#diane and mike photography

[jimhair]

When @vickiknits worked at a local grocery store, I would ask how her day went when we got home. One day she told me of an incident with a customer who was impatient with the speed of their checker. We knew the checker had issues, and might have been slower than other cashiers, but was very precise and rarely made mistakes. As we got to know them we also appreciated what we knew to be their personal interests. The impatient customer said something rude and personal that was loud enough for Vicki to hear as she was checking in the next line, and was heartened when the Manager, who was bagging addressed the customer directly: “not all disabilities are obvious”. I try to remember this when I get impatient; we can’t know the hurdles others might face. Today is the International Day of People with Disabilities. Diane and Mike, Richmond, Indiana, March 2009 🇺🇦💔🌎💔🌏💔🌍💔🇺🇦 #earth #america #human #family #photographer #documentary #main #street #portrait #photography #schwarzweiss #blancoynegro #blancinegre #bnw @ilfordphoto #ilford #mediumformat #film #blancetnoir #白黒 #Hēiyǔbái #siyahbeyaz #shirokuro #blackandwhite #pdx #portland #northwest #oregon #photojournalism #hasselblad @hasselblad @hasselbladfilmgallery @tate @jenny.mcshane #internationaldayofpeoplewithdisabilities 09031511 Ilford FP4 Hasselblad 500cm 120 Makro-Planar https://www.instagram.com/p/CltxgWbvx6z/?igshid=NGJjMDIxMWI=

[ulkaralakbarova]

It’s the 1970s and San Diego anchorman Ron Burgundy is the top dog in local TV, but that’s all about to change when ambitious reporter Veronica Corningstone arrives as a new employee at his station. Credits: TheMovieDb. Film Cast: Ron Burgundy: Will Ferrell Veronica Corningstone: Christina Applegate Brian Fantana: Paul Rudd Brick Tamland: Steve Carell Champ Kind: David Koechner Ed Harken: Fred Willard Garth Holliday: Chris Parnell Helen: Kathryn Hahn Tino: Fred Armisen Eager Cameraman: Seth Rogen MC: Paul F. Tompkins Bartender: Danny Trejo Waiter at Tino’s: Scot Robinson Stage Manager: Ian Roberts Hot Blonde: Darcy Donavan Petite Brunette: Renee Weldon Tino’s Bassist: Jerry Minor Director: Holmes Osborne Security Guard: Charles Walker Biker Guy: Thomas E. Mastrolia Eyewitness News Member: Jay Johnston Man in Kitchen: Peter A. Hulne Donna: Laura Kightlinger Custodian: Adam McKay Custodian: Joseph T. Mastrolia News Station Employee: Judd Apatow News Station Employee: Debra McGuire Network Reporter: Kent Shocknek Yelling Woman: Monique McIntyre Bum: Bob Rummler Announcer: Chuck Poynter Middle Class Mother: Esmerelda McQuillan Elderly Woman: Angela Grillo Wealthy Family Father: Lionel Allen Wealthy Family Mother: Trina D. Johnson Doctor: Fred Dresch Middle Class Dad: Glen Hambly Nursing Room Resident: Stuart Gold Bill Lawson – Narrator (voice): Bill Kurtis Motorcyclist: Jack Black Arturo Mendes: Ben Stiller Frank Vitchard: Luke Wilson Frank the Bartender (uncredited): Frank Gorgie Zoo Keeper (uncredited): Missi Pyle Public TV News Anchor (uncredited): Tim Robbins Wes Mantooth (uncredited): Vince Vaughn Man in Bar (uncredited): Jerry Stiller Secretary (uncredited): Holly Traister Zoologist with Panda in Doug or Glen scene (uncredited): Matthew Vlahakis Reporter / Anchor (uncredited): Richard Yett Film Crew: Supervising Sound Editor: Mark A. Mangini Casting: Jeanne McCarthy Sound Effects Editor: Richard L. Anderson Stunts: Jack Gill Hair Department Head: Toni-Ann Walker Location Manager: Jeremy Alter Casting: Juel Bestrop Set Decoration: Jan Pascale Music Editor: Ellen Segal Writer: Will Ferrell Executive Producer: David O. Russell Art Direction: Virginia Randolph-Weaver Set Designer: Sally Thornton Director of Photography: Thomas E. Ackerman Music: Alex Wurman Producer: Judd Apatow Executive Producer: Shauna Robertson Editor: Brent White Costume Design: Debra McGuire Stunts: Joe Bucaro III Production Design: Clayton R. Hartley Writer: Adam McKay Co-Producer: David B. Householter Casting: Blythe Cappello Second Assistant Director: Basil Grillo First Assistant Director: Matt Rebenkoff Second Unit Director: Rick Avery Construction Coordinator: John R. Elliott Foley Artist: Joan Rowe Foley Artist: Sean Rowe Stunt Double: Sophia M. Crawford Property Master: Scott Maginnis Color Timer: David Orr Makeup Department Head: Kimberly Greene Script Supervisor: Rebecca Asher Sound Effects Editor: Mike Chock Sound Effects Editor: Donald Flick Key Hair Stylist: Joy Zapata Dialogue Editor: Ralph Osborn Sound Effects Editor: Piero Mura Set Designer: Randall D. Wilkins Set Designer: Barbara Mesney Still Photographer: Frank Masi Visual Effects Supervisor: Ray McIntyre Jr. Key Grip: Lloyd Moriarity Leadman: Louise Del Araujo Production Supervisor: Diane L. Sabatini Video Assist Operator: Paul Murphey Dialogue Editor: Thomas Jones Transportation Coordinator: Michael Menapace CG Supervisor: David Alexander Smith Dialogue Editor: Solange S. Schwalbe Digital Effects Supervisor: Reid Paul Still Photographer: Darren Michaels Additional Editing: Melissa Bretherton Art Department Coordinator: Jeanne Bueche Makeup Artist: Erin Wooldridge Music Editor: Erica Weis Visual Effects Supervisor: Richard R. Hoover Production Sound Mixer: Jim Stuebe First Assistant Camera: Baird Steptoe “A” Camera Operator: Harry K. Garvin Orchestrator: Tom Calderaro Visual Effects Producer: Diana Stulic Ibanez Stunts: Lisa Hoyle ADR Mixer: Jeff Gomillion “B” Camera Operator: Steven Hiller Stunts: Joni Avery Sound Recordist: Philip Rogers Assistant Art Di...

[rubalcavah]

TROYE SIVAN - ONE OF YOUR GIRLS from Stuart Winecoff on Vimeo.

@troyesivan Director: Gordon von Steiner @gvsgvs Director of Photography: Stuart Winecoff  Stuart_winecoff Executive Producer: Kelly McGee @itsmekellymcgee Production Company: 5 Towns Producer: Jagger Corcione @burberryboxers Production Manager: Nechama Fisher @nemfisher Management: Dani Russin, Brandon Creed @danisidebo @brandoncreed  Video Commissioner/Producer: Kevin Kloecker @kevinkloecker for EMI Australia @emimusicau Shot at Vivid Kid Studio, Booklyn NY @vividkidnyc

Stylist: Dara Allen @dara._ c/o  Makeup Artist: Mark Carasquillo @Markcarrasquillo Hair Stylist:  Evanie Frausto @evaniefrausto Styling Assistants: Diane Palma @iris.diane Makeup Artist 1st Assistant:  Elika Hilata @elikahilata_makeup Makeup Artist Assistant:  Micka O Makeup Artist Assistant:  Amelia Burger Hair Stylist Assistant: Marin Mullen Tailor: Matthew Nef @neffnyc Manicurist: Telly Talons @tellytalons

Choreographer: Sergio Reis @sergiovsreis Assistant Choreographer & Dancer: Malou Linders @maloulinders_ Dancer: Pauline Casiño @pauline.casino

Cast:   Ross Lynch @ross_lynch  David Lee @dav_dlee Andrew Walko @ajwalko Shakir Rodrigues @sk8nsmoove Tomasz Kurdziel @_slattommy Bobby Nelson @luckyletterblue Blake French @blakeafrench Casting Director April Rivera at Ape Castings @apecastings

