#dean laurentiis

[flashfuckingflesh]

Classic Sequel Gets a Lenticularly EVIL! "Halloween II" reviewed! (Via Vision / Limited Edition Blu-ray)

“Halloween II” Limited Edition Blu-ray + 6 Photo Lobby Cards! Order here! The horrific Halloween night massacre in Haddonfield where a masked escaped mental patient named Michael Myers murdered the close friends of Laurie Strode has not yet ended.  Hurt and in shock after narrowly escape Michael’s relentless pursuit, Laurie is rushed to Haddonfield Memorial Hospital to receive treatment from a…

[thebutcher-5]

Atto di forza

Benvenuti o bentornati sul nostro blog. Nello scorso articolo siamo tornati a parlare di cinema italiano e per la precisione di un cinema italiano gotico degli anni ’60, con un film diretto dal grande Mario Bava, La frusta e il corpo. La storia inizia con Kurt, primogenito di un nobile, che torna dopo essere stato bandito per aver portato al suicidio la figlia di una serva. Lui vorrebbe tutto…

[mariacallous]

After six months of shooting, six months in postproduction, and nine months of concentrated editing, Dune was ready to be unleashed onto 1,700 screens worldwide simultaneously, a rarity then. There were four gala premieres scheduled for the film: Washington, DC; Los Angeles; Miami; and London.

The DC premiere at the Kennedy Center took place on December 4 and included Dune author Frank Herbert, Kyle MacLachlan (“Paul Atreides”), Francesca Annis (“Lady Jessica”), Dean Stockwell (“Doctor Wellington Yueh”), Raffaella De Laurentiis (producer), and, of course, Dino De Laurentiis (executive producer). The latter wrangled Herbert and David Lynch (along with his wife, Mary Fisk) invites to a White House state dinner to meet President Ronald Reagan, whom Lynch admired. Supposedly the President and First Lady Nancy Reagan told Herbert they enjoyed the film, though official records show Dune wasn't screened for the president until December 22, at Camp David.

“It is an important town for an important movie,” Dino told The Washington Post. “The Kennedy Center is the most important in the United States. That is why we have the premiere of Dune here.”

MacLachlan, smiling between book signings at the premiere, told a reporter: “I don’t feel like a God Emperor, just an actor. Actually, the process of filming was boring and tedious. The fun came in seeing it in its final form. This is the second time for me, I saw it once before in New York. Yes, I do hope there’s a sequel. I’d like to be in lots more. I’d read all the Dune books years before the movie, but once I was cast in it, I began to read them voraciously.”

“I think the movie captures the book,” Herbert opined. “Of course, it leaves out scenes, but it would have to, otherwise we’d be here 14 hours.”

However, negativity around Dune was already circulating. Lynch tried to quell the bad buzz (Variety had dubbed it a “Dune-boggle”) to the Los Angeles Times shortly after this premiere, saying: “I don’t know how the rumors got started, but they aren’t based on truth … that the picture was in trouble, it wasn’t going over well and that we had a bad preview. Well, I was at the Los Angeles preview, and the feeling I got was that we had a successful preview. The feeling I got at the premiere was an awful lot better. Dune is a film built for a big screen with big sound, and they had that at the Kennedy Center.”

Lynch later admitted in Greg Olsen's Beautiful Dark: “I said that I liked the film. I convinced myself that I did. But I was a very sick person at the time. I was dying inside.”

Herbert was also banging the drum for the movie and its planned follow-up, bragging to Philadelphia Daily News: “The principals of the cast and the director, David Lynch, have all been optioned for two more films. We have enough outtakes from this one to make a four-hour TV miniseries. We’re already plotting the screenplay of the sequel.”

A copy of the script for Dune II was even seen in Herbert’s office when he was interviewed for Prevue magazine in December 1984: “That’s David’s rough draft of Dune Messiah. Now that we speak the same ‘language,’ it’s much easier for both of us to make progress, especially with the screenplays.”

Lynch elaborated even further on his plans to shoot Dune II and Dune III back-to-back in Starburst #78:

Raffaella will be the producer again, and hopefully a lot of the same team will come back. Right now, I’m writing the script for Dune II. Dune II is totally Dune Messiah, with variations on the theme. Dune III is the one that’s going to be trouble for me. I’m not wild about Children of Dune, and I want to read it again and see what kind of ideas I get. I want to get to the point where I’m really dying to do it. Dune Messiah is a very short book, and a lot of people don’t like it, but in there are some really nifty ideas. I’m real excited about that, and I think it could make a really good film. It starts 12 years later, and this creates a whole new set of problems. It’s a kind of thing unto itself. The whole place where the characters live is now different. It’s the same location, but everything has changed. And it should have a different mood … it should be 12 strange years later.

At the Royal London Charity Premiere benefiting the National Association for Mental Health on December 13 were Lynch, MacLachlan, Annis, Sting (“Feyd-Rautha”), Patrick Stewart (“Gurney Halleck”), Siân Phillips (“Gaius Helen Mohiam”), and Raffaella partying at the Empire Theatre in Leicester Square alongside special celebrity guests like Prince Andrew (Duke of York), Andy Summers and Stewart Copeland (The Police), Andrew Ridgeley and George Michael (Wham!), Gary Kemp (Spandau Ballet), Nick Rhodes (Duran Duran), Roger Taylor (Queen), Grace Jones (Conan the Destroyer), Julie Walters (Educating Rita), Danny Huston (Wonder Woman), Billy Connolly (The Hobbit), and the American artist Jean-Michel Basquiat.

There is even a photograph of Annis and Sting smiling as they cut a large (truthfully, disgusting-looking) Dune cake with a chocolate sandworm suggestively placed between fondant representations of Arrakis’ two moons.

