Tuesday Weld & a Thought of You

Today’s featured photo of Tuesday Weld is in honor of the the Film Society of Lincoln Center’s retrospective American Girl: Tuesday Weld starting today until September 25.  Mubi has a great roundup of links about the event and its subject.  You may also wish to check out the roundup at Alt Screen.  “So little of Tuesday Weld has been ordinary or expected. Is there any richer subject for Hollywood biography, or autobiography – for she is plainly smart and articulate enough, and she has survived all the craziness of being a mass media nymphet in the age of Eisenhower, as well as a girl burdened by the name Tuesday, while managing to show that she can be an extraordinary actress as well as a great beauty, who was somehow woeful and ravaged by the age of twenty-five.”

On with the roundup…


Tom Hardy, Vincent D’Onofrio, Aaron Sorkin, Jonathan Fermanski, Jessica Chastain, Steve McQueen, and Bennett Miller.

This sweet animated vid by Ryan J Woodward an exhibition of figurative works and experimental animation was an attempt by Ryan to “leave behind my traditional artistic preferences of the narrative and enter the realm of individual interpretation.”  You can also visit his website.


James Cameron wants to certify 3D filmmakers. “It’s about the planning, the acquisition … delivering it to display,” he said. “We want to work with the filmmakers, we want to work with the standards entities … to create a consensus about the best practices and standards on the way the set is run, the cameras are used and so on.”

B. Kite and Alexander Points-Zollo offer a vid essay on Hitch’s Vertigo (part 1).  “Vertigo is an impossible object: a gimcrack plot studded with strange gaps that nonetheless rides a pulse of peculiar necessity, a field of association that simultaneously expands and contracts like its famous trick shot, a ghost story whose spirits linger even after having been apparently explained away, and a study of obsession that becomes an obsessive object in its own right, situated likewise on the edge of unreality. This video series avoids assigning the film any determinate shape and tries instead to enter it through a number of side doors, each indicative of a way of seeing. Part 1 explores some of the ground-level weirdness of the film’s construction, offers a suggestion that the film may exist in its own unique tense, and examines two iterations of the (Chris) Marker Hypothesis. Part 2 is spooky, reading the film through a phantom appendage then laying down a sort of Vertigo tarot before moving onto slightly more solid ground with a new consideration of Hitchcock’s concept of the MacGuffin. Part 3 takes the zoom-in-track-out as an emblem, reconsiders the issue of point of view, then throws all the pieces back up in the air. (Parts 2 and 3 will be posted in the coming months.) That’s a thematic rundown and preview of potential attractions, from the position of the narrator. The images have their own agendas, which often coincide but sometimes don’t.”

Bond 23 Screenwriter John Logan Hints at Blofeld Appearance.  “Bond should always fight Blofeld,” he said.

Catch the 4-minute trailer for Fincher’s The Girl with the Dragon Tattoo.

TV cameraman and director Phil Coates had the chance to become the first embedded crew to shoot in high definition 50Mb/s in the Arctic.

Download the May, 1967, English version of Cahiers du Cinéma,  You can also click to read “Surrealism in the Service of the Fantastic: Jean Rollin, a ‘Parallel’ Director in Libertarian French Cinema”

Calum Marsh and Jordan Cronk have a conversation about Andrei Tarkovsky’s Stalker. “The characters in Stalker have real gravitas whether Tarkovsky’s aesthetic takes precedent over his storytelling or not. To that end, I don’t think Stalker would be the devastating experience it is without this drawn-out sense of longing which Tarkovsky meditates on in a style that turns the cold and cerebral in on themselves until these vessels we see traversing a Russian future-shock landscape become both symbols and unique personalities unto themselves. Tarkovsky asks more of the viewer than most any canonized filmmaker, and though Stalker can look challenging on the surface, the personal contours beneath reveal a director sympathetic to character and audience alike.”

Manohla Dargis on the “Conflicting Voices in Lars von Trier’s Words & Works:” “It’s no wonder I sometimes yearn for the good old days when directors were anonymous hires instead of beloved auteurs who sometimes say and do the darnedest, most awful things. And who make it hard to watch their movies without wincing, who force you to reconcile your love of their work with their flawed humanity, as Mr. von Trier did when, during that same news conference, he expressed ostensibly sincere admiration for the Nazi architect Albert Speer. I believe he was joking about being a Nazi, and that he was also saying, self-seriously or not, that as someone of German heritage he was inherently guilty. So I opted for the Naughty Lars defense: He was just being Lars von Trier, the irrepressible provocateur.  I kept thinking about “Melancholia,” perhaps his finest movie, and whether its apocalyptic tale of depression and death was autobiographical. I also kept wondering how close Vichy is to Cannes.”

