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Este Tumblr es una copia de la copia de la copia de la copia de la copia...

oldfilmsflicker:


Don’t believe everything you read. Just because a movie poster says a movie is written and directed by Paul Schrader doesn’t mean it’s true. Yes, Schrader worked on “Dying of the Light” (Grindstone, December 5) for eight years and shot it earlier this year in Romania and Australia. Nic Cage stars as a CIA agent battling dementia who chases a terrorist. Executive producer Nic Winding Refn was going to direct with Harrison Ford— until they failed to reach an agreement.
But the exploitation flick that will hit theaters is not the one Schrader had in mind. Editing room disagreements took Schrader off the movie. But he cannot discuss it due to the usual contractual non-disparagement agreements that artists have to sign these days.
So Schrader has taken to Facebook, posting his official “Dying of the Light” poster featuring him, Cage, Refn and Anton Yelchin, wearing T-shirts sporting the non-disclosure agreement. He writes:
"We lost the battle. "Dying of the Light," a film I wrote and directed, was taken away from me, reedited, scored and mixed without my input. Yesterday Grindstone (a division of Lionsgate) released the poster and the trailer. They are available on line. Here we are, Nick Cage, Anton Yelchin, Nic Refn and myself, wearing our "non-disparagement" T shirts. The non-disparagement clause in an artist’s contract gives the owners of the film the right to sue the artist should the owner deem anything the artist has said about the film to be "derogatory." I have no comment on the film or others connected with the picture."
That’s why so few people ever protest when they are treated badly. Unfortunately, we will never see Schrader’s cut, even though the New York Film Festival wanted to show the film. Why can’t he take his name off the movie? There used to be the option of going with an Alan Smithee credit which seems to have become more difficult to do since the producers negotiated an agreement that now requires a rather labyrinthine process.
I called Schrader, who reminded me that he can’t talk about the film. Having financed “The Canyons” via Kickstarter, he’s now embracing new media, writing a web series. “That’s the future,” he says, “‘La Dolce Vita’ in ten ten-minute segments. ‘La Dolce Vita’ is a web series, full of people that come and go and don’t come back, it’s episodes. That’s how quickly everything is changing. It’s a new form of storytelling. I enjoyed writing it a lot.”
Finally it’s too bad that in cases like this, producers can sell a movie as a Paul Schrader film when they didn’t allow him to make one.

Warning: ‘Dying of the Light’ Is Not a Paul Schrader Movie | Thompson on Hollywood

oldfilmsflicker:

Don’t believe everything you read. Just because a movie poster says a movie is written and directed by Paul Schrader doesn’t mean it’s true. Yes, Schrader worked on “Dying of the Light” (Grindstone, December 5) for eight years and shot it earlier this year in Romania and Australia. Nic Cage stars as a CIA agent battling dementia who chases a terrorist. Executive producer Nic Winding Refn was going to direct with Harrison Ford— until they failed to reach an agreement.

But the exploitation flick that will hit theaters is not the one Schrader had in mind. Editing room disagreements took Schrader off the movie. But he cannot discuss it due to the usual contractual non-disparagement agreements that artists have to sign these days.

So Schrader has taken to Facebook, posting his official “Dying of the Light” poster featuring him, Cage, Refn and Anton Yelchin, wearing T-shirts sporting the non-disclosure agreement. He writes:

"We lost the battle. "Dying of the Light," a film I wrote and directed, was taken away from me, reedited, scored and mixed without my input. Yesterday Grindstone (a division of Lionsgate) released the poster and the trailer. They are available on line. Here we are, Nick Cage, Anton Yelchin, Nic Refn and myself, wearing our "non-disparagement" T shirts. The non-disparagement clause in an artist’s contract gives the owners of the film the right to sue the artist should the owner deem anything the artist has said about the film to be "derogatory." I have no comment on the film or others connected with the picture."

That’s why so few people ever protest when they are treated badly. Unfortunately, we will never see Schrader’s cut, even though the New York Film Festival wanted to show the film. Why can’t he take his name off the movie? There used to be the option of going with an Alan Smithee credit which seems to have become more difficult to do since the producers negotiated an agreement that now requires a rather labyrinthine process.

I called Schrader, who reminded me that he can’t talk about the film. Having financed “The Canyons” via Kickstarter, he’s now embracing new media, writing a web series. “That’s the future,” he says, “‘La Dolce Vita’ in ten ten-minute segments. ‘La Dolce Vita’ is a web series, full of people that come and go and don’t come back, it’s episodes. That’s how quickly everything is changing. It’s a new form of storytelling. I enjoyed writing it a lot.”

