#film directors

[hollywoodoutbreak]

Shawn Levy, one of the main creative forces behind the blockbuster Deadpool & Wolverine movie, is well-acquainted with its leading stars, Ryan Reynolds and Hugh Jackman. Levy previously worked with Jackman on the 2011 sci-fi action film Real Steel and collaborated with Reynolds on the 2022 time-travel adventure The Adam Project.

While some may think directing such celebrated actors might become routine, for Levy, guiding the third Deadpool installment and uniting these two beloved characters was an unforgettable opportunity. He remained in awe of Reynolds' and Jackman's unwavering dedication and passion to elevate the film to its utmost potential.

Deadpool & Wolverine continues to captivate audiences in theaters.

[whowouldwininafite]

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ROGER CORMAN (1926-Died May 9th 2024,at 98).American film director, producer, and actor. Known under various monikers such as "The Pope of Pop Cinema", "The Spiritual Godfather of the New Hollywood", and "The King of Cult", he was known as a trailblazer in the world of independent film. Many of Corman's films are low-budget cult films including some which are adapted from the tales of Edgar Allan Poe.Among his many cult films as either director or producer,he was responsible for,It Conquered the World,The Masque of the Red Death,Death Race 2000,Pirnha, and Battle Beyond the Stars. He was a big influence on film directors & producers from the 1960's to today,including Joe Dante,Francis Ford Coppola,Peter Bogdanovich,John Carpenter,and James Cameron,and helped launch the careers of actors such as Jack Nicholson,Dennis Hopper,Bruce Dern,Diane Ladd and William Shatner.Roger Corman - Wikipedia

[artfilmfan]

Full list below:

Nadav Lapid Pedro Costa Aki Kaurismäki Wang Bing Béla Tarr Apichatpong Weerasethakul Víctor Erice Radu Jude Abderrahmane Sissako Ryusuke Hamaguchi Walter Salles Claire Denis Robert Guédiguian Kiyoshi Kurosawa Laurent Cantet Claire Simon Cédric Kahn André Téchiné Corneliu Porumboiu Jia Zhangke Mahamat-Saleh Haroun Anand Patwardhan Ira Sachs Nobuhiro Suwa Arthur Harari Philippe Faucon Patricia Mazuy Kiyoshi Kurosawa Rithy Panh Lav Diaz Christian Petzold

[taylorrussellsgf]

Taylor Russell and Luca Guadagnino attend the loewe foundation studio voltaire awards on october 10, 2023

[abbysindistinctchatter]

the writer urge to have a director friend that is able to bring your stories to life

[ioaki]

You want to watch a short film about a new lesbian situationship having their first fight?

Yes, yes, you do

TW substance abuse

As per usual, tumblr is the final place I post any ~promo / marketing~ for the shorts I write & direct. This short stars my girlfriend Marina Morris and the lovely Sydney Strock. I adore both of them. I admire the entire crew who worked on this film. This story is about a wannabe screenwriter who is a closeted alcoholic and her girlfriend (kind of--they haven't made it official yet,) and you get to be a voyeur into the moment when they finally talk (ehh..?) about how her alcoholism and workaholism is hurting herself and their relationship...so yeah this is all pulling from my real life...please watch the movie. I put my whole fucking soul in it

My dream is to make movies with people I love. It means a lot to me if you take 10 minutes to watch the short. I promise it'll touch your heart

[ashadhahaha]

Priscilla (2023) - A Review

Heya folks! Here's a new blog dedicated to films + TV that I'm watching.

I made a very hasty decision to see Priscilla (dir. Sofia Coppola) in theaters today. I knew a little bit about it, that it was Priscilla Presley's biopic and that it would be based on her own autobiography, "Elvis and Me".

I have many good things to say about this film. Perhaps the most stunning things are the mise-en-scene and the editing. As always, Coppola has a very compelling way of telling stories.

