Uncover the bloody and beating heart of film history with The Exorcist Untold – an electrifying new documentary that delves into the legacy and influence of this groundbreaking, revolutionary and revered masterpiece.
On the 50th anniversary of one of the most legendary and influential horrors of all time, Robin Bextor (Oppenheimer: The Real Story) sheds fascinating new light in The Exorcist Untold. The documentary is set for its home entertainment bow this December, arriving on DVD and digital on 11th December 2023, courtesy of Reel 2 Reel Films.
The Exorcist is a cultural phenomenon that changed the face of cinema, paving the way for numerous films that followed in its terrifying footsteps. It continues to haunt and captivate audiences and its legacy can still be seen across the cinematic sphere today, 50 years on.
By exploring the motivations of the creators, the genesis of this pivotal film and the historical and cultural contexts...
On the 50th anniversary of one of the most legendary and influential horrors of all time, Robin Bextor (Oppenheimer: The Real Story) sheds fascinating new light in The Exorcist Untold. The documentary is set for its home entertainment bow this December, arriving on DVD and digital on 11th December 2023, courtesy of Reel 2 Reel Films.
The Exorcist is a cultural phenomenon that changed the face of cinema, paving the way for numerous films that followed in its terrifying footsteps. It continues to haunt and captivate audiences and its legacy can still be seen across the cinematic sphere today, 50 years on.
By exploring the motivations of the creators, the genesis of this pivotal film and the historical and cultural contexts...
- 12/6/2023
- by Peter 'Witchfinder' Hopkins
- Horror Asylum
Director Luca Guadagnino discusses a few of his favorite films with Josh Olson and Joe Dante.
Show Notes: Movies Referenced In This Episode
Bones And All (2022)
A Bigger Splash (2015)
Suspiria (2018)
Call Me By Your Name (2017)
Apocalypse Now (1979) – Josh Olson’s trailer commentary, Glenn Erickson’s Blu-ray review
Salò, or the 120 Days of Sodom (1975)
Amarcord (1973) – Bernard Rose’s trailer commentary
Lawrence of Arabia (1962)
Jason And The Argonauts (1963) – Ernest Dickerson’s trailer commentary, Charlie Largent’s review
After Hours (1985) – Brian Trenchard-Smith’s trailer commentary
Nashville (1975) – Larry Karaszewski’s trailer commentary, Dan Perri’s trailer commentary, Dennis Cozzalio’s review
Journey To Italy (1954)
Empire Of The Sun (1987)
The Flower Of My Secret (1995)
The Last Emperor (1987) – John Landis’s trailer commentary
1900 (1976)
Last Tango In Paris (1972) – Larry Karaszewski’s trailer commentary
Psycho (1960) – John Landis’s trailer commentary, Randy Fuller’s wine pairing, Glenn Erickson’s Blu-ray review
Suspiria (1977) – Edgar Wright’s U.S. and international trailer commentaries,...
Show Notes: Movies Referenced In This Episode
Bones And All (2022)
A Bigger Splash (2015)
Suspiria (2018)
Call Me By Your Name (2017)
Apocalypse Now (1979) – Josh Olson’s trailer commentary, Glenn Erickson’s Blu-ray review
Salò, or the 120 Days of Sodom (1975)
Amarcord (1973) – Bernard Rose’s trailer commentary
Lawrence of Arabia (1962)
Jason And The Argonauts (1963) – Ernest Dickerson’s trailer commentary, Charlie Largent’s review
After Hours (1985) – Brian Trenchard-Smith’s trailer commentary
Nashville (1975) – Larry Karaszewski’s trailer commentary, Dan Perri’s trailer commentary, Dennis Cozzalio’s review
Journey To Italy (1954)
Empire Of The Sun (1987)
The Flower Of My Secret (1995)
The Last Emperor (1987) – John Landis’s trailer commentary
1900 (1976)
Last Tango In Paris (1972) – Larry Karaszewski’s trailer commentary
Psycho (1960) – John Landis’s trailer commentary, Randy Fuller’s wine pairing, Glenn Erickson’s Blu-ray review
Suspiria (1977) – Edgar Wright’s U.S. and international trailer commentaries,...
- 12/13/2022
- by Kris Millsap
- Trailers from Hell
Martin Scorsese's 1976 drama "Taxi Driver" opens on a large white plume of steam, billowing from a vent in a street in New York City. It is night, and the plume captures the garish white light of a nearby streetlamp. Plaintive, scary Bernard Herrmann jazz plays on the soundtrack. An NYC taxicab then pushes its way through the cloud. It is a shining beast of a car, heavy, and threatening. It looks like a tank, rolling its way through the acrid, death-scented smoke of a World War I battlefield. As it passes, the film's title appears on the screen.
Cut to: a closeup of Travis Bickle's eyes. He is bathed in red neon light. He stares, baffled and judgmental, at the world. The exteriors of New York are jittery, smeared, abstract chaos. He sees a world dissipating and incoherent. The world is reduced to the reds and blues of the wet,...
Cut to: a closeup of Travis Bickle's eyes. He is bathed in red neon light. He stares, baffled and judgmental, at the world. The exteriors of New York are jittery, smeared, abstract chaos. He sees a world dissipating and incoherent. The world is reduced to the reds and blues of the wet,...
- 11/22/2022
- by Witney Seibold
- Slash Film
Nothing sets a movie's mood like a good title sequence and one of the best to ever design them is Dan Perri. An apprentice of legendary graphic designer Saul Bass, Perri has been putting together title sequences since the 1970s. He's designed sequences as varied as the slow-motion, classically-scored opening of "Raging Bull," to the operatic text crawl of "Star Wars," to the terrifying teaser for "A Nightmare on Elm Street III."
Now, a collection of images from Perri's career are in residence at The Museum of the Moving Image in New York City. "Dan Perri and the Art of the Title Sequence" is organized by Barbara Miller & guest curator Lola Landekic and aims to spotlight and educate about 50 years of work in one single exhibit.
I had the privilege of speaking with Perri over Zoom about not just this exhibit, but his long and ongoing career working with all sorts of celebrated filmmakers.