Set Designer Jacob Bernstein @thajhb Set Assistants Cullen O'Grady @ccuulleenn

Editor: Gordon von Steiner @gvsgvs Assistant Editor: Brayden Ahn @braydenahn Color Grade: Myles Bevan at Studio RM @m.y.l.e.s Post Production & Finishing: Studio RM @studio__rm @tkat92 Photographer: Tyrell Hampton @tyrellhampton BTS Photographer: Travis Bailey @travisb  BTS Photographer: Caroline Friedman @carolinexfriedman BTS Videographer:  Austin Nunes @austinunes

Crew 1st AD Jacqueline East @unconventionalife 1st AC Bobby Arnold @bobbyarnold 2nd AC Lucy Moloney VTR Steven Carlson @steven.CR2  Gaffer Lyon Taylor  Key Grip Chris Weisehahn @c_inside_my_world BBE Sergio Giovanni Fernandez @insectpolitician BBG Chris Angarone Electric Theodore Johnson @theodore_ Electric Adam Dietrich @treefortfilms Electric Jordan Bell @jordanallenbell Grip Sean Dolnick @dawn_sholnick Grip Cory Barth Board Op Nat Aguilar Sound Recordist Anthony Charles @tonycaezar Staff Production Coordinator Madison Claire Baker @madisonclairebaker PA Ethan Santana @whyxantana PA Mike Lee  @therealmicultra PA Daniel Walsh @dan_fw PA Dash Porter @director.dash PA Kristoff Bishop @kristoffbishop PA Dumarck Barlatier @b_cinematics_

Special Thanks YSL Beauty @yslbeauty Special Thanks  @rylandlynch @itsjoemort Titles @querida__si

[sarahvansloten]

That’s just the house settling into a state of complacency (2018), site-specific drawing for WRECK CITY 2018 

Photo: Mike Tan, Diane + Mike Photography 

[cinematic-reminiscence]

DIANE LANE

Photographed by Mike Reinhardt for Harper’s Bazaar Italia, 1980.

[filmsposts]

"Now, I don’t know about y'all, but I sure as hell didn’t come down from the goddamn Smoky Mountains, cross five thousand miles of water, fight my way through half of Sicily and jump out of a fuckin’ airplane to teach the Nazis lessons in humanity. Nazi ain’t got no humanity. They’re the foot soldiers of a Jew-hatin’, mass murderin’ maniac and they need to be destroyed. That’s why any and every son of a bitch we find wearin’ a Nazi uniform, they’re gonna die."

Inglourious Basterds (2009) dir. Quentin Tarantino.

[automotiveamerican]

The Haunting Crash Photography of Dead of Night, With Editor Nick Reid, on the Hemmings Hot Rod BBQ - Mike Musto @Hemmings

The Haunting Crash Photography of Dead of Night, With Editor Nick Reid, on the Hemmings Hot Rod BBQ – Mike Musto @Hemmings

At some point during our driving careers, we’ve all had the unfortunate experience of having either been in, or witnessed, an automobile accident. In most cases, the visuals come to us in the form of few seconds glancing at the wreckage as we drive by. But what if you were to stop – would you truly be prepared for what confronted you? Edited by actress Diane Keaton and photographer Nick Reid,…

[itsjackgilbert]

Situation Comedy

INSCRUTABLE MUSIC-VIDEO GENIUS MAKES MOVIE. IT'S VERY GOOD. INSCRUTABLE FILMMAKER DOES MAGAZINE INTERVIEW. IT'S VERY BIZARRE. A VERY SMALL GLIMPSE INTO THE INSULAR WORLD OF SPIKE JONZE, WHERE MAKING AWESOMELY STRANGE FILMS, WEARING FAKE PENISES, AND GETTING BEAT UP (SORT OF) ALL ARE PART OF THE SCENERY

BY ZEV BOROW

"He came to visit me once and when he first arrived I got a phone call that I had to come pick him up because his car had been impounded because he'd been chased by, like, ten cops on bikes after he drove his car onto these little fairgrounds and did a bunch of doughnuts. So, then I had to drive him around all weekend." — Three Kings director David O. Russell

"Actors are more consistent. They tend to land their tricks." — filmmaker Spike Jonze, on who is easier to direct, actors or skaters.

"He wanted his brother to be in Three Kings, so he shot an audition tape with his brother doing the Sharon Stone role in Basic Instinct, crossing and uncrossing his legs. It was the weirdest fucking thing I've ever seen." — David O. Russell

I meet Spike Jonze at the production offices of his new movie, Being John Malkovich, which is a bizarre comedy about a love triangle between three people who find a secret portal into John Malkovich's head behind a file cabinet in an office building where the ceilings are four feet high. John Cusack and Cameron Diaz and Catherine Keener are in it. So is John Malkovich. It's really good and weird and funny, though not always in that order. Spike Jonze directed it.

Jonze is 29 years old and sort of famous for directing some of the best music videos ever made: the Beastie Boys' "Sabotage"; Fatboy Slim's "Praise You"; Weezer's "Buddy Holly"; Björk's "It's Oh So Quiet"; and other really good ones, too. He's also made some excellent commercials and two interesting short films. However, mostly because of the exceedingly cool videos he's done for, mostly, exceedingly cool people, Jonze has also become famous for being exceedingly cool. A wide and deep selection of the hippest people alive dig Jonze. They are his friends. This past July Jonze married actress, filmmaker, and fellow sort-of-famous person Sofia Coppola. Tom Waits sang at their wedding. Tom fucking Waits.

Jonze is small and wiry, with the body and demeanor of a skateboarder, which he is. He is relaxed, unfailingly polite, and has a voice suggesting a 15-year-old boy. When we meet he is wearing a T-shirt and scuffed-up $350 Marc Jacobs shoes. He tells me he's supposed to meet with Knox, an as-yet-unknown guitar player, to discuss ideas for his video and invites me along. But first we go to buy a big bag of cat food for his cat.

Jonze says Knox plays "sort of country-funkabilly-Prince-like music...really beautiful stuff." A friend gave him a tape, he says, and he fell in love with it. We get lost trying to find Knox's house.

When we finally arrive, Knox says he was asleep because Jonze was supposed to arrive hours ago. Jonze says he's sorry, that it must have been his assistant's fault. Knox is tall, with short, dark hair styled vaguely pompadour-ish. His apartment is small. Neil Young in on the CD player. An acoustic guitar rests in the corner.

"I'm the only one in the band, so I do the whole gig," Knox says. "My old man was a guitarist and my mother was, like...well, she was a capable pianist, not great. I'm from Tenness–Knoxville–that's why I go by Knox. My mother ahd a baby two years before me, a little boy, and it died at birth, and I am, like, the copy of that kid. And my little brother almost died at birth 'cause of me, so it's kind of all cyclical. But I'm still tweaking it. So, uh, what kind of ideas do you have?"

Jonze talks about making a video that's not very commercial, about something that's cool in and of itself.

Knox: "I just don't want it to be cute. Don't take this as an affront, but some of your videos are...cute. The 'Buddy Holly' thing was little fucking cute. I was thinking more of an early John Cugar-type of thing. Like 'Jack and Diane.' Maybe with some of the words on the bottom of the screen."

Jonze: "Uh, cool.... But it’s also cool to do something maybe not as literal.” He asks Knox if he wants to be in the video. Knox says maybe just his face, as a child.

Jonze says he could come over with a video camera and they could try some stuff out.

Knox: “Like what?”

Jonze: “Well, I don’t want to just throw stuff out.”

Knox: “Well, I’m not going to steal your stuff.”

Jonze laughs, sort of. There is an awkward silence.

Jonze: “How about a video with Xeroxes, just as a cool medium?”

Knox: “Yeah, well, that sounds schticky. Xeroxes are schticky.”

Jonze tries to say something about form. Knox says he likes “the Jazzercize” video Jonze did.

Jonze: “‘Praise you.’ Cool.”

