Tarantino is famous for being a multi-faceted creator; he writes his own movies, he directs them, and more often than not he puts himself in them. His films most known for their dialogue, sharp, cool, and lean, but what happens if we take that away, and look at his choices as a director, specifically focusing on costuming? Let’s take a look at the costumes and characters of Pulp Fiction (1994).
At its center, The Grand Budapest Hotel (2014) is a tale of days gone by, an era that has passed us. It is enjoyable because it is a glimpse into a stylized snapshot, potent with nostalgia and quirky eccentricity, a phrase I’m sure has been used to describe Wes Anderson’s films since Bottle Rocket.
My interest yesterday in Jean Cocteau lingered on today, so I decided to watch another of his more famous works.
“A film is a petrifying fountain of thought”
I feel like Jim Jarmusch spends a lot of time thinking about guitars.
It’s often said that comedians make great actors; it’s not so unbelievable – stand-up and comedic acting require the same beats that non-comedic actors use all the time: pacing, body language, timing, charisma. The craft is essentially the same breed, with different stripes.
Where the hell does one begin with Fargo? It is a twisted tale of murder, staged kidnapping, insurance fraud, mallard stamps, and pancakes; it’s a story about human selfishness and greed, mediocrity inspired by suburban living, yet it also is about persistence and the dogged pursuit of fact against circumstance.
Marie Antoinette is a conundrum; is it fact or fiction? Is it fantasy or is it accurate? True or false? Yes: it is all of the above.