Now, a collection of images from Perri's career are in residence at The Museum of the Moving Image in New York City. "Dan Perri and the Art of the Title Sequence" is organized by Barbara Miller & guest curator Lola Landekic and aims to spotlight and educate about 50 years of work in one single exhibit.
I had the privilege of speaking with Perri over Zoom about not just this exhibit, but his long and ongoing career working with all sorts of celebrated filmmakers.
- 11/22/2022
- by Devin Meenan
- Slash Film
Director/Tfh Guru Allan Arkush discusses his favorite year in film, 1975, with Josh Olson and Joe Dante.
Show Notes: Movies Referenced In This Episode
Rules of the Game (1939)
Le Boucher (1970)
Last Year At Marienbad (1961)
Dead Men Don’t Wear Plaid (1982)
Topaz (1969)
Bodies Bodies Bodies (2022)
Hollywood Boulevard (1976) – Jon Davison’s trailer commentary
The Innocents (1961) – Joe Dante’s trailer commentary
The Earrings of Madame De… (1953)
Rope (1948) – Darren Bousman’s trailer commentary
Make Way For Tomorrow (1937)
The Awful Truth (1937) – Charlie Largent’s Criterion Blu-ray review
Duck Soup (1933) – John Landis’s trailer commentary
Going My Way (1944)
Nashville (1975) – Larry Karaszewski’s trailer commentary, Dan Perri’s trailer commentary
M*A*S*H (1970)
Shampoo (1975) – Allan Arkush’s trailer commentary, Glenn Erickson’s Criterion Blu-ray review
Bonnie And Clyde (1967) – John Landis’s trailer commentary
The Nada Gang (1975)
Get Crazy (1983) – Allan Arkush’s trailer commentary
Night Moves (1975) – Glenn Erickson’s Blu-ray review
Dog Day Afternoon (1975) – Katt Shea’s trailer...
Show Notes: Movies Referenced In This Episode
Rules of the Game (1939)
Le Boucher (1970)
Last Year At Marienbad (1961)
Dead Men Don’t Wear Plaid (1982)
Topaz (1969)
Bodies Bodies Bodies (2022)
Hollywood Boulevard (1976) – Jon Davison’s trailer commentary
The Innocents (1961) – Joe Dante’s trailer commentary
The Earrings of Madame De… (1953)
Rope (1948) – Darren Bousman’s trailer commentary
Make Way For Tomorrow (1937)
The Awful Truth (1937) – Charlie Largent’s Criterion Blu-ray review
Duck Soup (1933) – John Landis’s trailer commentary
Going My Way (1944)
Nashville (1975) – Larry Karaszewski’s trailer commentary, Dan Perri’s trailer commentary
M*A*S*H (1970)
Shampoo (1975) – Allan Arkush’s trailer commentary, Glenn Erickson’s Criterion Blu-ray review
Bonnie And Clyde (1967) – John Landis’s trailer commentary
The Nada Gang (1975)
Get Crazy (1983) – Allan Arkush’s trailer commentary
Night Moves (1975) – Glenn Erickson’s Blu-ray review
Dog Day Afternoon (1975) – Katt Shea’s trailer...
- 9/20/2022
- by Kris Millsap
- Trailers from Hell
Josh Olson and Joe Dante answer fan questions and comments.
Show Notes: Movies Referenced In This Episode
Abbott And Costello Meet The Mummy (1955) – Joe Dante’s trailer commentary
Monster A-Go-Go (1965)
Infested (2002)
Straw Dogs (1971) – Josh Olson’s trailer commentary, Rod Lurie’s trailer commentary, Charlie Largent’s Criterion Blu-ray review, Joe Dante’s review
Straw Dogs (2011)
Mississippi Burning (1988)
The Ghost And Mrs. Muir (1947) – Axelle Carolyn’s trailer commentary
Grosse Pointe Blank (1997)
Bad Boy Bubby (1993) – Josh Olson’s trailer commentary
The Mummy (1932) – Joe Dante’s trailer commentary, Charlie Largent’s Blu-ray review
The Mummy (1999)
The Howling (1981) – Josh Olson’s trailer commentary, Randy Fuller’s wine pairings
Slappy And The Stinkers (1998)
Casper (1995)
Invisible Man (2020)
The Invisible Man (1933) – Charlie Largent’s Blu-ray review
Robot Monster (1953) – Joe Dante’s trailer commentary
The Stewardesses (1969)
The Hole (2012) – Joe Dante’s US, Italian, British trailer commentaries, Dennis Cozzalio’s review
Love (2015)
Cave Of Forgotten Dreams (2010)
McCabe And Mrs.
Show Notes: Movies Referenced In This Episode
Abbott And Costello Meet The Mummy (1955) – Joe Dante’s trailer commentary
Monster A-Go-Go (1965)
Infested (2002)
Straw Dogs (1971) – Josh Olson’s trailer commentary, Rod Lurie’s trailer commentary, Charlie Largent’s Criterion Blu-ray review, Joe Dante’s review
Straw Dogs (2011)
Mississippi Burning (1988)
The Ghost And Mrs. Muir (1947) – Axelle Carolyn’s trailer commentary
Grosse Pointe Blank (1997)
Bad Boy Bubby (1993) – Josh Olson’s trailer commentary
The Mummy (1932) – Joe Dante’s trailer commentary, Charlie Largent’s Blu-ray review
The Mummy (1999)
The Howling (1981) – Josh Olson’s trailer commentary, Randy Fuller’s wine pairings
Slappy And The Stinkers (1998)
Casper (1995)
Invisible Man (2020)
The Invisible Man (1933) – Charlie Largent’s Blu-ray review
Robot Monster (1953) – Joe Dante’s trailer commentary
The Stewardesses (1969)
The Hole (2012) – Joe Dante’s US, Italian, British trailer commentaries, Dennis Cozzalio’s review
Love (2015)
Cave Of Forgotten Dreams (2010)
McCabe And Mrs.
- 7/5/2022
- by Kris Millsap
- Trailers from Hell
Author and Tfh Guru Dennis Lehane joins Josh and Joe to discuss a few of his favorite movies.