One last premiere was held concurrently the night of the London event at the Dadeland Triple Theater in South Miami, Florida, to benefit the Coconut Grove Playhouse, where José Ferrer (“Padishah Emperor Shaddam IV”) was artistic director. Ferrer attended the public event alongside actor Brad Dourif (“Piter De Vries”), with tickets available for $20 for the film (with preshow champagne reception) or $50 for the film and a gala party with the stars. A critics’ screening and press conference with Ferrer and Dourif were also arranged, attended by John Sayles and Maggie Renzi, who had intended to screen The Brother from Another Planet in Cuba but were denied visas, so they settled for watching Dune. The reception by the press at the conference was reportedly icy.

During a London press conference in January 1985 (once writing was on the wall regarding Dune failing), Raffaella made a bold and not inaccurate prediction (via Space Voyager #14): “No, it won’t flop. It’s too original. It doesn’t look like anything that’s been on the screen before. I think it’s going to become a big cult movie.”

What follows are recollections of the cast and crew of Dune on their premiere experiences.

IAN WOOLF (Directors Guild of America [DGA] Trainee): I went to the premiere at the Kennedy Center in Washington with my wife and a friend of ours. After the two hours and 20 minutes, you could hear a pin drop in the theater. It’s like, “What the fuck was this?” It wasn’t good.

VIRGINIA MADSEN (Actor, “Princess Irulan”): I didn’t go to that one. I went to the premiere at the Chinese, or maybe it was Westwood? They handed out this little dictionary. I saw that and I thought, “Oh no, this movie is in trouble … you need a dictionary.”

ERIC SWENSON (Visual Effects, Motion Control): I don’t remember everybody being bummed or super excited. It was like, “Hey, that’s pretty cool.” Everybody hates their own stuff, and thinks they could do it better. I’m looking at Rambaldi’s creatures and the forced perspective miniatures. Some of those sets, like the Emperor’s palace, were still left over when I got there, and to see them up on the big screen was phenomenal.

ALICIA WITT (Actor, “Alia”): I loved it! I loved it. I also missed a lot of the scenes that were missing. It was amazing to have that first experience of having watched something being filmed and then seeing it made into a real-life movie. That’s always magical, and it never stops being magical. No matter how many times I’ve done it now, you watch a scene being filmed over and over again from all the different angles and then you see it turned into a story. I also remember being confused by the feedback that I heard after the movie that people didn’t understand it, because obviously I knew the story backward and forward and it made perfect sense to me, but I can see now how it might have been confusing to people who hadn’t already read the book.

VIRGINIA MADSEN (Actor, “Princess Irulan”): It was kind of hard for me to recover from the fact that my face was 25 feet tall in the theater. That was the coolest thing I could have ever dreamt of as a little girl. There it was. I might not have been Barbara Stanwyck, but there I was. To me, everything about the movie was perfect because I was so proud to be a part of something that big when I was such a sci-fi/fantasy/horror fan. It was very exciting and very beautiful. I wanted to see it again immediately. [Laughs.]

PENELOPE SHAW SYLVESTER (Assistant Editor): They were all very complimentary at the Royal premiere in London. We all went out and partied afterward. I remember going into the ladies’ room, and Sting’s wife’s dress had come apart and she was in a panic. I said, “Don’t worry!” Being a Girl Scout, I had my safety pins; we pinned her up and back she went.

SEAN YOUNG (Actor, “Chani”): I was never at a screening when that movie came out because I was in Africa doing a movie called Baby: Secret of the Lost Legend. It was a long shoot. I never even saw the picture at all until 18 years later when I watched Dune on TV one day. I didn’t have a whole lot of thought about it, but I do remember the reshoot scene at the end that we shot day for night. I thought that was pretty good.

Young harbors no ill will toward the filmmakers for reducing her role of Chani almost to the point of haiku.

SEAN YOUNG (Actor, “Chani”): This is going to sound ridiculous, but I couldn’t have cared less. It didn’t matter to me. That’s show business. That’s what I mean about practicality. When you take stuff personally in show business, it makes life harder. How many people put their money in to make this movie? They paid you, right? They don’t owe you a storyline unless you put it in your contract: “I must have a storyline that takes up a half-hour of this picture at least.” Nobody will do that. If I could do one thing differently, it would be nice to appear in one of the gowns. Francesca got to wear nice gowns and she was also in the stillsuit, so she had both. Chani only had the stillsuit. That was it. Well, I had a little ropey see-through thing for the love scenes. It would have been nice to have a spiffed-up My Fair Lady moment. [Laughs.]

Molly Wryn did not discover that her major character of Harah—along with her entire storyline—had been almost completely excised from the finished film until she attended the premiere in Los Angeles.

MOLLY WRYN (Actor, “Harah”): Imagine? My heart crushed. Broke. It hurt. David had said to me not long before that, “You know, some of your stuff has been cut.” Something very gentle. I said, “Okay.” But I had no idea I was completely cut. They even shot me for the credits, when they show everybody’s face, but didn’t use it, which was sad. I remember how shocked I was. And then at the end, not even my face that they filmed. It took a while, they film from all directions and then pick out what they want to use and … gosh, I’m getting teary about it. 

Harlan Ellison wrote articles at the time alleging that Frank Price of Universal thought Dune was “a dog” and was deliberately withholding it from the press.

FRANK PRICE (President of Universal Pictures, 1983–86): Not a dog. It was not bad. David Lynch does good work. Harlan Ellison was always around with a chip on his shoulder.

