ZNAK SAGITE — više od fantastike — edicija, časopis, knjižara...

Pa vidiš da nam je harvi u fazi risajklinga avatara... prvo je vratio Željka, sad debelog  

Quote from: "Jake Chambers"Pa vidiš da nam je harvi u fazi risajklinga avatara... prvo je vratio Željka, sad debelog  

otkako se harv suočio sa svojom smrtnošću i iluzornošću svih htenja i nadanja, kao da je odustao i od poslednjih trzaja imaginacije i originalnosti, i predao se rezigniranom recikliranju svojih nekadašnjih (ukupno: tri) fazona.

Pih.

Quote from: "Harvester"Pih.

tipična reakcija rezigniranog melanholika koji je ispucao sve svoje trikove i prestao da se više i trudi.

q.e.d.

Samo se ti nadaj. Očigledno si previdio frapantnu činjenicu da si prestao da bitišeš u mom signačuru. Mwahaha!

Quote from: "Harvester"Samo se ti nadaj. Očigledno si previdio frapantnu činjenicu da si prestao da bitišeš u mom signačuru. Mwahaha!

gde je lucifer, tu sam i ja.

neka osmeh na mom avataru bude dovoljan omen!  

raja iz sale izlazila i žalila se zaposlenima u bioskopu.
evo fotografije mojijem očima viđene, sa šaltera kalifornijskog bioskopa:

Ovi Ameri su stvarno debili. Njie ni cudo sto je GrindHouse pukao u SAD.

a, reci?  

ja sam prvo mislio da je neka reklamna fora, i pitao sam poštenu meksikanku što radi na šalteru jesu l' se ljudi stvarno žalili, i ona kaže - stvarno.

au, reko.

da sam imao s kim, zgled'o bih se.

Ne-ve-ro-va-tno! Mislim da sa sigurnoscu mogu da tvrdim da se ovo kod nas, u Srbijici, ne bi dogodilo.

Nego, neceg sam se dosetio... Ako se za autenticni GrindHouse ugodjaj, idite u KINOTEKU! Kopije tamo su toliko izgrebane i ostecene da izgleda kao da pada kisa...

...do dobre prilike u Kinoteci, mogu da posluže i so-called DVD kiosk izdanja SFRJ/SRJ fimova...a ima i gore-a, to svakako, pa makar i nenamernog!!!

najbolji ugođaj u kinoteci je kad imaju simultan prevod.
dobiješ, bre, autentični grindhouse live performance.
super bi bilo da dovedu nekog da prevodi, recimo, kineski ili japanski borilački film, pa da imamo onaj dabovani brus li/soni čiba ugođaj, samo na srpskom.  

Ging, molim te napisi za onu zenu sto je prevodila simultano s japanskog... It's a riot!        

...moj prijatelj i classmate i iz osnovne i iz srednje škole je olovnih devedesetih studirao japanski jezik...negde pred sankcije Japanci su se isprsili i u sadejstvu sa Kinotekom organizovali i platili ciklus japanskog poratnog filma, mahom japanske noir drame( najpoznatiji mi je od svih naslovao bio Kurosawin DRUNKEN ANGEL) za građanstvo, ali prevashodno za studentariju... ja na pozivim pomenutog prijatelja zapucam iz NS jer mi je obećao "neslućeno i nezaboravni trashy provod u Kinoteci", bio je tajnovit ali je rekao da nisu pitanju sami filmovi već nešto drugo a blisko...

...naime, ovde počinje moje lično svedočenje, filmove je uz pomoć povećeg svadbarskog, old school mikrofona simultano prevodila žena u kasnijim tridesetima, štrokavi hipik, nadošla verzija sadašnje Sonje Savić, recimo, pri tom kombo urađena na koje-čemu i pijana( tokom projekcija je naizmenično pila vino i pivo- sećam se-"BIP" )...