Show Notes: Movies Referenced In This Episode
Gremlins (1984) – Glenn Erickson’s 4K Blu-ray review, Tfh’s Mogwai Madness
Home Alone (1990)
Mystic River (2003)
Shutter Island (2010)
Live By Night (2016)
Gone Baby Gone (2007)
The Drop (2014)
The Shining (1980) – Adam Rifkin’s trailer commentary
Apocalypse Now (1979) – Josh Olson’s trailer commentary
Apocalypse Now: Redux (2001)
Apocalypse Now: Final Cut (2019) – Glenn Erickson’s Blu-ray review
The Crying Game (1992)
Diner (1982)
Sweet Smell of Success (1957) – John Landis’s trailer commentary
American Graffiti (1973) – Allan Arkush’s trailer commentary
Body Heat (1981) – Dan Ireland’s trailer commentary
Blue Velvet (1986) – Josh Olson’s trailer commentary, Charlie Largent’s Criterion Blu-ray review
Raging Bull (1980) – Dan Perri’s trailer commentary
Picnic At Hanging Rock (1975)
Star Wars (1977)
Star Wars: The Special Edition (1997)
Manhunter (1986) – Josh Olson’s trailer commentary
Public Enemies (2009)
Last of the Mohicans (1992)
Miller’s Crossing (1990) – Josh Olson...
Show Notes: Movies Referenced In This Episode
Gremlins (1984) – Glenn Erickson’s 4K Blu-ray review, Tfh’s Mogwai Madness
Home Alone (1990)
Mystic River (2003)
Shutter Island (2010)
Live By Night (2016)
Gone Baby Gone (2007)
The Drop (2014)
The Shining (1980) – Adam Rifkin’s trailer commentary
Apocalypse Now (1979) – Josh Olson’s trailer commentary
Apocalypse Now: Redux (2001)
Apocalypse Now: Final Cut (2019) – Glenn Erickson’s Blu-ray review
The Crying Game (1992)
Diner (1982)
Sweet Smell of Success (1957) – John Landis’s trailer commentary
American Graffiti (1973) – Allan Arkush’s trailer commentary
Body Heat (1981) – Dan Ireland’s trailer commentary
Blue Velvet (1986) – Josh Olson’s trailer commentary, Charlie Largent’s Criterion Blu-ray review
Raging Bull (1980) – Dan Perri’s trailer commentary
Picnic At Hanging Rock (1975)
Star Wars (1977)
Star Wars: The Special Edition (1997)
Manhunter (1986) – Josh Olson’s trailer commentary
Public Enemies (2009)
Last of the Mohicans (1992)
Miller’s Crossing (1990) – Josh Olson...
- 6/28/2022
- by Kris Millsap
- Trailers from Hell
Accomplished screenwriter and avid movie watcher, Daniel Waters breaks down his ‘Best of the Best of 2021’ list with hosts Josh Olson and Joe Dante.
Show Notes: Movies Referenced In This Episode
Drive My Car (2021)
A History of Violence (2005)
Larry Crowne (2011)
The Vanishing (1988)
Don’t Look Up (2021)
Gunpowder Milkshake (2021)
Gerry (2002)
Swept Away (1974)
Swept Away (2002)
The Tender Bar (2021)
Riders Of Justice (2021)
Another Round (2020)
The Worst Person In The World (2021)
Pig (2021)
Dune (1984) – Glenn Erickson’s Blu-ray review
Dune (2021)
Fifty Shades Freed (2018)
Den of Thieves (2018)
Copshop (2021)
Assault on Precinct 13 (1976) – Neil Marshall’s trailer commentary
Magnum Force (1973) – Alan Spencer’s trailer commentary, Randy Fuller’s wine pairing
The Driver (1978)
Memoria (2021)
Berberian Sound Studio (2012)
The Power of the Dog (2021)
Old Henry (2021)
The Village (2004)
The Sixth Sense (1999)
Annette (2021)
Titane (2021)
Zola (2021)
The Killing of Two Lovers (2021)
Who You Think I Am (2021)
Barb and Star Go To Vista Del Mar (2021)
Josie and the Pussycats (2001)
Wheel of Fortune and Fantasy...
Show Notes: Movies Referenced In This Episode
Drive My Car (2021)
A History of Violence (2005)
Larry Crowne (2011)
The Vanishing (1988)
Don’t Look Up (2021)
Gunpowder Milkshake (2021)
Gerry (2002)
Swept Away (1974)
Swept Away (2002)
The Tender Bar (2021)
Riders Of Justice (2021)
Another Round (2020)
The Worst Person In The World (2021)
Pig (2021)
Dune (1984) – Glenn Erickson’s Blu-ray review
Dune (2021)
Fifty Shades Freed (2018)
Den of Thieves (2018)
Copshop (2021)
Assault on Precinct 13 (1976) – Neil Marshall’s trailer commentary
Magnum Force (1973) – Alan Spencer’s trailer commentary, Randy Fuller’s wine pairing
The Driver (1978)
Memoria (2021)
Berberian Sound Studio (2012)
The Power of the Dog (2021)
Old Henry (2021)
The Village (2004)
The Sixth Sense (1999)
Annette (2021)
Titane (2021)
Zola (2021)
The Killing of Two Lovers (2021)
Who You Think I Am (2021)
Barb and Star Go To Vista Del Mar (2021)
Josie and the Pussycats (2001)
Wheel of Fortune and Fantasy...
- 3/29/2022
- by Kris Millsap
- Trailers from Hell
Filmmaker Boaz Yakin discusses some of his favorite films with hosts Josh Olson and Joe Dante.
Show Notes:
Movies Referenced In This Episode
Aviva (2020)
The Harder They Fall (2021)
The Harder They Come (1972)
Reservoir Dogs (1992)
Pulp Fiction (1994)
Fresh (1994)
Mo’ Better Blues (1990)
Safe (2012)
Scream (2022)
The Punisher (1989)
The Adventures of Robin Hood (1938)
Kagemusha (1980) – Bernard Rose’s trailer commentary
Mean Streets (1973)
Jaws (1975) – Josh Olson’s trailer commentary
The 400 Blows (1959) – Robert Weide’s trailer commentary
Yojimbo (1961)
Dodes’ka-den (1970)
Short Cuts (1993) – Glenn Erickson’s Criterion Blu-ray commentary
Casablanca (1942) – John Landis’s trailer commentary
Coonskin (1975) – Larry Karaszewski’s trailer commentary
Fritz The Cat (1972) – Mick Garris’s trailer commentary, Charlie Largent’s Blu-ray review
The Lord of the Rings (1978)
Wizards (1977)
Heavy Traffic (1973) – Larry Karaszewski’s trailer commentary, Randy Fuller’s wine pairing
The Warriors (1979)
Quintet (1979)
Brewster McCloud (1970) – Larry Karaszewski’s trailer commentary, Glenn Erickson’s Blu-ray review
Mash (1970)
Nashville (1975) – Larry Karaszewski’s trailer commentary, Dan Perri’s trailer commentary,...