PAUL M. SAMMON (Universal Pictures Publicity Executive): Prior to its release, there was a great deal of journalistic interest in Dune. Fan interest was somewhat split prior to the film’s opening, though. There was the inevitable skepticism of, “Isn’t this the same producer who gave us that mediocre remake of King Kong?” That was balanced by Frank Herbert’s very vocal enthusiasm about how faithfully David Lynch was “doing” his book. In fact, I included some footage of Frank heartily (and genuinely) endorsing Dune in my “Destination Dune” convention featurette, but then the release date kept being pushed back and audience/press interest began waning. CRAIG CAMPOBASSO (Production Office Assistant): They didn’t do any press screenings. That’s where all that anger came from the press. People started writing bad stuff because of that.

FRANK PRICE (President of Universal Pictures, 1983–86): Oh yeah. You don’t want to give critics time to destroy you. I had a picture at Columbia that is a good example, called Neighbors. It had John Belushi and Dan Aykroyd. When we test-screened it, audiences hated it. I told the marketing head, “Get every theater you can get, every seat, because we’ve got to get everything out in a week.” We did great business for a week, and then it collapsed. Word of mouth destroyed it. But with Dune, you can’t get your money back in a week.

CRAIG CAMPOBASSO (Production Office Assistant): They didn’t want anybody to knock it down before it was released, but not letting them see it had the opposite effect. Then the movie came out, and it just didn’t do well.

THOM MOUNT (President of Universal Pictures, 1976–83): The real problem was people didn’t show up. It’s hard to know. When we did The Deer Hunter, I was told by everybody repeatedly that the picture would be a total failure, that no one wants to see this long exegesis on our painful exit from Vietnam. Six Academy Awards and hundreds of millions of dollars in income later, they were wrong. But on the other hand, you’re talking to the guy who gave Xanadu the go-ahead. I know what it is to lose every dime.

Despite the wild reactions, much of the cast and crew weren’t blaming Lynch.

FREDERICK ELMES (Additional Unit Cinematographer): What’s on the screen isn’t really David’s film. It’s a different edit. It’s a different version of the film, and that made me very sad.

TERRI HARDIN (Stillsuit Fabrication, Stunt Double): People would say, “Oh, that movie was so terrible.” What you don’t realize is there’s like seven hours on the cutting room floor. Frank Herbert at the screening was devastated, so sad that he had to show us this movie. I think he had seen it before, but he was heartbroken by the movie. So many people were disappointed by the results. The De Laurentiises weren’t at our screening, mostly the builders and below-the-line people. It was supposed to be two films, and it became one, really short and really not very comprehensible.

KENNETH GEORGE GODWIN (Production Documentarian): I knew there was stuff that would have made a stronger film. You’re 45 minutes into it before the Harkonnens attack, and mostly what we’ve got is just setting up all these royal families. You’ve got this huge exposition at the beginning, then a pretty rushed midsection. After he’s with the Fremen, they start to follow him and attack … That’s all compressed into a couple of montages. There was way more shot. Then you’ve got the ending, a big battle scene. A huge chunk of the meat of the story got ditched.

GILES MASTERS (Art Department): The stories of what David went through are well-documented, and it wasn’t the film that he wanted. It wasn’t the film most of us expected to see when we went to the premiere. Everybody was a little like, “Oh, what happened?”

LUIGI ROCCHETTI (Makeup Artist): In addition to the human side of Lynch, I admire his vision of things. The film could have been better. It’s a very complicated and difficult story to tell, and surely David’s version was better when it was uncut.

KENNETH GEORGE GODWIN (Production Documentarian): If David had been left alone with the editor, it would have been better, had more coherence. The emphasis was never so much on the story as on creating four different worlds with all their architecture, the sense that these places all have different histories, different societies. That kind of world-building appealed to him more than the story of this kid who becomes a god.

JANE JENKINS (Casting Director): I don’t know that I ever understood it any better than when I struggled through the book. I think that the movie was not as successful as David could have made it. He had a vision to do it in black and white. He didn’t want to do it in color. I think that it had the potential if David had been left entirely to his own devices to make it a stronger movie. There was a lot of interference in his version, but [he] was not a powerful enough director at that point in his career to say, “All right, everybody back off,” and have final cut. Even though I found Eraserhead very odd, to say the least, all his films have been very interesting. Dune is probably the least successful [of his films] because he didn’t have enough control to do what he wanted.

RAFFAELLA DE LAURENTIIS (Producer): Look, it’s not an easy adaptation. If you have not read the book and you’re not familiar with the book, you’ll get lost easily. One of the mistakes—and I’ll take responsibility for that—was David would have probably been a lot more esoteric, but I was concerned about people being able to follow the story. Sometimes I was pushing to explain things, to remain close to the book, to be faithful to the book. I’m not sure that was always the right decision to make.

Excerpt adapted from A Masterpiece in Disarray: David Lynch’s Dune—An Oral History by Max Evry. Published by arrangement with 1984 Publishing LLC. Copyright © 2023 Max Evry.

[brokehorrorfan]

Maximum Overdrive will be released on Steelbook Blu-ray on May 30 via Lionsgate. The 1986 sci-fi horror film is available to pre-order for $19.96 exclusively at Walmart. 

Stephen King makes his lone directorial effort on the cult classic. He also wrote the script, based on his own 1973 short story, “Trucks.” Emilio Estevez, Pat Hingle, Laura Harrington, and Christopher Murney star. AC/DC perform the soundtrack.

Beyond the packaging, the disc will be identical to the Vestron Video Collector’s Series edition form 2018. Special features are listed below, where you can also see the Steelbook interior.

