesthete’s fever dream than a grittier social and psychological canvas of the arts in postwar Europe. In common with the other movies on this little list, it’s not just a story or a collection of performances but a fully realized world unto itself, bounded as if between the covers of a book.

[artofcinema]

top 10 movies watched in JANUARY 2020

1. Nowhere (1997, Gregg Araki)

2. I Am Cuba (1964, Mikhail Kalatozov)

3. Uncut Gems (2019, Josh & Benny Safdie)

4. The Draughtsman’s Contract (1982, Peter Greenaway)

5. The Beguiled (1971, Don Siegel)

6. Successive Slidings of Pleasure (1974, Alain Robbe-Grillet)

7. A Cock and Bull Story (2005, Michael Winterbottom)

8. Dead Man (1995, Jim Jarmusch)

9. Funny Girl (1968, William Wyler)

10. Nosferatu (1922, F. W. Murnau)

[notjustamaninahat]

thurstyboots replied to your post “Jeremy Northam: Oscar Good Luck Charm”

@notjustamaninahat well observed. He certainly has been collaborating with successful people in front and behind the camera

Yes he has, @thurstyboots.

Since you mention behind the camera . . .  The list of movie directors Jeremy has worked with is like a Directors Guild “Who’s Who”:

Peter Kosminsky (Wuthering Heights)

Irwin Winkler (The Net)

Guillermo Del Toro (Mimic)

Steven Spielberg (Amistad)

Stephen Poliakoff (The Tribe and Glorious 39)

Sidney Lumet (Gloria)

David Mamet (The Winslow Boy)

James Ivory (The Golden Bowl)

Michael Apted (Enigma)

Robert Altman (Gosford Park)

Neil La Bute (Possession)

Vincenzo Natali (Cypher)

Norman Jewison (The Statement)

Michael Winterbottom (Tristram Shandy, A Cock & Bull Story)

Oliver Hirschbiegel (The Invasion)

Toa Fraser (Dean Spanley)

Gavin Hood (Eye In the Sky and Official Secrets) and

Susanna White (Our Kind of Traitor)

[thisisnotsoccer]

Northampton-Harlequins 1991 - En finale de la Pilkington Cup, Les Harlequins de Brian Moore (au talonnage), Jason Leonard (pilier gauche) et Peter Winterbottom (3ème ligne) s’imposent face aux Saints 25 à 13.

[leda-asuddenblow]

Now we figured it out that Bonnie and Isaac in love with Annalise. Which makes so much sense to me she’s just fascinating. But tell me about Frank? What do you people think? Obviously I’m on the Bonnalise team but did Connor kinda refer it? That Frank actually loves Annalise but trying to repair it with Laurel? Because Laurel said that too that he actually loves the idea of protecting Laurel but not her… 

[2022movieonline]