....zbog svega navedenog nije baš uspevala( a nije ni pokušavala) da se usresredi na prevod, ali je uveseljavala prisutne živom demonstracijom napada Tretovog sindroma, tako da smo, naravno, nimalo u vezi sa onim na ekranu, bili počašćeni sa "usraću se, mame mi", " kome se prdi, nek digne dva prsta", "u, jebu me svi živi","završavaj da ne uđem i pojebem"(po prvi put u životu sam tada čuo psovku "jebaću ti sve živo na mrtvo")...a, prevodeći monolog senilne starice, iz ne znam kog filma, koja je mokrila na pod, prevoditeljica je dobacila "baba, začepi pičku, ima ovde i poštene dece"...simultani prevod se, dakle, sveo na njenu ilustraciju radnje...moram priznati, zabavnu, nadahnjujuću, oslobađajuću i , barem meni do tada, neviđenu...

...ja sam otpratio 6 projekcija tokom dva dana, a čuo sam, što je najčudnije, dama odradila u istom maniru i uz zaista minimalna ponavljanja čitav ciklus...

..da ne bude zabune, nije to bio performans u okviru BITEFA!!!

..those were the days!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

sjajno!!!!!!

Stvarno, zvuči kao iskustvo koje čovek pamti čitavog života.    I ove psovke... ah, žao mi je što nisam bio tamo...

...verujte mi, da postoji mogucnost teleporta, to bi svakako bio jedan od 10 trenutaka u koje bih se brzom brzinom vratio...

Kurt Russell has confirmed a long-standing industry
legend... that the last thing Walt Disney did
before he died was write the words, "Kurt Russell".

At the Saturn Awards last week, "Hostel" director Eli Roth revealed to Collider that he has a new dream project - "Trailer Trash" which will be made-up of 30 or so fake trailers (ala "Grindhouse").

"I'm going to be doing a film of all fake trailers, like Thransgiving, called Trailer Trash. I want to make a movie like Borat or Jackass that's literally completely ridiculous, totally silly and absurd, that's just all fake trailers. I have a genius way to tie it all together so it will actually play like a movie" says Roth.

He adds "I want to do this with a budget because they have to look like movies. Literally I'll have the satisfaction because it will feel like I made 30 movies. That's the beauty of Trailer Trash - you just need good gags and good kills."

Roth says that Edgar Wright, Greg Nicoatero and Robert Rodriguez are also all likely to contribute. Roth hopes to complete at least some of the work before he starts filming his adaptation of Stephen King's "Cell."

...neshto slichno, i to ljudski dobro, pa josh zaodenuto u, meni vazda, milo moc-doc ruho vec postoji...zove se TRAILERVISION:THE MOVIE a.k.a. WHY CAN'T I BE A MOVIE STAR, a proizveli su Kanadjani 2001. godine... a sve je to proizashlo iz prvobitnog, istoimenog sajta...

...vishe o tome...http://www.imdb.com/title/tt0332511/

Meni je Grindhouse skroz dobar. Oba filma sam gledala vec nekoliko puta. Obozavam kad se pomesa horor i humor i odlicne parodije.
I inace ne volim nista sto je previse ozbiljno (zivela neozbiljnost!   ) pa moje misljenje malo treba uzeti s rezervom.

'Grindhouse' Spin-Off 'Machete' Coming To Theaters
LOS ANGELES, Calif. (June 13, 2007) -- Attention all "Grindhouse" fans – the Machete is coming for you!

"Machete," the first trailer shown before the "Grindhouse" double feature will be turned into its own feature film, actor Danny Trejo revealed to Access Hollywood.

Trejo, who plays the title character in the trailer, broke the news to Access on the red carpet of Tuesday night's "1408" premiere.

While speculation had the film being made as a direct-to-DVD feature, Trejo said the plan is to release it in theaters.

"We're doing it," Trejo said. "We're going to try and get it done this year."

As it turns out, "Grindhouse" co-director Robert Rodriguez wrote "Machete" in 1993 with Trejo in mind, after casting the heavily tattooed actor in "Desperado."

"I had cast him in Desperado and I remember thinking, 'Wow, this guy should have his own series of Mexican exploitation movies like Charles Bronson or like Jean-Claude Van Damme.' So I wrote him this idea of a federale from Mexico who gets hired to do hatchet jobs in the U.S.," Rodriguez said in an interview with Rolling Stone. "I had heard sometimes FBI or DEA have a really tough job that they don't want to get their own agents killed on, they'll hire an agent from Mexico to come do the job for $25,000. I thought, 'That's Machete. He would come and do a really dangerous job for a lot of money to him but for everyone else over here it's peanuts.' But I never got around to making it."

