Kurosawa | Rashomon

Posted: September 13th, 2012 | Author: | Filed under: Cinema, Quotes

In Rashomon, especially the wonderful camera moves in the second part as the woman tells her story and is sitting there and the camera is dwelling on her and goes back around her and the man, her husband, is continuously in a steady shot, and she’s always moving like this and like that with the knife. It’s so magnificent, some of the camera moves are so precise and so psychological, you know?

He’s emphasizing the character of the woman in such a magnificent way, slowly building up that she might have killed him. Which we don’t know, of course.

I mean it’s superb filmmaking and there’s nearly no example in the whole film industry where you can point out something so splendid.

- Paul Verhoeven

Masayuki Mori and Machiko Kyô in Rashomon (1950)

Masayuki Mori and Machiko Kyô in Rashomon (1950)

Machiko Kyô in Rashomon (1950)

Machiko Kyô in Rashomon (1950)

Masayuki Mori and Machiko Kyô in Rashomon (1950)

Masayuki Mori and Machiko Kyô in Rashomon (1950)

Machiko Kyô in Rashomon (1950)

Machiko Kyô in Rashomon (1950)

Masayuki Mori and Machiko Kyô in Rashomon (1950)

Masayuki Mori and Machiko Kyô in Rashomon (1950)

Masayuki Mori and Machiko Kyô in Rashomon (1950)

Masayuki Mori and Machiko Kyô in Rashomon (1950)

Machiko Kyô in Rashomon (1950)

Machiko Kyô in Rashomon (1950)

Masayuki Mori in Rashomon (1950)

Masayuki Mori in Rashomon (1950)

Machiko Kyô in Rashomon (1950)

Machiko Kyô in Rashomon (1950)

Machiko Kyô in Rashomon (1950)

Machiko Kyô in Rashomon (1950)

Masayuki Mori in Rashomon (1950)

Masayuki Mori in Rashomon (1950)

Machiko Kyô in Rashomon (1950)

Machiko Kyô in Rashomon (1950)

Masayuki Mori in Rashomon (1950)

Masayuki Mori in Rashomon (1950)

Machiko Kyô in Rashomon (1950)

Machiko Kyô in Rashomon (1950)

Machiko Kyô in Rashomon (1950)

Machiko Kyô in Rashomon (1950)

Masayuki Mori in Rashomon (1950)

Masayuki Mori in Rashomon (1950)

Machiko Kyô in Rashomon (1950)

Machiko Kyô in Rashomon (1950)

Machiko Kyô in Rashomon (1950)

Machiko Kyô in Rashomon (1950)


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Raising Arizona | Hi’s Letter to Ed

Posted: September 11th, 2012 | Author: | Filed under: Cinema

Nicholas Cage in Raising Arizona (1987)

Nicholas Cage in Raising Arizona (1987)

My dearest Edwina,

Tonight, as you and Nathan slumber, my heart is filled with anguish. I hope that you will both understand and forgive me for what I have decided I must do. By the time you read this, I will be gone.

I will never be the man that you want me to be, the husband and father that you and Nathan deserve.

Maybe it’s my upbringing. Maybe it’s just that my genes got screwed up. I don’t know. But the events of the last day have showed amply that I don’t have the strength of character to raise up a family in a manner befitting a responsible adult.

I say all this to my shame.

I will love you always, truly and deeply. But I fear that if I stay, I would only bring bad trouble on the heads of you and Nathan Jr. I feel this thunder gathering even now. If I leave, hopefully, it will leave with me.

I cannot tarry. Better I should go, send you money, and let you curse my name.

