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Martin Scorsese and Robert De Niro on the set of Raging Bull
trailer for Berberian Sound Studio.
‘Shaun of the Dead’ Photo-a-day / Shoot Day 7 / May 18th, 2003
When the film was released we made ‘Foree Electric’ badges for all the directors and writers who gave us press quotes – George A. Romero, Sam Raimi, Guillermo Del Toro, Peter Jackson, Stephen King, Robert Rodriguez and Quentin Tarantino. So there was a great batch of name tags made that read simply George, Sam, Guillermo, Peter, Stephen, Robert & Quentin. They were all ranked as assistant manager. George wore his for the entire ‘Land Of The Dead’ shoot.
Went to see Iron Man 3 today (it was fine) and noticed on my way out that the theater was selling 1-second strips of actual film from the trailers for Oz the Great and Powerful (who cares) and Monsters, Inc. (my favorite Pixar of all time). Be still my heart.
This is mine. I own it. I’m a little giddy.
![[T]here was a moment when I was writing Upstream Color where I fell so hard for what it was becoming that I couldn’t think of anything else.
- Television Without Pity
It really started with this notion of personal identity. […] And I think I had this view that, if you could strip away all that subjectivity, strip away everything you’d learned or that you’d been taught or accumulated, that maybe underneath would be this core—that would be plurality of thought, that would be the ability to be malleable to circumstances instead of having a predefined understanding of them. Eventually [it] lead to the idea that maybe there wasn’t anything inside, that maybe we are just an accumulation of these subjective key points of experience. That’s the bit that started to make this whole thing horrific, this idea that you’re not left with anything, that you’re just a lost consciousness in the world.
[…]
[on his next film] It’s actually set all over the world, in all sorts of remote places. It’s about shipping routes and trading commodities, pirates and privateers. It’s a tragic romance. I really can’t wait. It’s going to be a good thing.
- Interview
“My ability to make another film is directly connected to whatever revenue this movie generates,” he says. “It’s not like, ‘Maybe I can buy a house someday.’ It’s more like, ‘I get to make this film exactly the way it needs to be.’ ”
- Wired
JH: But you act in both your films and you’re a handsome boy. You could probably get acting work.
SC: Oh, well…thank…well, I don’t even know if that’s true. No. No one’s ever – well, actually, that’s not true…
- Film.com
I’m not saying I’m developing a thing for Shane Carruth, I’m just saying he is an engineer and a genius who has decided to use that genius to make movies and I’m not sure how to finish this sentence so I’ll just stop typing.](http://24.media.tumblr.com/2f0c31a07b54af76e8ce50c897de4dfa/tumblr_mmvds4EnCr1qzj6lto1_500.jpg)
[T]here was a moment when I was writing Upstream Color where I fell so hard for what it was becoming that I couldn’t think of anything else.
It really started with this notion of personal identity. […] And I think I had this view that, if you could strip away all that subjectivity, strip away everything you’d learned or that you’d been taught or accumulated, that maybe underneath would be this core—that would be plurality of thought, that would be the ability to be malleable to circumstances instead of having a predefined understanding of them. Eventually [it] lead to the idea that maybe there wasn’t anything inside, that maybe we are just an accumulation of these subjective key points of experience. That’s the bit that started to make this whole thing horrific, this idea that you’re not left with anything, that you’re just a lost consciousness in the world.
[…]
[on his next film] It’s actually set all over the world, in all sorts of remote places. It’s about shipping routes and trading commodities, pirates and privateers. It’s a tragic romance. I really can’t wait. It’s going to be a good thing.
“My ability to make another film is directly connected to whatever revenue this movie generates,” he says. “It’s not like, ‘Maybe I can buy a house someday.’ It’s more like, ‘I get to make this film exactly the way it needs to be.’ ”
- Wired
JH: But you act in both your films and you’re a handsome boy. You could probably get acting work.
SC: Oh, well…thank…well, I don’t even know if that’s true. No. No one’s ever – well, actually, that’s not true…
- Film.com
I’m not saying I’m developing a thing for Shane Carruth, I’m just saying he is an engineer and a genius who has decided to use that genius to make movies and I’m not sure how to finish this sentence so I’ll just stop typing.
So on this very day [May 11], ten years ago, we began principal photography on ‘Shaun Of The Dead’ in London. To celebrate this we’ve decided to take you through every single day of production over the next month or two. Team Big Talk have gone through personal photos, stills, rushes and continuity photos to give you an unique day by day account of our shoot.
What a marvelous idea.
‘What are we doing? Where are we going, home? … Yeah, home.’
Upstream Color (2013)
Francis Ford Coppola and Gene Hackman filming The Conversation in Union Square, San Francisco, 1973 (via the edit room floor)
Andrew Kolb’s adorable print set for Edgar Wright’s Blood & Ice Cream / Three Flavors / Cornetto trilogy
Aaron, Primer (via tapiocanaif)
Gravity teaser trailer (dir. Alfonso Cuarón)
When I hit the atmosphere, I’ll burn like a meteor. “I wonder,” he said, “if anyone’ll see me?”
- Ray Bradbury, Kaleidoscope
I’m going to go wherever you go. And you know that.
Paul Newman on the set of Cool Hand Luke (1967)
(from The Edit Room Floor, via cinephilearchive)
