French-Iranian artist Marjane Satrapi is best known for her role as the creator of Persepolis (2000), the brilliant graphic novel that would later go on to be made into a stellar animated film of the same name in 2007. With The Voices, she remains as inventive as ever, although things are much different here than they are with the autobiographical Persepolis.
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Following the first teaser for Spectre, the latest installment of the James Bond series, the studio has now made available a video giving a brief glance behind the scenes of the flick’s cars, undoubtedly an integral part of any Bond picture. (“Integral” in that there are things that need to be made to blow up, cars ranking chiefly among them.) Below you can view the video, which shows some of the high-tech, exclusively-designed cars that will be seen in Daniel Craig’s latest turn as the MI6 rogue.
Once upon a time, Terrence Malick was known for the lengthy gaps between his films. His much-revered late ‘70s tone poem Days of Heaven was followed up 20 years later with 1998’s meditation on war The Thin Red Line. In the past decade and a half, Malick’s productivity has seen an uptick: since 1998, he’s released three new films: The New World (2005), The Tree of Life (2011), and To the Wonder (2012).
Emmett/Furla/Oasis Films, Winkler Films & The Fyzz Facility, in tandem with David Mamet, are planning a screen adaptation of the playwright’s 1988 three-person play Speed-the-Plow. The story satirizes Hollywood’s profit incentives as they relate to what sort of films get made. At the moment, no decisions about casting have been announced.
“Aileen,” calls out Nick Broomfield near the end of Aileen: Life and Death of a Serial Killer, “I’m sorry.” At that moment, she’s being led away by two prison guards, following her final interview with the filmmaker. Apparently furious that the questions have veered toward the murders for which she’s on Florida’s death row, Wuornos has cut off the meeting, exercising the only control she has over her experience at that moment. She turns back to the camera one last time and raises her middle finger.
// Moving Pixels
"Knee Deep's elaborate stage isn't meant to convey a sense of spatial reality, it's really just a mechanism for cool scene transitions. And boy are they cool.READ the article