He ate it all. He had a big belly, and he ate it all. And he didn't have the dessert. He just finished the main course. He got the tomato and the Roquefort cheese dressing and everything, and then he lit the cigar. →

Mel Brooks sobre Hitchcock e comida.

"Ao se falar de Fellini, usa-se com frequência o adjetivo visionário. Apesar de tudo, sempre o achei [o adjetivo] ligeiramente ineficaz, depreciativo. Visionário me dá um pouquinho a idéia de alguém vagamente alucinado, vítima de miragens criadas por uma fantasia excessiva, que enxerga coisas onde elas não existem e não sabe distinguir entre vigília e sonho. Eu prefiro associar outro termo a Fellini: transfiguração. Ele não nos faz ver monstros no lugar de moinhos de vento; através dele, o moinho se transfigura e revela-se aos nossos olhos com toda plenitude, assumindo sua verdadeira essência de grande moinho de vento.
.
Entre todos os cineastas, Fellini é o único a utilizar a câmera simplesmente como ela é: o terceiro olho, o olho da iluminação. Há muitos filmes belíssimos de outros diretores, que nos contam histórias extraordinárias, apaixonantes, trágicas ou cômicas, mas para Fellini, o cinema é outra coisa. Ele apenas liga o terceiro olho e assiste a transformação do universo, fazendo-nos participar dele.
.
Eu sempre o enxerguei assim, como uma espécie de Prometeu, capaz de roubar o fogo dos deuses para levá-lo aos homens; o artista que dotou a humanidade do terceiro olho. Uma religião… mais ou menos.
.
A trama, o enredo e vicissitude têm uma importância relativa em Fellini. O relevante é este maravilhoso revelar de todas as coisas, a comovente descoberta de essências secretas, a inefável transfiguração universal que une todos, homens, animais, plantas e objetos, numa gloriosa exibição de si, num animismo puro de recíproca adoração e pânico."

Milo Manara sobre Federico Fellini

Django Unchained—the title of which, ironically, pays tribute to rip-offs of Sergio Corbucci's Django (1966)—is Tarantino's most direct homage to spaghetti westerns. But you could already see their influence as the Bride stumbled through the desert in Kill Bill Volume 2, or as the Nazis approached in the opening of Inglourious Basterds, both scenes that mimic shots from Sergio Leone's Once Upon a Time in the West. If that upsets you, think about Leone's A Fistful of Dollars. It's the one that started the genre, and surely one of the best westerns of all time, right? But Fistful, as we all know, is an uncredited remake of Akira Kurosawa's even better samurai film Yojimbo (itself sharing a story with the Dashiell Hammett novel Red Harvest or the movie version of The Glass Key). Fistful is a faithful adaptation of Yojimbo, a much closer copy than anything Tarantino has ever done. And yet we rightly honor it for its attitude, its innovations in music and camerawork, its iconic Clint Eastwood performance, its undeniable entertainment value. Hell, being a rip-off gives it some of its power. It takes a great story and puts it into a new context with a different style. →

Em defesa de Quentin Tarantino.

Woody Vs. Kangaroo

(Source: youtube.com)

“This package was a little perplexing because we couldn’t find the staff member or the professor [it was intended for] in the directory,” Garrett Brinker, director of undergraduate outreach for the university, said in an interview with Wired. “So that’s when the plot thickened.” →

Encomenda para Henry Walton Jones.

Halloween (John Carpenter, 1978)

Das trivias do IMDB:

Due to its shoestring budget, the prop department had to use the cheapest mask that they could find in the costume store: a Star Trek William Shatner mask. They later spray-painted the face white, teased out the hair, and reshaped the eye holes. Shatner admitted that for years he had no idea his likeness was used for this film. It was only during an interview that someone mentioned his mask was being used. He has since stated that he is honored by this gesture.

Girl Scout Cookies (by ssawdon)

Dois links para a semana do Halloween: um punhado de novos posters para alguns dos clássicos filmes de horror da Universal e um guia sobre estes mesmos filmes, para você ler e ir direto visitar sua locadora ou serviço de torrents preferido. 

Uma linda coleção de posters de filmes mudos.

View high resolution

Das trivias do The Birds (Alfred Hitchcock, 1963):

Rod Taylor claims that the seagulls were fed a mixture of wheat and whiskey. It was the only way to get them to stand around so much.

When audiences left the film’s UK premiere at the Odeon, Leicester Square, London, they were greeted by the sound of screeching and flapping birds from loudspeakers hidden in the trees to scare them further.

In May 2001, the son of “The Birds” novelist Daphne Du Maurier reported that he and his wife were being terrorized by seagulls nesting outside their cottage in Cornwall, England.

For the scene in which Annie is killed, Suzanne Pleshette who played her told Alfred Hitchcock it would look good if her ear was all bloody and hanging off, so he sent her to the prop department. When it came to shooting the scene, Hitchcock had Annie facing the other way, so the viewer never sees the ear, which Pleshette recalled “was part of his delicious sense of humor.” 

Before filming the final attack scene when Melanie goes upstairs, Tippi Hedren asked Alfred Hitchcock , “Hitch, why would I do this?” Hitchcock’s response was, “Because I tell you to.”