Show Notes:
Movies Referenced In This Episode
Aviva (2020)
The Harder They Fall (2021)
The Harder They Come (1972)
Reservoir Dogs (1992)
Pulp Fiction (1994)
Fresh (1994)
Mo’ Better Blues (1990)
Safe (2012)
Scream (2022)
The Punisher (1989)
The Adventures of Robin Hood (1938)
Kagemusha (1980) – Bernard Rose’s trailer commentary
Mean Streets (1973)
Jaws (1975) – Josh Olson’s trailer commentary
The 400 Blows (1959) – Robert Weide’s trailer commentary
Yojimbo (1961)
Dodes’ka-den (1970)
Short Cuts (1993) – Glenn Erickson’s Criterion Blu-ray commentary
Casablanca (1942) – John Landis’s trailer commentary
Coonskin (1975) – Larry Karaszewski’s trailer commentary
Fritz The Cat (1972) – Mick Garris’s trailer commentary, Charlie Largent’s Blu-ray review
The Lord of the Rings (1978)
Wizards (1977)
Heavy Traffic (1973) – Larry Karaszewski’s trailer commentary, Randy Fuller’s wine pairing
The Warriors (1979)
Quintet (1979)
Brewster McCloud (1970) – Larry Karaszewski’s trailer commentary, Glenn Erickson’s Blu-ray review
Mash (1970)
Nashville (1975) – Larry Karaszewski’s trailer commentary, Dan Perri’s trailer commentary,...
- 2/22/2022
- by Kris Millsap
- Trailers from Hell
Screenwriter Ed Solomon joins hosts Josh Olson and Joe Dante to discuss a few of his favorite movies.
Show Notes: Movies Referenced In This Episode
Bill And Ted’s Excellent Adventure (1989) – Alex Kirschenbaum’s Bill & Ted character power rankings
Bill And Ted’s Bogus Journey (1991)
Bill And Ted Face The Music (2020)
Men In Black (1997)
The French Connection (1971) – Dennis Lehane’s trailer commentary, Mark Pellington’s trailer commentary, Randy Fuller’s wine pairings
No Sudden Move (2021)
A Night At The Opera (1935) – Allan Arkush’s trailer commentary
Mosaic (2018)
Take The Money And Run (1969)
Bananas (1971) – Robert Weide’s trailer commentary
Sleeper (1973)
Love And Death (1975)
Annie Hall (1977) – Robert Weide’s trailer commentary
Manhattan (1979)
And Now For Something Completely Different… (1971) – Brian Trenchard-Smith’s trailer commentary
Blazing Saddles (1974) – John Landis’s trailer commentary, Dennis Cozzalio’s Blazing Saddles Thanksgiving
Klute (1971) – Katt Shea’s trailer commentary, Charlie Largent’s Criterion Blu-ray review
The Parallax View (1974) – Karyn Kusama’s trailer commentary,...
Show Notes: Movies Referenced In This Episode
Bill And Ted’s Excellent Adventure (1989) – Alex Kirschenbaum’s Bill & Ted character power rankings
Bill And Ted’s Bogus Journey (1991)
Bill And Ted Face The Music (2020)
Men In Black (1997)
The French Connection (1971) – Dennis Lehane’s trailer commentary, Mark Pellington’s trailer commentary, Randy Fuller’s wine pairings
No Sudden Move (2021)
A Night At The Opera (1935) – Allan Arkush’s trailer commentary
Mosaic (2018)
Take The Money And Run (1969)
Bananas (1971) – Robert Weide’s trailer commentary
Sleeper (1973)
Love And Death (1975)
Annie Hall (1977) – Robert Weide’s trailer commentary
Manhattan (1979)
And Now For Something Completely Different… (1971) – Brian Trenchard-Smith’s trailer commentary
Blazing Saddles (1974) – John Landis’s trailer commentary, Dennis Cozzalio’s Blazing Saddles Thanksgiving
Klute (1971) – Katt Shea’s trailer commentary, Charlie Largent’s Criterion Blu-ray review
The Parallax View (1974) – Karyn Kusama’s trailer commentary,...
- 7/6/2021
- by Kris Millsap
- Trailers from Hell
Inspired, he says, by Walter Hill and, as obvious from the title treatment, The Warriors title designer Dan Perri, Sean Baker has directed a blast of a fashion short for Khaite, a girl-gang fantasia evoking the cinema as well as streets of ’70s and ’80s New York. Shot by Sean Price Williams, the short compresses the attitude, abandon and confrontations of some imagined and long-lost work of downtown cinema into a brisk four-minutes scored to Ace Frehley’s New […]
The post Watch: Sean Baker's Short Film for Khaite's Fall '21 Collection first appeared on Filmmaker Magazine.
The post Watch: Sean Baker's Short Film for Khaite's Fall '21 Collection first appeared on Filmmaker Magazine.
- 2/28/2021
- by Scott Macaulay
- Filmmaker Magazine-Director Interviews
Inspired, he says, by Walter Hill and, as obvious from the title treatment, The Warriors title designer Dan Perri, Sean Baker has directed a blast of a fashion short for Khaite, a girl-gang fantasia evoking the cinema as well as streets of ’70s and ’80s New York. Shot by Sean Price Williams, the short compresses the attitude, abandon and confrontations of some imagined and long-lost work of downtown cinema into a brisk four-minutes scored to Ace Frehley’s New […]
The post Watch: Sean Baker's Short Film for Khaite's Fall '21 Collection first appeared on Filmmaker Magazine.
The post Watch: Sean Baker's Short Film for Khaite's Fall '21 Collection first appeared on Filmmaker Magazine.