Your loving -

Herbert

Randall 'Tex' Cobb in Raising Arizona (1987)

Randall ‘Tex’ Cobb in Raising Arizona (1987)

Raising Arizona (1987)

Raising Arizona (1987)


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Roxanne Lowit | The Original Party Photographer

Posted: September 9th, 2012 | Author: | Filed under: Cinema, Film, New York City, Photography, Quotes

I started out as a textile designer at FIT. I was given a 110 Instamatic camera to make reference photographs of my friends that I wanted to paint. I liked the instant gratification of the photographic process, so I traded in my paintbrushes for a camera and started exploring this new creative medium. The Editor in Chief of the Soho News Annie Flanders saw my pictures and asked me to go to Paris to cover the fashion shows for her with one stipulation: I had to get a real camera. I bought a camera and read the instructions on how to load film into the camera on the flight to Paris. The energy of shooting backstage was intoxicating. On that same trip I found myself atop the Eiffel Tour with Yves Saint Laurent and Andy Warhol for the after party for Yves show. From that moment on, I knew this was what I was meant to do. I returned to New York, quit my job, and decided I was now a photographer.

- Roxanne Lowit

Christy, Linda, Naomi © Roxanne Lowit

Christy, Linda, Naomi © Roxanne Lowit

Salvador Dali, Janet Daly and the stranger, New Years Eve © Roxanne Lowit

Salvador Dali, Janet Daly and the stranger, New Years Eve © Roxanne Lowit

Backstage Dior © Roxanne Lowit

Backstage Dior © Roxanne Lowit

 

Photography is my passion, my métier, and my muse. I love what I do and do what I love. That is the key to happiness.

- Roxanne Lowit

Lenny Kravitz & Iggy Pop © Roxanne Lowit

Lenny Kravitz & Iggy Pop © Roxanne Lowit

Keith Haring © Roxanne Lowit

Keith Haring © Roxanne Lowit

Linda, Naomi & Christy, 1989 ©  Roxanne Lowit

Linda, Naomi & Christy, 1989 © Roxanne Lowit

Paloma Picasso © Roxanne Lowit

Paloma Picasso © Roxanne Lowit

Paloma Picasso and Xavier de Castella at Le Privilege, Paris, 1983 © Roxanne Lowit

Paloma Picasso and Xavier de Castella at Le Privilege, Paris, 1983 © Roxanne Lowit

Divine and John Waters at Interferon, 1981 © Roxanne Lowit

Divine and John Waters at Interferon, 1981 © Roxanne Lowit

Lou Reed in New York, circa 1980 © Roxanne Lowit

Lou Reed in New York, circa 1980 © Roxanne Lowit

Robert De Niro and Al Pacino in New York, 1982 © Roxanne Lowit

Robert De Niro and Al Pacino in New York, 1982 © Roxanne Lowit

Steven Meisel in New York, 1989 © Roxanne Lowit

Steven Meisel in New York, 1989 © Roxanne Lowit


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Xavier Lambours | Serge Gainsbourg

Posted: September 1st, 2012 | Author: | Filed under: Cinema, Film, Photography

Serge Gainsbourg, Festival de Cannes, 1982 © Xavier Lambours

Serge Gainsbourg, Festival de Cannes, 1982 © Xavier Lambours


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Memoirs of a Geisha | Background Actors

Posted: August 11th, 2012 | Author: | Filed under: Cinema, dougKIM photography, Film, Leica, Los Angeles

In 2005, me and a friend started checking out general casting calls. She was a freelance programmer and, as a photographer, we were both a little slow at the time. I am not an actor and never wanted to be one, but if you live in Los Angeles, these opportunities are always out there and my friend, who is Japanese, thought it would be fun.

We attended an open call for Memoirs of a Geisha and were both immediately cast as background actors. We were both in different eras and scenes of the movie, she as a Fifties modern dressed prostitute and myself as a 1930′s Japanese general. Which was too bad because our intention had been to do this together but it meant that we would have different shooting days.

The life of an extra is bizarre and worthy of the articles and TV shows that have been created about it. I won’t go too long here but suffice to say that we were treated as just above set decorations yet occasionally were called upon to act. A lot of aspiring actors were in the mix, many having done numerous shows and films. There were hundreds of extras in my scenes of the army invading a village and sumo wrestling scene.