欧美10部有内涵的爱情动作电影片 你不能只把它们当apian来看

欧美10部有内涵的爱情动作电影片 你不能只把它们当apian来看，里面的故事情节，人物构造，画面风格都值等你细细品味! 1.情欲九歌九首歌/情欲九歌/9 Songs 影片原名：9 Songs 国家地区：英国 上映时间：2004-05-16 影片时长：66分钟 导演：Michael Winterbottom 主演：Alex Kapranos，Courtney Taylor-Taylor，Gruff Rhys，Guy Garvey，Jason Stollsteimer，Kieran O’Brien，Marcie Bolen，Margo Stilley，Peter Hayes，Robert Levon Been 影片介绍：在广阔寂静的南极上空，一位年轻的冰川学家马特（Kieran O’Brien饰）回忆起自己与丽莎（Margo Stilley饰）的恋情，他们在伦敦的布里克斯顿音乐学院的音乐节上相遇，那个欲望初绽的夏天，几个月的时间里，他们一起追求相互之间的滚床单. 在那个夏天，九首歌典相对应他们的一次次高潮，一次次缠绵，有笑有泪的爱情故事片，由于大尺度的演出被定义为情色禁片，而主角之间的爱情却也不失甜美…… 拍摄性爱场面时，拍摄现场只有导演、摄影师和录音师。该片预计拍摄10周，但实际只拍了5周。 2.安娜情欲史 影片原名：All About Anna 国家地区：丹麦 上映时间：2005-11-24 影片时长：91分钟 导演：Jessica Nilsson 主演：Gry Bay,Adrian Bouchet,Eileen Daly,Morten Schelbech,Ovidie 影片介绍： 女主角Anna是一名模特，是个不想受感情束缚，享受自由独立生活的女子，不过与前男友重逢后，她有一丝心动，但同时又挣扎着不想失去好不容易拥有的自由，其中两人多场情欲戏一次次都以失败的性高潮结束…… 3.���十度灰 五十度灰/Fifty Shades Freed 影片原名：Fifty Shades Freed 国家地区：美国 上映时间：2018-01-17 影片时长：105分钟 导演：James Foley 主演：Dakota Johnson,Jamie Dornan,Eric Johnson,Luke Grimes,Rita Ora 影片介绍： 一名纯真的21岁女大学生安娜塔希娅·史迪尔（达科塔·约翰逊饰）因为要为校报作一篇报道，便前去采访28岁英俊的企业家克里斯钦·格雷（杰米·道南饰），两人之间擦出了爱的火花，但很快安娜就发现格雷的一个惊人的秘密——他喜欢SM（性虐待）。得知真相的安娜在爱与痛的边缘之间不断挣扎，结果不断发现自己不为人知的阴���面。本片自上映以来，评分一般，但是关注度极高，IMDB的评分次数达到53000次。 4.黑帮大佬和我的365日 黑帮大佬和我的365日 影片原名：禁室365天(港) / 禁锢之欲(台) / 365天 / 365日 / 365 Days/365 dni 国家地区：波兰 上映时间：2020-02-07 影片时长：116分钟 导演：Barbara Bialowas 主演：Anna Maria Sieklucka，Michele Morrone 影片介绍： 马西莫·托里塞利是一个西西里黑手党家族的年轻英俊的老板，在他的父亲被暗杀后，他别无选择，只能接掌位子。 劳拉·贝尔是一家豪华酒店的总监，事业有成，但私生活却缺乏激情,她努力来挽救人际关系，和朋友一起去西西里岛旅行。劳拉没有料到岛上最危险的人马西莫会绑架她，囚禁她，给她365天时间爱上他。《365 dni》是根据波兰同名畅销小说改编。 5.苦月亮 苦月亮Bitter Moon 影片原名：Bitter Moon 国家地区：法国 上映时间：1992-09-02 影片时长：139 分钟 导演：Roman Polanski 主演：Hugh Grant，Kristin Scott Thomas 影片介绍： 听到她的故事后，游轮上的一名乘客对一个截瘫患者的妻子产生了难以抗拒的迷恋。 6.罗马的房子 罗马的房子/Room in Rome 影片原名：Habitación en Roma 国家地区：西班牙 上映时间：2010-05-07 影片时长：109分钟 导演：Julio Medem 主演：Elena Anaya,Natasha Yarovenko,Enrico Lo Verso,Najwa Nimri 提名： 高雅奖最佳女主角， 哥雅奖最佳新人女演员， 高雅奖最佳改编剧本奖 影片介绍： 《罗马的房间》是一部2010年的西班牙情色浪漫喜剧电影，描绘了在罗马的旅馆房间里，两个女人在一个晚上的情感和性关系。该情节松散地取材于另一部电影《躺在床上》。《罗马的房间》是胡立欧·麦登的第一部英语电影。 7.枕头上的爱 枕头上的爱/Le Repos du guerrier 影片原名：Le Repos du guerrier 国家地区：法国 上映时间：1962-09-05 影片时长：102分钟 导演：Roger Vadim 主演：Brigitte Bardot,Robert Hossein,Jean-Marc Bory,Michel Serrault,Jacqueline Porel 影片介绍： 《枕头上的爱》是由罗杰·瓦迪姆执导的1962年法国电影，由碧姬·芭铎主演。在法国，它被称为Le r​​epos du guerrier 8.你的妈妈也一样 你的妈妈也一样/Y Tu Mamá También 影片原名：Y Tu Mamá También 国家地区：墨西哥 上映时间：2001-06-08 影片时长：106分钟 导演：Alfonso Cuarón 主演：Gael García Bernal,Diego Luna,Maribel Verdú,Daniel Giménez Cacho,Diana Bracho,María Aura 影片介绍： 《你的妈妈也一样》是2001年墨西哥剧情电影，由阿方索·卡隆执导，并与弟弟卡洛斯合作编剧。剧情描述两个青少年为了即将到来的成年时刻，于是与一个美丽成熟的女子同行，展开了一趟公路之旅。电影由墨西哥演员迭戈·卢纳和盖尔·贾西亚·贝纳以及西班牙演员玛莉贝尔·维杜主演。 9.巴黎野玫瑰 巴黎野玫瑰/Betty Blue 影片原名：37°2 le matin 国家地区：法国 上映时间：1986-04-09 影片时长：185分钟 导演：Jean-Jacques Beineix 主演：Jean-Hugues Anglade,Béatrice Dalle,Gérard Darmon,Clémentine Célarié,Jacques Mathou,Consuelo De Haviland 提名： 凱薩獎最佳男配角獎， 凯萨奖最佳影片奖， 凯萨奖最佳女主角奖， 影片介绍： （Betty Blue）是一部1986年的法国情色心理剧情片。它的原始法语名称是37°2 le matin，意思是“早晨37.2℃”。电影由Jean-Jacques Beineix执导，主演BéatriceDalle和Jean-Hugues Anglade。 10.皇室风流史 皇室风流史/En kongelig affære/A Royal Affair 影片原名：En kongelig affære 国家地区：丹麦 上映时间：2012-03-29 影片时长：137分钟 导演：Lars von Trier 主演：Mads Mikkelsen,Alicia Vikander,Mikkel Boe Følsgaard,David Dencik,Cyron Melville,Trine Dyrholm 提名： 凱薩獎最佳男配角獎， 凯萨奖最佳影片奖， 凯萨奖最佳女主角奖， 影片介绍： 讲述18世纪60到70年代丹麦-挪威王国皇后玛蒂尔德与宫廷御医施特林泽之间所发生的“婚外情”。 由于丈夫、丹麦国王克里斯蒂安七��狂躁、轻狂、无礼，智商情商皆不高，因此刚嫁给他的丹麦王后卡洛琳（来自英国，自由派）很郁闷。带着秘密任务接近克里斯蒂安七世的德国医生施特林泽（自由改革派人物）很快获得国王的好感，并顺利掌控国王，影响政局的积极变化。原本一切变革顺利进行，但由于他和王后发生关系并生下一个女儿，最终被保守派抓住把柄，施特林泽和另一人被送上了断头台秘密处决。

[tilbageidanmark]

Here is a summery of the 885 Movies I saw in 2021:

Inspired by a reddit r/movies post, I decided a year ago to start reviewing the many films I watch. Bit by bit, writing these short reviews became my new “art Project”, my main creative 'thing’ for 2021.

The combination of being retired, and alone, plus Corona, enabled me to happily watch an average of nearly 3 films per day, reverting me to the old days 40 years ago, when I studied Film at the University of Copenhagen under Peter Schepelern, and learned about semiotics, history & film theories.

I enjoyed this year tremendously, and intend to continue spending (“wasting”) my time exploring old and new films alike.

Below are some statistics and a short list of a few curious finds.

