I found this cool short about Ingmar Bergman over at always entertaining Cinephilia and Beyond.

Scorsese’s New York. 

If you’ve never seen it, do yourself and check out Arthur Penn’s very 1970s noir, Night Moves.

A favorite. And what a directorial debut for John Huston. 

The always wonderful site, Cinephilia and Beyond has a cool post about storyboard artists.

Dig it.

Because  you can’t ever get enough of a good thing here’s more–from the beautiful site, Cinephilia and Beyond–on The Long Goodbye:

I decided that we were going to call him Rip Van Marlowe, as if he’d been asleep for twenty years, had woken up and was wandering through this landscape of the early 1970s, but trying to invoke the morals of a previous era. I put him in that dark suit, white shirt and tie, while everyone else was smelling incense and smoking pot and going topless; everything was health food and exercise and cool. So we just satirized that whole time. And that’s why that line of Elliott’s—‘It’s OK with me’—became his key line throughout the film. —Robert Altman

Once Upon a Time…

More goodness from Cinephilia and Beyond:

[Photo Credit: Ron Galella]

From our pals at the ever-great site, Cinephilia and Beyond, comes Michael Chapman talking about the use of slow motion in Raging Bull:

We were pretty precise about what we wanted and we had all sorts of rules, you know, the actual boxing would all be at 24 frames, but other times it could be other… when it wasn’t just the boxing, or there’s some famous shots where it’s in 24 frames, and then you go to 48 frames while Jake walks away in the neutral corner and he’s breathing, and he comes back to 24 frames when he’s going to fight again, but it’s all in one shot, and we did… that was okay, because he wasn’t actually boxing when he went to 48 frames, and we did it with a… really just by hand, and now you can coordinate that and punch it in, but in those days you did it by listening to the sound of the camera changes — speed changing and then opening and closing the diaphragm in… in relation to the change of the speed. But guys just did it by hand; we did it two or three times and it worked out. If you don’t do it right, of course, it… you know, it gets all buggered up. We did it I think every time and it worked out all right, and then occasionally when he’s in the corner, and they’re pouring water over him, we would go to a really 96 or 120 frames and… and really be outrageous, but when they were boxing we made sure they were always 24, except I think like all rules we broke them a little bit in the end, but, anyway, we had very elaborate rules and very elaborate methodology that we worked on all the way through the movie.

John Huston: Master.

Cinephilia and Beyond has a good post on one of my favorite movies, Roman Polanski’s A Knife in the Water.

Dig this post over at Cinephilia and Beyond. It hips us to a great BBC 4 radio show, Desert Island Discs. Check out interviews with Michael Caine, Stephen Frears, Mel Brooks, John Huston, Elia Kazan, Bob Hoskins and many more.

All about The Treasure of the Sierra Madre. 

Via Cinephilia and Beyond dig this cool Robert Altman gallery.

“Well, I don’t have to tell you that we weren’t trying to write a screenplay that was perfectly-structured. We were just trying to make it make sense. I remember, even without Roman, the first structural question, which may seem absurd now after the fact, was the question of which revelation comes first, the incest or the water scandal? And of course, it was the water scandal. When I realized that, I realized how foolish it was even to have asked the question. But the water scandal was the plot, essentially, and the subplot was the incest. That was the underbelly, and the two were intimately connected, literally and metaphorically: raping the future and raping the land. So it was a really good plot/subplot with a really strong connection. In the first draft, as I recall, it was pretty much a single point-of-view. And in the second draft I tried changing that for purposes of clarification and I think in the end, that’s what made the second draft weaker than the first draft. It’s one of the very, very few detective movies, including ‘The Maltese Falcon,’ which has a singular point-of-view.”–Robert Towne.

Cinephilia and Beyond on Chinatown.

Over at Cinephilia and Beyond check out Peter Sellers’ imitation of Michael Caine.

Cinephilia and Beyond knows the score. 

On Short Cuts. 

Cinephilia and Beyond gives a great post on David Lean.

Nice group of Big Lebowski links over at the consistently rewarding movie site, Cinephilia and Beyond. Includes this picture of Steve Buscemi and John Turturro taken by Jeff Bridges (the guy in the middle is Bridges’ longtime stand-in). Ah, my Zelig moment. You’ll see in the background right near Buscemi’s head, a blurry figure wearing a Clippers jersey. That would be me.

Ha!