Special features:

Audio commentary with Tony Magistrale, author of Hollywood’s Stephen King

Audio commentary by actor/comedian Jonah Ray and Blumhouse producer Ryan Turek

Interview with producer Martha De Laurentiis

Interview with actress Laura Harrington

Interviews with actor John Short and actress Yeardley Smith

Interview with make-up effects creator Dean Gates

Interview with actor Holter Graham

Interview with Murray Engleheart, co-author of AC/DC: Maximum Rock & Roll

The Wilmington Factor – A look back at the filming of Maximum Overdrive with members of the production crew in North Carolina

“Goblin Resurrectus” – Restoration of the Happy Toyz Golbin

Behind-the-scenes footage

Still gallery

Theatrical trailer

TV spots

Get ready for the ultimate battle of man vs. bloodthirsty machine in this terrifying Stephen King classic! For three horrifying days, the Earth passes through the tail of a mysterious comet. The skies glow an eerie green as humanity waits to see what the fallout will be. But what they imagine is nothing like the nightmare they find — the comet’s magnetic fields cause all the machines on Earth to suddenly come to life and terrorize their human creators in a horrific killing spree. Now, it’s up to a small group of people trapped in a desolate truck stop to defeat the killer machines — or be killed by them!

[agendaculturaldelima]

  #ProyeccionDeVida

🎤Charlas de apreciación cinematográfica. Arte de ver Cine, presenta:

🎬 “TERCIOPELO AZUL” [Blue Velvet]

🔎 Género: Intriga / Cine negro / Drama / Neo-Noir / Thriller Psicológico / Película de Culto / Cine independiente USA

⌛️ Duración: 120 minutos

✍️ Guión: David Lynch

🎼 Música: Angelo Badalamenti

📷 Fotografía: Frederick Elmes

🗯 Argumento: Una mañana, Jeffrey Beaumont (Kyle MacLachlan), después de visitar a su padre en el hospital, encuentra entre unos arbustos una oreja humana. La guarda en una bolsa de papel y la lleva a la comisaría de policía, donde le atiende el detective Williams (George Dickerson), que es vecino suyo. Comienza así una misteriosa intriga que desvelará extraños sucesos acontecidos en una pequeña localidad de Carolina del Norte.

👥 Reparto: Isabella Rossellini (Dorothy Vallens), Kyle MacLachlan (Jeffrey Beaumont), Dennis Hopper (Frank Booth), Laura Dern (Sandy Williams), Dean Stockwell (Ben), Angelo Badalamenti (Pianista) y Michelle Sasser.

📢 Dirección: David Lynch

© Productora: De Laurentiis Entertainment Group (DEG)

🌎 País: Estados Unidos

📅 Año: 1986

📽 Proyección:

📆 Martes 27 de Febrero

🕕 6:00pm.

🏛 Auditorio del Museo de Arte (av. Paseo Colón 125, Parque de la Exposición - Lima)

👤Ponente: Antonio Fortunic (cineasta e investigador)

🎟 Entrada: S/.30

🖱 Reservas: https://www.joinnus.com/events/cine/lima-el-arte-de-ver-cine-60253

[adscinema]

Blue Velvet - David Lynch ( (1986) 

Poster design by Farkira.

https://deadlypreygallery.com

[thejewofkansas]

DUNE (1984) Review - **

DUNE (1984) Review – **

Stranger, maybe, but hardly richer. After seeing Denis Villeneuve’s impressive new version, and after a long day at work, I figured I’d end my week by kicking back with a beer and revisiting David Lynch’s infamous attempt at tackling the book. Critically savaged on its initial release (with a very few defenders), Lynch’s Dune has since developed quite a solid cult, with key lines and images…

[deepredradio]

Dune 1984 - Ultimate Edition

Dune 1984 – Ultimate Edition

[doomonfilm]

Ranking : David Lynch (1946-present)

Film is definitely an art, and yet, it seems to be distinct from other forms of visual art such as painting or sculpture.  Perhaps that is what makes David Lynch such a fascinating director, as he has the ability to tap into the surreal stimulus often found in the most famous paintings and transform it into brain-bending moments on film.  Whether it his fear-fueled fascination with fatherhood present in his debut film Eraserhead, his ruminations on Hollywood society present in Inland Empire, or any of the stopping points in-between, it’s safe to say that David Lynch sits in the rarified air of directors like Ingmar Bergman, Alejandro Jodorowsky and the other few who can turn film into something deeper, more visceral and more meaningful.

With one of the most unique collections of films credited to his name, including a couple of curveballs in the early portion of his career, ranking the films of David Lynch is as perplexing as it is entertaining... so, without further ado, we attempt to climb that hill.  I’m not even going to pretend that I can break down all of the symbolism and meanings of these films, but I can give my honest opinion about them.

10. Dune (1984) For a film that is supposed to be such a science-fiction gem, it’s a bit funny that nobody can seem to make a coherent, entertaining version of Dune.  After nearly 15 years in pre-production hell (and three iconic names attached to versions of the production), the film landed in the laps of Dino De Laurentiis and Ridley Scott, but after another extended period delaying production, Scott bowed out, leaving the door open for David Lynch to step in.  For what it’s worth, he did bring a huge list of names to the project, but the fact that the directing credit for Dune belongs to the throwaway pseudonym Alan Smithee should clue in any perceptive viewer that the project may not be one that Lynch cares to stand behind.

9. Inland Empire (2006) David Lynch isn’t the type of director that revisit ground he’s already covered, which is what makes Inland Empire (the seemingly final film from Lynch) such a confusing choice.  Had this film not been released after a five year gap between it and the stellar Mullholland Drive, another film that focuses on the dark underbelly of Hollywood, fame and the tolls of the acting craft, perhaps it would hit a little different to me.  That’s not to say that the film isn’t good, as it is definitely a slight adjustment from the style that Lynch basically trademarked, but when a director like Lynch experiments on what feels like general principle, it makes experiments that feel like a step backward lose impact.