Trejo, whose other film credits include "From Dusk Till Dawn," "Heat," "Spy Kids" and "Con Air," could barely hold back his excitement when talking with Access about the new project.

"If there's gotta be a Latino superstar, it might as well be me," he laughed.

No word yet on a possible release date.

Dobra vest. Čak sjajna uz ogradu da bi Rodrigez trebalo malo da se uozbilji, batali kemp majndset i snimi strejt ap, nou-nonsens akcioni eksploitejšn flik. Nadamo se najboljem... Još uvek čekam pravi nastavak Marijačija....

...sinoć sam pogledao i tu osveženu, zasebnu i dabudženu (sa dodatnih 20ak minuta) DVD verziju Tarantinovog flopa DEATHPROOF(sada u formi zasebnog filma) i moram da kažem da mi se prvobitni utisak nije znatno popravio jer dodavane su scene koje podvlače impresiju o jednoj pričaonici koja se otela kontroli, uprizorenoj, ma u velikoj meri, besmislenoj radio-drami i autoru koje je ozbiljno zapatio samodovoljnost/samoljubivost... do te mere da  u ovih gotovo 120 minuta zapravo ima jako malo filma!!!

...ipak, da ne bude zabune, jedva čekam da pogledam i ojačano-separatisanog Rodrigueza!!!

Ja sam tu separatnu verziju Death proof skino pre neki dan ali nisam gledao. Pošto se meni or'ginalna verzija dopadnula, sad sam malo brižan, neće li mi dodatna pričaonica zasmetati.. Ali za Rodrigeza sam prilično siguran da mu ništa neće pomoći...

Ja sam pogledala samo integralnu verziju (oba filma i traileri) i ne pada mi na pamet eksperimentirati sa separatima. Štono kažu kod nas, от добра добра не ищут.

Vern Reviews The DEATH PROOF DVD!

Hey, everyone. "Moriarty" here.

Since this showed up at my house, I've screened it three times. I hate that they are not putting out GRINDHOUSE together, but I really like the international cut of DEATH PROOF, and I know that sooner or later, I'll be able to own the same thing I saw in theaters this spring. It's just not right now, and I guess that's just the way it fucking goes.

Vern's got a typically strong write-up of the disc for you today, and it was nearly as much fun to read this as it was to watch the disc:


   For me GRINDHOUSE was one of the great theatrical experiences of 2007. A rare modern instance of filmatists trying to put on a real show, and giving you more than your money's worth. Two movies for the price of one, plus fake trailers - an affordable night or afternoon out. Yeah, I read about how it failed to make money for the Weinsteins, but guess what? That's what happens when you spend decades buying other people's movies so you can cut them, dub them, retitle them, sit them on a shelf for years, and then only allow them to be rented at Blockbuster. When you spend that long doing that many cruel and unusual things eventually your bi-yearly good deed will fail for you too. Because you are an asshole.

   So in that sense GRINDHOUSE is even better than you realize at first glance. It's a good time at the movies AND it lost money for some assholes. Two birds with one stone, in the form of two movies.

   Down to business: I was one of the people who thought Rodriguez's PLANET TERROR was kind of a fun fake movie but Tarantino's DEATH PROOF was a good actual movie. I liked it. So that's where I'm coming from reviewing the new DEATH PROOF dvd out today. A guy who bought the dvd because he likes the movie.

   That's right, the DEATH PROOF dvd. As opposed to the GRINDHOUSE dvd that would contain the original double feature as shown to packed houses on the outer edges of the United States. You may say wait a minute, why are these bloodsuckers releasing the two movies on dvd separately? No longer a double feature? Without even including the trailers? And as if we are so stupid that we don't know they're gonna release it as a double feature later?

   These are all valid points and clearly those snakehearted fuckers are doing it for the money. But by accident there is a certain logic to it. Think of it this way. There have been many double features throughout time, it has rarely been a permanent state. I remember in the late '80s for example seeing a double feature of I'M GONNA GIT YOU SUCKA and THE FLY 2. For real. So to me that's how those movies were meant to be seen, but you can't buy them on one DVD. A double feature is a fleeting moment in time, a limited time offer, like a Christo installation, a snow sculpture, or the "eggnog" milkshake that becomes "tom and jerry" when it's not winter. You appreciate it when it comes around but you can't have Christmas every day. Unless you work in one of those year round Christmas stores. In which case I hope you get paid well you poor bastard.