Knox turns toward me and says he doesn’t think Spike looks very into it. Jonze says he doesn’t want to do anything he’s done already. He asks Knox if he saw the video he did for Sean Lennon.

Knox: “Nah. That guy’s too fuckin’ avant garde for me.”

Jonze: “No, I’m not saying that. It’s just I don’t want to make something silly out of your song, but at the same time....” He trails off.

There’s a tense silence, then Knox turns to me and asks if I have any ideas for videos. I tell him I don’t. Knox says “fuck,” loudly.

Jonze: “Look, I don’t want you to do anything you don’t want to do, and if you don’t really like my stuff maybe we shouldn’t work together. I like working with people who are....”

Knox: “Yeah, well...fuck.... Well, if you come up with some ideas, any ideas, call, but I just...shit.”

Jonze: “I should go.”

Jonze gets up. Knox begins to pace. Then he screams, “Fuck!” and throws a small wooden chair Jonze had been sitting on against the wall. It shatters.

Jonze: “Dude, chill.”

Knox: “I think you better leave!”

Jonze: “I was just....”

Knox: “Just fucking leave!”

Then Knox pushes Jonze into a wall, hard. I think to myself: Spike Jonze is about to get his ass kicked. Then, like a panther (or jaguar), Jonze jumps at Knox. They hit the floor. Jonze is on top of Knox, throwing punches at his head. After about 15 seconds, I pull them apart. Knox gets up and screams, “Wait right fucking there!” and runs into a back room. Jonze looks at me and says, “Let’s get the fuck out of here!” and runs out the door, fast.

Knox jumps out from the back room, glowering and holding a baseball bat.

DRIVING AWAY, JONZE MUSES ABOUT HOW “HECTIC” things got with Knox. He repeatedly pushes his face toward the rearview mirror and asks if I think his eye looks swollen. It doesn’t. He says nothing like that has ever happened to him before, except once “with Everlast, but it never got physical.” We pull into a 7-Eleven and he gets a juice and some Advil.

I try to ask some more questions about the movie. “I’m apprehensive about talking about it at all,” he says, “because I feel like it’s going to cloud someone’s opinion. You think about all the movies you had preconceived notions about, about all the ones you read stuff about until you were sick of them before you even saw them.

SPIKE JONZE’S REAL NAME IS ADAM SPIEGEL. He isn’t interested in talking about why, or when, he started going by Spike Jonze, or how much it has to do with Spike Jones, the 1940s band leader, but it’s probably related to the fact he grew up hanging out with a lot of competitive BMX bikers similarly fond of pseudonyms and alter egos. He was raised in Bethesda, Maryland, a well-heeled suburb of Washington, D.C., where his mother enjoyed photography and his father enjoyed being the scion of an extremely successful family-owned catalog company. Jonze is the middle child (younger brother; older sister) and was into skateboarding, photography, lots of Dischord-era punk rock, and, most of all, BMX.

In the mid-’80s, BMXing’s popularity was exploding, and Jonze was spending much of his time at Rockville BMX, a legendary retail and mail-order BMX shop in nearby Rockville, Maryland. At age 15, he accompanied the Haro pro-BMX team on a summer tour of the U.S., serving as part-time roadie, contest announcer, T-shirt salesperson, and using an old 35-millimeter camera, team photographer. By the time he was 16, he was writing and taking pictures for skate and bike magazines. At 17, immediately after finishing high school, he moved to Torrance, California, to work at Freestylin’, the sport’s preeminent glossy. There, he met Mark Lewman and Andy Jenkins, two kindred spirits.

“We were all living together in this apartment across the street from the magazine’s offices, in the Valley, which was like the epicenter of the skateboarding and BMX world,” says Lewman, who was 18 at the time and is now a creative director at Lambesis, a San Diego–based advertising agency that deciphers youth culture. “We’d skate to work, ride ramps, listen to Black Flag and Eric B. and Rakim, and get into adventures drinking Night Train, being weird, and stomping around downtown L.A.”

They’d also make zines. First, in 1991, Homeboy, then, two years later, Dirt. Clever and funny, they became popular with the 25-and-under, proto-extreme-sport, punk/rap-inclined hipster set. During this time, Jonze also started getting hired to take photos for magazines such as Details and Interview. And he began filming skateboarding videos, including one particular deft collaboration with ‘80s skate god Mark Gonzales titled Blind Skateboard Video.

One night, backstage at a Sonic Youth concert, Gonzales gave a copy of that tape to his friend Kim Gordon, who dug it so much that she asked Tamra Davis–who had just directed her first film, Gun Crazy, and had yet to become the wife of Beastie Boy Mike D.–to work with Jonze on shooting some skateboarding segments for Sonic Youth’s video for the song “100%.” He was 21.

Jonze has always lived in something of a rarefied world inhabited by bikers, skaters, emerging rock icons, and movie stars. Even so, he notes, he first met the Beastie Boys through his sister. She and Adam Yauch met in traffic school. The Beasties and Jonze share an appreciation for the absurd. Yauch and Jonze used to do things like rent police uniforms so they could direct traffic in Manhattan.

A few short years after “100%,” Jonze was established as America’s preeminent director of unusual music videos. This fact seemed to bore him. In 1998′s Fatboy Slim “Praise You” video, the one with the dancers in front of Mann’s Chinese Theatre in Hollywood, Jonze credited the direction to Richard Koufey and the Torrance Community Dancers. To this day, Jonze denies having been a part of it. Earlier this year, a typed letter arrived at the Spin offices vehemently demanding Spin retract its report that Jonze directed the video. It was signed Richard Koufey and included a detailed résumé for Koufey that stated he was a dancer in the “Thriller” video, the “Love Shack” video, the film Dirty Dancing, and something called “Dancextravaganza” at the opening of a Dellamo Fashion Center.

IN ADDITION TO BEING JOHN MALKOVICH, Jonze has another movie coming out, one in which he acts. It’s called Three Kings and was written and directed by David O’Russell. The two met when Jonze hired Russell to help him write a script for Harold and the Purple Crayon, which was to be a partially animated adaption of the children’s book, and Jonze’s feature-film debut, but never made it into production. Jonze costars in Three Kings with George Clooney, Ice Cube, and Mark Wahlberg. They play four U.S. soldiers who try to steal a secret cache of Kuwaiti gold at the end of the Gulf War. It’s a different, very sharp war-genre picture. Jonze plays a redneck private who is the sidekick of Wahlberg’s more seasoned soldier.

“I’d never really acted before,” Jonze says. “A few little things with friends, but nothing serious. And it’s not like I really want to get into acting. But David was really into me doing it, and Mark was especially supportive. In some ways I feel like I had no right to do it. But it was a lot of fun.”

Russell recalls Jonze’s commitment to the project. “He stayed in character a lot on set, and I think he eventually regretted it because Mark started beating the shit out of him as if Spike was really his tagalong sidekick. We tried telling Mark to go easy on him, but he was in character too. I think Spike was upset that that was happening.

AMONG THOSE IMMERSED IN THE CULT of Spike Jonze, the Weird Al prank is infamous. As partially recounted in an issue of the Beastie Boys’ zine, Grand Royal, Mike D. and Russell Simins, the drummer for Jon Spencer Blues Explosion, interviewed by Weird Al. During the interview, they got the conversation to come around to the Beatles. Precisely at that moment, they had Sean Lennon and Yoko Ono walk by and staged something weird and funny. No one at Grand Royal can remember exactly what happened, but it included Spike Jonze dressed up as a waiter.

I didn’t know of the Weird Al prank until weeks after meeting Jonze. As such, I spent a good portion of my evening immediately following the Knox vs. Jonze incident breathlessly telling friends all about their fight, until a friend, a longtime skater, looked at me and matter-of-factly said: “He staged it.”

Two days after the fight I go to meet Jonze for lunch, and, even though I’m not sure, I tell him I now that the afternoon with Knox was staged. Jonze demurs. “That would be gnarly” he says. “Maybe we should come back to this topic after lunch.