8. Lost Highway (1997) Technically, you could count all of the Lynch “mystery” films as noir in some capacity, but Lost Highway feels like a direct skewing of what we know as the traditional noir structure.  At its core, the film is a simple murder mystery, but it doesn’t take long for the Lynch signatures to begin appearing in every form from a mysterious, unnamed character to our protagonist literally changing into another person with no base explanation provided.  Perhaps the latter choice was a look into split personalities and the disassociated nature that can come with brutal crimes... as I said before, I’m not here to try and decode the David Lynch mystery.  While Lost Highway serves as a good entry point into the David Lynch catalog, it sits on the back half of the rankings due to no fault of its own... it’s more of a situation where the other mysteries are so stellar, that even the strange seems simplistic by comparison.

7. The Straight Story (1999) If you played a game of “one of these things is not like the other” with the films of David Lynch, it would not be difficult to make a winning choice, as The Straight Story is clearly the most accessible and standard of all the Lynch fare.  What the film lacks in oddness and style, however, is more than made up for in terms of heart and performance.  The use of a lawnmower as the main source of travel allows for some beautiful landscape cinematography, and the sheer force of will exhibited by Richard Farnsworth pays off in spades when he is reunited with Harry Dean Stanton.  If you’re looking for something creepy, eclectic and mind-warping from Lynch, there are plenty of other films to choose from, but if you are looking for an excuse to shed a tear or two, this is the film for you.

6. The Elephant Man (1980) It’s funny to think that if not for The Straight Story, the Joseph Merrick biopic The Elephant Man would serve as the most normal film of the Lynch canon.  This sophomore film dialed back on the abstractions present in Eraserhead, but it brought some extraordinary makeup and costuming to the table, not to mention it gifted viewers with a powerfully moving performance from John Hurt.  Though memorable in its own right, the film really made its mark by tying Raging Bull at the 53rd Academy Awards, garnering eight nominations (and sadly losing in all categories, going home empty-handed).  The backlash for the Academy’s lack of giving The Elephant Man special praise for its makeup effects also led to the creation of a Best Makeup award for the Oscars.  It is quite possible that the combination of shock from Eraserhead in tandem with the skill and prowess shown in The Elephant Man opened all of the creative control doors for David Lynch, as not even Dune could derail his career and artistic oddness. 

5. Blue Velvet (1986) While Twin Peaks is where I first heard the name David Lynch, it was Blue Velvet where I first got a taste of why Lynch was held in such high regard.  The suburban paradise presented in the opening credits is immediately shattered by the discovery of a random ear, and the weirdness rabbit-hole gets deeper and deeper from that point on.  The classic look of the film stands in powerfully beautiful contrast to the extreme darkness of the narrative, and Dennis Hopper turned it all the way up to 11 for his performance in the film.  If Lost Highway serves as the best introductory film for those curious about Lynch, then Blue Velvet serves as a good midpoint to determine how much weirdness, abrasiveness and shock you can handle in a Lynch film.

4. Mulholland Drive (2001) I really and truly do not know where to begin with this insane rollercoaster ride of a film.  The first time I watched this film, I thought I had everything figured out, every mystery solved and every bait and switch identified, but upon repeat viewings of Mullholland Drive, I’ve determined that I either had a brief moment of harmonic brilliance or I was fooling myself.  The film makes sense at its root, if really and truly dissected, but when taken at face value and in real time, it’s almost impossible not to get completely lost in the sheer immersive nature of everything thrown at you.  Naomi Watts is brilliant as the viewer guide through the film, and it’s good that she is so powerful in her lead role and guiding task, because Mullholland Drive is not afraid to get downright bonkers on more than one occasion.  While films about the trappings of Hollywood and stardom are nothing new, I’m hard pressed to think of another film that approaches these in a manner even remotely close to that of Mullholland Drive. 

3. Wild at Heart (1990) Quite possibly the most enjoyable of all the David Lynch films, despite some downright brutal moments of celebratory violence sprinkled throughout.  The combination of Nicolas Cage and Laura Dern is nothing short of electric, and the presence of Willem Dafoe as antagonist is the perfect spark to ignite an already volatile mixture of leads.  The energy level of this film starts on ten and only continues to rise as the film progresses.  If/when I ever get the chance to program theater showings, I am putting this film on a double bill with Natural Born Killers immediately.  While I can’t say that Wild at Heart is my favorite David Lynch film, I can say without a shadow of a doubt that it’s my favorite Lynch film to gush about with other fans.

2. Eraserhead (1977) More often than not, directors the caliber of David Lynch have stunning debut films to their name, and Lynch certainly exploded onto the scene with a gamebreaker in the form of Eraserhead.  Upon first viewing, there is enough “WTF?!” going on to confuse most people, but for those brave enough to watch the film more than once, it becomes painfully obvious that all of the madness and shocking imagery on display is a clear metaphor for Lynch’s fear of fatherhood.  The simple act of taking a fear that resonates with most humans and turning it into the equivalent of a black and white bad drug trip works perfectly, and Jack Nance’s iconic look and performance are almost recognizable enough to know without knowledge of the film.  Eraserhead is one of those films that leaves you different than you were prior to watching it.

1. Twin Peaks : Fire Walk with Me (1992) In all honesty, was there every any doubt that Twin Peaks : Fire Walk with Me wouldn’t be in the top spot?  Of all the properties that the David Lynch name is connected to, none of them have even come remotely close to touching the sheer size of the lore and fandom that has emerged from this modern day masterpiece.  The story of the high school princess with deep, dark secrets to hide is not new territory, but the way that Lynch handles it all with Twin Peaks takes the familiar to all new realms of weirdness, including the creation of iconic places and characters like the Black Lodge, the Log Lady, the production mistake that created the infamous Bob, and the eternally iconic Laura Palmer, and oh yeah, the film’s not half bad either.  I doubt that David Lynch ever had any intention of reaching the heights of fame that Twin Peaks : Fire Walk with Me afforded him, but it would be dumb to think that he isn’t impressed with the magnitude of the world he created based on that single idea for a film.

