Lost Highway (1997)
Terror and fear are common traits in all movies, not just horror films. Frightening moments happen in everything from children’s films to blockbuster action flicks. The reason is that fear is an effective tool for filmmakers. First, it is easy to create. Dark picture quality, demonic makeup or special effects, even a simple jump scare can do the trick. As compared to genuine emotional connection to characters or a film’s themes, creating scares doesn’t tax the script too heavily. Furthermore, fear is a very effective way to connect with the audience. If they are scared, there is a vulnerability that the filmmakers can take advantage of to create a more emotional viewing experience.
Chicago – Bill Pullman is one of Hollywood’s treasures. The rogue-ish and handsome actor has been plying his trade for over 30 years, in such classics as “Spaceballs,” “A League of Their Own,” “While You Were Sleeping,” “Independence Day,” “Lost Highway” and the recent “Battle of the Sexes.” His latest film, which he previewed at the 53rd Chicago International Film Festival with director Jared Moshe, is a western called “The Ballad of Lefty Brown.”
Pullman was born in Hornell, New York, and began his career as an acting instructor at Montana State University, where his students encouraged him to start a film career. He made his debut in “Ruthless People” (1986) and began his long and successful career. He has also done Broadway stage (“The Goat, or Who is Sylvia?”) and TV (“1600 Penn”), and will appear in the film “Lbj,
Patricia Arquette is stepping behind the camera. Deadline reports that the Oscar-winning actress is set to make her feature debut with “Love Canal,” a drama based on “The Canal,” an upcoming documentary. She’s also among the project’s producers.
“Love Canal” will follow an “extraordinary group of working class housewives from Love Canal, New York who took on the government and the chemical industry in the ‘70s,” the source writes. “With no training or support, they got the President himself to move their families from homes built on lots where massive amounts of toxic chemicals had been dumped.” Brad Desch (“Fathers & Daughters”) penned the script.
Arquette has previously directed for the small screen. She helmed two episodes of “Medium,” a series she starred in from 2005–2011.
After winning an Oscar in 2015 for “Boyhood,” Arquette said, “To every woman who gave birth, to every taxpayer and citizen of this nation, we have fought for everybody else’s equal rights. It’s our time to have wage equality once and for all and equal rights for women in the United States of America.” The feminist also sounded off on gender inequality in Kamala Lopez’s 2016 doc “Equal Means Equal,” an exploration of how women are treated in the U.S. today.
“True Romance,” “Lost Highway,” and “CSI: Cyber” are among Arquette’s best-known credits. Her upcoming films include “Permanent,” a coming-of-age comedy written and directed by “Hung” creator Colette Burson, and “The Bell Jar,” Kirsten Dunst’s feature debut.
For more information about the doc “Love Canal” is inspired by, check out “The Canal’s” crowdfunding page. The project is currently in post-production, according to IMDb.
Patricia Arquette to Make Feature Directorial Debut with “Love Canal” was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story.
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Lynch made no feature-length films or TV series in the 11 long years between the release of “Inland Empire” and this new “Twin Peaks,” but he did grace us with his presence onscreen several times. Most prominently — and weirdly, and hilariously — that
“We also shot it like a feature film,” said Deming in an interview with IndieWire. “When you went to a location, you shot all the action that took place at that location. It’s different than TV – there’s no episode scripts, there’s one director, there’s one crew. So we broke it down and scheduled it like a feature film.”
This “block shooting” approach is impossible for most television shows, which are still being written when production begins on the first episode of the season. It’s a far more efficient approach,
Cult film fans should keep an eye out for an array of releases this Tuesday, including The Fox With A Velvet Tail, The Resurrected, the standard two-disc Blu-ray for Dario Argento’s Phenomena, The Creep Behind the Camera, Spider, and Don Coscarelli’s entire Phantasm series comes home in a five-disc DVD set from Well Go USA.
Other notable releases for September 12th include The Ghoul, Dead Again in Tombstone, The Hatred, Ruby, Tobor the Great, and Night Gallery: The Complete Series.
The Fox With A Velvet Tail (Mondo Macabro,
Press Release: Philadelphia, Pa, September 6th, 2017, Set to haunt the Proscenium Theater at the Drake in Center City Philadelphia from Thursday, September 28th, to Sunday, October 1st, the second annual edition of the Philadelphia Unnamed Film Festival (“Puff”) is excited to announce the latest and final additions to their 2017 line-up. In addition to such acclaimed genre fare as “Tragedy Girls,” “Terrifier,” and “Ruin Me,” as well as the World Premiere of the highly-anticipated “100 Acres of Hell,” Puff is proud to add two extremely unique films to their roster, including a shot-on-video horror
David Lynch’s debut Eraserhead was the greatest home movie ever made. Shot over five years in a disused stable block behind the American Film Institute where the director was living at the time, it was painstakingly constructed frame by frame by a group of committed friends – the very definition of a labour of love. Exactly 40 years later, Lynch has just completed his most personal project since. Twin Peaks: the Return may have had a starry cast, cutting-edge digital effects and an 18-hour run time. But at heart, it was just another home movie: the work of an artist coming full circle, incorporating everything he’s learned in four decades as a filmmaker back into the hands-on, Diy template he established with his first film.
From executive producer Ben Wheatley (Kill List, Free Fire) comes a mind-bending British psychological thriller to sit alongside such classics of the genre as Nicolas Roeg and Donald Cammell s Performance, David Lynch s Lost Highway and Christopher Nolan s Following.
Chris is a homicide detective called to London to investigate a strange double murder. Both victims appear to have continued moving towards their assailant despite multiple gunshots to the face and chest. On a hunch, and with the help of an old colleague and former girlfriend Chris decides to go undercover as a patient to investigate the suspect s psychotherapist, the mysterious Alexander Morland, who has a taste for the occult…
The debut feature of writer-director Gareth Tunley, starring Tom Meeten (Sightseers), Alice Lowe (Garth Marenghi s Darkplace) and Dan Renton Skinner (Notes on Blindness
Twin Peaks season 3 (The Return) had been something fans of the show, and of David Lynch, were dreaming of for years, and its revival has provided television viewers with some truly incredible moments, and some seriously beautiful filmmaking. But there is something about the resurrected series that just isn’t working. There is something about it that is leaving me a little indifferent to its existence.
David Lynch is a master, one of the few left in the world of cinema. His content has enraptured us for decades, inspiring a thought process regarding his work matched by very few in the business. There is nothing quite like a Lynch movie or episode of Lynch TV. The likes of Mulholland Drive (my personal favourite Lynch film), Blue Velvet, and The Lost Highway have so much to offer for those willing to have their minds twisted
A film in 25 close-ups.
The article The Uncomfortable Intimacy of ‘Lost Highway’ appeared first on Film School Rejects.
On the international scene, the Iranian New Wave unloaded a treasure trove of new films, the great run of Hong Kong cinema was peaking and maturing, three great autuers completely upended how films in Taiwan were made, and a pair of Danish directors with a dogma wanted to change how every film was made.
More than anything,
Hurley, a longtime collaborator of Lynch’s — maybe the most trusted — is the man responsible for co-writing and performing pieces of music for Showtime’s “Twin Peaks” – “SubDream” and “Snake Eyes” with the director and/or his son, Riley Lynch – and co-selecting new-school indie acts such as Chromatics, Sharon Van Etten, and Au Revoir Simone to play the local Bang Bang Bar at the end of each “part” (as well as appear
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