We pull into a Carl’s Jr. Things between us are slightly tense. I keep pressing him on the issue as we walk into the restaurant. Jonze doesn’t say anything until he’s just about to order at the counter, then he says we should walk outside. I follow him into the parking lot toward a parked black sedan. There is a guy in dark sunglasses sitting there, sipping on a Coke.

“Dude, it’s off,” Jonze says. “We’re busted.”

Jonze then reveals that he’d “planned something” for right there, right then, at the Carl’s Jr. We all had back inside the restaurant, where Jonze begins walking around the seating area and tapping on what appear to be lonely Carl’s Jr. diners on the shoulder. There are four of them, strategically placed; two have video cameras hidden on them, on has a regular camera. Two of them, including the guy from the car, who is Jeff Tremaine, the art director of the skateboarding magazine Big Brother, are wearing hidden microphones.

“This was going to be an all-out assault,” Tremaine says. “I was going to walk by and bump into Spike and my drink was going to fall all over me. And then I was going to get all jacked at Spike and knock some shit on him and get into a fight.”

“I was actually going to take a punch this time,” Jonze says, “but I was also going to bite down on some blood pellets.” He shows me two small capsules of fake blood. “I wanted the whole article to be about how I keep getting my ass kicked.”

“I was going to knock over the salad bar,” Tremaine says. “We were going to have the whole thing on tape. I twas going to be a turkey shoot, like Kennedy.”

“You are all extremely fucked up,” I tell them.

Jonze says he started planning for it late last night and tells everyone he’s sorry he didn’t go through with it. Tremaine tells Jonze that he was excited to punch him. Then, everyone tells me some stories of previous pranks, the best of which is described as simply the Hard-On One. It goes something like this:

The guy who played Knox yesterday–a friend of Jonze’s who also pulls stunts like getting himself hit by a car (for a Big Brother photo shoot) and shooting himself with a gun while wearing a bulletproof vest (for fun)–puts on a pair of flimsy gym shorts, out of which sticks a large, fake rubber penis. Then, he goes out and gets into a pickup basketball game. Next, he walks into a guitar store, where, when a salesman hands him a cord to plug in, the salesman is pulled toward the fake rubber penis. After that, he makes a quick stop at a karate studio, from which he is quickly removed. Finally, he goes to get measured for a tux, where, according to Jonze, the tailor exclaims [in a thick Indian accent], “What? You always run around with your dick sticking out?”

“It’s amazing,” Jonze says. “We’ve got the whole thing on tape.”

After Carl’s Jr., Spike lobbies me to concoct a wild, made-up story with him, one I could submit in lieu of the article. He’s got some funny, clever ideas for it, too.

“SPIKE DIDN’T GROW UP WATCHING A TON OF FILMS or even TV,” says Kim Gordon, who has known Spike ever since he worked on “100%.” “So he’s not tied to any sense of history image-wise, the way most people are. He just has a real instinctual feel for what people like. And he’s willing to try absolutely anything.”

“I think he kind of looks at everything like it’s a chance to take a golf cart and make it go 60 miles per hour,” says his old friend Lewman. “It’s always been about having a really good time.” Even so, by all accounts Jonze is meticulous, tireless even, whether it concerns a feature film, or taking down a Carl’s Jr. salad bar. His willingness to go to almost any lengths to maintain the integrity of any project–no matter how seemingly small, trivial, or twisted–is nothing short of spectacular. It is probably the one quality that best portends him making very good movies for a long time. A vast portion of Jonze’s creative energies are consumed by these tiny, hysterical performances that will never make any money, that are solely for the benefit of himself and his like-minded friends.

“But it’s not about being weird for weird’s sake,” Lewman says. “I mean, Malkovich is a movie that, at its heart, is about something everyone can relate to–desperately wanting to be someone else.... I think a lot of how [Jonze] looks at the world might come from skating and biking. You do that as a kid and you don’t look at things normally. You look at a hockey rink and see a place to skateboard. You look at a bench as a thing to do tricks off of.”

I SEE JONZE ONE MORE TIME. HE MAKES IT OBVIOUS he’d rather I not write about the Knox and Carl’s Jr. pranks. Further, he mostly turns off my tape recorder any time I start to ask him anything. He tells me he doesn’t know what to do because he doesn’t want to come off as a guy who is lucky enough to make cool movies with big stars but is all petulant about talking to the press. He tells me again how anything he says as far as explanation of his own work is less interesting than someone’s own interpretation of his, or any, movie. About an hour passes. I ask him to name some of his favorite movies and filmmakers.

“I like stuff that is unpredictable in terms of tone,” he says. “I like Tim Burton, The World According to Garp, Being There, all the Coen brothers’ stuff. I feel really lucky to even have the opportunity to try to make those kinds of movies.”

I ask about his movie, about what Malkovich was like.

“He’s just amazing. Really genuinely eccentric. He heard about the script and contacted us, loved the idea. It was weird because he plays himself in the movie, but it’s not really him, it’s the script’s idea of him. Whenever I see him do the Dance of Despair and Disillusionment, I’m like, this guy is my hero.”

The Dance of Despair and Disillusionment is reason alone to see Being John Malkovich. In the movie, John Cusack plays a puppeteer who enters the body of John Malkovich and forces him to give up acting for puppeteering. At one point, Malkovich acts out the dance he wants to be his ultimate master-puppeteer work, the Dance of Despair and Disillusionment. Just out of the shower, he acts it out in a towel. David Fincher, the director of Seven and Fight Club, fellow former music-video director, and close friend of Jonze, calls it “up there with Butch and Sundance jumping off the cliff, as far as greatest movie moments ever go.”

I try to get Jonze to talk about other things, videos, his commercial work. (Jonze often shoots commercials, the most recent being Lee Jeans’ “Buddy Lee” spots.) He won’t. A few days later, we talk on the phone. He asks how I’ve decided to “handle” the article, says he knows I’ll write “something good.” The next day, I call him back, ask him to clear up some factual stuff, dates he worked on things, how he first met certain people. He’s not into it. But, before we get off the phone, he does answer one question.

Me: Where did the idea for the “Sabotage” video come from?

Jonze: “Australia.”

[skrilladeville]

Lil Dicky - Pillow Talking feat. Brain (Official Music Video) from Giant Propeller on Vimeo.

Lil Dicky Pillow Talking Music Video Created by Giant Propeller - giantpropeller.com

Written and Performed by Lil Dicky/Dave Burd "Pillow Talking" produced by Charlie Handsome and the Digital Rick Flair aka Digi

Directed by Tony Yacenda tonyyacenda.com

Starring Dave Burd, Taylor Misiak and Brain

Director of Photography - Alan Gwizdowski

Edited by Brian Vannucci

Production Design - Cody Fusina

Production and Visual Effects by Giant Propeller giantpropeller.com

Executive Produced by Jordan Freda and Mike Bodkin

Produced by Tom Quinn

VFX and Post Producer - Oscar Velasquez

VFX Supervisor - Marek Jezo

First AD - Lyon Reese Script Supervisor - Sara Geralds

Cast Lil Dicky - Dave Burd Girl - Taylor Misiak Brain - Brain God - John C Reilly Soldiers - Owen Rousu, Derek Pratt, Carlos Lopez, Isaac Lopez, Kiyano La'vin, Nick Coolidge, Sean Carrigan, PJ McCabe

Crew Camera First Assistant - Erin Douglass Camera Second Assistant - Sarah Grenwald MOCO - Simon Wakely MOCO Assistant - Chris Toth DIT (Digital Imaging Technician) - Daniel Woiwode DIT Assistant - Alessia Assissi Art Director - Taylor Frost Set Dresser - Tao Grasham Property Master - Taylor Wolf Gaffer - David Cronin Key Grip - Kevin Keirstead Best Boy Grip - Vassily Grip PA - Jason Kierstead Wardrobe Stylist - Kassey Rich Hair and Make Up Artist - Liza Lash BTS Photographer - Yulia Shcherbinina Office Production Assistant - Eric Cepeda Set Production Assistants - Lars Slind, Alexxa Slind, Vickram Bhoyrul Board Operator - Phil Gailer Playback - Bob Tiwana Choreographer - Ian Eastwood youtube.com/user/DJIcon Casting by Kerry Baker Catering by Diane Timmons Animal Trainers - Barbara Edrington, Chris Edrington, Heather Long