I called this project “1,000 films” but ended up seeing a total of 'only' 885. Out of these, 122 were documentaries, 41 Shorts and 10 were stand-ups. I watch all these films on Cataz, which contains 90% of every film I ever want to see.

I thought of myself as an an all-round cineast, versed in world cinema, interested to discover rare gems old and new. But sadly, after looking at my end-year summery, I realized that this was not the case and I am far from a completist: Only 302 were “foreign films” and at least 198 (22%, and usually of my best-rated films) were films I had seen before, sometimes often.

Of the “foreign” films, 64 were French, 43 were from the UK, 40 from Denmark, 19 each were Japanese and Italian, 13 German, 10 from Sweden, 9 each from Poland & Israel, 6 each from Iran, Mexico and Norway. Others were from Argentina, Armenia, Austria, Brazil, Catalonia, Chile, Holland, Hong Kong, Hungary, Iceland, India, Korea, Lebanon, Mongolia, Romania, Spain, Turkey, Uganda, USSR and Venezuela.

Initially I was hoping to take a sizable bite out of the many films I hadn't seen before. But the field is simply much too vast: There are too many masterpieces in Russian, Thai, Arabic, Flemish, Mandarin, Portuguese, Swiss and what-not. In the process, I also fell prey to “NEWS”, the 'Never-Ending Watch-list Syndrome', and ended up with a saved list of over 400 more selections waiting to be consumed.

To my surprise, the list was also heavily populated by newer films, with 98 from 2021, 73 from 2020, a total of 406 from the last 10 years, and only 61 from before 1960. So, not much of Film-History flair either.

Of the individual directors, I was mostly taken by Anders Thomas Jensen (10 films), Agnès Varda (6), Céline Sciamma (4), Alejandro González Iñárritu (3), Thomas Vinterberg (5), Jeff Nichols (4), Krzysztof Kieślowski (5), Paweł Pawlikowski (3), Asghar Farhadi (2), Andrey Zvyagintsev (2), Paolo Sorrentino (3), Susanne Bier (5), Kelly Reichardt (2), Tom McCarthy (7), Erroll Morris (4), Ramin Bahrani (4), Roy Andersson (2), Michael Haneke (5), Olivier Assayas (3), Steve McQueen (3), Gus Van Sant (5), Steven Soderbergh (9), Mia Hansen-Løve (2), Terry Zwigoff (3), Sydney Pollack (5) and Michael Winterbottom (4). All these on top of an already long list of old favorites, Kubrick, Fellini, Coen Bros., Truffaut, Bergman, Schrader, Chaplin, etc.

Here are a few of the new-to-me, less-obvious jewels that I liked this year:

Metropia (2009) by Swedish-Egyptian director Tarik Saleh was the most innovative and unusual film I’ve never heard of during this project. A complex dystopic story which uses an uncanny hybrid of photoshoped photography and animation. An oppressive story about a paranoiac Moby-lookalike man who hears voices in his head and stumbles upon a European conspiracy related to a massive Metro train network. But it’s so grey & so strange! 10/10. Highly recommended.

I’m been obsessed with the Danish films of Anders Thomas Jensen, a masterful director and prolific screenwriter. I saw his Riders of Justice (2020) at least 5-6 times. A tight revenge story with the same ensemble cast he usually collaborates with, including Mads Mikkelsen, Nikolaj Lie Kaas and Nicolas Bro.

Same goes for ATJ's manuscript After the Wedding (2006), directed by Susanne Bier. Another tortured-looking Mads Mikkelsen, this time as an ex-pat manager of a small Indian orphanage. Here he re-visits Denmark to secure a large donation promised by a rich benefactor, and things do not end up as they start. Intense and sensitive, with many quiet close-ups, mostly on everybody’s eyes.

The Station Agent (2003), Tom McCarthy’s first film, before he wrote 'UP' and directed 'Spotlight'. Unlikely friendship between a train-loving, withdrawn dwarf who moves to an abandoned train depot in rural NJ, a depressed artist who lost her son, and a gregarious Cuban hotdog seller. Quirky and heartfelt.

The Méliès Mystery (2021), a fascinating biography of magician, toy-maker, pioneer director, impresario and THE inventor of the cinema. Gave me a whole new appreciation for his work.

Ship of Theseus, a philosophical 2012 Indian art-house masterpiece, based on the Heraclitus thought experiment that asks, if an object that has had all of its components replaced remains the same object. It tells 3 separate stories that are seemingly unrelated. The first introduces a young Egyptian photographer who is blind and creates her street art based on sounds she hears. The second is about a dying Jain monk, fighting to ban animal testing in India. The third is about a poor bricklayer whose stolen kidney was sold illegally to an unsuspecting Swedish man. The uniting finale is a moving reflection on Plato’s allegory of the cave. It may not sound appealing, but the film is absolutely beautiful, surprising, compelling and original.

The Painter and the Thief (2020): An emotional Norwegian documentary about an unexpected relationship between a painter and the drug-addict thief who stole two of her most important artworks …”Ranked as the best documentary film of 2020 by the BBC ,The Washington Post, and The Boston Globe…”

Céline Sciamma's 2011 delicate story Tomboy. A poetic tale of a 10-year-old girl who pretends to be a boy. Tender and genuine in that most of it is entrusted to the children who play themselves, very much like Truffaut’s “L'argent de poche”.

György Pálfi’s Final Cut, Ladies and Gentlemen (2012), The ultimate supercut - a romantic experimental mash-up, made up of 450 clips from the most famous films in history.

In & Of Itself (2020) - A most astounding performance by Derek DelGaudio, combining elements from Lennart Green, Spalding Gray, Ricky Jay, Laurie Anderson, Derren Brown, Marina Abramović, et al. into an emotional personal journey. Directed by Frank Oz.