[brokehorrorfan]

Dune will be released on 4K Ultra HD and Blu-ray on August 31 via Arrow Video. Daniel Taylor designed the new artwork; the original poster is on the reverse side. A 4K UHD Steelbook with the original key art will also be available.

The 1984 adaptation of Frank Herbert's 1965 science fiction novel is written and directed by David Lynch (Twin Peaks, Mulholland Dr.). Kyle MacLachlan stars with Patrick Stewart, Brad Dourif, Dean Stockwell, Virginia Madsen, José Ferrer, Sting, Linda Hunt, and Max von Sydow.

Both 4K UHD and Blu-ray limited edition sets include a bonus Blu-ray disc loaded with extras, along with a 60-page book featuring writing in the film by Andrew Nette, Christian McCrea, and Charlie Brigden, and more, a double-sided poster, six mini lobby card reproductions, and a slipcase.

Dune has been newly restored in 4K from the original camera negative with original uncompressed stereo audio and DTS-HD MA 5.1 surround audio. Special features are listed below, where you can also get a look at the contents.

Special features:

Audio commentary by film historian Paul M. Sammon (new)

Audio commentary by Mike White of The Projection Booth podcast(new)

Impressions of Dune - 2003 making-of featurette with actor Kyle MacLachlan, producer Raffaella de Laurentiis, cinematographer Freddie Francis, editor Antony Gibbs, and more

Designing Dune - Production design featurette with production designer Anthony Masters

Dune FX - Special effects featurette

Dune Models & Miniatures - Model effects featurette

Dune Costumes - Costume design featurette

13 deleted scenes with introduction by producer Raffaella de Laurentiis

Destination Dune - 1983 promotion piece for publicity events

Theatrical trailers

TV spots

Image galleries

Bonus disc special features:

The Sleeper Must Awaken: Making Dune - Feature-length making-of documentary with cast and crew (new)

Beyond Imagination: Merchandising Dune - Merchandise featurette with The Toys That Made Us’ Brian Sillman (new)

Prophecy Fulfilled: Scoring Dune - Score featurette with Toto guitarist Steve Lukather, Toto keyboardist Steve Porcaro, and film music historian Tim Greiving (new)

Interview with make-up effects artist Giannetto de Rossi (new)

Interview with star Paul Smith

Interview with production coordinator Golda Offenheim

Interview with make-up effects artist Christopher Tucker

Also included:

60-page book featuring new writing on the film by Andrew Nette, Christian McCrea, and Charlie Brigden, a 1984 interview with sound designer Alan Splet, interview excerpts with director David Lynch from Chris Rodley’s Lynch on Lynch, and a Dune Terminology glossary

Double-sided fold-out poster featuring original and newly commissioned artwork by Daniel Taylor

Six double-sided, postcard-sized lobby card reproductions

The year is 10,191, and four planets are embroiled in a secret plot to wrest control of the Spice Melange, the most precious substance in the universe and found only on the planet Arrakis. A feud between two powerful dynasties, House Atreides and House Harkonnen, is manipulated from afar by ruling powers that conspire to keep their grip on the spice. As the two families clash on Arrakis, Duke Atreides’ son Paul (Kyle MacLachlan, in his screen debut) finds himself at the center of an intergalactic war and an ancient prophecy that could change the galaxy forever.

[sabtalkshockey]

📱💕 🌡📖🐷🌼

📱 Show your phone lock screen and/or home screen- my lock screen is a picture i took on an airplane last year (before covid). i’ll try to post it at some point and show you. 

💕 Your two top fave fictional characters- Dean Hayward de Laurentiis and Garrett Graham own my damn heart!! actually every boy in Elle Kennedy’s Off Campus series owns my heart. 

🌡 Fave season- spring or summer

📖 Fave book- this is such a hard one! but it would have to be The Murder House by James Patterson 

🐷 Junk food you can never get enough of- i don’t really eat junk food... but if i had to pick it would for sure be ice cream. does ice cream count?

🌼 Fave flower- ooo gerber daisies for sure 

[tabloidtoc]

Closer, May 18

Cover: Hollywood’s Golden Era -- at home with the stars 

Page 1: Contents 

Page 2: The Big Picture -- Newly divorced from Orson Welles, Rita Hayworth relaxed at home in 1948 with her favorite companion her dog Pookies 

Page 4: Golden Age of Glamour auction -- striking portraits of Marlene Dietrich, Greta Garbo, Clark Gable and Lucille Ball for sale 

Page 5: Cameron Diaz opens up about motherhood and a return to movies, Prince Harry gets on board with Thomas 

Page 6: Hellos & Goodbyes 

Page 8: Picture Perfect -- How Does Your Garden Grow? -- January Jones 

Page 9: Kate Hudson’s daughter Rani waters the garden, Sam Champion gardening, Paula Deen waters her garden, Susan Lucci in a tulip garden 

Page 10: Milla Jovovich and daughter Osian 

Page 11: Kym Herjavec and her twins Hudson and Haven, Daphne Oz with husband John Jovanovic with kids Domenica and Jovan Jr. and Philomena and Giovanna, Robin Thicke with daughter Lola 

Page 12: Meryl Streep toasted Stephen Sondheim, Giada De Laurentiis with frizzy hair 

Page 13: Gayle King with heart-shaped flowers, Katey Sagal as Dan’s friend Louise on The Conners 

Page 14: Reese Witherspoon and her dog, Cameron Mathison and his dog Red 

Page 16: Cover Story -- At Home with the Stars -- Paul Newman and Joanne Woodward 

Page 17: Audrey Hepburn 

Page 18: Steve McQueen, Sammy Davis Jr. 