These were long eighteen hour days, getting paid very little, sitting around in costume and make up for hours, the boredom broken up only with the meal calls and the herding of us to set. The costuming was incredible for this film and I must say it was cool to sit around with a bunch of attractive geishas all day. And for the smokers in the crowd, some of the period set props were Camel unfiltered cigarettes. I smoked way too much over those days.

Since I was a shooter, I carried my Leica with me everywhere, including that set. I was, however, extremely conscious of the sensitivity of shooting unapproved on set since I had done production work before. But one day, I broke it out to shoot this girl because the light in the soundstage was just perfect. Soon, we all broke out our cameras and were taking group shots.

The next day, they issued a memo, instructing us to not take photos.

And yes, my shots were cut and my friend’s elbow was the only thing that made it into a scene.

But I did get the chance to be near Gong Li and that alone was worth the price of admission.

Memoirs of a Geisha; Leica MP 0.58, 35mm Summicron, Kodak Tri-X © Doug Kim

Memoirs of a Geisha; Leica MP 0.58, 35mm Summicron, Kodak Tri-X © Doug Kim

Memoirs of a Geisha; Leica MP 0.58, 35mm Summicron, Kodak Tri-X © Doug Kim

Memoirs of a Geisha; Leica MP 0.58, 35mm Summicron, Kodak Tri-X © Doug Kim

Memoirs of a Geisha; Leica MP 0.58, 35mm Summicron, Kodak Tri-X © Doug Kim

Memoirs of a Geisha; Leica MP 0.58, 35mm Summicron, Kodak Tri-X © Doug Kim

Memoirs of a Geisha; Leica MP 0.58, 35mm Summicron, Kodak Tri-X © Doug Kim

Memoirs of a Geisha; Leica MP 0.58, 35mm Summicron, Kodak Tri-X © Doug Kim

Memoirs of a Geisha; Leica MP 0.58, 35mm Summicron, Kodak Tri-X © Doug Kim

Memoirs of a Geisha; Leica MP 0.58, 35mm Summicron, Kodak Tri-X © Doug Kim

Memoirs of a Geisha; Leica MP 0.58, 35mm Summicron, Kodak Tri-X © Doug Kim

Memoirs of a Geisha; Leica MP 0.58, 35mm Summicron, Kodak Tri-X © Doug Kim

Memoirs of a Geisha; Leica MP 0.58, 35mm Summicron, Kodak Tri-X © Doug Kim

Memoirs of a Geisha; Leica MP 0.58, 35mm Summicron, Kodak Tri-X © Doug Kim

Memoirs of a Geisha; Leica MP 0.58, 35mm Summicron, Kodak Tri-X © Doug Kim

Memoirs of a Geisha; Leica MP 0.58, 35mm Summicron, Kodak Tri-X © Doug Kim

Memoirs of a Geisha; Leica MP 0.58, 35mm Summicron, Kodak Tri-X © Doug Kim

Memoirs of a Geisha; Leica MP 0.58, 35mm Summicron, Kodak Tri-X © Doug Kim

Memoirs of a Geisha; Leica MP 0.58, 35mm Summicron, Kodak Tri-X © Doug Kim

Memoirs of a Geisha; Leica MP 0.58, 35mm Summicron, Kodak Tri-X © Doug Kim

Memoirs of a Geisha; Leica MP 0.58, 35mm Summicron, Kodak Tri-X © Doug Kim

Memoirs of a Geisha; Leica MP 0.58, 35mm Summicron, Kodak Tri-X © Doug Kim

Memoirs of a Geisha; Leica MP 0.58, 35mm Summicron, Kodak Tri-X © Doug Kim

Memoirs of a Geisha; Leica MP 0.58, 35mm Summicron, Kodak Tri-X © Doug Kim

Memoirs of a Geisha; Leica MP 0.58, 35mm Summicron, Kodak Tri-X © Doug Kim

Memoirs of a Geisha; Leica MP 0.58, 35mm Summicron, Kodak Tri-X © Doug Kim


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Alex Cox | A Spaghetti Western Roundup

