Пятёрка Самых Шокирующих Фильмов

[crimson]

Вчера НОЧьЮ смотрел "Сияние" Кубрика (с Джеком Николсоном)....!!! УЖАС!!! :cry: :blink:

[mazd]

А еще впервые посмотрел фильм Гуса ван Сента: "Слон". Понравилось. как-то необычно. Красиво. И жутко... :hm:

Кстати, фильм завоевал Золотую пальмовую ветвь в Каннах в 2003-м... :hm:

[mazd]

в первый раз? :wow: надо же

[mazd]

Ка, а как правильно: Джармуш или Ярмуш? У Алекса Е'кслера - Джармуш...

:hm:

[Доктор]

Если по самоназванию, то Джармуш, хотя не исключено, что немцы зовут его Ярмушем

[Доктор]

Кстати, у Джармуша вышел новый фильм "BROKEN FLOWERS" с ............. :jawdrop: .........................Шэрон Стоун, Джессикой Ланж, и Биллом Мюрреем. Очень хвалят, но я пока не видел

[mazd]

А вы видели фильм "Кофе и сигареты"? Тоже хвалят...

[Доктор]

А вы видели фильм "Кофе и сигареты"? Тоже хвалят...

[mazd]

Я кроме перечисленныx фильмов еще смотрел "Night on Earth". Фильм состоит из несколькиx историй из жизни таксистов в разныx городаx мира - Лос Анджелес, Нью Йорк, Париж, Рим и Xельсинки. К данной теме наверное относится история, где таксист в Риме которого играет Бенини, рассказывает о своиx первыx, первертныx сексуальныx опытаx (с овощами и животными) священнику.

Фильм веселый и грустный одновременно.  В общем, как раньше описывали такие фильмы наши видеопрокатчики - "жизненний". B)

[mazd]

The Guardian interview

--------------------------------------------------------------------------------

Jim Jarmusch interviewed by Geoff Andrew (II)

Later films: Mystery Train | Night on Earth | Dead Man | Ghost Dog | Year of the Horse

Monday November 15, 1999

GA: I had some idea. (Laughter) Moving on to Mystery Train. It's another three-part feature. But in this one it seems like you've taken three different genres, a romance film, a supernatural and a thriller, and yet your films don't fit easily into any one genre. What is your approach to genre?

JJ: When I was writing Mystery Train, I was not thinking at all about cinematic genres. I was thinking about literary forms and I was very interested in Chaucer, things that have smaller stories within that make up a larger work, and I was playing with the idea of things happening simultaneously, so it's hard for me to answer that because I really wasn't thinking about any of those genres, although I was aware of Italian episodic films that are like romantic comedies; there is a tradition in Japanese cinema of ghost stories that have separate stories together, although I don't think I ever thought of that till just now, or actually he (points to Geoff Andrew and then adopts deep voice of seniority), "Yes, I was referring to the supernatural?" (Laughter)

But I like that form very much, and I liked playing with things happening at the same time and characters being in the same place, but not interacting and yet being somehow connected by some little threads, like the bellboy and the night manager of the hotel, the gunshot, the fact that they're in the same hotel, the fact that you see them walking down the same streets. But it really was more from a literary form than from playing with cinematic genres.

GA: It is an incredibly detailed film because we don't actually see Steve Buscemi until the last episode but, he's there in the first one because you see him as the Japanese couple walk past him, he's referred to in the second episode. It must have been a nightmare to put together, how did you do that?

JJ: It was fun. It was fun to write something where you could see a character that you don't know is going to appear later and be a main character. It was a little bit like a puzzle, not a real complicated one, but it was fun trying to make the pieces fit together while writing the thing down.

GA: How did you decide on the cities to use in Night on Earth?

JJ: To be honest I had written a script for another film, but was not able to make it due to things that were very frustrating, and I felt somewhat betrayed due to certain circumstances, so I thought to hell with that then, I'll just write something else real fast. I wrote Night on Earth in about eight days and what I was thinking was, "there's friends I'd like to work with and friends I'd like to see and I'm just going to write something that will get me to work with them and see them," which included Roberto Benigni, Isaach de Bankolé, all the actors in the Finnish section, and Gena Rowlands. The cities were really based on what actors I wanted to work with, or people I wanted to see. It wasn't very calculating, it was just, "I've got to do something" because I was very frustrated by this other project that didn't work out.

GA: But each episode is coloured by the culture in which it is set. With the Finnish, you have the moroseness, with the Italian influence you not only have the influence of the Catholic church, but very broad Italian comedy, in New York you have the cultural mix and the aggression. Was that calculated or did that just come naturally?

