Dean Norris on the real reason Bryan Cranston was the best lead he ever worked with "He was always on. Literally six years I don't remember a time he was ever late on set. He was always the first guy on set." "He never caused problems or was diva-esque." "All of us then like oh you know Brian's going to be on time we have to be on time." six years and bryan never once showed up late. no ego trips no diva shit just pure professionalism that forced everybody else to step up. this is the standard i wish more people in this industry actually lived by.
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before shooting, Charlie Kaufman's cast asked what the movie was about, and he said he didn't know "so Charlie, what is this?" "this place of not knowing" Jesse Plemons stayed, if a director told me that at dinner i'd be checking flights home ft: @GQMagazine GQ on youtube
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Edward Berger made Conclave, and he says it took him 10 years to see why his second movie failed "I did everything right." "I just didn't have anything to say." i'd take that over any lens breakdown, a big budget can't fill an empty tank ft: @TIFF_NET TIFF on youtube
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every frame Alejandro G. Iñárritu has ever shot is a lie by his own account, and the line he draws with AI is that it invents what a camera only ever leaves out "It's an interpretation of reality by exclusion. We exclude." "We lie to us by invention, not by exclusion."
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cutting a man out of a story and calling it honest is the oldest trick in my edit bay, everything i kept was true and the lie was still there
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every AI clip gets called fake by people who forget that every edit is a choice about what to hide, and he's the first director i've heard put the line where it belongs, between leaving something out and making something up source: Delfin on youtube youtube.com/watch?v=Jp8dxm0m…
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done
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The cast of Alien had seen the chestburster puppet and knew it was coming out of John Hurt. nobody told them about the blood pumps. it was shot in one take, a stream of blood caught Veronica Cartwright, and the shock knocked her over. my favorite reaction in horror.
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The people who greenlit Sinners, Weapons and a Best Picture winner found out they were losing their jobs from news reports. Michael De Luca and Pam Abdy are leaving Warner Bros as the Paramount merger closes, and their last day is Tuesday.
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The people who greenlit Sinners, Weapons and a Best Picture winner found out they were losing their jobs from news reports. Michael De Luca and Pam Abdy are leaving Warner Bros as the Paramount merger closes, and their last day is Tuesday.
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their contracts were renewed about a year ago. since then One Battle After Another won Best Picture and Warner Bros tied the studio record with 11 Oscars. they also had expensive misses like The Bride! and now Digger.
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Paramount's film chiefs will run both studios now. my worry is simple: these two kept betting on directors with original ideas, and a cost-cutting merger doesn't sound like the place that makes the next Sinners. if they land at Netflix, i'm watching that slate.
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Michael Showalter directed Verity, No. 1 at the box office this weekend, and he only started writing because nobody would cast him "I was very bad at auditioning." getting turned down at every audition is a brutal film school, and it keeps graduating directors
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Michael Showalter directed Verity, No. 1 at the box office this weekend, and he only started writing because nobody would cast him "I was very bad at auditioning." getting turned down at every audition is a brutal film school, and it keeps graduating directors
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Wet Hot American Summer only exists because he needed a good part to play, so every no from a casting room ended up on screen anyway source: Samantha Bee on youtube youtube.com/watch?v=JMOAtuht…
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Sandra Hüller asked if her character was a killer, and Justine Triet wouldn't tell her "the horrible, horrible sentence, play her like she's innocent" i would have begged for the answer every day, she played it blind and nobody can settle the ending ft: @IFFR IFFR on youtube
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The year after The Dark Knight missed a Best Picture nomination, the Academy doubled the field from five to 10, and coverage at the time pointed straight at the Batman snub. That movie changed the Oscars more than most of the movies that actually won them.
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