Posted: June 7th, 2012 | Author: | Filed under: Cinema, New York City, Quotes

The great Alex Cox has written an article for the New York Times for the current mini-festival of Spaghetti Westerns at the Film Forum here in NYC. Click here for the article and click here for more about Alex Cox.

The future is always a dystopia in movies.

- Alex Cox

Cjamango (1967)

Cjamango (1967)


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Leica Sighting | Das Boot

Posted: April 23rd, 2012 | Author: | Filed under: Cinema, Film, Leica

A chrome Leica III in Wolfgang Petersen’s Das Boot, 1981. The actor Herbert Grönemeyer shoots with it in a couple of scenes and also has the lens off in one scene, wiping down the body.

Herbert Grönemeyer wielding a chrome Leica III in Das Boot, 1981

Herbert Grönemeyer wielding a chrome Leica III in Das Boot, 1981

Herbert Grönemeyer wielding a chrome Leica III in Das Boot, 1981

Herbert Grönemeyer wielding a chrome Leica III in Das Boot, 1981

Herbert Grönemeyer wielding a chrome Leica III in Das Boot, 1981

Herbert Grönemeyer wielding a chrome Leica III in Das Boot, 1981


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Melancholia | Opening Sequence

Posted: January 25th, 2012 | Author: | Filed under: Cinema

Images from the majestic opening sequence to Lars von Trier’s Melancholia, the rich texture of Wagner’s Tristan und Isolde prelude, a sweeping backdrop to the slow, ambling march towards apocalypse.

It is all lovely terror, lush CGI, studio-lit nature as artifice, slow and heavy symbolism.

Kirsten Dunst in Lars von Trier's Melancholia (2011)

Kirsten Dunst in Lars von Trier's Melancholia (2011)

Lars von Trier's Melancholia (2011)

Lars von Trier's Melancholia (2011)

Lars von Trier's Melancholia (2011)

Lars von Trier's Melancholia (2011)

Lars von Trier's Melancholia (2011)

Lars von Trier's Melancholia (2011)

Lars von Trier's Melancholia (2011)

Lars von Trier's Melancholia (2011)

Lars von Trier's Melancholia (2011)

Lars von Trier's Melancholia (2011)

Kirsten Dunst in Lars von Trier's Melancholia (2011)

Kirsten Dunst in Lars von Trier's Melancholia (2011)

Lars von Trier's Melancholia (2011)

Lars von Trier's Melancholia (2011)

Lars von Trier's Melancholia (2011)

Lars von Trier's Melancholia (2011)

Kirsten Dunst in Lars von Trier's Melancholia (2011)

Kirsten Dunst in Lars von Trier's Melancholia (2011)

Kirsten Dunst in Lars von Trier's Melancholia (2011)

Kirsten Dunst in Lars von Trier's Melancholia (2011)

Lars von Trier's Melancholia (2011)

Lars von Trier's Melancholia (2011)

Lars von Trier's Melancholia (2011)

Lars von Trier's Melancholia (2011)

Kirsten Dunst in Lars von Trier's Melancholia (2011)

Kirsten Dunst in Lars von Trier's Melancholia (2011)

Kirsten Dunst in Lars von Trier's Melancholia (2011)

Kirsten Dunst in Lars von Trier's Melancholia (2011)

Lars von Trier's Melancholia (2011)

Lars von Trier's Melancholia (2011)

Lars von Trier's Melancholia (2011)

Lars von Trier's Melancholia (2011)


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Phil Stern | John Wayne

Posted: January 23rd, 2012 | Author: | Filed under: Cinema, Film, Quotes

Wayne and I were poster boys for the Odd Couple. Politically and socially, he was 140 degrees to the right of Genghis Khan. I was oppositely inclined. He’d call me a bomb-throwing Bolshevik. It was a love-hate thing. We’d get in big arguments, especially with a little booze in us.