JJ: That comes as soon as you decide, "I want to work with these actors in Finland", then my impressions of Helsinki or Finland or their culture certainly filter in, and that is the atmosphere that I'm thinking of while writing. I love cities, they are almost like lovers. I'm attracted to many cities I've been in, often cities other people don't like at all. I like Detroit and Gary, Indiana, cities other people would avoid like the plague. The cities become characters even though they're enclosed in a cab, the atmosphere, the colour, the quality of light in each city is very different and has a different effect on the people who live there and on your emotions when you are there.

GA: Those things do come over, but as you say, shooting virtually within a cab all the time - you get shots looking out of the cab and establishing shots of the cities - it must have been a very difficult film to make given all those constraints you set yourself.

JJ: That was ridiculous. I wrote the film really fast and I was saying to myself, "This will be something real easy to do and I can do it fast" and then I stepped back in pre-production, realising, "Oh man, this is in four different countries in five different cities all inside of cars." Shooting in a car is really, really difficult and anyone who has made a film in a car interior will tell you, "Don't ever do that again."

I had people locked into the cars because there was a speed-rail built on the outside of the car to put the lighting rigs on, and if they had to get out and use the bathroom, it was a big nightmare. We had to roll the windows down and put sandwiches in for them just to keep them alive at times. (Laughter) It's really not fun shooting in a car.

At one point in Helsinki, we were towing a car, a rig broke and the car with the actors in was stopped on the line of the streetcar and a streetcar was coming. And my Finnish actors are, (puts on Finnish accent) "What the bloody hell, are we going to die here in a jam?" on the walkie-talkie. We had to run and get these guys to stop the train. But just physically shooting in a car is really, really hard.

Fred Elms, the director of photography in some of the shots when we were towing the car, we had taken away the engine out of the engine cavity and mounted the engine in there and he was riding on the car, operating, sometimes holding a diopter - which allows you to have two different focus areas in the frame - and it was 14 degrees below zero. It was really cold and we were out all night and [it was] really not an easy film to make. I was deluded when I said, "This'll be easy, little stories, a few characters." It was hell.

We were stopped in Italy because we drove by the American embassy in a car that looked like some sort of gun mount and we were held there by the police for a long time, asking for our passports. Of course, our passports were all in the hotel, so we each had to tell a young Italian person working on the film, "Okay, there's a shelf in the closet, it's got a green bag, it's not in the green bag, but underneath that is a red bag, if you open that? Five hours later the guy comes back (puts on Italian accent), "I have ze passports!"

It was really insane and we were shooting over a holiday and we told this Italian guy, "please make photocopies of this schedule". He came back about nine hours later and had copied them by hand. (Laughter) And I said, "Why?" and he said, (puts on Italian accent) "Because there was no photocopy place to make, its all closed, it's a holiday, now I copy for you the schedule." (Laughter) Lots of absurd things like that going on; and then Fred Elmes is very interested in using silks over the lens for different light diffusion in each city, and he uses very expensive lingerie. In Paris, he'd see a lingerie shop and he'd rush in there and he'd be saying, "Could I see more of these stockings please?" which got a little bit embarrassing. "Jim, do you think that this is nice?"(Laughter) French girls waiting on us looking around thinking, "strange Americans?"

GA: Was it difficult working in different languages?

JJ: It's not, surprisingly. I can understand Italian somewhat, French I can understand very well and Finnish I don't understand at all, but I wrote the dialogue and I worked with the actors in advance and with a translator. The actors spoke English in Finland and we were able to discuss the nuances of their translation to make sure it was the right way; for example, working-class guys would speak, and I'd already worked with Japanese actors in Mystery Train. It sounds funny, but it is not difficult at all.

When I came back from Japan, I came back with a load of videotapes of Japanese films that I couldn't find in the States that, of course, had no subtitles. If you watch an Ozu film not subtitled, believe me you understand what the characters are feeling. Nick Ray also compared acting to piano playing and he said, "The dialogue is just the left hand, the melody is in the eyes." Language is very important, but it is not necessarily the primary way of knowing what someone is feeling. Actors are expressing a lot of things through many tiny things, not just the language, so that was not a problem at all for me.

GA: Many people were surprised by Dead Man: it wasn't urban, it was set in an historical era, it had a much more linear structure. Did you feel you were breaking new ground and deliberately trying to do something different?

JJ: I certainly was doing something I had never done before, which was to make a film in a period other than the present. I was also making a film in which natural landscapes were almost like characters in the film. It's very difficult to take trucks with horses and wardrobe and find places to shoot where you can't see a road or a telephone pole or anything, so it was a very physically exhausting film to make.

It was very different, but at the same time everything I do is intuitive and it was still an extension of that. Each film I make I learn a lot from and maybe, some day, I'll learn really how to make films, but probably not. Kurosawa said in his 80s, "I'm still making films because I'm still trying to figure out how to make them." If you ever think you know everything about it you should stop, and that's not why I will stop because I won't learn completely how to make a film.

Dead Man was also dealing with a subject like death and having violence in a film, those things I had not done before.