Second Unit First Assistant Director - Boma Pennebaker Second Assistant Director - Colin Weinburg Director of Photography - Steeven Petitteville Camera First Assistant - Melissa Spom DIT (Digital Imaging Technician) - Joe Hedge Art Director - Joel Sappington Gaffer - Ace Underhill Key Grip - David Nunez Best Boy Electric - Ian Crawley Dolly Grip - Mikey Gilmore Armorer - Logan Freda Wardrobe Stylist - Heather Flores Hair and Make Up Artist - Kseniya Durst Still Photographer - Morgan Schmidt VFX Supervisor - Marek Jezo Production Coordinator - Rachael Campbell CG Lead - Lubomir Timko Lead Compositor - Adam Dusa Compositor - Oliver Popellar Matchmove and Roto Artist - Lhbomir Jezo 2D Artist - Rober Hruska 3D Artist - Raphaela Klein Concept Artist - Byzwa Dher FX Artist - Ondrej Polacek, Mikas Saduskas 3D Artist - Rober Spicuk, Tomas Krizan, Dominik Liscak, Oliver Otruba, Martin Kaperak, Lukas Jankovcin, Rudo Herstek, Erik Mascak Animator - Tomas Danay, Andrea Jacevicova, Adam Sadion, Vladimir Krajniak, Lukas Figel, Marian Villaris, Standa Sekela Animation - Samuel Puchovsky, Martin Durmik Storyboard Artists - Mishi McCaig, David Green Pre-Vis Artists - Vlad Streitsov, Omrah Menkes Post Production Company - Giant Propeller Colorist - Sebastian Perez-Burchard Post Producer - Oscar Velasquez Audio Post Services - Voodoo Highway Sound Designer - David Brian Kelly Re-Recording Mixer - Richard Segal

Thank you to MeUndies meundies.com

[ichmu]

Bibliography

Benjamin, Walter. "Paris: Capital of the Nineteenth Century." Perspecta 12 (1969): 165-72. Accessed April 10, 2020. doi:10.2307/1566965.

Benjamin, Walter. The Arcades Project. Trans. Howard Eiland and Kevin McLaughlin. London: Harvard University Press, 2002.

Bosworth, David. "Sunny Jim: The Genial Demagoguery of Ronald Reagan." Salmagundi no. 184 (2014): 103-128.

Fiske, John. Understanding Popular Culture. London: Routledge, 2010.

Gander, Kashmira. “Conservative Power-Dressing: the Paradox of Thatcher's Dress.” The Independent. Independent Digital News and Media, December 18, 2016. https://www.independent.co.uk/life-style/fashion/margaret-thatcher-clothes-dress-suits-power-dressing-fashion-impact-women-victoria-and-albert-museum-a7480026.html.

Harris, Jane. "Excess: Fashion and the Underground in the '80s." Graphis 60. no. 354 (2004): 145.

Kinsley, Karen Hummel. "Working Women: Contemporary Cinematic Costumes in "Desk Set" and "Working Girl"" (2014) CUNY Academic Works. https://academicworks.cuny.edu/gc_etds/143

Lieberman, Rhonda. "Weighty Madonna." Artforum (U.S.A.) 41, no. 9 (2003): 27.

Lindsey, Lawrence B. "The Excesses of the Eighties." Business Economics 28, no. 1 (1993): 15-18. Accessed April 12, 2020. www.jstor.org/stable/23485812.

Nichols, Mike, and Kevin Wade. Working Girl. Twentieth Century Fox, 1988.

Press, The Associated. “Hugo Boss Acknowledges Link to Nazi Regime.” The New York Times. The New York Times. Accessed April 10, 2020. https://www.nytimes.com/1997/08/15/business/hugo-boss-acknowledges-link-to-nazi-regime.html.

Royster, Francesca T. ""Feeling like a Woman, Looking like a Man, Sounding like a No-no": Grace Jones and the Performance of Strangé in the Post-Soul Moment." Women & Performance: A Journal of Feminist Theory: Featuring a Dossier on South Asian Dance 19, no. 1 (2009): 77-94.

Shaviro, Steven. “Grace Jones, Corporate Cannibal.” The Pinocchio Theory, July 23, 2008. http://www.shaviro.com/Blog/?p=653.

Smyth, Diane. "Portraits and Power." British Journal of Photography 157, no. 7782 (2010): 15.

“The Real '80s : If You Think It Was Just a Decade of Greed, You Missed the Revolution.” Los Angeles Times. Los Angeles Times, November 13, 1994. https://www.latimes.com/archives/la-xpm-1994-11-13-tm-62250-story.html.

Weinberg, Mark. Movie Nights with the Reagans: A Memoir. New York City: Simon and Schuster, 2018.

[ulkaralakbarova]

An unsuspecting, disenchanted man finds himself working as a spy in the dangerous, high-stakes world of corporate espionage. Quickly getting way over-his-head, he teams up with a mysterious femme fatale. Credits: TheMovieDb. Film Cast: Morgan Sullivan: Jeremy Northam Rita Foster: Lucy Liu Finster: Nigel Bennett Callaway: Timothy Webber Virgil C. Dunn: David Hewlett Diane: Kari Matchett Amy: Kristina Nicoll Digicorp Technician #1: Joseph Scoren Digicorp Technician #2: Stephen Brown Pilot In Mensroom: Arnold Pinnock Stewardess to Buffalo: Jocelyn Snowdon Fred Garfield: Boyd Banks Buffalo Speaker #1: Dan Duran Buffalo Speaker #2: Valerie Buhagiar Stewardess to Omaha: Roberta Angelica Rita’s Agent #1: George Santino Rita’s Agent #2: Nelson Tynes Speaker Omaha: Denis Akiyama Desk Clerk Boise: Vickie Papavs Hotel Janitor Boise: Murray Furrow Convention Waiter Boise: Scott McLaren Speaker #1 Boise: David Bolt Speaker #2 Boise: Len Carlson Man In White Coat Boise: Les Porter Businessman Boise: Bruce McFee Elderly Woman In Elevator: Judy Sinclair Gate 15 Clerk Boise: Shanly Trinidad Stewardess Boise: Anne Marie Scheffler Sunways Security Guard: Mike O’Shea Sunways Neuro Technician: Andrew Moodie Sunways Technician #1: Malcolm Xerxes Sunways Technician #2: Matthew Sharp Vault Security: Peter Mensah Pilot #2 In Washroom: David Bryant Digicorp Technician #2: Alec Stockwell Digicorp Technician #3: Matt Cooke Jamison: Marcus Hutchings Tomas Street (uncredited): Sevaan Franks Waiter Buffalo: Steve Jackson Film Crew: Director: Vincenzo Natali Screenplay: Brian King Executive Producer: Shebnem Askin Producer: Paul Federbush Executive Producer: E.K. Gaylord II Producer: Wendy Grean Producer: Casey La Scala Producer: Hunt Lowry Original Music Composer: Michael Andrews Director of Photography: Derek Rogers Editor: Bert Kish Special Effects: Brock Jolliffe Stunt Coordinator: Alison Reid Movie Reviews: AirGordon: A very unique spy / corporate espionage film. I don’t want to give too much away due to the way the plot unfolds. This movie is one of those hidden gems that many look over or miss; don’t be one of those people!

[letterboxd]

Creative Limitations.

“The media’s already polarizing enough; I guess I’m looking for things that are not polarizing and are much more nuanced about the human condition.” —Lulu Wang, writer and director of The Farewell.

One of the highest-rated films of the year, Lulu Wang’s The Farewell stars Awkwafina as Billi, a fictionalized version of Wang herself, in the story of a family in cahoots to keep their matriarch in the dark. The film is based on “a true lie”: Billi’s paternal grandmother in China, Nai Nai (played by veteran Chinese actress Zhao Shuzhen) has cancer, and the family chooses not to let her know, instead staging an elaborate fake wedding to bring the family together.

