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(Source: madonnaciccone)

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cinephiliabeyond:

Midnight Marauder's (a brilliant graphic designer/illustrator) Criterion cover for John Boorman’s 1967 classic Point Blank.
Lee Marvin interviewed by John Gallagher (1986). In a rare and comprehensive interview conducted one year before his death, the legendary star reminisces about John Ford, John Wayne, Robert Aldrich, Fritz Lang, Michael Curtiz, Sam Fuller, and John Boorman, and such classics as The Man Who Shot Liberty Valance (1962), Donovan’s Reef (1963), The Big Red One (1980), The Dirty Dozen (1967), Point Blank (1967), his TV series M Squad (1959), and winning the Oscar for Cat Ballou (1965).

Walter Hill just mentioned recently how much Alexander Jacobs’ script for John Boorman’s 1967 classic Point Blank influenced him.

Alex Jacobs’ script of Point Blank (1967) was a revelation. He was a friend (wonderful guy, looked like a pirate, funny and crazy). This revelation came about despite a character flaw of mine. I have always had difficulty being complimentary to people whose work I admire, when face-to-face with them. This is not the norm in Hollywood where  effusiveness is generally a given. Anyway, a mutual friend told Alex how much I admired Point Blank and John Boorman. Alex then very graciously gave me a copy of the script. This was about the time he was doing The Seven-Ups (1973). Anyway, by now I’d been making a living as a screenwriter for maybe two or three years and had gotten to the point where I was dissatisfied with the standard form scripts were written in — they  just all seemed to be a kind of subliterary blueprint for shooting a picture and generally had no personal voice. Mine were tighter and terser than the average, but I was still working with the industry template and not too happy about it. Alex’s script just knocked me out (not easy to do); it was both playable and literary. Written in a whole different way than standard format (laconic, elliptical, suggestive rather than explicit, bold in the  implied editorial style), I thought Alex’s script was a perfect compliment to the material, hard, tough, and smart — my absolute ideals then. So much of the writing that was generally praised inside the business seemed to me soft and vastly overrated — vastly oversentimental. Then and now, I haven’t changed my opinions about that. But I have changed them about the presentational style.

Anyway I resolved to try to go in that direction (that Alex had shown), and I worked out my own approach in the next few years. I tried to write in an extremely spare, almost haiku style, both stage directions and dialogue. Some of it was a bit pretentious — but at other times I thought it worked pretty well. I now realize a lot of this was being a young guy who wanted to throw rocks at windows. Hard Times was the first, and I think maybe the best. Alien (1979) — the first draft, then when David [Giler] and I rewrote it, we left it in that style. The Driver, which I think was the purest script that I ever wrote, and The Warriors. The clean narrative drive of the material and the splash-panel approach to the characters perfectly fit the design I was trying to make work. Of course all this depend on the nature  of the material; I don’t think the style would’ve worked at all had I been writing romantic comedies. My scripts have always been a bit terse, both in stage directions and dialogue. I think I’ve loosened up in the dialogue  department, but I still try to keep the descriptions fairly minimal, and in some cases purposefully minimalist. I still punctuate to effect, rather than to the proper rules of grammar. I occasionally use onomatopoeias now, a luxury I  would certainly never have allowed myself when I was younger. My favorite description of the dilemma of screenwriting comes from  David Giler, “Your work is only read by the people who will destroy it. —Walter Hill


For more film related items throughout the day, follow Cinephilia & Beyond on Twitter. Get Cinephilia & Beyond in your inbox by signing in. You can also follow our RSS feed. Please use our Google Custom Search for better results. If you enjoy Cinephilia & Beyond, please consider making a small donation to keep it going:
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cinephiliabeyond:

Midnight Marauder's (a brilliant graphic designer/illustrator) Criterion cover for John Boorman’s 1967 classic Point Blank.

Lee Marvin interviewed by John Gallagher (1986). In a rare and comprehensive interview conducted one year before his death, the legendary star reminisces about John Ford, John Wayne, Robert Aldrich, Fritz Lang, Michael Curtiz, Sam Fuller, and John Boorman, and such classics as The Man Who Shot Liberty Valance (1962), Donovan’s Reef (1963), The Big Red One (1980), The Dirty Dozen (1967), Point Blank (1967), his TV series M Squad (1959), and winning the Oscar for Cat Ballou (1965).

Walter Hill just mentioned recently how much Alexander Jacobs’ script for John Boorman’s 1967 classic Point Blank influenced him.

