Alby dreams of Weeki Wachee Mermaids
From S.F. Director David Munro, comes this first look-see production still from FULL GROWN MEN
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Local Producer Xandra Castleton, sends word from Florida in an ongoing filmmakers diary series in the Chron that FULL GROWN MEN is past the half way point. Co producer Brian Benson mentioned the horrendous weather a couple weeks back - hurricanes.... through sleet, through snow, nothing shall keep the indie filmmaker from.....
Director Jame Whale's (based on the sci fi book by H.G. Wells) film THE INVISIBLE MAN falls back into that favorite horror subgenre of mine called "people who's faces are bandaged up". A Universal horror classic from 1933 it is now available (along with three sequels) in one tidy package as part of the Universal Legacy Series DVD collection. Distinctive features of this groundbreaking film are a. the booming over- the- top- voice of lead actor Claud Rains (Whale cast him because fo his voice-can't see him so might as well hear him) b. The revolutionary special effects of the time (the unwrapping of the bandages to reveal..nothing) c. That unique James Whale black humor sensibility... the film is creepy, and funny at the same time. The film is a bit dated, but all told, was a groundbreaking horror classic which triggered countless imitations.......fun film, didn't even miss the blood and gore. directed by James Whale, 1933, B & W
San Francisco filmmaker A.D. Liano's tells me that his surreal, black comedy SEVEN FALLEN OBJECTS is in the sound mix and very near completion. Onto the festival circuit. A collaborative effort between seven directors shooting seven dream sequences - Tim Kerns, Thad Povey, DP wunderkind Frazer Bradshaw, John Szabo, Finnian Murray, Alfonzo Alvarez and director-in-chief A.D. Liano. Score by "Lost in Translation" and "Adaptation" vet Kent Sparling. written by Greg Boyd and A.D. Liano. see my 5/26 post for more details.
The title alone conjurs up west side story guys and gals singing and dancing through graveyards! Producer Angel Vasquez sends word that COLMA:THE MUSICAL is in production at
My SFSU cinematography prof, Larry Smith, used to say in class : failure to prepare, is preparing to fail. San Francisco Writer-director Nick Katsapetses didn't go to SFSU (he went to the S.F. Art Institute), but he sure as heck must have heard Larry Smith's quote. He has been writing and rewriting his script for his third feature THE END OF GRACE for three years, and the results show for themselves. The screenplay has won three writing competition awards and attracted Bay Area producer Brian Benson and a "first look" deal with Sony Pictures Classics..once the "package" is together. Illeana Douglas will be starring in the $1.5 million production in this comedy about a dysfunctional family...Katsapetses is spending most of his time in L.A. tweaking the script and garnering star support (Brian Cox and Stockard Channing are looking it over). No stars = no money. What a long way from his first two critically acclaimed $10,000 features JOY OF SMOKING and GET OVER IT. No failure to prepare here, that's for sure.....more later.
About the time the first of the Latin New Wave films, AMORES PERRES hit the screen, Filmmaker and Director of Photography Dave Chalker and I had a conversation about it's intense, gritty style...and the urgent need of waking up a largely passive movie going public. AMORES PERRES was followed by films such as Y TU MAMA TAMBIEN, 21 GRAMS, CITY OF GOD, and the newly released SECUESTRO EXPRESS, which Chalker shot. The Latin New Wave is more than just using cinematic shock tactics for entertainment's sake: it's about the use of cinematic intensity to raise political awareness about class struggle, and the socio-political ramifications of the drug trade. Chalker's visually intense, and inventive short film HYPOCRITE won the Golden Gate Award at the S.F. Intl F.F. a number of years ago, and went on to screen at the Palm Springs Intl F.F. That screening led to his assignment to shoot the gritty SECUESTRO EXPRESS in Venezuela, a story of the kidnapping of an upper class Latin couple. The film makes the most of the portability of the DV camera...a perfect case of picking the right media and the right D.P. for the intense story. Check out the sequence with the amputee skateboarder, as well as the climactic sequence of the lead actress at the edge of a cliff with her kidnappers...that's where a tiny camera and a good eye pays off. Playing NOW at the AMC 1000 Vaness.SECUESTRO EXPRESS,directed by Jonathan Jakubowicz, 2004, Venezuela.
Do you stay awake nights thinking about the film you'd like to make? We at Cine 101 can help you make your dream a reality. For starters, we have a director of photography-35mm camera rental package available for $250/day. Kubrick's favorite camera, the Arri BL-1 and a set of pristine prime lenses. Sure, digital video is everywhere, but there's still nothing like the organic, luscious look of celluloid....and all things being equal...distributors love it. It IS possible to get a low budget 35mm feature into the can for $20K. Let's talk. Reply to this post with some details, and I'll get back to you.
CHARLIE AND THE CHOCOLATE FACTORY (commonly referred to in the trades as "sadistic and weird"), and WEDDING CRASHERS (a producer-reluctant "R" for "raunchy" rating until the box office numbers started pouring in) are superstar standouts in an otherwise lackluster box office, and it's baffling pundits everywhere.
Stanford Sociology Professor Albert Bergesen sees the history of dramatizing the human condition in three parts. The first was theatre, the peak of which was in the late 19th century in N.Y. (the focal point of theatre companies and bookings for traveling theatre within the U.S. ). In 1904 there were some 420 theatre companies on tour.