Page 19: Dean Martin, Zsa Zsa Gabor, Rock Hudson 

Page 20: Kirk Douglas, Marlon Brando 

Page 21: Humphrey Bogart and Lauren Bacall, Anthony Perkins, Ernest Borgnine 

Page 22: Sharon Stone secrets I’ve never told -- the actress recounts her meteoric rise and heartbreaking losses in a new memoir 

Page 24: The Jack Webb Only I Knew -- the Dragnet star’s daughter shares warm stories about her father 

Page 27: Spot the Difference -- John Oates on The Goldbergs 

Page 29: Horoscopes -- Taurus Stevie Wonder 

Page 30: Entertainment -- Elle Fanning and Nicholas Hoult on The Great, In the Spotlight -- Mark Ruffalo 

Page 32: Movies -- Michael Pena on Fantasy Island

Page 33: DVDs, Books, Music -- Pam Tillis on her album Looking for a Feeling 

Page 34: Television 

Page 36: Great Escape -- Tichina Arnold on St. Maarten

Page 42: Whatever Happened to the Cast from 227 -- Regina King, Hal Williams, Marla Gibbs, Jackee Harry, Alaina Reed Hall 

Page 43: It Happened This Week 

Page 44: Matthew Modine -- how my wife saved me -- the star on his big moments, missed chances and the love that got him through 

Page 48: Growing Up Royal -- Prince William and Princess Kate Middleton are raising their children with love, rules and responsibilities 

Page 50: Diane Ladd at 84 -- Why I’ll Never Retire -- the acclaimed actress opens up about finding the key to happiness, cooking comfort food and taking pride in daughter Laura Dern 

Page 52: A Melrose Place Reunion -- the cast of the 1990′s favorite nighttime soap opera came together for a good cause 

Page 54: The style of Bridget Moynahan 

Page 56: All About Comfort -- Jenna Fischer 

Page 58: My Life in 10 Pictures -- Tom Berenger 

Page 60: Flashback 

[documentaryoncinema]

Inside  Fotografía

‘Side by side. El impacto del cine digital' ('Side by side’), Christopher Kenneally, 2012, VOSE.

Producido por Keanu Reeves, analiza los pros y los contras de los procesos digitales y los fotoquímicos y muestra la revolución que los nuevos procesos digitales han supuesto en la producción cinematográfica.

Con entrevistas a conocidos directores, directores de fotografía, estudiantes, técnicos, montadores y distribuidores, el documental examina el impacto en todas las fases de producción de una película, desde el rodaje, el montaje, el telecinado o los efectos visuales, hasta su posterior exhibición e incluso el archivo de un largometraje. Intervienen reconocidos directores como Steven Soderbergh, James Cameron, David Lynch, Richard Linklater, Martin Scorsese, los hermanos Wachowski, Christopher Nolan, David Fincher, George Lucas, Lars von Trier y Danny Boyle entre otros.

‘Kodak master class series’. Kodak cinematography.

'Lighting Dances with wolves with Dean Semler’, VO, SE en YouTube.

'Lighting Dead poets society with John Seale’, VO.

'Location lighting with Geoff Burton’, VO.

'Studio lighting a comparative workshop with Dennis McAlphine & Denis Lenoir', VO. 

'Kodak master class series: Shooting for drama', VO.

'Behind the Camera: Freddie Young', Richard Blanshard, VO.

‘Composition in storytelling’, Channel Criswell, 2016, VO, SE en YouTube.

'Colour in storytelling', Channel Criswell, 2016, VO, SE en YouTube.

'135 Shots that will restore your faith in cinema', Flavorwire, 2012, VO.

‘The art of the car chase’, Filmnørdens Hjørne, 2015, VO. Vídeo ensayo.

‘The art of the opening shot’, Filmnørdens Hjørne, 2015, VO. Vídeo ensayo.

‘James Wong Howe: Cinematographer’, University Film, Video Foundation, 1990, VO.

Biografía de James Wong Howe, China, agosto, 28, 1899 – Julio, 12, 1976, director de fotografía de más de 130 películas.

‘Vilmos Zsigmond: Finding the right light’, Phil Whitehead, 2016, VO.

‘What is composition’, Press Play Video Blog, 2014, VO.

'Cinema compilation: Silhouettes', Jacob T. Swinney, 2014, VO.

Recopilación de siluetas presentes a lo largo de la historia del cine.

'Cinema compilation: POV shots', Jacob T. Swinney, 2014, VO.

Recopila varios planos subjetivos pertenecientes a unos cien films, e incluye las perspectivas desde los personajes y también desde objetos inanimados.

Phedon Papamichael.

Janusz Kaminski.

‘Kodak presents a conversation with Janusz Kaminski and Phedon Papamichael’, VO, SE en YouTube.

‘Phedon Papamichael: A life behind te lens’, Alexandros Maragos, 2015, VO.

'Andrew Dominik sobre el arte en la era digital’, Istanbul International Culture Festival, 2012, VO.

‘On Sven Nykvist: With one eye he cries’, Greg Carson, 2004, VO.

Presenta una mirada sobre la obra del director de fotografía Sven Nykvist.

'The motion picture camera: Past, present and future', Jery October, 2014.

Masters of cinematography - ‘Six kinds of light: John Alcott’, BPS, Film on film, 1986, VO, SE en YouTube.

‘Writing with light’, David Thompson, 1992, VO, SE en YouTube.   Vittorio Storaro es unos de los directores de fotografía más importantes e influyentes del pasado cercado y del presente. Entre sus trabajos figuran títulos como ‘Novecento’, ‘El conformista’, ‘El último tango en París’, ‘Golpe al corazón’, ‘Bulworth’, ‘El cielo protector’, ‘Tucker: Un hombre y su sueño’, ‘Apocalypse now’ en la que ganó su primer Oscar en 1979, ‘Rojos’ por la que obtuvo su segundo Oscar en 1981 y ‘El último Emperador’ ganado nuevamente el Oscar en 1987, entre otros films.