   Also, I gotta be honest, there's not much of a chance I would sit and watch the whole double feature again. I saw it twice in theaters but on home video how often are you gonna watch two movies in a row that are pre-programmed for you by the Weinsteins? Not often. I do like those double feature dvds with the trailers that Dark Sky puts out, but those I don't watch the whole thing in one sitting either.

   So I really can't be too upset about it personally. Your mileage may vary. (That is not some car pun because of the movie being about cars, I am just using a common idiom.) In order to justify the separation this is the longer European cut with the "missing reel" lapdance scene and other additions. I don't know how the fuck they're gonna do it with PLANET TERROR since you would never want the "missing reel" to be in there, and the movie is probaly a little too long as it is. But with DEATH PROOF it seems kind of like a movie that had a bunch of different releases and you're seeing a version with parts you never knew were cut out before.

   So you got the lapdance scene, that's self-explanatory. (if you need it explained, what happens is she gives him a lapdance.) The other most noticeable addition is a long black and white sequence at a convenience store before Rosario, Kim and Lucy McClane pick up Zoe at the airport. Nicky Katt from THE LIMEY plays the clerk. The highlight is when Stuntman Mike pretends to drop his keys so he can lick Rosario's foot. I was surprised it was Kurt Russell's character that did that, you'd think Tarantino's character Warren the bartender would've been the one to do it. It would make no sense for him to be out there in Tennessee stalking girls in a minimart parking lot, but I'm sure he could've figured something out. But he didn't, he had Stuntman Mike do it for the sake of the story. Way to take one for the team Tarantino.

   I liked seeing this scene, but I didn't really think it needed to be in the movie. I especially didn't see any reason for it to be in black and white, that just seemed like screwin off. It's a good deleted scene but it doesn't add enough to justify how much it slows things down. On the other hand, it does make the ending make a little more sense. Knowing how long this guy has been stalking them makes it a little more believable that they would want to kill him.

   There are other scenes that aren't new but are longer. One little thing that really changes the way the story unfolds is in the first half there's a scene where Stuntman Mike is in his car laughing sinisterly and looking at the photos of his "girlfriends." It kind of reminds me of MANIAC or one of those other early '80s stalker movies. I liked in the theatrical cut that there really wasn't an acknowledgment that he was evil until he turned left when Rose MacGowan wanted to turn right. You'd seen his car looking ominous but that could've always been a trick, he could turn out to be the guy who protects the girls from the slasher. In this "Extended and Unrated" cut you know that can't happen because you see him cackling and collecting spy photos early on. The cat is out of the bag.

   My favorite addition for this cut is in the Earl McGraw scene in the middle, the bridge between the two halves of the movie where he explains the concept that car crashes are "the only way that degenerate sonofabitch can shoot his goo." The scene is a little longer and includes a part where he brings up the possibility of investigating Stuntman Mike, dogging him like Dr. Loomis, but he decides against it. I won't give away the joke, but there's some good new lines, it's always good to see that character.

   I know you're supposed to want to see the longer, uncut version, but sometimes shorter is better. DAWN OF THE DEAD for example, the long one from Cannes is nice but I go for the theatrical cut. History repeats itself here, I liked the shorter version better. It was more efficient. The long one doesn't ruin it though. I still like it.

   The transfer looks real nice, whatever the process he's using to make it look like a cheap '70s movie at the beginning, it looks even better on here. If you like the movie like I do the extras are pretty good too, definitely better than on those KILL BILL dvds. (hey bloodsuckers, when you gonna double dip us on those?) The best is a feature on "The Legendary Drivers of DEATH PROOF." One particular shot they talk about involves 3 generations of stunt drivers plus Zoe Bell on the hood of the car. In context it's a cool shot but not one that would necessarily jump out at you, so it's cool to see them explain the significance of it to the stunt drivers.

   There's also one called "The Guys of DEATH PROOF," which talks about some of these actors you forget are even in the movie since you pay more attention to the girls, and should be ashamed of yourself. I heard Eli Roth interviewed a while back and he told the story of filming the scene where he makes fun of Stuntman Mike ("he cut himself falling out of his time machine") and it's funny because they actually show footage of it happening and everything is pretty much exactly how Roth told the story, including Russell throwing nachos at him and Roth proclaiming THE THING his favorite movie of all time.

