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Showing posts with label David Lynch. Show all posts
Showing posts with label David Lynch. Show all posts
Friday, December 17, 2010
Wednesday, December 15, 2010
Tackling the Magic Kingdom
.
JA from MNPP here. In an interview with the Los Angeles Times yesterday Jon Favreau opened up about why he's not doing the third Iron Man film (Nat mentioned it yesterday), and in so doing this tid-bit presented itself:
That's right - David Fincher, currently swallowing whole every critic's prize in sight for his little Facebook movie, might be making a movie about a giant squid squatting on a submarine next.
Well after his adaptation of The Girl With the Dragon Tattoo that is, which he's currently in the middle of filming. What does this mean for his adaptation of the French graphic novel The Killer that he's been attached to? Or his forever-gestating Rendezvous With Rama?
And what does this mean about the Disney live-action film in general? They seem to be putting at least some of that Pirates of the Caribbean and Pixar money to good use, hiring smart people and throwing them into curious projects. (Unless it's the fourth Pirates movie we're talking about; that's just desperate.) I'm dying to know what a David Fincher 20,000 Leagues would look and feel like. Or Del Toro's take on The Haunted Mansion, sure to be bursting at the seams with fantastic beasties.
But my real question now is how long until they hire David Lynch to make a Space Mountain movie? Because that's when shit gets real.
.
JA from MNPP here. In an interview with the Los Angeles Times yesterday Jon Favreau opened up about why he's not doing the third Iron Man film (Nat mentioned it yesterday), and in so doing this tid-bit presented itself:"Favreau is set to direct “Magic Kingdom,” which the 44-year-old filmmaker described as a family fantasy adventure that will tap into the vintage Disney creations that “loomed so large in the imagination” of his generation. Favreau said that [David] Fincher ... will direct the studio’s ”20,000 Leagues Under the Sea,” a Jules Verne bookshelf classic that is closely associated with Disney after the landmark 1954 film and the submarine theme-park ride, and Disney confirmed that to be the case. [Guillermo] Del Toro had already been announced as director of a new “Haunted Mansion” film."
That's right - David Fincher, currently swallowing whole every critic's prize in sight for his little Facebook movie, might be making a movie about a giant squid squatting on a submarine next.Well after his adaptation of The Girl With the Dragon Tattoo that is, which he's currently in the middle of filming. What does this mean for his adaptation of the French graphic novel The Killer that he's been attached to? Or his forever-gestating Rendezvous With Rama?
And what does this mean about the Disney live-action film in general? They seem to be putting at least some of that Pirates of the Caribbean and Pixar money to good use, hiring smart people and throwing them into curious projects. (Unless it's the fourth Pirates movie we're talking about; that's just desperate.) I'm dying to know what a David Fincher 20,000 Leagues would look and feel like. Or Del Toro's take on The Haunted Mansion, sure to be bursting at the seams with fantastic beasties.
But my real question now is how long until they hire David Lynch to make a Space Mountain movie? Because that's when shit gets real.
.Sunday, November 14, 2010
Take Three: Harry Dean Stanton
Craig here with this week's Take Three. Today: Harry Dean Stanton
Take One: One of the Lynch mob
Stanton has been on regular staff rotation for four David Lynch flicks. (Four-and-a-half, if you include TV oddity Hotel Room.) From 1990 to 2006 Stanton provided characteristic screen goodness for a quartet of Lynch's most enduring works. Chronologically he’s contributed to: Wild at Heart (1990), Twin Peaks: Fire Walk with Me (1992), The Straight Story (1999) and Inland Empire (2006). He was great as, respectively: disorderly PI Johnnie Farragut tailing lovers-on-the-lam Sailor & Lula; Carl Rodd, irritable and dishevelled proprietor of the Fat Trout trailer park; frowzy front porch frowner Lyle Straight, estranged brother to lawnmower man Alvin; and Freddie Howard, dilapidated Hollywood has-been, both on-set and off-guard.