Where other independent features often develop out of a short film, Wang took her story to This American Life, a bastion of American radio storytelling. The half-hour audio version, ‘What You Don’t Know’, is what her American film producer heard; from there, the feature film came to life. It’s a quietly powerful story that has resonated with Letterboxd members for many reasons, including the authentic, hands-off way in which it comments on “the many micro-tragedies that naturally follow any family whose members—for one reason [or] another—decide to leave the family nest and search for happiness abroad”. For others, it’s even more personal: “Seeing yourself on screen probably doesn’t get better than this.”

When The Farewell opened in US cinemas in July this year, its per-theater box office average topped that of Avengers: Endgame. The film was still showing in select theaters in October, and has just been released on streaming services, including in 4K on iTunes, with a commentary track by Wang and her director of photography, Anna Franquesa Solano. “We tried to talk a lot about process, so I think that’ll be interesting,” Wang told us. (Also, “we may or may not have been drinking”.)

In time for its streaming release, we chatted with Lulu Wang about aspects of The Farewell’s production, the useful limitations of independent filmmaking, and her favorite films, from holiday movies to best soundtracks. Interview contains plot spoilers.

Lulu Wang and DP Anna Franquesa Solano on the set of ‘The Farewell’. / Photo: Casi Moss

The Farewell is standing strong in our highest rated films of 2019, and the reviews are responding to exactly the things, I imagine, that were important to you: the non-manufactured stakes, the family realness, a sense of the specific being universal, the process of grief beginning long before a person you love dies. How does it feel that your film is being so well received? Lulu Wang: I fought really hard to tell the story in such a specific way that in some ways I think my biggest fear was that the specificity would put us into a niche, and only attract a very niche audience. So, you know, the fact that there’s so many people—Asian-Americans but also non-Asian Americans—who see themselves and their family in the story is incredible to me.

You often mention the films of Mike Leigh when talking about highly specific stories that nevertheless have a universal resonance. Can you talk about some other such films and filmmakers that do this for you? Well, Yi-Yi [directed by] Edward Yang is one of my all-time favorites. The specificity, the tenderness of it. The patience of the filmmaking. I find Yi-Yi to be that. Also the humor, there’s so much charm and so much humor in it, it feels just so real.

Kore-eda’s films speak to me in that same way. I just really appreciate the patience in filmmaking. I think so often nowadays the flashiest things get the most attention, and we’ve also trained our brains to need that, right? That kind of stimulation. And so there’s something just so beautiful about a film that takes its time and that doesn’t lean on easy tricks to get attention, but that takes time to get to the heart of something very nuanced, that isn’t so obvious, that isn’t so black and white. The media’s already polarizing enough; I guess I’m looking for things that are not polarizing and are much more nuanced about the human condition.

Through The Farewell’s run, you’ve been generous about opening up the filmmaking process—this Vanity Fair bilingual script breakdown, for example, gives a good insight into how hard you worked on the script. Could you talk us through the ‘wedding portrait sequence’, in which Billi’s cousin and his wife have a series of photographs taken while Billi and Nai Nai carry on a long conversation? It’s entertaining, but it’s also important for what it reveals about Nai Nai and Billi’s relationship, Chinese wedding culture, and the underlying lie of the whole story. You must be so proud of this sequence. I am. Yeah, I’m really proud of that sequence. The photo portrait was kind of inspired a little bit by Secrets and Lies, when he takes the portrait, and the falseness of what we present when we take portraits like that in the studio, right?

Nai Nai (Zhao Shuzhen) observes yet another wedding portrait set-up in ‘The Farewell’.

One of the intentions, going through it, was minimising the dialogue and trying to condense the script, and so that made me say, “Okay, what are all these moments doing?” They’re all trying to do the same thing, which is to establish the relationship between Billi and Nai Nai, so condensing it into one sequence makes sense. And then also because so much of it is dialogue-driven, how do we make this cinematic? Because at one point the wedding photography studio was separate from these conversations between Billi and Nai Nai, you know, and so this is where, in some ways, being forced to have limitations, being forced to make a shorter film, you start to think more about layering and how do you do multiple things at once.

I really appreciate the limitations of independent filmmaking. Not always; when I’m on set and I get the budget I’m complaining! But looking back on it, those limitations are how we came up with many of our visual ideas. And then also of course it was influenced by the location itself, because we were scouting wedding studios and I wasn’t aware that these studios were so large, that they have, like, different spaces built into the same building. Because if you look at a western photo studio, like in Mike Leigh, right, it’s always the same backdrop.

So that sequence was inspired because we went location scouting, and we were like “this is ridiculous! There are ten different rooms and they all have different set ups!” So then we had this idea of them basically just wandering through the whole photography studio and we’d pick four of our favorite set-ups.

And then this idea of them being silhouetted was inspired by [Woody Allen’s 1979 film] Manhattan. I wanted to capture their relationship as a romance, and I was thinking about Manhattan and their silhouette—I think they were in a planetarium—so we came up with this idea of a continuous conversation, but that was spaced out in front of different backdrops.

Woody Allen and Diane Keaton in a scene from ‘Manhattan’ (1979).

That sequence helps us learn more about who Nai Nai was before the events in The Farewell take place. At Letterboxd, we’re often compiling top ten lists, but “best grandmothers on film” is not a highly populated category, especially films where grandmas are more than just ‘kindly’. Tell us more about fleshing out Nai Nai’s life and the importance of giving respect to older female characters. I think about that in life, too, you know. We think about a lot of people in our lives as fulfilling a particular role in relation to ourselves. That’s my mother, that’s my grandmother, that’s my teacher. Remember as a kid you don’t even think your teacher goes to the grocery store! They hide in the back of the class and then pop back up in the morning! So as a filmmaker, as a storyteller, I’m always thinking about who they are, separate from the context of their relationship to you.

That’s also part of the sadness of not being with somebody or of losing somebody is you don’t necessarily get to see them in all those different contexts and then when they’re gone, there’s so much you don’t know about them and may never know about them. And as our parents get older, your relationships to your relatives change, you know, like ‘who’s the parent?’—children often have to become the caretaker. That’s where it came from, was wanting to make sure that Nai Nai was not presented as a stereotypical grandmother. That she felt like a three-dimensional woman, a woman who was once a girl, and a young woman, someone who was once in love, or maybe in a relationship out of convenience. And also that she’s not always sweet. That’s very real.

One of the motifs in The Farewell is birds appearing at significant moments. In many cultures, a bird is a portent of something big, for example, a death in the family. Where did your bird come from? The bird for me came from wanting to put [in] something magical, but not, like, literal, you know? Meaning, I wanted to insinuate spirituality and magic, but I wanted it also to be interactive with the audience, so based on what they believe and how they interpret that bird is the meaning they get out of it, without me saying “this is what it means”. Much of the movie is about belief systems and perspectives, so I think that if you believe the bird means something, then it does. But if you don’t, and you’re a much more literal, scientific person and you go, “Oh it’s just a bird, it’s just a coincidence,” then it doesn’t mean anything.

Awkwafina leans on Zhao Shuzhen’s shoulder during filming. / Photo: Casi Moss

That’s how it is in the movie and that’s how it is in life: what you believe, and where you find meaning, becomes your reality. With Nai Nai outliving her diagnosis, the people who believe the lie is what worked will continue to believe that the lie is what worked, and people who believe that prayer is what worked… In a way, we look for signs to validate the things we believe, because it’s how we get through life! We need signs, we need meaning, even if we’re the ones who are attaching that meaning.

This far down the track, what is your fondest memory of the production period? Oh gosh, so much of it. I think just being in China, being in spaces that were in my real life, with a crew. Any time that that happened it was really emotional, like shooting in my grandmother’s neighborhood. Shooting at my grandfather’s real grave. I hadn’t seen my grandfather since I left China when I was six, because he died a few years later. To now be at his grave site, gathered there with producers and the crew, scouting it and then shooting there, you know, it was an integration of two different parts of my life that I always felt were really separate, which was my family and China and my background and culture, and then the other part of me, which is being an American, being a filmmaker in America.