   The extra I was most excited for was "Quentin's Greatest Collaborator: Sally Menke." Unfortunately it's not a real thorough study or retrospective on her editing. But it is kind of amusing. It starts with Tarantino singing Menke's praises and ends with a long montage of takes where the DEATH PROOF actors turn to the camera and say "Hi Sally." The best is Zoe Bell saying it from the hood of the VANISHING POINT Charger.

   As usual for Tarantino, no commentary. Guess he's not much of a talker. Real shy. It's not an overwhelming amount of extras, and they have the balls to list the trailer for DOUBLE DARE (really good Zoe Bell-featuring documentary about stuntwomen) as a special feature. But it's a good dvd. If you like the movie.

   And alot of you hate the movie. I know when the double feature came out, DEATH PROOF was by far the least popular in the talkbacks. I didn't take alot of you seriously because you were calling the characters bitches and cunts, but there were plenty of reasonable people who didn't like it. And at least one of you asked me to explain why, exactly, I did like it.

   I may be a charming fella but I'm not gonna be able to talk anybody into liking it. I will say a few things though on its behalf. (And before you say this review is too long, fuck you, you got eyes, you knew what you were getting into, and I thoughtfully divided it into three parts so you'd have plenty of chances to take the coward's way out.) One of the complaints I heard was that it supposedly didn't fit the "grindhouse" theme it was advertised under. I disagree. I took it as a tribute to movies like TWO LANE BLACKTOP, artier independent car movies marketed with their exploitation elements. (This cover even fits that, they show off the female curves and the box is made to look beat up and "grindhouse" but it also has the logo for "Festival de Cannes Official Selection.") Those arty car movies tend to be dry and quiet though, this is kind of in the other direction, lots of talking before the car chase at the end.

   And it's true, especially watching it the third time around, alot of that talking is not as funny or interesting as what they're talking about in the other Tarantino movies. That's a fair criticism. Jungle Julia especially starts to seem a little too full of herself with her soliloquy about Butterfly and her poem and lapdance situation.

   But people that hate it don't acknowledge how the dialogue does its job under the radar. In the first half these discussions set up all the slasher movie expectations - we learn that our heroines smoke weed and drink booze, they like boys, they flaunt their sexuality, they're going to a cabin, and Butterfly refrains from going all the way with her date. Visually, Tarantino emphasizes that she should be the "final girl" who survives at the end. She's the only one who notices him following them, the only one afraid of him. So it seems like they should go out to the cabin and be picked off one by one until Butterfly pulls it together and, say, runs over Mike while yelling that poem menacingly.

   Instead he kills them all in one crash, running down the whole slasher movie formula. Whoops, start over.

   Then there's the bridge with Earl McGraw which is like the end of PSYCHO, the explanation of the psychology of the character. (That's the comparison that came to mind when I saw it, and Tarantino uses it in the extras on the DVD. dude, I'm totally on the same page as Tarantino, I must really GET IT! That's the problem, you guys just don't GET IT like I do. People who GET IT get it, why can' t you?)

   In the second half the conversations are more important because they're setting up what's really gonna happen instead of what you're supposed to think is gonna happen. For example, there's a funny conversation that establishes that Kim has a gun, and that she's happy to use it. That she believes in killing someone who tries to harm her. And there's the story about Zoe falling into the ditch that establishes the spectacular car chase scene that's pretty much the reason for the movie.

   The car gets to star in the poster, but to me Zoe Bell is the star of DEATH PROOF. She's the main thing that makes it special. I have no doubt that if she looked like some Bratz doll and was on the O.C. even you "haterz" would be sacrificing animals at her altar. Instead she looks like a normal person. But she's not a normal person. She's Xena flying through the air on fire, she's Beatrix Kiddo running up that handrail in the House of Blue Leaves, she's Zoe the Cat falling in the ditch and not getting hurt, she's fucking DEATH PROOF, as much the reason for the title as Stuntman Mike's car is. I think what Tarantino did was brilliant, to take this likable woman and turn her into an actress to create the weird circumstance of now seeing this same woman who we have been hanging out with actually, for real, put in this death-defying situation. The car chase is great, the crashes are great, the old school way it's all staged and filmed is great, the organic has-CGI-even-been-invented-yet?-feel is great-- but it's Zoe, in the middle, on the hood, clinging on for dear life, and then later picking up a metal rod and jumping on the side of the car, ready to beat the hell out of Stuntman Mike and his death proof car - that's DEATH PROOF.