- 2/28/2021
- by Scott Macaulay
- Filmmaker Magazine - Blog
The sound design of “Mosquito State” takes the title as a mission statement. Across much of its running time, the sonic backdrop is a veritable chorus of mosquitoes whining in high, overbearing harmony, providing their own sinister vocal track to a more conventionally orchestrated score. You have to be confident in your film’s power to transfix its audience even as it’s liable to drive any anopheliphobics in the room to delirium, and Polish-American director Filip Jan Rymsza seems to be: His body horror-tinged allegory for the global financial crisis of 2007 swaggers with slick, nasty formal showmanship designed to get under the viewer’s skin. But it’s all in service of pretty thin ideas about capitalist decline and masculinity in crisis, played out by thinner characters still: The longer it needles, the more one is inclined to swat it away.
As it happens, “Mosquito State” is the first...
As it happens, “Mosquito State” is the first...
- 9/8/2020
- by Guy Lodge
- Variety Film + TV
In the weeks leading up to Amazon Studios' release of the new Suspiria movie, we're seeing some truly inspired art pieces come to light. Last month, Mondo unveiled Sara Deck's hauntingly gorgeous poster for the film, and now it's La Boca's turn, as the creative collective has made two new Suspiria posters that pay tribute to The Lord of Dance and would look right at home on the walls of the Tanz Academy in Berlin.
From La Boca: “When we received the invitation to create a poster for Suspiria we were delighted. As avid fans of Dario Argento’s 1977 Suspiria, we knew this was an adventure we had to embark on. Once we had seen the film we realized it was wasn’t really a remake at all, it’s an altogether different experience, and gloriously exhilarating and disturbing in its own unique way.
We decided to base our...
From La Boca: “When we received the invitation to create a poster for Suspiria we were delighted. As avid fans of Dario Argento’s 1977 Suspiria, we knew this was an adventure we had to embark on. Once we had seen the film we realized it was wasn’t really a remake at all, it’s an altogether different experience, and gloriously exhilarating and disturbing in its own unique way.
We decided to base our...
- 10/9/2018
- by Derek Anderson
- DailyDead
Teaser Art from CinemaCon 2018! Amazon Studios will release Suspiria in theaters Fall 2018 Incorporating work from legendary title artist Dan Perri Directed By Luca Guadagnino Starring Tilda Swinton, Dakota Johnson, Chloë Grace Moretz, Mia Goth and Jessica Harper For More Info: Official Website I Facebook I Twitter I Instagram …
The post Suspiria – Coming This Fall appeared first on Hnn | Horrornews.net. Copyrights 2008-2018 - Horrornews.net...
The post Suspiria – Coming This Fall appeared first on Hnn | Horrornews.net. Copyrights 2008-2018 - Horrornews.net...
- 5/6/2018
- by Horrornews.net
- Horror News
After revealing a brutally violent and overwhelmingly well-received clip from the new Suspiria movie at CinemaCon, Amazon Studios unveiled the first teaser poster for the reimagining.
Featuring work from title artist Dan Perri (The Exorcist), the Suspiria teaser poster can be viewed below. A reimagining of Dario Argento's beloved 1977 horror film about vicious murders and eerie activities at a ballet school in Europe, the new Suspiria movie stars Tilda Swinton, Dakota Johnson, Chloë Grace Moretz, Mia Goth, and the original film's lead actress, Jessica Harper.
The Suspiria remake is directed by Luca Guadagnino (Call Me by Your Name), with Radiohead's Thom Yorke composing the soundtrack. Amazon Studios will release the movie in theaters this fall. Stay tuned to Daily Dead for more updates and check out the new teaser poster:
The post Teaser Poster Revealed for New Suspiria Movie appeared first on Daily Dead.
Featuring work from title artist Dan Perri (The Exorcist), the Suspiria teaser poster can be viewed below. A reimagining of Dario Argento's beloved 1977 horror film about vicious murders and eerie activities at a ballet school in Europe, the new Suspiria movie stars Tilda Swinton, Dakota Johnson, Chloë Grace Moretz, Mia Goth, and the original film's lead actress, Jessica Harper.
The Suspiria remake is directed by Luca Guadagnino (Call Me by Your Name), with Radiohead's Thom Yorke composing the soundtrack. Amazon Studios will release the movie in theaters this fall. Stay tuned to Daily Dead for more updates and check out the new teaser poster:
The post Teaser Poster Revealed for New Suspiria Movie appeared first on Daily Dead.
- 4/26/2018
- by Derek Anderson
- DailyDead
For years, Michelle Dougherty had a dream. She wanted to create titles that echoed the work of Richard Greenberg, who created the opening credits for ’80s movies like “Alien,” “Dirty Dancing” and “Blow Out.”
As creative director at title-design powerhouse Imaginary Forces (“Mad Men,” “Boardwalk Empire”), Dougherty created many iconic title sequences of her own — but when she pitched the concept of an ’80s homage to showrunners and directors, no one was interested.
“Richard is the one who really pioneer this idea in movies that you can create mood with just typography,” said Dougherty. “It was incredibly avant-garde for the time period.”
Read More: The Best New Opening Title Sequences for 2016-2017 — IndieWire Critics Survey
And then she met the Duffer Brothers — and they were the ones who brought up Greenberg in their initial discussions of what they wanted from their Netflix show, “Stranger Things.” Not only were the Duffers familiar with his work, they considered it an iconic part of the ’80s movies their show referenced.
Dougherty was thrilled — but the Duffers rejected her first pass at creating the “Stranger Things” typography as too modern.
“They were influenced by book covers as kids,” said Dougherty. “They sent over a Stephen King book with ’80s typography, which was big, bold, chunky, almost decorative.”
Read More: ‘Westworld’: How Elastic Created Those Spectacular Main Titles
Dougherty was able to trace back the particular typeface to the famed 20th-century typographer Ed Benguit, who created over 600 typefaces, including the self named Itc Benguit that was popular on ’80s paperbacks like the one the Duffers sent her.
However, getting the right ’80s typeface was only the first step in creating the feel the Duffers wanted.
