Hyperallergic has a gallery of astronomical and cosmological illustrations from photographer Michael Benson’s books, Cosmographics: Picturing Space Through Time. (Thanks, Stephanie!)
At Dirge Magazine, friend of the Gutter Less Lee Moore writes about the cinema of Richard Kern. “My introduction to Richard Kern was an issue of Spin magazine from the mid-1980s. Having recently fallen under the spell of the feral pleasures of Scraping Foetus Off The Wheel – a.k.a. JG Thirlwell – I was intrigued by […]
Art Of The Title looks the opening credits for The Man In The High Castle, True Detective and at Momentum, Alex Maragos interviews Andrew Geraci about making the opening credits for House Of Cards.
Footage of Sammo Hung, Lau Ching-Wan Louis Koo, Yuan Quan, Jiang Shuying, Eddie Peng, Liu Kai-Chi and Wu Jing on the set of Benny Chan’s The Deadly Reclaim. (Thanks, Brian!)
At The Village Voice, Jackson Connor writes about the making of The Warriors. Amid the refurbished boardwalk and laughter of children, it’s easy to forget that Coney Island was once a place where tourists did not venture. For much of the latter half of the twentieth century, street gangs dominated this neighborhood. They ran rampant […]
At Playboy, Jake Rossen writes about the story behind the filming and the restoration of Manos: The Hands of Fate. “For a long time no one wanted to see it unless it was accompanied by MST3K’s taunts. Then, in 2011, a collector of film prints uncovered the original negative of Manos and embarked on an […]
At the Guardian, Elizabeth Day talks with Geena Davis about feminism, sexism in the film industry and the Geena Davis Institute on Gender in Media. “I mean, it’s freaky when you start examining it. For decades it’s been the same ratio – we’ve all grown up on that ratio. Could it be that women’s presence […]
The Gutter’s own Carol interviews Roxanne Benjamin who is one of the directors for the horror anthology, Southbound (2015), and is a co-producer for The Devil’s Candy and the V/H/S series. “Watching the whole come together as greater than the sum of its parts–these separate visions that we’re helping to bring to screen to make […]
At Indiewire, directors Severin Fiala and Veronika Franz talk about genre, violence and the fear that people aren’t who you think they are. “‘I think if violence is grounded in something which is true to characters and to the world, it’s important to show it in cinema,’ said Franz. ‘We need to confront people. It’s […]
The Gutter’s own Carol interviews director and screenwriter Lucile Hadžihalilović at the Vanguard Program Blog of the Toronto International Film Festival. Hadžihalilović is the director of Innocence (2004) and Evolution (2015), as well as the screenwriter of Gaspar Noé’s Enter The Void (2009).
At Vox, Phil Edwards profiles special effects master Eiji Tsuburaya and interviews August Ragone about Tsuburaya’s career. “A director, cinematographer, and producer, Tsuburaya is best known for creating the special effects behind Japanese classics like Godzilla (1954), Mothra (1961), and many other films where the giant monsters called kaiju terrorize the good people of Tokyo. […]
Anne Billson has posted a 1985 interview she did with director George Miller (the Mad Max films). Miller talks about many things including Aunty Entity’s probable past as a hero and Max as, in Mel Gibson’s words, “a closet human being.” (Thanks, Matt!)
Transcript from BAFTA’s tribute to director Johnnie To, “Johnnie To: A Life In Pictures.” It’s a great interview with To about his films and process. “Like when I made The Mission I didn’t have a script. It was 1999 and I didn’t have any money so we went to Taiwan and they gave us very […]
The Kernal interviews director Lexi Alexander about the film industry, the ACLU investigation of gender discrimination in Hollywood, the connection between file-sharing and gender equality, trying to get an Arab-led series on television and the problem with crowdfunding.
At the Guardian, Xan Brooks interviews John Boorman, director of Point Blank (1967), Deliverance (1972), Zardoz (1974), Excalibur (1981) and the upcoming, Queen & Country. “If he could rewind to 1952 and reprise the entire trip, he cannot imagine exactly what he would change. Boorman frowns. ‘Actually, I can’t even contemplate it. I’m a completely […]
At Vashi Visuals, Vashi discusses Margaret Sixel’s editing and George Miller’s editing choices for Mad Max: Fury Road. “One of the many reasons Mad Max: Fury Road is so successful as an action film is the editing style. By using “Eye Trace” and “Crosshair Framing” techniques during the shooting, the editor could keep the important […]
At Every Frame A Painting, Tony Zhou takes a close look at the action comedy of Jackie Chan.
Every Frame A Painting returns to analysis of Akira Kurosawa’s work.
At SeqArt, Harry Edmundson-Cornell writes about the fourth wall, metafiction, tone and character in True Detective and Community (as well as Bojack Horseman and Rick & Morty). “When a show points out the mechanics driving the medium they’re essentially violating the realism of the art. They’re pointing out the frame of the painting, which tends […]
“While we weren’t looking, the mid-budget adult-oriented motion picture has all but disappeared. And the gifted directors behind them are in danger of disappearing as well. Movie wonks and box-office watchers have written and talked about the death of mid-budget filmmaking, but mostly in business terms—as opposed to personal ones, contemplating the phenomenon’s effect on […]
Tim Reis shares ten things he learned from producing his first independent feature The Demon’s Rook. “Making an independent feature film is hard. Making an independent feature film with no money is especially hard. Making an independent feature film with no money, no actors, and a first-time director and crew is almost impossible. It is […]keep looking »