Paweł Pawlikowski's disastrous love story Cold War (2018), starts with a group of ethnomusicologists searching the countryside for old traditional folk sounds before they are lost forever, and ends 15 surprising years later at the most intense heartbreak. An absolute masterpiece - 10/10.

Debra Granik's Leave No Trace (2018), the most reviewed (239) film to hold an approval rating of 100% on ‘Rotten Tomatoes’. A veteran father suffering from PTSD who lives off the grid in a forest near Portland, Oregon together with his 13 year old daughter. It’s the same story arch as 'Captain Fantastic', but even better. The bonds between the two are painful and deep. The survival story is balanced and deeply touching.

First glorious watch - Wong Kar-Wai’s romantic Chungking Express, with Tony Leung & Faye Wong. I always thought it was an action flick, (probably because it “was Tarantino’s favorite movie”) so I avoided it until now.

Hiromasa Yonebayashi worked for Ghibli for 18 years before leaving in 2014 to establish his own Studio Ponoc. It is obvious that he sees himself as heir apparent to Hayao Miyazaki, and deservedly so. Mary and the Witch’s Flower (2017) was the first film he directed there. A psychedelic fairy tale about another young girl who becomes a witch combines the emotional twists from ‘Spirited Away’, basic story from ‘Kiki’s Delivery Service’ and Ponyo’s magic, together with Harry Potter adventures. The animation kept changing unexpectedly at least 10-15 times into new, phantasmagorical styles.

Tim's Vermeer (2013). A Texas inventor becomes convinced that 17 century Dutch painter Johannes Vermeer used an optical camera obscura device to achieve his photographic quality, so he set up to recreate The Music Lesson, in spite of never having picked up a paintbrush before. Created by Penn & Teller, and directed by Teller.

Mike Nichols first film Who’s Afraid of Virginia Woolf? (1966), a scathing play of humiliation and co-dependency. With vicious performances by Richard Burton and Elizabeth Taylor, and just as magnificent score by Alex North. The only modern film to be nominated in every eligible Oscar category. I imagined Jon Hamm & Elizabeth Moss casted as George & Martha in a Broadway production of it.

African Kung Fu Nazis, the first Ghanaian film I ever saw: A bizarre, super-low-budget ($20,000) satire with absurd plot: Hitler and Emperor Tojo did not die, but fled to Ghana, where, years later, they reverse the aging process and start a brand new bid for world domination. With his right-hand man, Horse-Man Göring, Hitler brainwashes the locals into joining a new army – the Ghan-Aryans. Only a plucky underdog from the Shadow Snake kung fu school, can save them. (Not a good film, but noteworthy).

The Aerial (”La Antena”), an innovative Argentinian silent film from 2007,  about a city that had lost its voice, and its only savior, a boy without eyes who is crucified on a Star of David. It’s a surreal allegory in German expressionism style, a weird black & white fantasy about mind control. In short, a unique and inaccessible fairy tale.

Dozens of other outstanding films stimulated, delighted, captivated me again and again: Sorkin's Molly’s Game, The other side of hope by Aki Kaurismäki, Udo Kier's Swan Song, Jacques Demy's The Umbrellas of Cherbourg,  Anna Kendrick in A Simple Favor, Claire’s Camera, Pixar’s Soul, Carol, Au Revoir les Enfants, Etc. Etc. Etc. But then, everybody has their own hierarchy of top rating favorites.

I made a simple Google spreadsheet with the raw data.

(This is a copy of my reddit post about it.)

Murky Buckets.

[peterwoods]

ENTRY   :    A VERY DESCRIPTIVE PROFILE OF YOUR MUSE.     repost   with   the   information   of   your   muse   ,   including   headcanons   ,   etc.   if   you   fail   to   achieve   some   of   the   facts   ,   add   some   other   of   your   own   !

NAME.       woods (to most), peter (to few) AGE.       born 1943, so if we’re talking currently? he’d be 79 😭 bye SPECIES.        human. GENDER.     cis man. ORIENTATION.      gay all the way babey! INTERESTS.       people, art, nature (mainly plants & birds), poetry, watercolours, vehicle mechanics, examining/analysing structures of culture and society. PROFESSION.       roadie for a 60s/70s cali rock band until 1978, published author/poet from mid-70s onwards, professor at a few colleges in the 80s, in the 90s he begins focusing more on teacher workshops and independent tutoring. BODY TYPE.       somewhat heavyset, barrel-chested with footballer’s broad shoulders, long-legged, thick thighed. he’s just an ominously huge presence. when he was younger his tendency to put on weight was the source of a lot of insecurity; due to poor eating habits he was somewhat under his average weight in his early 20s. EYES.     storm cloud blue. feathery thick lashes. heavy lidded, which tends to make him look a little bored with everything. if he looks upwards, though, his eyes appear very large and puppyish. HAIR.         a deep brown, bordering on black. straight, thick textured, and tends to be a bit choppy in its cut. as he ages, he begins silvering in his 30s; his hair thins out and becomes more wispy, and he forgoes his fringe and brushes it back. SKIN.     in the winter, he is relatively fair-skinned, kinda dough-y with an olive undertone. he is baked bread in the summer (read: tans well). a few freckles here and there, but in random locations, never clustered. FACE.     oval-ish, with a strong jaw and round chin. cheeks emphasised by blocky sideburns. broad, roman nose, with a fairly distinct point. very pink, pouty botticelli lips (in fact, he looks somewhat like he could be a boticelli painting, or a greek statue.) his ears are large and mouse-like (often why he hides them under his hair). by the 70s, he adopts the moustached gay look, then slowly grows it out into fuller facial hair/beard. HEIGHT.        6′0″ / 183 cm COMPANIONS.     perry marchand (partner), diane chambers (colleague? pupil?), bennie thatcher (friend), ray belmont (editor), bonnie winterbottom (found family daughter), laura ferguson (found family daughter #2). ANTAGONISTS.      uhhh... the bigoted straights who don’t want him to publish his gay shit. his asshole Father who gave him literal ptsd? idk. COLORS.     loves his blues, but can be partial to a rich red or burgundy. he loves deep, robust solid colours. gold is usually his go-to embellishment with clothes. FRUITS.      apples, grapes, peaches, plums, kiwi, etc. i don’t think he has a fruit he doesn’t like? ;-) DRINKS.    coffee (lifelong caffeine addiction), any kind of tea, lemonade. is not the biggest fan of grape or cranberry juice. ALCOHOLIC BEVERAGES   ?    sherry, gin, white wines. he stops drinking after 1979 though. turns out that alcohol does not help one get through a breakup. SMOKES   ?     probably a bit too much. again, another lifelong habit he can’t break. his gravelly voice is a strong indicator of this. DRUGS   ?      pot, coke, lsd - pretty much anything that passes through the clubs in the 70s. fortunately, he finds his creativity suffers deeply from consistent substance usage and he keeps himself away from spiralling into dependency. by the 80s, he’ll maybe smoke a joint here and there... for the sore joints (especially his fucked up knee). DRIVERS LICENSE   ?    yes - being a roadie/bus driver certainly requires that.