   Okay, maybe you don't like it. Can we at least agree on MACHETE? You motherfuckers want our money, you need to hurry up and make MACHETE!

   peace in the middle east and etc.,

   Vern

RICHARD LINKLATER may have put this capital city on the film industry's radar with "Slacker" in 1991. But for almost as long as Austin has been known as the Texas Hollywood, its most prominent and prolific player has been Troublemaker Studios, a filmmaking funhouse created by the director Robert Rodriguez and the producer Elizabeth Avellan.

For more than 15 years the partners — in both business and marriage — churned out entertainments like "Sin City," the "Spy Kids" trilogy and "Desperado." And they gladdened the hearts of studio executives by delivering their popular movies under budget, keeping postproduction in-house at Troublemaker's downtown location and in their sound and editing studios on the 100-acre Avellan/Rodriguez compound outside Austin, next door to the castlelike home (complete with balconies and hidden staircases) where they raise their five children.

But last year, during the filming of the "Grindhouse" double bill that paired Mr. Rodriguez's "Planet Terror" with Quentin Tarantino's "Death Proof," came the rumors, and then the official announcement that Mr. Rodriguez and the pregnant Ms. Avellan had decided to end their marriage. The news that the two had separated and, months later, Mr. Rodriguez's public appearances with Rose McGowan, the leading lady of "Planet Terror," came as a shock to the close-knit Austin filmmaking community.

In a place where crew members had grown so accustomed to regularly working with Troublemaker that some had picked up and moved here from Los Angeles — Ms. Avellan lovingly refers to them as her children — the dissolution of the marriage raised the obvious question: What would become of the moviemaking miniempire they had built together?

Mr. Rodriguez and Ms. Avellan say they plan to keep Troublemaker as is, and to continue working on some joint projects, like a planned family film called "Shortz." But for Ms. Avellan, 47, personal hardship is leading to a professional evolution. Most of her career she has willingly ceded the limelight and the major creative decisions to Mr. Rodriguez, a charismatic character who famously got his start by partly financing his $7,000 debut, "El Mariachi," by spending a month in an Austin hospital testing a cholesterol-lowering drug. Now Ms. Avellan plans to transform her own ideas into movies and television shows and take Troublemaker in new directions. For the first time, she is producing a major studio picture with a director besides Mr. Rodriguez.

"Queen of the South," a sprawling crime thriller set in Mexico and Spain, will be directed by Jonathan Jakubowicz, a 29-year-old filmmaker and Avellan protégé, and produced by Ms. Avellan and Sandra Condito for Warner Independent Pictures. Based on Arturo Pérez-Reverte's novel of the same name, "Queen" is the story of Teresa, a murdered Mexican drug cartel pilot's girlfriend. Fearing for her life, she escapes to the Mediterranean and begins her own trafficking operation.

In the past, she said, while she was interested in projects like "Queen," with its $25 million budget and exotic locations, "I didn't want Robert to feel like I wasn't giving 150 percent, like any producer would do. So I'd not talk about this or that."

"Now I feel free to mention some of the things that I'm doing," she added.

Considering the strength of the previous incarnation of their partnership, this looser arrangement carries risks for both filmmakers as they make their first films without each other's help. (Mr. Rodriguez is working on a remake of "Barbarella.")

Both Mr. Rodriguez and Ms. Avellan describe their relationship as complementary; their success, they say, came from matching her logistical side with his creative one. "In a lot of ways, we were made for each other," Ms. Avellan said.

Born in Caracas, Venezuela, before moving to Houston as a child and later attending Rice University, Ms. Avellan knew she was destined to be a producer, she said. The moment came while watching Holly Hunter playing a hyperefficient news producer in the 1987 film "Broadcast News." "To have that much pressure and keep all those balls in the air and have the random knowledge," she said, "I thought, 'That's me!' "

Eight years after "Broadcast News," Ms. Avellan was a co-producer of "Desperado," Mr. Rodriguez's first major studio film. From then on, she has received top production billing on all his films. In a telephone interview, Mr. Rodriguez pointed out that he had helped produce Troublemaker's projects as well. "But the stuff she's doing now on her own, she's doing the full-fledged producer job, which I'm sure is more exciting to her than just working on whatever project I hand along," he said.