- Phil Stern

John Wayne © Phil Stern

John Wayne © Phil Stern

John Wayne © Phil Stern

John Wayne © Phil Stern

I was in the USSR on my first visit in 1959 doing general coverage for my agency. While there I went to the main post office in Moscow and found the most graphic stamps with the largest images of Stalin and Lenin that I could find. I put them on postcards and addressed them to Wayne at his Newport Beach home. About a year later in a meeting he said to me, “I did get those postcards from Russia, you son of a bitch!” That was his catchphrase, he used it all the time. Like the time I pointed out his son Jonathan Ethan Wayne’s monogrammed initials on his luggage (“You son of a bitch!”).

- Phil Stern

John Wayne © Phil Stern

John Wayne © Phil Stern

We were once in Durango, Mexico – the middle of nowhere (I digress – but he shot there a lot because of the lack of telephone and telegraph poles, as his pictures were set in the 1800s. Mexico gave him the wide vistas he needed.) He had a turbo jet airplane that he used like most people used like station wagons to transport his family to locations. They’d never come out to the actual location – it was too remote. It was Pilar and Ethan (I think it was the trip with the luggage, actually.) Anyway, Wayne was getting made up and Ethan said to him, “Daddy, why do you make these movies in the ‘middle of nowhere’ as Mommy says?” and Wayne said, “To keep Mommy supplied in tennis balls!”

- Phil Stern

John Wayne © Phil Stern

John Wayne © Phil Stern

John Wayne © Phil Stern

John Wayne © Phil Stern

He was a mixed bag, like all of us. He had his tender, warm, loving moments, but he was also an S.O.B.

- Phil Stern

John Wayne © Phil Stern

John Wayne © Phil Stern

John Wayne © Phil Stern

John Wayne © Phil Stern

He was very tenacious about protecting his identity as a western, macho he-man. He would not allow anyone to make fun of that except himself.

- Phil Stern

John Wayne © Phil Stern

John Wayne © Phil Stern

John Wayne © Phil Stern

John Wayne © Phil Stern

John Wayne © Phil Stern

John Wayne © Phil Stern

John Wayne & Gary Cooper © Phil Stern

John Wayne & Gary Cooper © Phil Stern

John Wayne © Phil Stern

John Wayne © Phil Stern

John Wayne © Phil Stern

John Wayne © Phil Stern

John Wayne © Phil Stern

John Wayne © Phil Stern

John Wayne © Phil Stern

John Wayne © Phil Stern

John Wayne © Phil Stern

John Wayne © Phil Stern

John Wayne © Phil Stern

John Wayne © Phil Stern

John Wayne © Phil Stern

John Wayne © Phil Stern

John Wayne © Phil Stern

John Wayne © Phil Stern

John Wayne © Phil Stern

John Wayne © Phil Stern

John Wayne © Phil Stern

John Wayne © Phil Stern

John Wayne © Phil Stern

John Wayne © Phil Stern

John Wayne © Phil Stern

John Wayne © Phil Stern

John Wayne © Phil Stern

John Wayne © Phil Stern


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Phil Stern | Contact Sheets

Posted: January 5th, 2012 | Author: | Filed under: Cinema, Film, Photography

Publicity Shoot with Anita Ekberg, 1953 © Phil Stern

Publicity Shoot with Anita Ekberg, 1953 © Phil Stern

Phil Stern, Contact sheet of Billie Holiday recording the album Music for Touching, August 25, 1955 © Phil Stern

Phil Stern, Contact sheet of Billie Holiday recording the album Music for Touching, August 25, 1955 © Phil Stern


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