GA: Which is something you've carried on with in Ghost Dog: The Way of the Samurai, in that you're looking at a different belief system and trying to juxtapose that with modern western ideas. What is your fascination with these belief systems?

JJ: I don't subscribe to any organised religions because I think they are often used to control people and I find that very suspicious. At the same time I'm very interested in different religious philosophies and things that are spiritual, because I don't think we know a lot of things about life and there are so many things we just don't understand.

Just to change the subject a little bit, I think it's really funny that they study dolphins, and they're always trying to study the language of dolphins, and you see some guy with all these millions of dollars of computer and they're trying to decode what the dolphins are saying. Meanwhile, the dolphin swims up and says, "I want fish" in English. They can learn our language easily, so it just seems so odd to me.

We don't look in the right places for the answers to things. Some insects can communicate over long distances. It doesn't seem people are interested in understanding those things. Anyway, I don't know what that has to do with the question. "I want fish." (Laughter) And dolphins don't have to pay rent, they don't have to pay insurance. They eat, they play, they have sex, they cruise around, they talk to each other. I think they're more highly evolved.

GA: In Dead Man, the two marshals are called Lee and Marvin. Can you explain that?

JJ: And also two of the killers are called Wilson and Pickett. (Laughter) I'm a huge Lee Marvin fan, You see Lee and Marvin makes Lee Marvin, get it? It's a tribute to Lee.

GA: Aren't you a member of some unofficial group?

JJ: Yes, it's not unofficial, it's a secret organisation. It's called The Sons of Lee Marvin and I'm a card-carrying member, although I don't think I have my card on me. There are a number of us who really admire Lee Marvin. He was just a really great actor and he must have been a really amazing man, too. I never got to meet him, but I've talked to a lot of people that knew him. Sam Foley knew him well, John Boorman, of course.

GA: After Dead Man, you made a concert documentary, Year of the Horse, with Neil Young. How did that happen?

JJ: Neil had done the music for Dead Man and then he asked me to make a video clip for a song called Big Time. I shot that video on Super-8, and Neil loved the fact that it was just me and Larry Johnson shooting with these little cameras, and he liked the way it looked, and even while we were shooting he said, "Why don't people use these to make longer films?" And then he called me up a couple of months later and said, "Do you want to make a film that looks like the video we did?" and I said, "How long a film are you talking about?" to which he said, "Hey man, when I start writing a song I don't think how long it's going to be!" (Laughter)

And then he said, "Look, I'll pay for it, just shoot some stuff and see if you like it and we'll continue if you do, and if you don't, I'll just put it on a shelf somewhere." How could I refuse that? And then I said, "When do you want to start?" and he said, "Well, we're on the road in a week and a half. Meet us in France." So in a week and half, we organised all the equipment, and we shot two or three weeks on the road and it was really a great experience because there was no road map at all and what could be better than Neil Young as the producer of the film who says, "Hey man, I don't know just shoot whatever you want. We'll figure it out later, maybe it'll look cool." (Laughter)

It was my dream. We just went off and shot whatever we wanted and hoped that it looked cool. We took the material back into the editing room, and Jay Rabinowitz, who I work with, played with the footage and allowed it to tell us what it wanted to be. We didn't have a plan or anything we were trying to bludgeon the footage into. We just listened to it and made a film which I don't think of as a documentary as much as a kind of a concert film really.

But it was really a lot of fun and I think that it is successful in capturing a viscerally raw visual style that is somehow closely associated with their style of music. Also, I was having some business problems with my own company at the time, which was sucking a lot of my energy out and I was getting very frustrated, and it was delaying me from making another film, or writing a new script so it saved my soul. It was a nice gift to make.

http://film.guardian.co.uk/Guardian_NFT/in...,110606,00.html

[Aghavni]

На меня очень сильно подействовал последний фильм Кубрика "С широко закрытыми глазами"...Только после его просмотра я поняла,почему Кубрик умер после его снятия,а Том Круз и Николь Кидман расстались.Кубрик раскрывает очень болезненный вопрос,нарыв,дилемму,которые могут свести с ума кого угодно...

[VitaS]

Любителям кино не для всех- что скажете про фильм "Звонок"? Не про римейк недавний, а про старый фильм...

Я понимаю, что опоздал с ответом, но всё же.

Японский оригинальный вариан "Звонка" - это три полнометражные серии. Все три очень нудные и смотряться с трудом, в отличие от американского ремейка) :victory:

[beatnik]

Док и Битник:

Вчера посмотрел "Ночь на земле" на ДВД (почти весь фильм посмотрел на оригинале)... КЛАСС!!! ТАК понравилось!!!

[Доктор]

Моя любимая Вайнона Райдер

[mazd]

Ее я терпеть не перевариваю, но очень рад, что фильм понравился :victory: :yes: