When people were walking out of Husbands and Faces en masse I never felt bad about that because I thought that it was pain that was taking them out of the theater and I thought that it wasn’t the fact that the film was bad. It was that they couldn’t take it without changing their own lifestyles, which made both those films very successful to me. I thought at the time that Husbands was anti the lifestyle of almost everyone in America. We presented a lifestyle that went against their lifestyle. People walked out because they didn’t want to accept the fact that there could be anything wrong with the way they lived their lives.
It doesn’t matter whether audiences like it; it matters whether they feel something. I feel I’ve succeeded if I make them feel something — anything. The hope is that you don’t make it so easy for an audience that when they go to your movie they have nothing to think about except, ‘That was wonderful. Good. Next! What else are you going to entertain my great appetite with?’ I want to make you mad. Yeah, that’s going to take longer. And yeah, when we have it we’ll let you know, I mean. And we’ll put it there.
Longtime friends and filmmakers Quentin Tarantino and Roger Avary will launch their first podcast next month on which they’ll revisit some of their favorite old B-movies and discover new ones.
Set to premiere July 19, “The Video Archives Podcast” will feature the duo rewatching and discussing movies pulled from the actual collection of VHS tapes that they used to recommend to customers when they worked at the original location of the iconic Video Archives movie rental store in Manhattan Beach, Calif., almost 40 years ago. It’s being produced with SiriusXM podcast subsidiary Stitcher.
You can check it out here: stitcher
Notes from an early episode:
After Show 01 – Video Vault: Women In Cages
Welcome to the Video Archives After Show, where Gala Avary brings you exclusive content, answers to your burning questions, and even more film discussion from Quentin and Roger. This week, we’re cracking open the Video Vault for a never-before-heard discussion of 1971’s Women In Cages. Originally recorded for the Video Archives pilot, Quentin and Roger discuss this Filipino exploitation classic, covering everything from an early Pam Grier knockout performance to an absolutely ginormous rat.
When I was a critic, I thought that a successful film had simultaneously to express an idea of the world and an idea of cinema; La Règle du Jeu and Citizen Kane corresponded to this definition perfectly. Today, I demand that a film express either the joy of making cinema or the agony of making cinema. I am not at all interested in anything in between; I am not interested in all those films that do not pulse.
I believe a work is good to the degree that it expresses the man who created it.
These books were alive and they spoke to me.
HENRY MILLER, The Books in My Life
20. Dawson City: Frozen Time
19. This Is Not a Film
18. Fire at Sea
15. Amazing Grace
13. The Work
12. In Transit
9. No Home Movie
8. Stories We Tell
7. I Am Not Your Negro
6. The Prison in 12 Landscapes
5. In Jackson Heights
4. Minding the Gap
3. Hale County This Morning, This Evening
2. The Act of Killing
A lot happened, in other words, over the back half of the 2010s. If there was a comfortable constant, it was that for all the changes to the cinema landscape, movies themselves still delivered. Without fail, people kept making good ones, in stubborn defiance of the bellyaching cliché that they never make ’em like they used to. Whether judged as a whole or as two five-year parts, the 2010s were a terrific decade for film; you just had to be willing to go looking for the best, and to look outside of an increasingly IP-obsessed studio system—not that the multiplex didn’t offer some gems of its own, including the movie you’ll find at the very top of The A.V. Club’s new list of the decade’s best.
A shot where the camera is fixed in one position while the action continues off-screen. It says life is messy and can not be contained by a camera. Beloved by Woody Allen and the dolly grips who can take the afternoon off.
Another interpretation I read: It says the world goes on without us. I think this take was from Andrew Sarris and he was referring to Robert Bresson. But I can’t find the specific reference…
“Bresson has been criticized on at least one occasion for showing a place a beat or two after the people have departed, thus fading out on geography rather than humanity. Far from being a flaw, this Bressonian mannerism expresses an attitude of man’s place in the universe. For Bresson, place precedes and transcends person, since the world was here before we came and will be here long after we are gone.”