The montages!!! I love how Coppola and her frequent collaborator Sarah Flack cut together Priscilla. I can see Lost In Translation here a bit with the clunky, slightly off-beat cuts. It's intriguing, a little unsettling, yet rhythmic at the same time. My favorite is when Priscilla waits on Elvis the first time. The way she's suspended in her own girlhood while Elvis floods her brain and her life. What a way to watch the time pass. You get all the information you need, all the details, and in an interesting way that fits the film well.

Some of the montages feel a little too romantic, like I'm watching a teen drama, which I think is excellent. There were so many points in the movie I start to fall for the romance and have to remind myself how this began in the first place and the young girl at the center of it.

THE COSTUMES. Coppola very much has an eye for production design!!! I noted in an interview she tends to spend her time there more than most directors. You can certainly tell. Elvis and Priscilla and honestly the whole world feels so believable and immersive because of the amount of detail. Priscilla's hair being our visual marker as we move through time is a great device and it really allows us to see this progression as she grows up and tries to fit more and more into this world she didn't choose.

Jesus, every single frame in this movie is beautiful. The way Priscilla is LIT. OH MY GOD. From the very beginning, with Priscilla's feet walking into the frame over the pink carpet. Every shot is composed with intention and meaning and create a strong aesthetic language that we feel consistently throughout the story.

Coppola doesn't shoot a lot of coverage, so her scenes consist mainly of a static camera, a well-decorated set, and her actors moving and talking to each other. Some moments feel incredibly long, other feels short and sweet. The rhythm is pervasive and concise.

She also tends to shoot at a lower budget. The most expensive scenes were likely the huge montages! There's a particular montage of Elvis performing that's used to show passage of time and it's shot very simply. You can do a lot with a little. Just a single spotlight in front of him to cast a long shadow, one camera on a dolly, a couple silhouettes to represent the crowd. Elvis is dark, powerful, and stepping more and more into the role of superstar. The lower the budget, the more creative control one has and I think Coppola thrives with these kinds of monetary restrictions.

Even the way scenes start seemingly right in the middle of things. Priscilla's life is moving at a pace she can't really control. She's completely at the mercy of Elvis and his wants and desires. And it's so observational. We're just watching these people exist. It gets unbearable the more Priscilla is barred from living her own life. She's trapped behind the gates of Graceland. Alone.

I love that first scene when she first moves in with Elvis and she's kind of wandering around this huge home. She sits in the chair, then she scoots back and crosses her legs. Then she looks out the window. Then she's playing with the piano. She's trying to imagine herself there, feel herself growing into it. It's foreign and she's so out of place. Still, she tries to force her own belonging. What a great use of negative space!

The world always feels like it's going to choke the life out of Priscilla. Like it's against her and swallowing her up at the same time. Coppola proves again how well she portrays isolated, lonely characters.

I also think Elvis was portrayed pretty fairly. He's sensitive, but troubled. There is love between them, but it's complicated and a little sinister and Priscilla spends much of the movie convincing herself it's worth sticking around for. I think this biopic is a step in the right direction of highlighting a more unseen perspective. Again, Coppola was a great choice.

& those are my thoughts! :3

ashadhahaha

[pyvs]

From the @brazosbookstore’s instagram

Always a wonderful evening if #wesanderson comes in the store, especially when he's generous enough to model our limited edition vintage tote!

[stone-cold-groove]

Frank Capra - 1942.

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Parent

[dailylooneys]

Happy 112th Birthday Norm McCabe

Another one of the least known cartoon directors at Warner Bros’ Termite Terrace.

Starting at WB, he was hired as an in-between during the Harman and Ising days in 1932. McCabe even went with both Bob Clampett and Chuck Jones to assist Ub Iwerks to complete two of Iwerks WB shorts, which was Porky and Gabby and Porky’s Super Service. 