“Originally we had these kind of snappy, modern-looking moves,” said Daugherty. “The animator I was working with, Eric Demeusy, is a genius, but he’s younger. He wanted it to feel very fresh. I remember the ’80s, things didn’t move that quickly because of technology. During that time, the beginning of my career, I remember we use to film things out, which is a different process. The movement isn’t as slick as it is now.”
Read More: 10 TV Shows Emmy Voters Need to Watch Before They Fill Out Their Ballots
As Dougherty started to think of the imperfections in ’80s titles, she also remembered that things weren’t perfectly uniform. Slightly jagged movements, flickering lights, and color inconsistency were natural products of transferring to film. However, research proved her wrong: Such imperfections were more prevalent in the ’60s and ’70s.
“I checked with Dan Perri, who did titles for “Star Wars,” and he said that by the ’80s that type of stuff meant you didn’t have the money for a good optical house,” said Dougherty.
Still, Dougherty felt there was something too clean about the otherwise beautiful work Demeusy created. She liked the idea of the tactile, almost handmade feel of those imperfections. She started studying ’60s and ’70s titles to find examples that she could share with Demeusy.
“When you look the titles for ‘Stranger Things,’ when the type fades up and down, there’s a little pink residual color that we added in there,” said Dougherty. “We added those things because we wanted to make it feel like film. We actually wanted to film something out, just to do a test, but we couldn’t find anyone in L.A. that could do it for us.”
One of the struggles title sequence designers face is they often have to work before music has been selected.However, the Duffers had already identified the synth music (by the experimental soundscape band Survive, based in Austin), and that’s one reason Dougherty thinks the “Stranger Things” title sequence works so well. Matching the tone of the distinct music greatly informed the movement, feel, and texture of the animated typography.
In the age of binge watching, Dougherty has heard complaints that opening titles can be boring. On other shows, she’s often having to find ways to embed Easter eggs and story details to keep the titles fresh. With “Stranger Things,” that isn’t the case.
“What the Duffers did that was really brilliant was the placement of the title sequence right after a very dramatic moment,” said Dougherty. “It’s almost the palate cleanser, or moment of breath. I think part of the reason these particular titles feel fresh is because it’s become integral to the storytelling.”
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Related stories'Kingdom' and 'American Gods' Star Jonathan Tucker Bled for His Art, and That's Just the BeginningHow Screaming Beatlemania Comes Alive in Ron Howard's 'Eight Days a Week -- The Touring Years'r. Kelly Refused to Let 'Dear White People' Make An 'I Believe I Can Fly' Joke, and Other Secrets of Music Supervision for TV...
As creative director at title-design powerhouse Imaginary Forces (“Mad Men,” “Boardwalk Empire”), Dougherty created many iconic title sequences of her own — but when she pitched the concept of an ’80s homage to showrunners and directors, no one was interested.
“Richard is the one who really pioneer this idea in movies that you can create mood with just typography,” said Dougherty. “It was incredibly avant-garde for the time period.”
Read More: The Best New Opening Title Sequences for 2016-2017 — IndieWire Critics Survey
And then she met the Duffer Brothers — and they were the ones who brought up Greenberg in their initial discussions of what they wanted from their Netflix show, “Stranger Things.” Not only were the Duffers familiar with his work, they considered it an iconic part of the ’80s movies their show referenced.
Dougherty was thrilled — but the Duffers rejected her first pass at creating the “Stranger Things” typography as too modern.
“They were influenced by book covers as kids,” said Dougherty. “They sent over a Stephen King book with ’80s typography, which was big, bold, chunky, almost decorative.”
Read More: ‘Westworld’: How Elastic Created Those Spectacular Main Titles
Dougherty was able to trace back the particular typeface to the famed 20th-century typographer Ed Benguit, who created over 600 typefaces, including the self named Itc Benguit that was popular on ’80s paperbacks like the one the Duffers sent her.
However, getting the right ’80s typeface was only the first step in creating the feel the Duffers wanted.
“Originally we had these kind of snappy, modern-looking moves,” said Daugherty. “The animator I was working with, Eric Demeusy, is a genius, but he’s younger. He wanted it to feel very fresh. I remember the ’80s, things didn’t move that quickly because of technology. During that time, the beginning of my career, I remember we use to film things out, which is a different process. The movement isn’t as slick as it is now.”
Read More: 10 TV Shows Emmy Voters Need to Watch Before They Fill Out Their Ballots
As Dougherty started to think of the imperfections in ’80s titles, she also remembered that things weren’t perfectly uniform. Slightly jagged movements, flickering lights, and color inconsistency were natural products of transferring to film. However, research proved her wrong: Such imperfections were more prevalent in the ’60s and ’70s.
“I checked with Dan Perri, who did titles for “Star Wars,” and he said that by the ’80s that type of stuff meant you didn’t have the money for a good optical house,” said Dougherty.
Still, Dougherty felt there was something too clean about the otherwise beautiful work Demeusy created. She liked the idea of the tactile, almost handmade feel of those imperfections. She started studying ’60s and ’70s titles to find examples that she could share with Demeusy.
“When you look the titles for ‘Stranger Things,’ when the type fades up and down, there’s a little pink residual color that we added in there,” said Dougherty. “We added those things because we wanted to make it feel like film. We actually wanted to film something out, just to do a test, but we couldn’t find anyone in L.A. that could do it for us.”
One of the struggles title sequence designers face is they often have to work before music has been selected.However, the Duffers had already identified the synth music (by the experimental soundscape band Survive, based in Austin), and that’s one reason Dougherty thinks the “Stranger Things” title sequence works so well. Matching the tone of the distinct music greatly informed the movement, feel, and texture of the animated typography.
In the age of binge watching, Dougherty has heard complaints that opening titles can be boring. On other shows, she’s often having to find ways to embed Easter eggs and story details to keep the titles fresh. With “Stranger Things,” that isn’t the case.
“What the Duffers did that was really brilliant was the placement of the title sequence right after a very dramatic moment,” said Dougherty. “It’s almost the palate cleanser, or moment of breath. I think part of the reason these particular titles feel fresh is because it’s become integral to the storytelling.”