And perhaps now Hollywood will truly take notice. Ms. Avellan is well known in Austin as a philanthropist and a supporter of student film (last March she was the first recipient of the Texas Film Hall of Fame Ann Richards Award), and she has played an equal role in creating a moneymaking empire (Troublemaker's 14 movies have made more than $900 million at the box office and hundreds of millions more in DVD and video sales). But that success has not completely translated to recognition in Los Angeles.

On July 26 The Hollywood Reporter released its first "Latino Power 50" list, highlighting Hollywood's behind-the-scenes male and female Latino talent. Mr. Rodriguez was third on the list; Ms. Avellan wasn't included, or even mentioned in Mr. Rodriguez's entry. "This is the only woman who's made Latin-themed movies, casting Latinos, for the American audience, in English, that have broken 100 million," Ms. Condito said. "And she's not on the list! It's mind-boggling to me. But that's not only Hollywood's fault. That's also her fault, in the best way possible, in the sense that she doesn't push herself in front of people."

Salma Hayek, who starred in Mr. Rodriguez's "Desperado," "From Dusk Till Dawn" and "Once Upon a Time in Mexico," calls Ms. Avellan a "well-kept secret." But, she said, "now that she's starting her career as an independent, breaking away and doing stuff on her own, people will know more about her."

If it's a challenge to continue on with business as usual at Troublemaker now that she is no longer married to Mr. Rodriguez, Ms. Avellan isn't showing it. While some in the Austin film world and inside Troublemaker wonder what will happen next — "There's an enormous amount of concern," said Louis Black, editor of The Austin Chronicle and founder of the South by Southwest Music, Film and Interactive Festival, "because these are two people that a lot of people care about" — Ms. Avellan said she never questioned whether or not to stay with Troublemaker. It's a decision that might seem counterintuitive, given the collapse of the marriage. But considering the stakes as equal partner of a moneymaking company with grand plans — Ms. Avellan said she also hoped to expand the studio's sound and digital facilities and bring in more commercial production — it's an experiment she's willing to try.

"Robert and I have been such good partners for 18 years," she said. "So many things haven't changed in general, just in how we handle our personal life with our children. The only thing we're not is married anymore."

"He can make his movies here," she added, "just like I can make my movies here. It'll be good for Austin: if I bring a movie in, and Robert does a movie too, this place will be much more used. People can say, 'Oh, it'll never work.' And I'm like, 'You know what? It'll work.' I'm excited at the prospect of showing them — of showing the world what I do."

Znao sam da od one odvratne Rose MCGowan ne može ništa dobro da ispadne.

Quote from: "Meho Krljic"Znao sam da od one odvratne Rose MCGowan ne može ništa dobro da ispadne.

Znači, Rose je jedna nevaljala brakolomka. Doduše, ne bih se gaglasio da je odvratna, ne znam otkud sad to. Kao glumica je pokazala da ima talenta - a ne izgleda loše, dapače. Jeste da joj je faca malo pekinezerska, ali ima dobro telo i još bolje držanje. Uvodni kadrovi PLANETE TERORA mogu da posluže kao potvrda navedenog.

Ma, izgleda da nije moj tip... Mnogo zdravo izgleda.

meni je PLANET TERROR bio umereno zabavan i gledljiv, za razliku od brbljivog i smaračkog DEATH PROOFA.
ništa posebno, bez pravog razloga za postojanje, ali lepo bar zbog malo gross out splatter efekata.

sad, posebna bi tema za diskusiju bila suštinska odstupanja od grindhouse-a, i u stilu (očigledno visok budžet, spektakularne scene, režija sa mnogo tejkova, mnogo set-apova, mnogo razrađenija režija od najveće većine grajndhaus flikova, znatno veće trajanje filmova), i u ideologiji (npr. vrlo 'moderan' tretman ženskih likova, skoro feministički, sa minimumom exploatacije, sve vrlo korektno), i u brojnim drugim suštinskim komponentama, tako da i tarantino i rodrigez, sem vrlo površnih efekata sa 'grebanjem' i 'gužvanjem' trake, zapravo isporučuju produkte koji niti su istinski omaži, niti ejpovanja, niti kritika grajndhausa, već... ne znam ni ja šta, nekakav površni po-mo ejping čija mi poenta sasvim izmiče, budući da nit je kritika, nit parodija, nit nadgradnja, nit šta koherentno... možda reimagining, koji se toliko udaljava od izvornika da opet ne vidim čemu to i zašto.