In many ways, I always felt that my family didn’t understand what I wanted to do, and also I couldn’t bring who I actually was into Hollywood, there wasn’t a space for that. With this film I was able to fully integrate, bringing my American producers to China for the first time, having my grandmother come to set and see me directing with all the lights and camera and crew. Having my parents be part of the table read. It just felt, really, like I was creating from a place that felt true and real and grounded to me.

Awkwafina and Zhao Shuzhen in a scene from ‘The Farewell’.

Speaking of being grounded, what’s your go-to comfort film? The one you’ll always throw on on a rainy day? Oh, I know: The Philadelphia Story. I love that story.

What’s the film you’ve probably seen the most? The Sound of Music.

Favorite song from it? Probably ‘Edelweiss’, honestly. I’ve been watching that film since I was a kid, it’s one of my parents’ favorite films. It’s such a family film for us, and every time the father sings ‘Edelweiss’ to all the kids, I get really emotional.

What’s the film—or films—that made you want to become a filmmaker Secretary. The Apartment. Annie Hall. I know that’s taboo, I shouldn’t say that, but I have to. Like, Annie Hall, you know? When I first saw it, I was really inspired by that. And The Piano. I think, with both The Piano and Secretary, it was the exploration of female desire and female voice—and obviously as a trained classical pianist since the age of four, the symbol of the piano for her, for that character, and for me, was really meaningful.

Jane Campion’s ‘The Piano’ (1993).

Alex Weston’s soundtrack for The Farewell, which leans heavily on human voices, is something you worked closely with him on. What’s your all-time favorite film soundtrack? So many, I don’t know how to choose! Well, I have a couple. In the Mood for Love. And then, because it is related, Barry [Jenkin]’s If Beale Street Could Talk is one of the most astounding soundtracks. Barry was inspired by Wong Kar-wai for Moonlight, and so yeah, thinking about In the Mood for Love reminded me that Nick Britell’s If Beale Street Could Talk soundtrack is just incredible.

Holiday season is fast approaching: what’s your favorite holiday/Christmas film? Home Alone is a classic that we all watch. Does Fiddler on the Roof count as a Christmas film?! I don’t know. That’s my mom’s favorite. And then I have a really embarrassing one, because when we got sick of Home Alone, we had to pick a new one, and somehow we landed on Jingle All the Way. For years, we watched Jingle All the Way and just laughed our heads off.

Finally, how is Children of the New World coming along? Very slowly. I’m working on the script. I’m writing it. It’s gonna take a while, probably after all of the press is done so I can fully focus.

‘The Farewell’ is available on streaming services now. Comments have been edited for clarity and length. With thanks to A24.

[popradar]

Beyond Fest 2019 in Hollywood from Sept. 25 - Oct. 8

2019 Beyond Fest poster design by ILOVEDUST: ilovedust.com — Beyond Fest returns to the Egyptian Theatre in Hollywood from Wednesday, Sept. 25 to Tuesday, Oct. 8. The lineup includes 39 features including the West Coast premieres of Parasite, Jojo Rabbit, Dolemite is My Name, Color out of Space, The Lodge and the world premiere of Mister America.

The festival is one of the largest genre film festivals (horror, sci-fi, fantasy, thriller) in the country with proceeds benefitting the nonprofit film institution, American Cinematheque.

Tickets go on sale on Saturday (Sept. 7) at 10 a.m. SO GET ON IT: Many programs will sell out, so check out the entire 2019 program and guests, with films listed alphabetically.

Tickets run $12 - $25. Some screenings are free.

View the schedule chronologically.   

BLISS Director: Joe Begos Country: USA Runtime: 80 min. Year: 2019 GUESTS: Director Joe Begos and cast in person

COLOR OUT OF SPACE West Coast Premiere Director: Richard Stanley Country: USA Runtime: 111 min. Year: 2019 GUESTS: Director Richard Stanley and Elijah Wood, Daniel Noah, Josh Waller in person

COME TO DADDY West Coast Premiere Director: Ant Timpson Country: Canada | New Zealand | Ireland | USA Runtime: 93 min. Year: 2019 GUESTS: Director Ant Timpson and Elijah Wood in person

DANIEL ISN’T REAL West Coast Premiere Director: Adam Egypt Mortimer Country: USA Runtime: 96 min. Year: 2019 GUESTS: Director Adam Egypt Mortimer and Elijah Wood, Daniel Noah, Josh Waller in person

DOLEMITE IS MY NAME West Coast Premiere Director: Craig Brewer Country: USA Runtime: 118 min. Year: 2019 GUESTS: Writers Larry Karaszewski and Scott Alexander in person

DOLEMITE Director: D’Urville Martin Country: USA Runtime: 90 min. Year: 1975

THE EVIL DEAD: REIMAGINED 4K Restoration West Coast Premiere Director: Sam Raimi Country: USA Runtime: 85 min. Year: 1981 GUESTS: Featuring live performance from Joe LoDuca

THE EXORCIST Director’s Cut Director: William Friedkin Country: USA Runtime: 128 min. Year: 1973 GUESTS: Director William Friedkin in person

THE FOG Director: John Carpenter Country: USA Runtime: 89 min. Year: 1980 GUESTS: Tom Atkins in person

GIRL ON THE THIRD FLOOR West Coast Premiere Director: Travis Stevens Country: USA Runtime: 93 min. Year: 2019 GUESTS: Writer/Director Travis Stevens, Phil Brooks and Elissa Dowling in person

HALLOWEEN III: SEASON OF THE WITCH Director: Tommy Lee Wallace Country: USA Runtime: 98 min. Year: 1982 GUESTS: Tom Atkins in person

IN SEARCH OF DARKNESS World Premiere Director: David A. Weiner Country: UK Runtime: 240 minutes Year: 2019 GUESTS: To be announced

JENNIFER’S BODY Director: Karyn Kusama Country: USA Runtime: 102 min. Year: 2009 GUESTS: Director Karyn Kusama and Megan Fox in Person

JOE BOB BRIGGS’ “HOW REDNECKS SAVED HOLLYWOOD” Special Event Country: USA Runtime: 120 min. Year: 2019 GUESTS: Joe Bob Briggs in Person

JOJO RABBIT West Coast Premiere Director: Taika Waititi Country: Germany | USA Runtime: 108 min. Year: 2019

LITTLE MONSTERS West Coast Premiere Director: Abe Forsythe Country: Australia | UK | USA Runtime: 94 min. Year: 2019

THE LIVING DEAD AT MANCHESTER MORGUE 4K Restoration West Coast Premiere Director: Jorge Grau Country: Spain | Italy Runtime: 93 min. Year: 1974

THE LODGE West Coast Premiere Director: Severin Fiala, Veronika Franz Country: UK | USA Runtime: 100 min. Year: 2019

THE LONG GOODBYE Director: Robert Altman Country: USA Runtime: 113 min. Year: 1973 GUESTS: Elliott Gould in Person

MISTER AMERICA World Premiere Director: Eric Notarnicola Country: USA Runtime: 90 min. Year: 2019 GUESTS: Tim Heidecker and Gregg Turkington in person

NATURAL BORN KILLERS (Closing Night) Director: Oliver Stone Country: USA Runtime: 118 min. Year: 1994 GUESTS: Director Oliver Stone, Juliette Lewis, Woody Harrelson and Don Murphy in person

NIGHT OF THE CREEPS Director: Fred Dekker Country: USA Runtime: 88 min. Year: 1986 GUESTS: Tom Atkins in person

PARASITE West Coast Premiere Director: Bong Joon-ho Country: South Korea Runtime: 132 min. Year: 2019 GUESTS: Director Bong Joon-ho in person

SAMURAI MARATHON 1855 West Coast Premiere Director: Bernard Rose Country: Japan | UK Runtime: 103 min. Year: 2019 GUESTS: Director Bernard Rose and actor Danny Huston in person

