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New Cinema Wallpaper of the Day
Sunday, July 12, 2009

If you see the listing of the score and song selection of (album artwork) you might wonder how the hell Tarantino can weave them all into his WWII tale, especially the David Bowie song! I can report all the score selections and songs fit perfectly into the film with the Bowie song fitting the best in one of the films most inspired sections. This is more of a score and song selection mix like Kill Bill was and just as essential of a pick up for lovers of great movie scores and great music. Many tracks featured here are bound to see a resurgence in play and popularity much like tracks in Tarantino’s previous films.

Over at Variety, Mike Fleming (here) chats with Quentin Tarantino on the differences between the Cannes cut and the theatrical cut.

Note that Enzo Castellari’s INGLORIOUS BASTARDS will be screening at the Alamo Drafthouse Ritz from August 3-5 (details).

Related Coverage:
::: Anne Thompson interviews Tarantino on Inglorious
::: Read my interview with Enzo Castellari on Twitch
::: Previous Movie Wallpaper (Cinema is Dope)
::: Cinema is Dope: Best of the 62nd Cannes Film Festival

Photos By:
Francois Duhamel

Image Source:
Official stills and posters that were used in the original international release of the film.

Related Links:
::: IMDb Profile

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New Cinema Wallpaper of the Day
Monday, July 6, 2009

I barely missed seeing Michael Haneke’s Palme d’Or winner, The White Ribbon, at Cannes this year. I wasn’t a fan of Funny Games but with this sumptuously shot black and white affair, that though has been shrouded in mystery, draws instant comparisons to other films it seems to share thematic material and story arcs from. It’s on my must see list for 2009 films and I definitely think this will be much more up my alley than Funny Games. The images above alone look particularly strong.

This is one of those the less you know about it the better you will like it type of films and I wish I hadn’t read a single synopsis as it shown like a bright big Vegas billboard to me on what it was probably about. I could reference two films and you would instantly be able to deduce in general terms where The White Ribbon might be headed…

Sony Pictures Classics has a tentative US limited release for this set on Christmas Day with a wider roll out sometime in early 2010. This means catching this at a film festival is essential if your like me and don’t want to wait over 6 months to see it!

Related Coverage:
::: Cinema is Dope: Best of the 62nd Cannes Film Festival

Image Source:
Official stills used in the original international release.

Related Links:
::: IMDb Profile

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New Cinema Wallpaper of the Day
Saturday, July 4, 2009

With the inclusion of these 15 images, there are now 45 movie wallpapers (post 1 | post 2) on Cinema is Dope for Antichrist (official site). This latest batch has several new behind the scenes images and production stills that I haven’t seen come out before.

Image Source:
Official stills that were used in the original international release of the film.

Related Links:
::: IMDb Profile

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New Cinema Wallpaper of the Day
Thursday, July 2, 2009

I first witnessed and experienced this sitting in between Angel Sala, director of the Sitges Film Festival and Tim League (Twitter) and now here are 29 images for what Lars von Trier described as, “The most important film of my entire career” (iw). I can honestly say I thought Enter the Void would be by far the most wild and shocking film experience I’d have in 2009. Well… I’m completely wrong as Lars von Trier has made one of the most controversial and divisive movie masterpieces ever made. At the same time visually its one of the most accomplished movies to have ever come along. It’s the rare movie that comes along that in certain places will have people storming out, others throwing up, others mouth agape completely shocked, others applauding while the rest are laughing. The pacing might be incredibly slow but it has the net effect of winding you around a fast moving and all hell breaks loose roller coaster ride. You can’t help but walk out of this film stumbling like a tornado has just ripped the movie theater apart and you somehow have survived. Not sure what IFC’s plans are for North American release but its sure to generate a fire storm of controversy and press in ultimately being the most talked about time at the movies for 2009.

One interesting thing about Cannes this year is on all the monitors they typically showed highlights of various movies. For Antichrist it was a reel of people storming out of the movie shouting various obscenities and the like, all the while the song “That’s Entertainment” played. I guess they can credit a certain NY Times writer for spurring that idea.

Note you can now get official Antichrist ring tones for your mobile at its official site (here).

Image Source:
Official stills that were used in the original international release of the film.

Related Links:
::: IMDb Profile

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New Cinema Wallpaper of the Day
Sunday, June 14, 2009

Quentin Tarantino’s Inglourious Basterds is the by far the movie I get asked about the most of those I saw at Cannes this year (previously mentioned it having my favorite ending there). Incidentally it’s also the first movie that warranted me adding in a tag for it here for “cinema.” I think as movie it really does celebrate and have the running theme of cinema in it. Overall for the movie itself it played so against my expectations that I feel like I need to see it again. Long talked about by him as his men on a mission WWII movie it really as it was written morphed into something else. The men on a mission stuff is still there but it has very little screen time at all and so if you go in expecting just that… it’s not the right way to walk into it.

One of my favorite things about this movie is how fantastic Melanie Laurent is in it. She completely inhabits her role to show she is a hell of a lot more than a pretty face and an actress on the scene that literally can play any role and do it damn well. She has a wildly complex role with a lot on her mind and a lot to do and she pulls it off as if she has been doing this for over 25 years. She is also involved in one of my favorite moments of the film where she is getting all dolled up with a certain unexpected yet perfectly accompanied David Bowie song. The way this small little moment is shot, cut together and forms this perfect union between song and what we see on screen happening plays perfectly. Invariably it will be a song that by the end of this year or starting next year you no doubt will have a resurgence in commercials, entertainment venues and so on.

Production Notes on Melanie Laurent:

Tarantino admits that Bruhl’s character “is based a little bit on [well known WWII vet] Audie Murphy. And just like Audie Murphy, Daniel Bruhl’s about to become a movie star.”

Bruhl traveled to Paris to read with a group of French actresses who were up for the role of Shosanna. There was a palpable chemistry between Bruhl and Melanie Laurent, an actress and director who was nominated for the Golden Palm for Best Short Film at the 2008 Cannes Film Festival and won the 2007 Cesar for Most Promising Actress.

“Shosanna was always a main character,” says Tarantino. “One of the biggest changes in my conception of the film from way back when until now-in fact, hands down the biggest thing-is that, in the original version of this script, Shosanna was kind of a movie character. She was a badass. But I did that already with The Bride in ‘Kill Bill.’ So I started making her more like a real girl in this situation.”

Wasco says that Laurent’s movie theater in the film is based on a few theaters in California. Tarantino asked Wasco to look closely at several theaters, including the Vista Cinema in Silverlake. The design team also managed to find two matching vintage carbon-arc film projectors that really worked. The cast and crew all were amazed watching the antiques play real nitrate film stock-it was a first for everyone.

In addition to the pre-production preparations made by the crew, Laurent and Roth had to learn trades to better portray their characters.

In the weeks prior to shooting her cinema scenes, Tarantino sent Laurent to Los Angeles for film projection boot camp at the New Beverly Cinema in order to better portray a projectionist. “The test was to project RESERVOIR DOGS,” says Laurent. “We showed a lot of cartoons and trailers before the movie. The audience didn’t know it was me with the machine. So it was just amazing. This was during three hours: midnight to 3:00 AM, and it was just amazing. And I was alone with all the machines, and the shows did go on and I did it with pride.”

Photo By:
Francois Duhamel

Image Source:
Official stills that were used in the original international release of the film.

Related Links:
::: IMDb Profile