The War You Don’t See by John Pilger.

Posted:  February 7th, 2016 - DIRECTOR, DOCUMENTARY, JOHN PILGER, SPOTLIGHT

 The War You Don’t See

“During World War One, 10% of all casualties were civilians. During World War Two, the number of civilian deaths rose to 50%. During the Vietnam War, 70% of all casualties were civilians. In the war in Iraq, civilians account for up to 90% of all deaths.”

— The War You Don’t See by John Pilger.

The War You Don’t See from John Pilger on Vimeo.

Ingmar Bergman – Best / Worst interview… funny :)

Posted:  January 4th, 2015 - DIRECTOR, INGMAR BERGMAN, THE DAILIES

“And I wonder… are you really going to spend the 25 thousand dollars on gutters for your house?”

Monte Hellman

Posted:  December 3rd, 2014 - AMERICAN INDEPENDENT, DIRECTOR, MONTE HELLMAN, SPOTLIGHT

Monte Hellman

MH 

For those not familiar with his work, Monte Hellman may be one of best kept secrets of American independent cinema. Despite having made several remarkable films, he is rarely cited along with the better known authors of his generation.  This has thankfully been changing, most recently with him being awarded a special career prize at the Venice Film Festival in 2010.  Along with rereleases of his films by Criterion, which are helping reintroduce his films to a new generation.

With an almost free flowing lyrical style, unconventional narrative structure and minimalist aesthetic, his films offer an alternative perspective and challenge the Hollywood notion that story needs to be linear and formulaic to be satisfying.  Made with relatively modest means, they are also great examples of what cinema can be, even without a lot of money and maybe the artistic freedom it afords.

I had the chance to interview Mr. Hellman after the launch of his latest film, “Road to Nowhere”, a stylish neo-noir. While not my personal favorite of his films, it still shows a filmmaker ready to take chances and break new ground. 

 

Rebel filmmaker Monte Hellman, discusses his new film “Road to Nowhere”.

Los Angeles, 2011

 

 

Interview by VIFILL PRUNNER

 

THENEWCINEMA: You have stated in other interviews that “Road to Nowhere” is your first real Monte Hellman film.  Can you elaborate?

MONTE HELLMAN: It’s the first time I’ve been able to realize a project of my own, started by me, and created without any external attempts to influence.

 

TNC: How was working with the Canon 5D different compared to shooting on film? What were the biggest pros and cons, not just technically but creatively?

MH: Well… the biggest difference is, you can put the camera in places you can never put a normal film camera… I mean literally we would be in a booth in a bar and the camera would be taped to the wall in a place where you could never put a regular camera so it made it possible to use real locations in a way not possible with traditional means. I mean that’s one of the big advantages, the fact… that you can put the camera in places you normally couldn’t, and the other big advantage is you can shoot in the street and people don’t know that you’re making a movie.

 

TNC: Did it mean you were able to shoot without permits?

MH: Whenever we were actually shooting in L.A. or shooting in North Carolina, we had to have permits. You know, It was only with a few scenes that you go out with three people… but on a day to day basis you need to get the same permits you need to have the same number of people… it’s not very different.

(more…)

Under the Skin (2013)

Posted:  December 3rd, 2014 - DIRECTOR, JONATHAN GLAZER, SCARLETT JOHANSSON, SPOTLIGHT

“Under the Skin”

 

Sadly so few films like this get made!!!

 

 

If you are interested in knowing more about how the film was made, check out the interview by David Cox for the Film4 Channel 

 

 


 

 

“You don’t start with the fewest parts… you are trying to distill to the fewest parts.  Simplicity is something you end with, you don’t start with it, you get to it if you are lucky.”

 

“The method and the narrative is the same thing.” 

 

Jonathan Glazer


 

 

 

Links:

FilmTrailerZone 
Film4 Channel 

Monte Hellman – “Road to Nowhere”

Posted:  April 15th, 2011 - DIRECTOR, FILM, INTERVIEWS, MASTER CLASS ISSUE, MONTE HELLMAN

Rebel filmmaker Monte Hellman, discusses his new film “Road to Nowhere”.

Los Angeles, 2011

 

 

Interview by VIFILL PRUNNER

 

THENEWCINEMA: You have stated in other interviews that “Road to Nowhere” is your first real Monte Hellman film.  Can you elaborate?

MONTE HELLMAN: It’s the first time I’ve been able to realize a project of my own, started by me, and created without any external attempts to influence.

 

TNC: How was working with the Canon 5D different compared to shooting on film? What were the biggest pros and cons, not just technically but creatively?

MH: Well… the biggest difference is, you can put the camera in places you can never put a normal film camera… I mean literally we would be in a booth in a bar and the camera would be taped to the wall in a place where you could never put a regular camera so it made it possible to use real locations in a way not possible with traditional means. I mean that’s one of the big advantages, the fact… that you can put the camera in places you normally couldn’t, and the other big advantage is you can shoot in the street and people don’t know that you’re making a movie.

 

TNC: Did it mean you were able to shoot without permits?

MH: Whenever we were actually shooting in L.A. or shooting in North Carolina, we had to have permits. You know, It was only with a few scenes that you go out with three people… but on a day to day basis you need to get the same permits you need to have the same number of people… it’s not very different.

(more…)

Luc Moullet – Filmmaker, Film Critic, Enfant Terrible

Posted:  April 21st, 2010 - DIRECTOR, INTERVIEWS, LUC MOULLET, MASTER CLASS ISSUE

Filmmaker, Film Critic, Enfant Terrible.  Luc Moullet offers his thoughts on cinema past and present.

Paris, 2009

 

Interview by VIFILL PRUNNER

THENEWCINEMA: Let me start by asking about something you once wrote.  “Morality is a question of tracking shots”. What did you mean by that?

LUC MOULLET: Yes, it can be explained… it was written, I wrote a text about the art of Samuel Fuller. It was one of the leading principles of Samuel Fuller, that the sense of the film is not driven from the screenplay but more from the way the film is made.  It gives a very different sense to the story and the film depending on how it is made.  The sense of the film is not in the screenplay, but the way the film is made gives it it’s deeper meaning. I give an example about Romy Schneider who in the film “Le Vieux Fusil” is murdered by the Nazi’s. In 1975 normally we would empathize or feel sorry for her because the Nazi’s are not good people. But since she overplays so much throughout the film we end up hating her. So we agree with the Nazi’s because they kill her and finally she is gone and you are happy for that. So it is a metaphor for the technique of  how a film is made, technique of acting, of camera, the technique of narrating. We have another film “Il Pleut sur Santiago” that is made by Soto who was a Chilean director, about the fall of Allende in 73’. Of course everyone here in France agreed with Allende and was against Pinochet, but the since actors in this film speak French and act like vaudeville French actors, they all seem ridiculous.  Everyone in the theater laughs when they hear the Allende guys, because it is badly made. The tracking shots is a metaphor for that, how a film is made.

 

TNC: It is a broad question and maybe without a definitive answer, but I would like to hear your take on it.  What is cinema?

LM: Well it is a difficult question. For myself I make what I feel. There are some codes in the ‘‘standard cinema’’.  I have to acknowledge them but I try to make what I want.

(more…)