TAGGED BY   :      nabbed from the dash... my usual thievery.  TAGGING   :     any human that reads this and says hey! i, too, want to spend a butt load of time writing out all the brilliant specificities of my literary child(ren).

[lobbycards]

The Claim, French Lobby Card. 2000

[kevrocksicehouse]

Juliet Binoche has starred in The English Patient and The Unbearable Lightness of Being, both novels deemed “unfilmable.” A few other times impossible properties got made.

Naked Lunch. D: David Cronenberg (1991). Cronenberg once said William Burroughs impressionistic novel about bug powder, pedophilia and evil doctors (Burroughs said the chapters should be read in any order) would cost $400 million and would be banned in every country in the world. So he used the novel’s themes, fused it with a literary version of his patented body horror (typewriters turn to cockroaches, drugs are sucked from centipede-like creatures) and mixed them with sequences from Burroughs own life (Peter Weller plays him) to produce the world’s weirdest literary biography.

Adaptation. D: Spike Jonze (2002). Jonze works from a screenplay from Being John Malkovich’s Charlie Kaufman about the nervous breakdown he had trying to adapt Susan Orleans’s nonfiction book The Orchid Thief until (with the help of his fictional twin brother) he had Orleans (Meryl Streep) join up with Orchid Thief John Laroche (Chris Cooper) for an orchid-fueled drug scheme. In other words, the whole second half of this movie was just made up.

Tristam Shandy: A Cock and Bull Story. D: Michael Winterbottom (2005). Tristam Shandy is as Steve Coogan says “a post-modern classic before there was a modern to be post about.” (It both begins and ends with its hero’s birth with nothing but digressions in between). Coogan plays himself starring in a film of the unfilmable novel in this dry movie about making a movie from an unfilmable novel. It’s meta.

Watchmen. D: Zach Snyder (2009). Snyder eschewed, well nothing, in this panel by panel filming of Alan Moore’s landmark, 12 issue, incredibly violent story about superheroes trying to stave off an apocalypse that might have happened thirty-five minutes ago. He did make two changes. He got rid of the pirate story and turned it into an animated extra on the DVD. And he tweaked the ending so the apocalypse isn’t just a giant squid. JUDAS!

Cosmopolis. D: David Cronenberg. (2012). Cronenberg, who must be a glutton for punishment, adapted Don Dellilo’s discursive, nihilistic book about a billionaire speculator who takes a limo to get a haircut, as his and our world start to crumble, to his supreme disinterest. This disorienting movie, a companion piece to the 2008 financial collapse was the first real proof that Twilight’s Robert Pattinson could play something other than a somnolent vampire. He could also play a currency speculator.

[oldmogg]