Finally it’s too bad that in cases like this, producers can sell a movie as a Paul Schrader film when they didn’t allow him to make one.


Warning: ‘Dying of the Light’ Is Not a Paul Schrader Movie | Thompson on Hollywood

(via cinemapornographer)

— 1 day ago with 278 notes
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cinephiliabeyond:

“On every film you suffer, but on some you really suffer”
Martin Scorsese’s commencement address to the 2014 graduating class of New York University’s Tisch School of the Arts. “The audience was abuzz with excitement in anticipation of honored speaker and NYU alumnus Martin Scorsese’s address, which was both conversational and inspiring. The legendary director included many anecdotes from his own time in college, when NYU was still Washington Square College. ‘It was [my cinema professor Haig Manoogian] and this school that taught me I could be more than crazy,’ Scorsese said.”

For more film related items throughout the day, follow Cinephilia & Beyond on Twitter. Get Cinephilia & Beyond in your inbox by signing in. You can also follow our RSS feed. Please use our Google Custom Search for better results. If you enjoy Cinephilia & Beyond, please consider making a small donation to keep it going.

cinephiliabeyond:

“On every film you suffer, but on some you really suffer”

Martin Scorsese’s commencement address to the 2014 graduating class of New York University’s Tisch School of the Arts. “The audience was abuzz with excitement in anticipation of honored speaker and NYU alumnus Martin Scorsese’s address, which was both conversational and inspiring. The legendary director included many anecdotes from his own time in college, when NYU was still Washington Square College. ‘It was [my cinema professor Haig Manoogian] and this school that taught me I could be more than crazy,’ Scorsese said.”

For more film related items throughout the day, follow Cinephilia & Beyond on Twitter. Get Cinephilia & Beyond in your inbox by signing in. You can also follow our RSS feed. Please use our Google Custom Search for better results. If you enjoy Cinephilia & Beyond, please consider making a small donation to keep it going.

— 1 month ago with 81 notes
heisenbergchronicles:

5x14: Ozymandias
Observations: “About seven seconds pass between the time Walter White screams the words ‘we’re a family’ and the time he whispers them, and they are an eternity. They are everything. Those seven seconds are what Breaking Bad has been building to for the previous 59 hours. They are every illusion Walter White has ever had about himself being shattered. They are the terrified faces of his wife and son as they huddle together on the floor, trying to wish him into the cornfield. They are all the bogus self-rationalizations he has told himself and others being dipped in acid until they are no longer identifiable by forensic science. They are Walter White finally, after so much time and so much sin, coming to terms with everything he has lost. ‘Ozymandias’ is the greatest hour Breaking Bad has ever given its audience. It is also the most terrible. It is unmerciful in what it does to Walt, what it does to Hank and Skyler and Flynn and Marie, and what it does to us.” 
– Alan Sepinwall, Ozymandias review: Take two. Sepinwall was recovering from an appendectomy when he wrote his first review of this episode, and he didn’t quite feel he did it justice. So what we have here is our finest TV critic revisiting Breaking Bad’s greatest hour, and the end result is required reading. Enjoy.

heisenbergchronicles:

5x14: Ozymandias

Observations: “About seven seconds pass between the time Walter White screams the words ‘we’re a family’ and the time he whispers them, and they are an eternity. They are everything. Those seven seconds are what Breaking Bad has been building to for the previous 59 hours. They are every illusion Walter White has ever had about himself being shattered. They are the terrified faces of his wife and son as they huddle together on the floor, trying to wish him into the cornfield. They are all the bogus self-rationalizations he has told himself and others being dipped in acid until they are no longer identifiable by forensic science. They are Walter White finally, after so much time and so much sin, coming to terms with everything he has lost. ‘Ozymandias’ is the greatest hour Breaking Bad has ever given its audience. It is also the most terrible. It is unmerciful in what it does to Walt, what it does to Hank and Skyler and Flynn and Marie, and what it does to us.” 

– Alan Sepinwall, Ozymandias review: Take two. Sepinwall was recovering from an appendectomy when he wrote his first review of this episode, and he didn’t quite feel he did it justice. So what we have here is our finest TV critic revisiting Breaking Bad’s greatest hour, and the end result is required reading. Enjoy.

— 1 month ago with 578 notes