Ah, sweet rapture! Fall promises so many visual delights! Firstly and foremost, I reiterate the coming of Tim Burton’s ‘Corpse Bride’, David Lynch’s ‘INLAND EMPIRE’ and Terry Gilliam’s ‘Tideland’(do click on the links, as they lead to two most exellent sites and one rather odd interview). All well and good, but we’ve been anticipating these for months. Imagine my delight to find two and a half other directors dear to my heart coming out with a few new projects each!

Guy Maddin, director of the most exellent ‘Saddest Music in the World’ and ‘Dracula: Pages from a Virgin’s Diary’, is coming out with ‘The Brand Upon the Brain’ in November and directs Isabella Rosellini’s ‘My Dad is 100 Years Old’ right now! An audio interview can be heard here, and stills seen here at Twitch Films. Go lookit.

The Brothers Quay, twin brothers, students of Jan Svankmajer and directors of such marvels as ‘Street of Crocodiles’, are coming out with a new feature entitled ‘The Piano Tuner of Earthquakes’, produced by no man less than Terry Gilliam himself! Whippety!


from ‘Street of Crocodiles’

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  1. the bros. Quay are sooo gooood. I need to watch that collection again.

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    1. Whippety! Also it appears Atom Egoyan and David Cronenberg also have new movies coming out, those being ‘Where The Truth Lies’ and ‘A History of Violence’, respectively. Go Canada!

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    2. Greg watched ‘Casablanca’ the other night and I walked in for the last ten minutes. Isabella Rossellini’s mama was incredibly beautiful. Given the cinematic legacy of her parentage – the most beautiful woman in Casablanca and the father of Italian neorealism – it’s pretty incredible that Isabella got up the guts to do “Blue Velvet.” She needs to do more movies as an older woman. I like that Guy Maddin is training his lens on her.

      P.S. Werner Herzog is 75 years old and made the best movie this summer. What’s up with THAT?

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      1. I still haven’t seen Herzog’s new movie, but I feel that he is the least talented of the German directors of his epoch, the other two being fassbinder, and wim wenders. I saw Aguirre the wrath of god and thought it was wacky but clunky, and couldnt watch Fitzgeraldo all the way to the end, it really got on my nerves when Klaus kinski got on top of the bell tower and started shouting “I am fitzeraldo!”. couple of months ago I saw “the white diamond” a recent mocumentary by Herzog, I though it was only a bit more then mediocre. I find the clunkyness of his movies annoying rather then charming,

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        1. Wim Wenders can’t TOUCH Werner Herzog. You want to talk about boring and clunky? Did “Paris Texas” have to be three-and-a-half hours long? Did Harry Dean Stanton’s character really require three hours of character development before he could bear to talk to his estranged wife again? Jeezus. Wim Wenders is so incredibly boring to me that I can scarcely find the words. He’s Jim Jarmusch on morphine, and without the taste. Wim Wenders is the king of the international cinema of low expectations. Americans think these movies are “art” because people no longer expect art to be dynamic, since Hollywood movies are now predominantly exercises in dynamic artlessness. If it’s not dynamic then it must be art. If it’s not entertaining and it’s from Europe, it’s art. Nuts to art if Wim Wenders is art. Wim Wenders is art cinema fascism. He ought to be deported. Go back to Germany and make films about Germany, Wim. Germany has stories about boring idiots, too, you know.

          “Aguirre” is not the full Herzog. Check out “Nosferatu” and “Even Dwarves Started Small” and “Stroszek,” or if you’re into documentaries “Little Dieter Needs to Fly” and “My Best Fiend.” The argument can also be made that he picks his films based on what the experience of making them will be like over what the final outcome will be. Herzog also gets points with me for helping to incubate the early career of Harmony Korine, and acting in Korine’s “Julien Donkey Boy.” Most of his movies are not great (he makes too many movies for them all to be great, or even good) but his best are light years ahead of Wenders’ best. Also, “Grizzly Man” is probably his best documentary.

          I don’t like Wim Wenders because he emobdies a stereotype about European filmmakers who take on American subject matter that I don’t like. He Europeanifies his characters so the women are all Frenchified sexy hausfraus and the men are all cowboys with lots of inner turmoil. It’s a fantasy America that Europeans want to believe in because it confirms their suspicion that Americans are a bunch of overemotional, uncultured cowboys. Wim Wenders lives in New York and Werner Herzog lives in L.A., and L.A. is closer in its attitudes and culture to mainstream America than New York is. Thus, when Herzog tackles American subject matter, as in “Grizzly Man,” the portrait rings true and doesn’t feel like a farce or a fantasy designed to confirm European cultural superiority.

          An even more extreme case is Lars Von Trier, though I find his idea of making films about America without ever having visited the place kind of interested, if unsatisfying to watch.

          P.S. I haven’t seen “White Diamond”

          Fassbinder is alright but he’s been dead a while, so he’s out of the equation. Herzog and Wenders will put out a few more movies this century for sure.

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          1. I’d say something but you’ve already hammered the nail home. Also, ‘Aguirre, Wrath of God’ didn’t strike me so much as ‘wacky’ or ‘clunky’, more gallows humor while watching a megalomaniac have everything collapse around him. Come on, you didn’t like the monkies on the raft? That symbolized stuff, and it was monkies!

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          2. Still though, in quantity vs quality, quality wins, and Wenders made Wings of Desire, which is as close as it gets to making a perfect film.
            I also liked Paris Texas, thought it had amazing cinematography and atmosphere, and I had no problem with its slow pace.

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            1. the monkeys I liked.

            2. I guess it’s all a matter of personal taste, then. I don’t mind slow pacing myself – “Eraserhead” is one of my all-time favorites, and “In The Mood For Love,” and I even love “Russian Ark,” the one-take stroll through Russian history – but the pace has got to be in service of something genuine, and the whole mute cowboy thing felt hokey to me. The plot was Hollywood treacle, but because it gets played as a European art film, it succeeds with an audience that is looking for “art”. Harry Dean Stanton was one hair away from playing a retard, and retards are always part of movies that are concieved as shameless bids to win Oscars. What if “Paris, Texas” were a Ron Howard picture with Sean Penn as the Harry Dean Stanton character? It would win Oscars and you would probably hate it.

              No real problems with “Wings of Desire,” but a perfect movie?

            3. Not that anyone cares, but there is a strange subgenre of music videos that encapsulate an entire movie. Wim Wenders actually directed a U2 video in the style of ‘Wings of Desire’ where the band’s the angels helping all sorts of people, filmed in the same style as the movie itself. Also, there’s Faith No More’s super-awesome ‘Last Cup of Sorrow’ which is basically all of ‘Vertigo’ crammed into 5 minutes with Mike Patton as James Stewart and Jennifer Jason Leigh as a hybrid Kim Novak/Betty Page. Floating heads. Neat.