1861 Georges Méliès 1875 D.W. Griffith 1879 Victor Sjöström 1880 Tod Browning 1881 Cecil B. DeMille 1884 Robert Flaherty 1885 Allan Dwan / Sacha Guitry / G.W. Pabst / Erich von Stroheim 1886 Michael Curtiz / Henry King / John Cromwell 1887 Raoul Walsh 1888 F.W. Murnau 1889 Charles Chaplin / Jean Cocteau / Carl Theodor Dreyer / Victor Fleming / Abel Gance / James Whale 1890 Clarence Brown / Fritz Lang 1892 Ernst Lubitsch 1893 William Dieterle 1894 Frank Borzage / John Ford / Jean Renoir / King Vidor / Josef von Sternberg 1895 Buster Keaton 1896 Julien Duvivier / Howard Hawks / Leo McCarey / Dziga Vertov / William Wellman 1897 Frank Capra / Douglas Sirk 1898 René Clair / Sergei Eisenstein / Henry Hathaway / Mitchell Leisen / Kenji Mizoguchi / Preston Sturges 1899 George Cukor / Alfred Hitchcock 1900 Luis Buñuel / Mervyn LeRoy / Robert Siodmak 1901 Robert Bresson / Vittorio De Sica 1902 Emeric Pressburger / Max Ophüls / William Wyler 1903 Vincente Minnelli / Yasujiro Ozu 1904 Delmer Daves / Terence Fisher / George Stevens / Jacques Tourneur / Edgar G. Ulmer 1905 Mikio Naruse / Michael Powell / Otto Preminger / Jean Vigo 1906 Jacques Becker / Marcel Carné / John Huston / Anthony Mann / Carol Reed / Roberto Rossellini / Luchino Visconti / Billy Wilder 1907 Henri-Georges Clouzot / Joseph H. Lewis / Jacques Tati / Fred Zinnemann 1908 Tex Avery / Edward Dmytryk / Phil Karlson / David Lean / Manoel de Oliveira 1909 Elia Kazan / Joseph Losey / Joseph L. Mankiewicz 1910 John Sturges / Akira Kurosawa 1911 Jules Dassin / Nicholas Ray 1912 Michelangelo Antonioni / Samuel Fuller / Gene Kelly / Alexander Mackendrick / Don Siegel 1913 André de Toth / Mark Robson / Frank Tashlin 1914 Mario Bava / William Castle / Robert Wise 1915 Orson Welles 1916 Budd Boetticher / Richard Fleischer / George Sidney 1917 Maya Deren / Jean-Pierre Melville 1918 Robert Aldrich / Ingmar Bergman 1920 Federico Fellini / Eric Rohmer 1921 Luis García Berlanga / Miklós Jancsó / Chris Marker / Satyajit Ray 1922 Blake Edwards / Jonas Mekas / Pier Paolo Pasolini / Arthur Penn / Alain Resnais 1923 Ousmane Sembene / Seijun Suzuki 1924 Stanley Donen / Sidney Lumet 1925 Robert Altman / Claude Lanzmann / Sam Peckinpah / Maurice Pialat 1926 Roger Corman / Shohei Imamura / Jerry Lewis / Andrzej Wajda 1927 Kenneth Anger / Ken Russell 1928 Stanley Kubrick / Jacques Rivette / Nicolas Roeg / Agnès Varda / Andy Warhol 1929 Hal Ashby / John Cassavetes / Alejandro Jodorowsky / Sergio Leone 1930 Claude Chabrol / Clint Eastwood / John Frankenheimer / Kinji Fukasaku / Jean-Luc Godard / Frederick Wiseman 1931 Jacques Demy / Mike Nichols / Ermanno Olmi 1932 Milos Forman / Monte Hellman / Louis Malle / Nagisa Oshima / Carlos Saura / Andrei Tarkovsky / François Truffaut 1933 John Boorman / Stan Brakhage / Roman Polanski / Bob Rafelson / Jean-Marie Straub 1934 Sydney Pollack 1935 Woody Allen / Theo Angelopoulos 1936 Hollis Frampton / Danièle Huillet / Ken Loach 1937 Ridley Scott 1938 Paul Verhoeven 1939 Peter Bogdanovich / Francis Ford Coppola / William Friedkin / Glauber Rocha 1940 Dario Argento / Brian De Palma / Victor Erice / Terry Gilliam / Abbas Kiarostami / George A. Romero 1941 Bernardo Bertolucci / Stephen Frears / Patricio Guzmán / Krzysztof Kieslowski / Hayao Miyazaki / Raúl Ruiz / Bertrand Tavernier 1942 Peter Greenaway / Michael Haneke / Werner Herzog / Walter Hill / Martin Scorsese 1943 Roy Andersson / David Cronenberg / Mike Leigh / Terrence Malick / Michael Mann / Alan Rudolph 1944 Charles Burnett / Jonathan Demme / George Lucas / Peter Weir 1945 Terence Davies / Rainer Werner Fassbinder / George Miller / Wim Wenders 1946 Joe Dante / Claire Denis / David Lynch / Paul Schrader / Oliver Stone / John Woo 1947 Hou Hsiao-hsien / Takeshi Kitano / Rob Reiner / Steven Spielberg / Edward Yang 1948 John Carpenter / Philippe Garrel / Errol Morris 1949 Pedro Almodóvar 1950 Chantal Akerman / John Landis / John Sayles 1951 Kathryn Bigelow / Jean-Pierre Dardenne / Abel Ferrara / Aleksandr Sokurov / Robert Zemeckis / Zhang Yimou 1952 Jacques Audiard / Gus Van Sant 1953 Jim Jarmusch 1954 James Cameron / Jane Campion / Joel Coen / Luc Dardenne / Ang Lee / Michael Moore 1955 Olivier Assayas / Béla Tarr / Johnnie To 1956 Danny Boyle / Guy Maddin / Lars von Trier / Wong Kar-wai 1957 Ethan Coen / Aki Kaurismäki / Spike Lee / Mohsen Makhmalbaf / Tsai Ming-liang 1958 Tim Burton 1959 Nuri Bilge Ceylan / Pedro Costa / Sam Raimi 1960 Leos Carax / Atom Egoyan / Hong Sang-soo / Richard Linklater / Takashi Miike / Jafar Panahi 1961 Alfonso Cuarón / Todd Haynes / Peter Jackson / Alexander Payne / Abderrahmane Sissako / Michael Winterbottom 1962 David Fincher / Hirokazu Koreeda / Kenneth Lonergan 1963 Michel Gondry / Alejandro González Iñárritu / Park Chan-wook / Steven Soderbergh / Quentin Tarantino 1964 Guillermo del Toro / Kelly Reichardt / Andrey Zvyagintsev 1965 Jonathan Glazer 1966 Lucrecia Martel 1967 Denis Villeneuve 1969 Wes Anderson / Darren Aronofsky / Noah Baumbach / Bong Joon-ho / James Gray / Spike Jonze / Steve McQueen / Lynne Ramsay 1970 Paul Thomas Anderson / Jia Zhangke / Christopher Nolan / Apichatpong Weerasethakul 1971 Sofia Coppola / Carlos Reygadas Directors listed by key production country (Country of birth, if it differs, is listed in brackets) Argentina Lucrecia Martel Australia Jane Campion (New Zealand) / George Miller Austria Michael Haneke (Germany) Belgium Chantal Akerman / Jean-Pierre Dardenne & Luc Dardenne Brazil Glauber Rocha Canada David Cronenberg / Atom Egoyan (Egypt) / Guy Maddin / Denis Villeneuve China Jia Zhangke / Zhang Yimou Denmark Carl Theodor Dreyer / Lars von Trier Finland Aki Kaurismäki France Olivier Assayas / Jacques Audiard / Jacques Becker / Robert Bresson / Leos Carax / Marcel Carné / Claude Chabrol / René Clair / Henri-Georges Clouzot / Jean Cocteau / Jacques Demy / Claire Denis / Julien Duvivier / Abel Gance / Philippe Garrel / Jean-Luc Godard / Sacha Guitry (Russia) / Patricio Guzmán (Chile) / Claude Lanzmann / Louis Malle / Chris Marker / Georges Méliès / Jean-Pierre Melville / Max Ophüls (Germany) / Maurice Pialat / Roman Polanski / Jean Renoir / Alain Resnais / Jacques Rivette / Eric Rohmer / Raúl Ruiz (Chile) / Jean-Marie Straub & Danièle Huillet / Jacques Tati / Bertrand Tavernier / François Truffaut / Agnès Varda (Belgium) / Jean Vigo Germany / West Germany Rainer Werner Fassbinder / Werner Herzog / F.W. Murnau / G.W. Pabst (Austria-Hungary) / Wim Wenders Greece Theo Angelopoulos Hong Kong Wong Kar-wai (China) / Johnnie To / John Woo (China) Hungary Miklós Jancsó / Béla Tarr India Satyajit Ray Iran Abbas Kiarostami / Mohsen Makhmalbaf / Jafar Panahi Italy Michelangelo Antonioni / Dario Argento / Mario Bava / Bernardo Bertolucci / Vittorio De Sica / Federico Fellini / Sergio Leone / Ermanno Olmi / Pier Paolo Pasolini / Roberto Rossellini / Luchino Visconti Japan Kinji Fukasaku / Shohei Imamura / Takeshi Kitano / Hirokazu Koreeda / Akira Kurosawa / Takashi Miike / Hayao Miyazaki / Kenji Mizoguchi / Mikio Naruse / Nagisa Oshima / Yasujiro Ozu / Seijun Suzuki Mauritania Abderrahmane Sissako Mexico Luis Buñuel (Spain) / Alejandro Jodorowsky (Chile) / Carlos Reygadas New Zealand Peter Jackson Poland Krzysztof Kieslowski / Andrzej Wajda Portugal Pedro Costa / Manoel de Oliveira Russia / USSR Sergei Eisenstein (Latvia) / Aleksandr Sokurov / Andrei Tarkovsky / Dziga Vertov (Poland) / Andrey Zvyagintsev Senegal Ousmane Sembene South Korea Bong Joon-ho / Hong Sang-soo / Park Chan-wook Spain Pedro Almodóvar / Victor Erice / Luis García Berlanga / Carlos Saura Sweden Roy Andersson / Ingmar Bergman / Victor Sjöström Taiwan Hou Hsiao-hsien (China) / Tsai Ming-liang (Malaysia) / Edward Yang (China) Thailand Apichatpong Weerasethakul Turkey Nuri Bilge Ceylan UK John Boorman / Danny Boyle / Terence Davies / Terence Fisher / Stephen Frears / Jonathan Glazer / Peter Greenaway / David Lean / Mike Leigh / Ken Loach / Joseph Losey (USA) / Alexander Mackendrick (USA) / Steve McQueen / Michael Powell / Michael Powell (UK) & Emeric Pressburger (Hungary) / Lynne Ramsay / Carol Reed / Nicolas Roeg / Ken Russell / Michael Winterbottom USA (A-B) Robert Aldrich / Woody Allen / Robert Altman / Paul Thomas Anderson / Wes Anderson / Kenneth Anger / Darren Aronofsky / Hal Ashby / Tex Avery / Noah Baumbach / Kathryn Bigelow / Budd Boetticher / Peter Bogdanovich / Frank Borzage / Stan Brakhage / Clarence Brown / Tod Browning / Charles Burnett / Tim Burton USA (C-D) James Cameron (Canada) / Frank Capra (Italy) / John Carpenter / John Cassavetes / William Castle / Charles Chaplin (UK) / Joel Coen & Ethan Coen / Francis Ford Coppola / Sofia Coppola / Roger Corman / John Cromwell / Alfonso Cuarón (Mexico) / George Cukor / Michael Curtiz (Hungary) / Joe Dante / Jules Dassin / Delmer Daves / Brian De Palma / André de Toth (Hungary) / Guillermo del Toro (Mexico) / Cecil B. DeMille / Jonathan Demme / Maya Deren (Ukraine) / William Dieterle (Germany) / Edward Dmytryk (Canada) / Stanley Donen / Stanley Donen & Gene Kelly / Allan Dwan (Canada) USA (E-G) Clint Eastwood / Blake Edwards / Abel Ferrara / David Fincher / Robert Flaherty / Richard Fleischer / Victor Fleming / John Ford / Milos Forman (Czechoslovakia) / Hollis Frampton / John Frankenheimer / William Friedkin / Samuel Fuller / Terry Gilliam / Michel Gondry (France) / Alejandro González Iñárritu (Mexico) / D.W. Griffith / James Gray USA (H-L) Henry Hathaway / Howard Hawks / Todd Haynes / Monte Hellman / Walter Hill / Alfred Hitchcock (UK) / John Huston / Jim Jarmusch / Spike Jonze / Phil Karlson / Elia Kazan (Turkey) / Buster Keaton / Henry King / Stanley Kubrick / John Landis / Fritz Lang (Austria) / Ang Lee (Taiwan) / Spike Lee / Mitchell Leisen / Mervyn LeRoy / Jerry Lewis / Joseph H. Lewis / Richard Linklater / Kenneth Lonergan / Ernst Lubitsch (Germany) / George Lucas / Sidney Lumet / David Lynch USA (M-R) Terrence Malick / Joseph L. Mankiewicz / Anthony Mann / Michael Mann / Leo McCarey / Jonas Mekas (Lithuania) / Vincente Minnelli / Michael Moore / Errol Morris / Mike Nichols (Germany) / Christopher Nolan (UK) / Alexander Payne / Sam Peckinpah / Arthur Penn / Sydney Pollack / Otto Preminger (Austria-Hungary) / Sam Raimi / Bob Rafelson / Nicholas Ray / Kelly Reichardt / Rob Reiner / Mark Robson (Canada) / George A. Romero / Alan Rudolph USA (S-U) John Sayles / Paul Schrader / Martin Scorsese / Ridley Scott (UK) / George Sidney / Don Siegel / Robert Siodmak (Germany) / Douglas Sirk (Germany) / Steven Soderbergh / Steven Spielberg / George Stevens / Oliver Stone / John Sturges / Preston Sturges / Quentin Tarantino / Frank Tashlin / Jacques Tourneur (France) / Edgar G. Ulmer (Austria-Hungary) USA (V-Z) Gus Van Sant / Paul Verhoeven (Netherlands) / King Vidor / Josef von Sternberg (Austria) / Erich von Stroheim (Austria) / Raoul Walsh / Andy Warhol / Peter Weir (Australia) / Orson Welles / William Wellman / James Whale (UK) / Billy Wilder (Austria-Hungary) / Robert Wise / Frederick Wiseman / William Wyler (Germany) / Robert Zemeckis / Fred Zinnemann (Austria-HungaryJonas Mekas)