TAMMY AND THE T-REX West Coast Premiere Director: Stewart Raffill Country: USA Runtime: 82 min. Year: 1994 GUESTS: Director Stewart Raffill, producer Diane Kirman and actor John Goff in person

VFW West Coast Premiere Director: Joe Begos Country: USA Runtime: 92 min. Year: 2019 GUESTS: Director Joe Begos, William Sadler in person

Second Screen — Spielberg Theatre

1BR (Free Screening) US Premiere Director: David Marmor Country: USA Runtime: 90 min. Year: 2019 GUESTS: Director David Marmor and Producer Alok Mishra

BLOOD & FLESH: THE REEL LIFE AND GHASTLY DEATH OF AL ADAMSON (Free Screening) US Premiere Director: David Gregory Country: USA Runtime: 100 min. Year: 2019 GUESTS: Director David Gregory in person, Director of Photography Jim Kunz and Producer Nicole Mikuzis in person

DRACULA VS. FRANKENSTEIN (Free Screening) Director: Al Adamson Country: USA Runtime: 91 min. Year: 1971 GUESTS:Actor Zandor Vorkov, Actor/Producer/Stuntman Gary Kent, Actor/Producer/Stuntman Jon ‘Bud’ Carson, Actor/Producer Ken Osborne and Cinematographer Mike Ferris in person

JUDY & PUNCH (Free Screening) West Coast Premiere Director: Mirrah Foulkes Country: Australia Runtime: 105 min. Year: 2019

KILLER CROCODILE (Free Screening) Director: Fabrizio De Angelis Country: Italy Runtime: 90 min. Year: 1989

MADMAN (Free Screening) Director: Joe Giannone Country: USA Runtime: 88 min. Year: 1981

MARY (Free Screening) Special Screening Director: Michael Goi Country: USA Runtime: 84 min. Year: 2019

MEMORY: THE ORIGINS OF ALIEN (Free Screening) LA Premiere Director: Alexandre O. Philippe Country: USA Runtime: 95 min. Year: 2019

MOOCH GOES TO HOLLYWOOD (Free Screening) Theatrical Premiere Director: Richard Erdman Country: USA Runtime: 51 min. Year: 1971

PAGANINI HORROR (Free Screening) Director: Luigi Cozzi Country: Italy Runtime: 88 min. Year: 1989

PORTALS (Free Screening) World Premiere Director: Gregg Hale, Liam O’Donnell, Eduardo Sánchez, Timo Tjahjanto Country: USA Runtime: 85 min. Year: 2019

SWALLOW (Free Screening) West Coast Premiere Director: Carlo Mirabella-Davis Country: USA | France Runtime: 94 min. Year: 2019

THE VAST OF NIGHT (Free Screening) West Coast Premiere Director: Andrew Patterson Country: USA Runtime: 89 min. Year: 2019

[normaltothemax]

CHARACTER SHEET repost. do not reblog.

𝐛𝐚𝐬𝐢𝐜𝐬 !

FULL NAME.          Maxine Parker NICKNAME.         Max, Maxie, Maxie Pad GENDER.          cis - female HEIGHT.         5′4″ AGE.         22 ZODIAC.         cancer LANGUAGES.         english, french RELIGION.          atheist  

𝐩𝐡𝐲𝐬𝐢𝐜𝐚𝐥 𝐜𝐡𝐚𝐫𝐚𝐜𝐭𝐞𝐫𝐢𝐬𝐭𝐢𝐜𝐬 !

HAIR COLOR.         brown EYE COLOR.         brown SKIN TONE.         average / tan BODY TYPE.          average, fit, athletic ACCENT.         Canadian (sounds American) VOICE.          Shelley Hennig DOMINANT HAND.          right POSTURE.          normal SCARS.         small scars on her knuckles from breaking the skin so often TATTOOS.         none BIRTHMARKS.         none MOST NOTICEABLE FEATURE(S).         eyes, eyebrows

𝐜𝐡𝐢𝐥𝐝𝐡𝐨𝐨𝐝 !

PLACE OF BIRTH.          Toronto, Ontario, Canada HOMETOWN.         Toronto BIRTH WEIGHT.         7lbs BIRTH HEIGHT.         46cm MANNER OF BIRTH.         a regular, average birth FIRST WORDS.          mama SIBLINGS.         3 older brothers (Brian, Connor, and Tate) PARENTS.         Mike and Diane Parker PARENTAL INVOLVEMENT.         Caring parents, regular involvement

𝐚𝐝𝐮𝐥𝐭 𝐥𝐢𝐟𝐞 !

OCCUPATION.          Waitress, student CURRENT RESIDENCE.          California (verse dependent) CLOSE FRIENDS.          tba RELATIONSHIP STATUS.         single FINANCIAL STATUS.         middle class DRIVER’S LICENSE.         no CRIMINAL RECORD.         none VICES.          drinking, fighting, prone to explosive anger (that she’s working on)

𝐬𝐞𝐱 & 𝐫𝐨𝐦𝐚𝐧𝐜𝐞 !

SEXUAL ORIENTATION.         hetero ROMANTIC ORIENTATION.         hetero PREFERRED EMOTIONAL ROLE.         submissive  |  dominant |  both. PREFERRED SEXUAL ROLE.         submissive  |  dominant |  switch. LIBIDO.            average TURN ON’S.         flirting, sensual touches, being told what her partner wants to do to her TURN OFF’S.          overly clingy, being an asshole LOVE LANGUAGE.          teasing, calling you names (in a playful way, not seriously)  RELATIONSHIP TENDENCIES.          never really kept anything serious

𝐦𝐢𝐬𝐜𝐞𝐥𝐥𝐚𝐧𝐞𝐨𝐮𝐬 !

CHARACTER’S THEME SONG.           Fuck You - Lily Allen HOBBIES TO PASS TIME.         photography, reading, watching netflix MENTAL ILLNESSES.         none PHYSICAL ILLNESSES.         none LEFT OR RIGHT BRAINED.         right PHOBIAS.         loss of control, drowning, heights, death, failure SELF CONFIDENCE LEVEL.         average VULNERABILITIES.          self-consciousness, the fear of failure keeps her from doing some things

TAGGED BY.              @firebrought TAGGING.            @seanceisms, @likeprotege, @itsybitsyparker, @paddyfeet, @looksbadtm

[dezernat-4]

Sontag am Mittwoch

Die Mike Hammer-Reihe von Mickey Spillane gabs für Schrammel im Dezernat nur zur Tarnung vor den Kollegen, privat durfte es bei der Lektüre schon etwas in die Tiefe gehn!

An diesem Mittwoch hatte er Susan Sontags Buch 'Über Fotografie' gelesen und fand interessant, dass einige Aspekte zur Krise der Fotografie wie zum Beispiel die Bilderflut in einem Buch von 1977 auftauchten! Wie konnte das möglich sein ohne Digital-Workflow, Mobile-Photography und Interweb samt Social Media?

Und: Erstaunlicherweise wirkte Sontag für einen intellektuell-liberalen Geist der 70er in dieser Essay-Zusammenfassung nach seinem Geschmack über weite Strecken ziemlich eindimensional und drosch weiträumig auf Diane Arbus ein.

.

[jaddatsui]

In 2013, a long-buried and relatively obscure village was uncovered in a remote region of the Mediterranean. Though it initially seemed a simple trading outpost, researchers slowly unearthed increasingly bizarre artifacts and architecture. Extensive work has been done to understand what the use of these items and spaces may have been, the most compelling theory being that the village was once a resort — a spa city, where people travelled from far and wide to perform elaborate rituals and meditations in search of, or in service of, something. We are still trying to figure out what that something is.

Artists Mat Lindenberg and Jadda Tsui have spent the better part of the last year at the site, conducting research through a residency in partnership with the IAOA (International Association of Archaeology), and will be speaking about their trip, relaying their findings, and leading a digitally reconstructed tour of the notoriously secretive and guarded site.

Photo Credit: Mike Tan from Diane and Mike Photography