En el documental Storaro comenta su trabajo acompañado de varios directores, entre ellos Warren Beatty (trabajó con él en ‘Dick Tracy’ obteniendo una nominación con ella) y Bernardo Bertolucci entre otros, junto a compañeros de la talla de Néstor Almendros. También se presenta footage en el set de ‘Dick Tracy’ y ‘El cielo protector’, comenta sus teorías acerca de la luz y el color en narrativa, y resume la historia de la iluminación en el cine.

‘Visions of light. The Art of cinematography’ ('Maestros de la luz’), Arnold Glassman, Todd McCarthy, Stuart Samuel, 1992, VOSE.

Repasa la historia del cine con opiniones de reconocidos directores relacionados con este arte. 'Maestros de la luz’ es una viaje en el tiempo dentro del mundo de la cinematografía, recordando a los artistas que han iluminado algunas de las caras y de las escenas más hermosas en las 125 mejores películas de los últimos 100 años.

En 'Maestros de la luz’, que es un tributo cariñoso a la historia de la cinematografía, participan mediante entrevistas y opiniones Ernest Dickerson, Michael Chapman, Allen Daviau, Caleb Deschanel, Lisa Rinzler, Conrad L. Hall, William A. Fraker, John Bailey, Néstor Almendros, Charles D. Rasher, Vilmos Zsigmond, Stephen H. Burum, Harry L. Wolf y Charles Lang entre otros.

‘No subtitles necessary: Laszlo & Vilmos’, James Chressanthis, 2008, VO.

Retrato de las vidas y carreras de László Kovacs y Vilmos Zgismond, dos de los grandes directores de fotografía de la historia del cine. Desde sus inicios como refugiados húngaros huidos del comunismo hasta sus triunfos en Hollywood y su contribución a la revolución de la industria con la nueva ola americana. Incluye declaraciones de directores, actores y otros directores de fotografía, todos expresando su admiración por el arte y el éxito de estos dos maestros que nunca dejaron de ser amigos toda la vida.

Con la presencia de Vilmos Zsigmond, László Kovács, Vittorio Storaro, John Boorman, Richard Donner, Peter Bogdanovich, Bob Rafelson, Leonard Maltin, Ellen Kuras, Steven Poster, Rob McLachlan, Haskell Wexler, Sandra Bullock, Karen Black, Tatum O’Neal, John Williams, Peter Fonda, Dennis Hopper, Sharon Stone, Jon Voight, Allen Daviau y Owen Roizman entre otros.

‘In the mood for Doyle’, Yves Montmayeur, 2007, VO.

Durante un año el inquieto realizador de documentales Montmayeur compartió la imprevisible agenda de Christopher Doyle, veterano y solicitado director de fotografía que ha definido nuevas estéticas visuales y ha trabajado con directores de la talla de Wong Kar-wai o M. Night Shyamalan entre otros muchos. Un trepidante y cosmopolita retrato de este genuino artista australiano.

‘Cinematographer style’, Jon Fauer, 2006, VO.

Trata sobre el arte de la cinematografía y de cómo funciona, desde las experiencias de vida a la tecnología, las influencias y las formas del estilo visual de un individuo. Debido al fuerte impacto que el estilo visual de una película puede tener, este documental puede ofrecer a los contemporáneos información valiosa sobre las opciones dramáticas que toman los cineastas, y se espera que el material tendrá un valor histórico significativo.

Con la participación de Remi Adefarasin, Russ T. Alsobrook, Howard A. Anderson III, Howard A. Anderson, Peter Anderson, Roger Deakins, Vittorio Storaro, László Kovács, Gordon Willis, Haskell Wexler y Vilmos Zsigmond entre otros.

‘Light and shadow. Greatest cinematographers of the World’, Steve Weiss, 2014, VO.

Directores de fotografía legendarios comparten sus puntos de vista sobre su profesión y lo que significa para ellos.

El documental ganó el Premio Emmy en dos categorías por parte de la Academia Nacional de Artes y Ciencias Televisivas (NATAS) en 2013.

Con la participación de Vilmos Zsigmond, Richard Crudo, Philip Bloom, Polly Morgan, Conrad Hall, Frederic Goodich, Stephen Goldblatt, Ryan Walters, Den Lennie, Michael Negrin, Nancy Schreider, Francis Kenny, Stephen Lighthill, Michael Koerbel, Daryn Okada, Victor Kemper, Mick Jones, Ron Garcia, Rodney Charters, Russell Boyd, Isidore Mankofsky, Colt Seman, Gordon Willis, Roger Deakins, Vittorio Storaro y Alan Thatcher entre otros.

‘Cameraman: The life and work of Jack Cardiff’, Craig McCall, 2010, VOSE.

Sobre el cámara y director de cine Jack Cardiff, 1914 - 2009, quien en 2001 se convirtió en el primer director de fotografía en ganar un Oscar honorífico, y durante setenta años ejerció su carrera en Inglaterra, Estados Unidos y otros países.

Con la presencia de Jack Cardiff, Martin Scorsese, Kirk Douglas, Lauren Bacall, Charlton Heston, Kim Hunter, John Mills, Alan Parker, Thelma Schoonmaker, Freddie Francis, Raffaella De Laurentiis, Richard Fleischer, Peter Yates, Kathleen Byron, Christopher Challis, Kevin McClory, Ian Christie, Moira Shearer, Peter Handford, George E. Turner, Michel Ciment, Michael Powell, Dustin Hoffman, Humphrey Bogart, Sophia Loren, Craig McCall, Niki Cardiff y Deborah Kerr entre otros.