Stay on top of the latest TV news! Sign up for our TV email newsletter here.</em
Related stories'Kingdom' and 'American Gods' Star Jonathan Tucker Bled for His Art, and That's Just the BeginningHow Screaming Beatlemania Comes Alive in Ron Howard's 'Eight Days a Week -- The Touring Years'r. Kelly Refused to Let 'Dear White People' Make An 'I Believe I Can Fly' Joke, and Other Secrets of Music Supervision for TV...
- 6/21/2017
- by Chris O'Falt
- Indiewire
As you know, Lucasfilm made the decision not to include the iconic Star Wars opening crawl in their standalone Star Wars Story films. The opening crawl is being reserved for the saga movies. I'm completely ok with that, and it didn't bug me at all that it wasn't included in Rogue One: A Star Wars Story. Some fans were bugged, though, and I can understand that because it's such an iconic Star Wars staple. Even the creator of the opening crawl, Dan Perri, recently said that leaving it out was a "huge mistake." He told THR:
"Frankly, it is a huge mistake, because the image is so iconic and it's so important to tens of millions, hundreds of millions of fans. I couldn't imagine it starting without that. It's foolish."
Well, for those of you who wanted an opening crawl for Rogue One, we have one for you to watch...
"Frankly, it is a huge mistake, because the image is so iconic and it's so important to tens of millions, hundreds of millions of fans. I couldn't imagine it starting without that. It's foolish."
Well, for those of you who wanted an opening crawl for Rogue One, we have one for you to watch...
- 12/22/2016
- by Joey Paur
- GeekTyrant
Disclaimer: this post contains spoilers for Rogue One: A Star Wars Story.
This weekend the Star Wars universe erupted as fans were given another taste of the "galaxy far far away" based on George Lucas' original dream with a standalone film titled Rogue One: A Star Wars Story. At this juncture I won't be getting into the 2 hour powernap I had watching the film, but I will focus on a critical object that the film lacked:
The opening crawl.
As I sat with my container of nachos and jalapenos, I couldn't wait to see what the opening crawl of Rogue One would be, even knowing that the movie was based on Star Wars Episode IV: A New Hope's crawl where the Rebels steal the plans of the Death Star, I was still hopeful for the experience and the feeling you get when that rolls up the screen. Unfortunately,...
This weekend the Star Wars universe erupted as fans were given another taste of the "galaxy far far away" based on George Lucas' original dream with a standalone film titled Rogue One: A Star Wars Story. At this juncture I won't be getting into the 2 hour powernap I had watching the film, but I will focus on a critical object that the film lacked:
The opening crawl.
As I sat with my container of nachos and jalapenos, I couldn't wait to see what the opening crawl of Rogue One would be, even knowing that the movie was based on Star Wars Episode IV: A New Hope's crawl where the Rebels steal the plans of the Death Star, I was still hopeful for the experience and the feeling you get when that rolls up the screen. Unfortunately,...
- 12/20/2016
- by Drew Carlton
- LRMonline.com
You don't know Dan Perri, but you know his work. Perri has designed the title text for films like The Exorcist, Raging Bull, and even Star Wars. Think about that last one and how often you see it! That's a man's legacy printed over tens of thousands of merchandise items sold daily, and only about .01% of the population knows who he is!
Its time we change that. Watch this feature on him below courtesy of Academy Originals. Thanks Slashfilm for the heads up!
Its time we change that. Watch this feature on him below courtesy of Academy Originals. Thanks Slashfilm for the heads up!
- 8/8/2016
- by Mick Joest
- GeekTyrant
"Fonts that are big and bold are more powerful..." It's always great to see behind-the-scenes people profiled in meaningful ways. The Academy of Motion Picture Arts and Sciences has been making outstanding videos called Originals focusing on various filmmaking stories and profiling many of the remarkable people who create the movies we love. This one is about titled designer Dan Perri, who created the title design for Star Wars as well as Taxi Driver and Close Encounters of the Third Kind and so many other films. I love his explanation for Scorsese's After Hours, how his design actually builds up your heart rate so you're then ready to watch the film. Another stellar reminder that every single aspect of a film is important. Enjoy. Description from YouTube: "Title designer Dan Perri explains how he designed movie titles for films such as Star Wars, The Exorcist, and Raging Bull." Dan Perri...
- 8/5/2016
- by Alex Billington
- firstshowing.net
In Review Online has launched a series on Sion Sono, posting one review of a feature every day this month. The Hollywood Reporter's Kim Masters explains what went wrong with David Ayer's Suicide Squad. Ira Sachs is talking to just about everyone about Little Men. Tilda Swinton's annotated a list of her ten favorite books. Little White Lies asks legendary title designer Dan Perri about working on Taxi Driver, Raging Bull, Star Wars, Close Encounters of the Third Kind and The Exorcist. The 54th New York Film Festival (September 30 through October 16) will close with the world premiere of James Gray's The Lost City of Z. And we've got more news and views in today's roundup. » - David Hudson...
- 8/3/2016
- Keyframe
In Review Online has launched a series on Sion Sono, posting one review of a feature every day this month. The Hollywood Reporter's Kim Masters explains what went wrong with David Ayer's Suicide Squad. Ira Sachs is talking to just about everyone about Little Men. Tilda Swinton's annotated a list of her ten favorite books. Little White Lies asks legendary title designer Dan Perri about working on Taxi Driver, Raging Bull, Star Wars, Close Encounters of the Third Kind and The Exorcist. The 54th New York Film Festival (September 30 through October 16) will close with the world premiere of James Gray's The Lost City of Z. And we've got more news and views in today's roundup. » - David Hudson...
- 8/3/2016
- Fandor: Keyframe
When many think of the opening of a film, it’s the score, the opening image, that initial moment. But sometimes the unsung hero of a film’s memorable beginning is the title design, the specific font and kerning, how it enters the image, how it draws the eye, and what it says about the story it is introducing.
A new video by The Academy titled Title Design: The Making of Movie Titles delves into openings of films with title designer Dan Perri, who talks about gems such as Raging Bull and Star Wars. “I fell in love with letter when I was about 12 years old,” Perri recalls, who has since worked on a vast amount of title designs — including Days of Heaven, Raising Arizona, and The Exorcist, not to mention Nashville, Taxi Driver, and All the President’s Men.
See the full video below.