Alex Jacobs’ script of Point Blank (1967) was a revelation. He was a friend (wonderful guy, looked like a pirate, funny and crazy). This revelation came about despite a character flaw of mine. I have always had difficulty being complimentary to people whose work I admire, when face-to-face with them. This is not the norm in Hollywood where  effusiveness is generally a given. Anyway, a mutual friend told Alex how much I admired Point Blank and John Boorman. Alex then very graciously gave me a copy of the script. This was about the time he was doing The Seven-Ups (1973). Anyway, by now I’d been making a living as a screenwriter for maybe two or three years and had gotten to the point where I was dissatisfied with the standard form scripts were written in — they  just all seemed to be a kind of subliterary blueprint for shooting a picture and generally had no personal voice. Mine were tighter and terser than the average, but I was still working with the industry template and not too happy about it. Alex’s script just knocked me out (not easy to do); it was both playable and literary. Written in a whole different way than standard format (laconic, elliptical, suggestive rather than explicit, bold in the  implied editorial style), I thought Alex’s script was a perfect compliment to the material, hard, tough, and smart — my absolute ideals then. So much of the writing that was generally praised inside the business seemed to me soft and vastly overrated — vastly oversentimental. Then and now, I haven’t changed my opinions about that. But I have changed them about the presentational style.

Anyway I resolved to try to go in that direction (that Alex had shown), and I worked out my own approach in the next few years. I tried to write in an extremely spare, almost haiku style, both stage directions and dialogue. Some of it was a bit pretentious — but at other times I thought it worked pretty well. I now realize a lot of this was being a young guy who wanted to throw rocks at windows. Hard Times was the first, and I think maybe the best. Alien (1979) — the first draft, then when David [Giler] and I rewrote it, we left it in that style. The Driver, which I think was the purest script that I ever wrote, and The Warriors. The clean narrative drive of the material and the splash-panel approach to the characters perfectly fit the design I was trying to make work. Of course all this depend on the nature  of the material; I don’t think the style would’ve worked at all had I been writing romantic comedies. My scripts have always been a bit terse, both in stage directions and dialogue. I think I’ve loosened up in the dialogue  department, but I still try to keep the descriptions fairly minimal, and in some cases purposefully minimalist. I still punctuate to effect, rather than to the proper rules of grammar. I occasionally use onomatopoeias now, a luxury I  would certainly never have allowed myself when I was younger. My favorite description of the dilemma of screenwriting comes from  David Giler, “Your work is only read by the people who will destroy it. —Walter Hill

For more film related items throughout the day, follow Cinephilia & Beyond on Twitter. Get Cinephilia & Beyond in your inbox by signing in. You can also follow our RSS feed. Please use our Google Custom Search for better results. If you enjoy Cinephilia & Beyond, please consider making a small donation to keep it going:

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historicaltimes:

Disneyland Entrance 1965

Border control camouflage

historicaltimes:

Disneyland Entrance 1965

Border control camouflage

(via nuclearmishap)

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My marriage

My marriage

(Source: catleecious, via bunnyfood)

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(Source: the-weird-wide-web, via urone)

Photoset

biomorphosis:

The maned wolf is the largest canine species in South America and closely resembles a red fox on stilts because of its long legs. It is neither a wolf, fox, coyote, or dog  but rather a member of its own Chrysocyon genus, making it a truly unique animal. They possess a mane that runs from the back of the head to the shoulders which can be erected to intimidate other animals when displaying aggression or when they feel threatened. 

Unlike other wolves that live in packs, maned wolves do not form or hunt in packs but prefer to live alone.  Maned wolf is considered as the last surviving species of the Pleistocene Extinction, which wiped out all other large canids from the continent.

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bunnyfood:

(via thefluffingtonpost:Nina Matthews)
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(Source: josephghosn, via frankieezz)

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(Source: jacquesdemys, via newwavewomen)

Text

What I learned from the ice bucket bullshit

Now I know why Kate Moss never talks.

Quote
"My idea of rich is that you can buy every book you ever want without looking at the price and you’re never around assholes. That’s the two things to really fight for in life."

— John Waters (via mrgolightly)

(Source: marion--crane, via newwavewomen)

Link

lifeaquatic:

My friend is traveling to an immigration detention camp in southern New Mexico to help children who are being held there. If you have some money to give and/or time to spread the word, please do!

More info: You’ve probably heard about the huge numbers of unaccompanied children and youth arriving on our southern borders escaping violence in Mexico and Central America. Artesia, New Mexico holds the nation’s only detention center whose specific purpose is to house children and youth. It is currently bursting out of its 700 person capacity. Next week Adelante heads to Artesia to provide legal representation and advice, as well as to monitor ICE agents and conditions in the detention center. Please donate to help Adelante and the American Immigration Lawyers Association expand legal representation and support where it is most needed.

(via lifesgrandparade)

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childrensbooks:

Elsa And The Night Jöns Mellgren

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goldenfiddle:

Eva Green stars in the 2015 Campari Calendar

goldenfiddle:

Eva Green stars in the 2015 Campari Calendar