McCabe later became an animator for Frank Tashlin, then Bob Clampett, animating some of the most famous shorts of all-time, such as Clampett’s beloved, overtly surreal Porky in Wackyland. 

He would later take over Clampett’s old unit. 

His first directors credit: The Timid Toreador (1940) co-director Bob Clampett

His solo directional debut: Robinson Crusoe, Jr. (1941)

In a similar manner of Robert McKimson and Arthur Davis, McCabe gets the short end of the rope. He directed nothing but black-and-white Looney Tunes shorts, never the later color Looney Tunes or Merrie Melodies. Much like Clampett and Tex Avery, McCabe would have a habit for the use dated topical humor relating to the world of the early 1940s like WWII, and his notoriously politically incorrect shorts, such as “Tokio Jokio” (his final short) and even the best ones like “The Ducktators” and “The Daffy Duckaroo”, was probably what set him back in his status.

Regardless, McCabe still did some great shorts. His directional style, I would say, was a mix between Freleng and Tashlin, razor-sharp timing, topical satire and insane wacky gags. He had quite easily THE shortest-lived directing job at WB, with only Tashlin and Arthur Davis out beating McCabe who directed only 12 short films.

The reason for McCabe’s short-lived directional career at WB was due to being drafted. When he returned, he would try to get his job back as a director, but Eddie Selzer wasn’t so easy on let him back in.

McCabe was the longest-living WB cartoon directors up until his death in 2006. He worked in commercial illustration for Bozo the Clown such as children’s book and educational films. He later continued his animation career, animated on Disney’s Bambi, revisited WB once again in the 1960s, went to Filmation, then DePatie-Freleng Enterprise, was an animator on Ralph Baskih’s Fritz the Cat, and did his second revisiting to WB again in the 1980s and 90s, as an animator on The Night of the Living, The Duxorist among other things, was a sheet timer and timing director on Tom Rugger’s Tiny Toon Adventures, Animaniacs, Freakazoid! and Taz-Mania, and The Sylvester & Tweety Mysteries, and even was an animator on the infamous 1993 Pink Panther TV series at MGM, a director on Bobby’s World for Fox Kids, a sequence director on 1987 Teenage Mutant Ninja Turtles show. Surprisingly, McCabe admitted to hating his work at Termite Terrace once he met up with animator Mark Kausler, screening his shorts. According to Kausler himself, McCabe was “incredibly modest about his Looney Tunes, he hated them all!”, once had a screening in North Hollywood, pleading to everyone “oh turn those off, I can’t stand looking at them”. Well, whatever the case was, your cartoons were the best Norm!

[gone2soon-rip]

NORMAN JEWISON (1926-Died January 20th 2024,at 97).Canadian film and television director and producer. Jewison addressed social and political issues throughout his filmmaking career, often making controversial or complicated subjects accessible to mainstream audiences. He received the Academy of Motion Pictures Arts and Sciences's Irving G. Thalberg Memorial Award in 1999. He received a BAFTA Award and was nominated for 7 Academy Awards, three Golden Globe Awards, and a Primetime Emmy Award.

Jewison directed numerous feature films and was nominated for the Academy Award for Best Director three times in three separate decades for In the Heat of the Night (1967), Fiddler on the Roof (1971), and Moonstruck (1987). Other highlights of his directing career include 40 Pounds of Trouble (1962), The Thrill of It All (1963), Send Me No Flowers (1964), The Cincinnati Kid (1965), The Russians Are Coming, the Russians Are Coming (1966), The Thomas Crown Affair (1968), Jesus Christ Superstar (1973), Rollerball (1975), F.I.S.T. (1978), ...And Justice for All (1979), Best Friends (1982), A Soldier's Story (1984), Agnes of God (1985), Other People's Money (1991), Only You (1994), The Hurricane (1999), and The Statement (2003).Norman Jewison - Wikipedia

[bupphaofficial]

What are your dreams and obstacles? Make an assessment.

[casaannabel]

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