EB @exhrmaster

Jim Tierney’s stunning 4K Dune book cover art to use as phone wallpapers.

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The Matrix storyboard art by Steve Skroce, 1998

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Directed by Michael Coldewey, Heavy Metal 2000 (also known as Heavy Metal: F.A.K.K.²) sequel to the 1981 animated classic blends dark science fiction, fantasy, and ultraviolence to the sound of heavy metal. The story follows Julie, a space warrior who survives the massacre of her people and sets out on a brutal quest for revenge against Tyler, an immortal tyrant obsessed with absolute power. Swords, alien planets, and a 100% heavy metal aesthetic in an odyssey of blood and riffs ⚔️🚀

According to Wong Kar-Wai, "Chungking Express" (1994) and "Fallen Angels" (1995) should be considered as a single film which is 3 hours long and watched as a double bill. When he was asked, why he had made these two stories which have no relationship at all to each other and how he could connect them, he replied, "The main characters of 'Chungking Express' are not Fay Wang or Takashi Kaneshiro, but the city itself, the night and day of Hong Kong. 'Chungking Express' and 'Fallen Angels' together are the bright and dark of Hong Kong.” He further added, "I see the films as inter-reversible, the character of Fay Wang could be the character of Takashi in 'Fallen Angels'; Brigitte Lin in Chungking could be Leon Lai in 'Fallen Angels'. All of their characters are inter-reversible. Also, in Chungking we were shooting from a very long distance with long lenses, but the characters seem close to us." P.S: On this day, 31 years ago, "Fallen Angels" (1995) was released in Hong Kong.

William Friedkin on Paris, Texas (1984): "I had seen 'Paris, Texas' (1984) by the German director Wim Wenders, photographed by an Austrian cinematographer, Robbie Muller. His films were beautifully lit and composed, with long uninterrupted takes. This was the style I wanted for To Live and Die in L.A., in which the city would be portrayed as a violent, cynical wasteland under a burning sun."

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Ronin is just another example of the depth & quality of Robert De Niro’s filmography. It was the late ‘90s & De Niro teamed up with director John Frankenheimer, who dove head-first into practical filmmaking. Frankenheimer didn’t take a single shortcut in making this movie & I’ve always felt like that’s the reason this is such a timeless espionage film. Not only is the story well-done (co-written by David Mamet, who sort of owned the ‘90s) but Frankenheimer made everything as real as possible, and you feel that authenticity when you watch this movie. It’s why Ronin has barely aged since its release.

The single greatest use of Chekhov's pane of glass you'll ever see. It's beyond me how someone didn't die filming these stunts. What's Up, Doc? (1972) | Peter Bogdanovich

During the production of RAN (1985), Akira Kurosawa faced the progressive deterioration of his eyesight. To compensate for these visual limitations, the director adopted a rigorous planning method, creating hundreds of detailed storyboards.

Akira Kurosawa was 75 when he released his masterpiece Ran in 1985. Kurosawa’s adaptation of Shakespeare's play King Lear turned out to be one of his most memorable films despite the fact that it came in the later stages of Kurosawa’s career. When you watch a Spielberg film, a Lucas film, a Coppola film, or a Scorsese film, consider how much Kurosawa influenced them all with this film & his entire body of work, especially as those directors all enter the later stages of their careers.

El nivel de portadas de este arco es abrumador. Bolland desatado. Para saber más 👇 go.ivoox.com/rf/178821816

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"The People under the Stairs" (1991) was inspired by something Wes Craven had read in the newspapers. One day, in a middle-class white area of Santa Monica, California, neighbors called the police after seeing a couple of men break into a house. When the policemen arrived, instead of the robbers they found some very pale children who had been locked inside, away from the world, by their parents. “It was just one of those stories that struck me with such irony— everybody feeling that the black people breaking into the house was the worst thing imaginable, and there you have this middle-class, perfect family with a terrible secret, not of having stolen a television set or something, but the life of their own children,” Craven noted. According to Marc Shapiro’s People under the Stairs set-visit story for Fangoria, after reading the newspaper account, Craven “sat down and wrote an 80-page first act to a script he then titled The Puzzle.” That was in 1978. And, as the Craven explained it to Shapiro, for years he simply couldn’t get beyond that point. Finally, the logjam broke—in a typical Craven manner: "When I’d get the chance between films, I’d take it out and try to get the second and third acts to work. I knew I’d have one hell of a film once I got that problem solved. Finally, during the Brussels Film Festival last year, I dreamed I was writing this picture and, in my dream, I had solved the second and third act problem. I woke up, began writing and in four hours, I had the entire story down. It was a major breakthrough." ("Wes Craven: The Man and his Nightmares", John Wooley, 2011) P.S: Remembering the great American filmmaker, Wes Craven on his 87th birthday!

the strokes performing reptilia in pyongyang, north korea (2006)

me da tanta curiosidad que pensaria la gente de hoy en dia si le sacaran una pelicula como phenomena con la de bobadas de peliculas de terror que gustan en estos ultimos tiempos

Marlin @nostalgiafkninc

3 months ago

Phenomena (1985)

37 835 8K 962K 4K

Ritual 式日 (2000) dir. Hideaki Anno

@terrenoviral Full concervantes esa madre

John Woo's "A Better Tomorrow" (1986) was made at a time when comedy films saw mainstream success in Hong Kong. The studio was not expecting the movie to perform well financially. Tsui Hark recalled that unhappy studio executives asked him to "burn the film" midway through production. As a result, 'A Better Tomorrow' was minimally advertised in Hong Kong. The studio was also concerned with Chow Yun-Fat, who was considered "Box Office poison": unlike the other actors, his portrait was not included in the film's publicity stills, and he received third billing in the credits behind Lung Ti and Leslie Cheung. To everyone's surprise, the movie was a massive box office success. Chow Yun-Fat wore Alain Delon sunglasses and trench coat in the movie to emulate Delon's character in "Le Samouraï" (1967). Because of the popularity of "A Better Tomorrow", young men in Hong Kong began trying to emulate Chow by wearing long coats and sunglasses, despite the local humidity. Because of that, the Alain Delon sunglasses were sold out in Asia. Delon sent John Woo a personal thank you note. P.S: On this day, 40 years ago, "A Better Tomorrow" (1986) was released in Hong Kong.

Scarecrow is a 1973 film directed by Jerry Schatzberg that features Al Pacino & Gene Hackman as two drifters who cross paths & unite with big hopes of opening their own business together. I watched this film in the immediate wake of Hackman’s passing & it left an unforgettable impression on me. Pacino has so much charisma & energy in this film, balanced out by Hackman’s intensity. This is a special movie worth seeing.

Andy Sidaris explains how "Lethal Weapon" (1987) inspired him to make "Guns" (1990): "The two girls, the airplane and Hawaii was my thing, I conceived the whole thing. I’ve always seen a lot of buddy pictures, like Mel Gibson and Danny Glover. That stuff is sensational. I said, ‘Hey, why don’t we have a buddy picture with two girls, two beautiful Playmates?’ I felt the concept was really unique and they improved with every picture. I like the fact that our gals can hold their own with the guys, and can kick ass and take names... they’re no wallflowers. When I decided to make the girls the heroes— equal to, if not better than, the men — it gave me two things: the beauty and n* d!ty of the women, something nobody else was doing. I guess 'Cagney & Lacey' (1982) was the only thing around like that. 'Charlie's Angels' (1976) was certainly a good example of that concept being able to work, although I can’t really say it influenced me.” (Andy Sidaris' interview to Femme Fatale Magazine, 1993)