In this mini-survey this week of unusual credit sequences, I’ve been focusing on obscure and innovative ones as opposed to the more famous Saul Bass/Pablo Ferra/Pink Panther classics. On Wednesday we covered ‘The World In My Corner’ which featured a tabloid newspaper displaying the names of the film’s stars and
Preston Sturges brilliantly manic 1943 comedy ‘The Palm Beach Story’ begins with a credit sequence which interweaves several complex plot strands that make little to no sense to the viewer at the beginning of the film but which later on become clearly part of the intricate storyline. Shot and edited
Yesterday I posted a charming clip of legendary Portuguese filmmaker Manoel De Oliveira doing a delightful imitation of Chaplin dancing. He was was in his late 90s when it was filmed and it turns out it was not a one-off event. Above we see Manoel dancing with a group apparently
Let’s take a break from the usual weekend Three Stooges two-reeler. Instead, we’ll listen to an audio-only interview with Moe Howard, recorded in 1973. I don’t know who the interviewer is but, aside from an awkward start, he does an admirable job of stepping back and letting the very friendly
Closing out this Cassavetes-centric week, here’s a very cool piece of film featuring Cassavetes in an unidentified environment (re: hotel room) anecdoting to an unidentified group of people as his adoring wife Gena Rowlands looks on about the making of his first two films ‘Shadows’ and ‘Faces’. The stories are
https://www.youtube.com/watch?v=pcgWO-hxZls Here’s an excerpt from an interview with John Cassavetes, taken from the documentary “Cineaste de notre temps” (1968). I feel like I’ve posted the entire doc before (long long ago) but am not finding it on YouTube currently. So this tantalizing bit, featuring Cassavetes driving a convertible along Mulholland
Continuing this weeks theme of Escargot-eating, croissant-chowing, Gitagne-puffing, Burgundy-swilling French guys interviewing tough-ass directors (see Monday’s Don Siegel post and yesterday’s Sam Fuller post) here is the great writer-director Richard Brooks discussing his adaptation of Truman Capote’s ‘In Cold Blood’. Back in the 1980s, cinema journalists Phillippe Garnier and Claude
Today I’m posting a very entertaining ten-minute behind the scenes doc of the making of ‘Dog Day Afternoon’, easily one of my favorite–if not the favorite–New York City movies. (Yesterday I posted a behind the scenes look at ‘Tootsie’, the first of a series of NYC movie shoots of the
‘Cuckoo On A Choo Choo’ (1952) was the 143rd short comedy made by The Three Stooges for Columbia Pictures. It was photographed from Monday, April 21 through Wednesday, April 23, 1952 and was released on Thursday, December 4th of that year (the 339th day on the Gregorian Calendar). The film
‘Three Dark Horses’ (1952) is the 142nd short comedy made by The Three Stooges for Columbia Pictures. No production dates are available but the film was released on Thursday, October 16th, 1952 (the 290th day on the Gregorian Calendar) just three weeks before the election of Dwight D. Eisenhower to