Greg Ferrara on That Certain Look of… Isolation (in a film): “A movie can provide a wealth of riches to a movie lover, from pointed social commentary and profound character development to thrilling adventure and terrifying horror. The movies provide so much that, sometimes, it’s hard to point to just one thing that stands out above all else. When a cinephile watches something like Citizen Kane, there seems to be an endless supply of greatness on which to elaborate, from the acting, cinematography and editing to the music, story structure and dialogue. And when I watch a movie like Kane, I take it all in and feel refreshed and invigorated when I’m done. But sometimes, depending on my mood, all I’m really looking for is one thing and one thing only: A look. And when a movie has that certain look, it’s all I need.”

Ruth Jamieson asks if films can make us feel better. “In 2005, researchers at the University of Maryland school of medicine compared the effects of watching the first 15 minutes of Saving Private Ryan to watching 15 minutes of Kingpin. They concluded that comedy is brilliant for the vascular system. If you’re the kind of person who gets grouchy when denied a weekly trip to the cinema, there could be a genuine medical reason. Graef points out that film is “like a kind of active meditation”. Meditation has been found to lower blood pressure, aid relaxation, improve concentration and even slow down brain deterioration due to ageing. Regular practitioners report feeling irritable and depressed if forced to go without. If watching a film really is like meditating, that could be why you get prickly when denied it.”

Erik Tarloff writes about his blacklisted communist screenwriting father. “Within a day of his testimony, my father was dropped by his agency, fired from his job (he was a staff writer on the then-popular situation comedy I Married Joan), and declared persona non grata in the only profession he had ever pursued. An account of what followed can wait for another time; for now, it’s enough to say that he managed to scrape by, the situation slowly improved, and the first script to bear his name after his blacklisting, produced some 11 years later, won him an Academy Award.”

Charlie Jane Anders on the 10 Biggest Missed Opportunities in Science Fiction and Fantasy: “6) Harlan Ellison’s I, Robot  Okay, so anything would have been better than the Will Smith abomination. But Harlan Ellison’s 1977 screenplay might actually have resulted in a great film. He spent a year toiling over an adaptation of Asimov’s iconic short stories for Warner Bros., which owned the film rights. And his finished product, which Asimov himself approved of, took a sort of Citizen Kane approach to telling the life of roboticist Susan Calvin. Sadly, by the time Ellison was done, Warners wanted something more like Star Wars, and they demanded a lot of changes he wasn’t willing to make. Ellison’s screenplay finally appeared in Asimov’s Magazine and in book form.”

Hey, all you scribes, you can download for free Georges Polti’s book,  ‘The Thirty-Six Dramatic Situations’ as PDF, EPUB, Kindle, Text.  You can also download Michael Rowland’s How to Write a Screenplay.

Alex Carnevale talks about Singles. “[Cameron] Crowe views everything that occurs in retrospect through a gold haze. A relationship that falls apart is simply food for thought, and a reunion is always possible even when it’s not. His peers navigate their world with spastic affront. Then again, their ancient machines deprived them of much wisdom. When Scott meets his environmental au pair to share water in an elaborate allusion to Stranger in a Strange Land, Paul Giamatti is making out with some girl at the next table, salivating over his water glass.”

Kelly Thomas talks about about Music Licensing. “Using popular songs recorded by famous musicians can get expensive really quickly, especially when you have to license both the sync and master rights. But there are ways to save money without sacrificing your creative vision when it comes to the music in your film.”

Script Mag has a podcast with screenwriter Shawn Christensen in which they discuss the development of Abduction. “He was pitched the one-line story nugget while at a meeting at Gotham Group for another job. The screenwriter was given the chance to write his take on the film, on spec. It took 64 days, he said, but it was worth it.”

Walter Biscardi posted a big article on the state of Post Production “as he sees it in these months since the June release of Final Cut Pro 10.”  Philip Bloom also shares some thoughts on FCPX.  ”Was FCPX released prematurely? Personally, I think it may have been.”

IFP Independent Film Week has 8 Quick Tips on How to Fund Your Documentary: “Remember: Funding is a Marathon, Not a Sprint.”

Nic Baisley offers Five Ways to Collaborate with Other Filmmakers: “Sharing Trailers – Whether it’s before a screening or on your DVD, swapping trailers with other filmmakers is a great way to get free exposure for each other’s films. This not only helps you build relationships with others in your industry; it will also help get your work in front of an audience that may never have heard of your project before. In other words, a new potential audience!”

Finally, I’d like to close with “Experience Human Flight.” Have a great day and take good care of yourself out there.