A new video by The Academy titled Title Design: The Making of Movie Titles delves into openings of films with title designer Dan Perri, who talks about gems such as Raging Bull and Star Wars. “I fell in love with letter when I was about 12 years old,” Perri recalls, who has since worked on a vast amount of title designs — including Days of Heaven, Raising Arizona, and The Exorcist, not to mention Nashville, Taxi Driver, and All the President’s Men.
See the full video below.
- 7/29/2016
- by Mike Mazzanti
- The Film Stage
For his senior thesis at the School of Visual Arts, Dan Perri imagined an Empire Strikes Back that forgoes the traditional opening crawl and went with a James Bond-like gun barrel sequence. Perri unused a Radiohead song that was originally intended for the opening number of Spectre but was rejected in favor of Sam Smith. As for his inspiration behind the project? " I really wanted to play on the concept of Luke trying to find himself and true purpose, so the music and inspiration felt fitting," wrote Perri on his vimeo account. If you were Dan's professor what grade would you give him? Star Wars - Episode V "The Empire Strikes Back" Homage (Title Sequence) from Krofl on Vimeo.
- 5/11/2016
- ComicBookMovie.com
Wanna see something cool? You've gotta check out this James Bond-style opening credits sequence for Star Wars: Episode V - The Empire Strikes Back! This badass video was created by Kurt Rauffer, and it's definitely a unique thing to see for a Star Wars film. As you know, there's a signature style to all of the opening's of the Star Wars films, and it's something that may never be changed. It's cool to see the fans play with it a bit and show us some alternative styles. The creator of the video offered the following thoughts on his creation:
Star Wars is one of Hollywood's biggest franchises to date, containing one of the most unique universes in sci-fi fiction. Not only is the universe incredibly iconic, so is it's title sequence (the famous title crawl). Designed by Dan Perri, the title sequence is one of the most recognizable introductions in the history of film.
Star Wars is one of Hollywood's biggest franchises to date, containing one of the most unique universes in sci-fi fiction. Not only is the universe incredibly iconic, so is it's title sequence (the famous title crawl). Designed by Dan Perri, the title sequence is one of the most recognizable introductions in the history of film.
- 5/9/2016
- by Joey Paur
- GeekTyrant
Dailies is a round-up of essential film writing, news bits, videos, and other highlights from across the Internet. If you’d like to submit a piece for consideration, get in touch with us in the comments below or on Twitter at @TheFilmStage.
After reading our in-depth interview, see Roger Deakins share his 15 favorite documentaries at Nonfics:
Few artists in the history of the medium have done more to create this synergy than Roger Deakins. A man of sublime taste in the projects he chooses and impeccable craft in the visions he provides, the 12-time Oscar-nominated director of photography has granted audiences images as indelible as any in film history. From his longstanding work with the Coen brothers through to his most recent work with Denis Villeneuve, Deakins has pushed the boundaries of both analogue and digital photography in ways both pioneering and poetic. He’s a giant in his field,...
After reading our in-depth interview, see Roger Deakins share his 15 favorite documentaries at Nonfics:
Few artists in the history of the medium have done more to create this synergy than Roger Deakins. A man of sublime taste in the projects he chooses and impeccable craft in the visions he provides, the 12-time Oscar-nominated director of photography has granted audiences images as indelible as any in film history. From his longstanding work with the Coen brothers through to his most recent work with Denis Villeneuve, Deakins has pushed the boundaries of both analogue and digital photography in ways both pioneering and poetic. He’s a giant in his field,...
- 9/29/2015
- by TFS Staff
- The Film Stage
"When the late movie critic Gene Siskel asked Martin Scorsese what he believed to be the most emblematic image from his body of work, Scorsese’s answer was simple: the title sequence of Raging Bull." The Art of the Title talks with designer Dan Perri. Also in today's roundup: Peter Greenaway on Street of Crocodiles by Stephen Quay and Timothy Quay, an extract from Akira Kurosawa's autobiography, Film International on Federico Fellini's La dolce vita and Alex Ross Perry's Queen of Earth, Movie Mezzanine on Stanley Kubrick's Killer's Kiss and Wes Anderson's Moonrise Kingdom—and more. » - David Hudson...
- 9/29/2015
- Keyframe
"When the late movie critic Gene Siskel asked Martin Scorsese what he believed to be the most emblematic image from his body of work, Scorsese’s answer was simple: the title sequence of Raging Bull." The Art of the Title talks with designer Dan Perri. Also in today's roundup: Peter Greenaway on Street of Crocodiles by Stephen Quay and Timothy Quay, an extract from Akira Kurosawa's autobiography, Film International on Federico Fellini's La dolce vita and Alex Ross Perry's Queen of Earth, Movie Mezzanine on Stanley Kubrick's Killer's Kiss and Wes Anderson's Moonrise Kingdom—and more. » - David Hudson...
- 9/29/2015
- Fandor: Keyframe
Out to eat am I, but I also Have to write a Starblog with dinner. And it amuses me (if not others) to recount past meals I’ve had that were sort of far-out to eat. Or as the topic title I’ve assigned myself declares: Seven Meals to Doomsday!
Our cuisine criteria: I had to be at the table (sometimes semi-against my will), pop culture should be involved and there must be some Surreal aspect to it all. How good the food is—well, that hardly matters. It’s not the vittles; it’s the experience.
#1) Bethany College, Bethany, West Virginia, 1976 or ’77. CBS (and later NBC) newscaster Roger Mudd has come to our small college of distinction to give a lecture. We’re going to feed him, too, and I (as one of Communications Department Chairman James Carty’s pet students) have been drafted to attend that small dinner in the cafeteria rear.
Our cuisine criteria: I had to be at the table (sometimes semi-against my will), pop culture should be involved and there must be some Surreal aspect to it all. How good the food is—well, that hardly matters. It’s not the vittles; it’s the experience.
#1) Bethany College, Bethany, West Virginia, 1976 or ’77. CBS (and later NBC) newscaster Roger Mudd has come to our small college of distinction to give a lecture. We’re going to feed him, too, and I (as one of Communications Department Chairman James Carty’s pet students) have been drafted to attend that small dinner in the cafeteria rear.
- 11/17/2009
- by no-reply@starlog.com (David McDonnell )
- Starlog
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