[oldmotors]

Oliver Winterbottom’s radical wedge-shaped Tasmin defined TVRs for much of the 1980s, and it’s probably the most polarizing car TVR ever made. It nearly drove TVR to the brink - it was a a pricey car launched into a sharp recession (in 1980) after a costly development process, but it also proved to be an excellent driver and a platform. The origins of the Tasmin idea are debated, but no doubt the 1971 TVR SM/Zante prototype was the first inclination that Martin Lilley, who (with his father Arthur) had rescued TVR in 1965 and remade the company, wanted to modernize the looks of his cars and take them upmarket. The SM appeared at the 1971 Earls Court show along with the M-series, the definitive TVR or the 1970s. The M preserved the look and feel of the 1960s Vixen/Tuscan in a larger, more practical package, though sans V8. The SM, styled by Harris Mann, was judged a bridge too far for TVR in 1971, and no doubt would’ve run head first into OPEC if it hadn’t been. The M  became a well-loved and fast car, with the Turbo and Taimar models added, but by 1977 Lilley was ready to replace it with a more upmarket car. The Tasmin was much like the Lotus Elite/Eclat idea, to move into a higher class of GT car with avant-garde styling, and some of the personnel, including Winterbottom, were from Lotus. Designer Ian Jones, who worked on the Elan, created the backbone chassis. The sophisticated chassis incorporated a Jaguar rear end with inboard brakes and Ford suspension pieces up front. The car was an excellent drive, but pricier than the M and no better in terms of speed. Lilley himself was disappointed with the looks in the end, which proved the most controversial point of the car. It came as a roadster, a 2-door 2-seater, and by late 1980 a 2+2. TVR’s U.S. operation was key to success, but Lilley had a falling out with longtime importer Gerry Sagerman, which led to a new agent - who got the first 25 cars impounded by incorrectly filling out DOT paperwork. By 1981 creditors were at the door. Peter Wheeler came to the rescue late that year and ultimately turned the Tasmin into the roaring V8 SEAC, but the fastest of the Tasmins was the 280i, seen here in 2+2 form. (at Pittsburgh, Pennsylvania) https://www.instagram.com/p/CBtTcevg56C/?igshid=1ci91qrqwmlxv

[artofcinema]

all movies watched in JANUARY 2020

A Cock and Bull Story (2005, Michael Winterbottom)
Beggars of Life (1928, William A. Wellman) Boarding Gate (2007, Olivier Assayas) Booksmart (2019, Olivia Wilde) Dead Man (1995, Jim Jarmusch) Diary of a Country Priest (1951, Robert Bresson) Funny Girl (1968, William Wyler) Gloria (1980, John Cassavetes) Go Go Tales (2007, Abel Ferrara) Greener Grass (2019, Jocelyn DeBoer & Dawn Luebbe) Hot Rod (2007, Akiva Schaffer) I Am Cuba (1964, Mikhail Kalatozov) Invasion of the Body Snatchers (1956, Don Siegel) Jessica Forever (2018, Caroline Poggi & Jonathan Vinel) Jon Mulaney & The Sack Lunch Bunch (2019, Rhys Thomas) Jupiter Ascending (2015, The Wachowskis) Nosferatu (1922, F. W. Murnau) Novitiate (2017, Margaret Betts) Nowhere (1997, Gregg Araki) Paddington 2 (2017, Paul King) Pain & Gain (2013, Michael Bay) Paradise Hills (2019, Alice Waddington) Pokémon Detective Pikachu (2019, Rob Letterman) Rembrandt’s J’Accuse…! (2008, Peter Greenaway) Resident Evil (2002, Paul W.S. Anderson) Rubber (2010, Quentin Dupieux) Sex, Lies, and Videotape (1989, Steven Soderbergh) The Beguiled (1971, Don Siegel) The Birds (1963, Alfred Hitchcock) The Blackcoat’s Daughter (2015, Oz Perkins) The City Tramp (1966, Rainer Werner Fassbinder) (Short) The Draughtsman’s Contract (1982, Peter Greenaway) The General (1926, Clyde Bruckman & Buster Keaton) The Guest (2014, Adam Wingard) The Little Chaos (1966, Rainer Werner Fassbinder) (Short) The Sweetest Thing (2002, Roger Kumble) Uncut Gems (2019, Josh & Benny Safdie) Veronika Voss (1982, Rainer Werner Fassbinder) WHAT DID JACK DO? (2017, David Lynch) (Short)