Opening Night (1977, dir. John Cassavetes)
"I submit that the real reason we criticized and disliked Lynch’s Laura’s muddy bothness is that it required of us an empathetic confrontation with the exact same muddy bothness in ourselves and our intimates that makes the real world of moral selves so tense and uncomfortable, a bothness we go to the movies to get a couple hours’ fucking relief from."
—David Foster Wallace, A Supposedly Fun Thing I’ll Never Do Again
posting this again cause it kinda took a long time to make.
Film.com’s year-end bonanza will formally kick off next week with a number of features that look back at the movies of 2013 as they were seen through the eyes of our contributors, but before we launch into that madness I wanted to share a list of my personal favorites, selections for whom there is no one to blame but me.
This was a lot of fun to cut together. While I don’t expect that you’ll agree withall of my choices (given that this is a ranked list of 25 films, it would be really strange if you did), I hope you enjoy watching this all the same. Thanks so much, and stay tuned to the end for a list of the music used and the 2013 films in which the songs appeared.
Headphones and high volume are strongly recommended. To see it bigger, either play it full screen or watch it on Vimeo.
A Woman Under The Influence
John Cassavetes | 1974
Al Ruban | Cinematography
There was no breakdown scene initially, she was just supposed to go down to the Opry and sing. But I asked Bob to come down and I left the makeup chair and stood on the sidewalk with him and I gave it to him to read. I didn’t say it to him, he just read it in my journal. And he said, “Do you know it?” And I said yes and then he said. “We’ll shoot it.” So that was an electric kind of a moment, and that explains who Bob is and explains what kind of director he is and the ability he had to make those kinds of judgements. I mean a lot of people could read something and say, “Oh that’s nice,” or read it and say, “I don’t think it’s very good,” but he could not only read it, take it in, split second judge it, but then he also had the power to make it happen. Then you go out there and you shoot it with a thousand people in the audience and all the cameras—and of course all that stuff was already set to happen—but when you have that kind of synergy between us, we could make some magic. It was very, very exciting.
Looking Back on Robert Altman’s ‘Nashville’ With Its Star Ronee Blakley
Frances Ha, 2012 (Noah Baumbach)