They are sad-sack characters, all. Apart from Wild at Heart – his most substantial role for Lynch – he has little more than one big scene in each film. But he makes his singular moments count. His Lynch mob doesn’t vary wildly, and they’re all vividly ragged extensions of the HDS persona. I could watch him yap like a hyena in bed, as he does in Wild at Heart, and be eternally happy; I could listen to his dog anecdote from Inland Empire ten times and still manage a smirk; I could watch, and watch again, his eyes well up with tears out of trance-like regret over either the arrival of an old crone (Fire Walk with Me) or the arrival of an estranged brother (The Straight Story) and be more and more moved each time. What is it with Stanton’s Lynch figments that swerve the fatty showmanship of so much character acting and zero in on the uncanny emotion of life in minute ways? Every auteur could do with five minutes of Stanton’s blue collar characterisation in every one their best films.
Take Two: x2 from 1979
Stanton’s been making films consistently for the last 54 years; it’s rare one goes by in which he’s not adding fine support somewhere or other. (Apart from 2008, Stanton has made films every year since his uncredited debut in Hitchcock’s The Wrong Man in 1956.) The early ‘70s saw him hit his stride, and 1979 saw him find his very own career groove. The two, key films he made in ‘79 were: Alien and Wise Blood. (He also made The Rose that year, and very good he was in it too.)
His Brett in Ridley Scott’s Alien was perhaps one of his most fondly recalled roles.
Take One: One of the Lynch mob
Stanton has been on regular staff rotation for four David Lynch flicks. (Four-and-a-half, if you include TV oddity Hotel Room.) From 1990 to 2006 Stanton provided characteristic screen goodness for a quartet of Lynch's most enduring works. Chronologically he’s contributed to: Wild at Heart (1990), Twin Peaks: Fire Walk with Me (1992), The Straight Story (1999) and Inland Empire (2006). He was great as, respectively: disorderly PI Johnnie Farragut tailing lovers-on-the-lam Sailor & Lula; Carl Rodd, irritable and dishevelled proprietor of the Fat Trout trailer park; frowzy front porch frowner Lyle Straight, estranged brother to lawnmower man Alvin; and Freddie Howard, dilapidated Hollywood has-been, both on-set and off-guard.
“I’ve already gone places” HDS laments his lot in Fire Walk with Me
They are sad-sack characters, all. Apart from Wild at Heart – his most substantial role for Lynch – he has little more than one big scene in each film. But he makes his singular moments count. His Lynch mob doesn’t vary wildly, and they’re all vividly ragged extensions of the HDS persona. I could watch him yap like a hyena in bed, as he does in Wild at Heart, and be eternally happy; I could listen to his dog anecdote from Inland Empire ten times and still manage a smirk; I could watch, and watch again, his eyes well up with tears out of trance-like regret over either the arrival of an old crone (Fire Walk with Me) or the arrival of an estranged brother (The Straight Story) and be more and more moved each time. What is it with Stanton’s Lynch figments that swerve the fatty showmanship of so much character acting and zero in on the uncanny emotion of life in minute ways? Every auteur could do with five minutes of Stanton’s blue collar characterisation in every one their best films.
"Oh Marietta Honey." HDS laments his lot some more in Wild at Heart
Take Two: x2 from 1979
Stanton’s been making films consistently for the last 54 years; it’s rare one goes by in which he’s not adding fine support somewhere or other. (Apart from 2008, Stanton has made films every year since his uncredited debut in Hitchcock’s The Wrong Man in 1956.) The early ‘70s saw him hit his stride, and 1979 saw him find his very own career groove. The two, key films he made in ‘79 were: Alien and Wise Blood. (He also made The Rose that year, and very good he was in it too.)
That's not Jonesy the cat! HDS is about to experience some Alien intervention
His Brett in Ridley Scott’s Alien was perhaps one of his most fondly recalled roles.
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