Quote from: "Ghoul"sad, posebna bi tema za diskusiju bila suštinska odstupanja od grindhouse-a, i u stilu (očigledno visok budžet, spektakularne scene, režija sa mnogo tejkova, mnogo set-apova, mnogo razrađenija režija od najveće većine grajndhaus flikova, znatno veće trajanje filmova), i u ideologiji (npr. vrlo 'moderan' tretman ženskih likova, skoro feministički, sa minimumom exploatacije, sve vrlo korektno), i u brojnim drugim suštinskim komponentama, tako da i tarantino i rodrigez, sem vrlo površnih efekata sa 'grebanjem' i 'gužvanjem' trake, zapravo isporučuju produkte koji niti su istinski omaži, niti ejpovanja, niti kritika grajndhausa, već... ne znam ni ja šta, nekakav površni po-mo ejping čija mi poenta sasvim izmiče, budući da nit je kritika, nit parodija, nit nadgradnja, nit šta koherentno... možda reimagining, koji se toliko udaljava od izvornika da opet ne vidim čemu to i zašto.

Jer njih to zabavlja? A i nekih od nas. Zašto ne napraviti nešto za svoj gušt ako možeš?

Slažem se sa Ghoulom, štaviše dodao bih svemu tome da sumnjam u Rodrigueza i njegovu trenutnu rediteljsku formu. Naime, ja uopšte više nisam siguran da li on i može da snimi PRAVI FILM ili samo može da radi ovakve projekte koji više liče na konceptualnu umetnost ili video rad nego na film...

PLANET TERORA (Planet Terror) Robert Rodriguez

Drugi dio "Grindhouse" projekta Quentina Tarantina i Roberta Rodrigueza došao je u ovdašnja kina s nezavidnom reputacijom. Od samih početaka distribucije, prvo u Americi gdje je "Planet Terror" bio dio dvostruke projekcije i tako pratio zanimljivu "double feature" tradiciju, pa sve do razlomljenih europskih prikazivanja, Rodriguez je bio upravo taj koji je imenovan odgovornim za propast, mahom financijsku, ali i recenzentsku. Prilično neočekivan odjek za redatelja koji je karijeru gradio, izuzme li se "Sin City" kao odvojak koji puno više pripada Franku Milleru, na konzistentno sličnom i utabanom pristupu, nepromijenjenom od slavljenog "El Mariachija" ranih devedesetih. Naime, Rodriguez nema niti je ikad imao smisla za lucidnije povezivanje utjecaja i referenci, a kamoli izlaženje iz kruga retro repeticije u onaj ozbiljnije posvete. Poput klinca koji je i danas opčinjen svojim B-herojima, ovaj autor u stanju je samo replicirati, služeći se pritom tek linearnom montažom senzacija.

Takav je i "Planet Terror", koji naslov, ali i ne više od toga, dijeli s kultnim klasikom Maria Bave iz 1965. godine, u nas poznatijim kao "Planet vampira". Rodriguez, isto kao u svim svojim ključnim radovima, najviše dolazi do izražaja kad slaže spektakularne pucnjave i potjere, ovdje pojačane zabavno pomaknutim prizorima interakcije ljudi i zombija. Zaplet o biološkom oružju zbog kojega i dolazi do zaraze prašnjav je koliko i sam podžanr, što je u "Planetu Terora" shvaćeno, nažalost, prekasno, pa tek negdje na kraju slijedi neuspio pokušaj da se motiv postmoderno osvježi lamentacijama o Bin Ladenu. Rodriguez jednostavno nema vještine poput Tarantina zaplesti priču tako da se čita u dva vremenska sloja, ali se valjda povučen njegovom blizinom osjeća izazvan, kao u kakvom natjecanju, to učiniti. Rezultat je da ga upravo taj dio odvlači od pravog puta: negdje na sredini "Planeta", kada bi ova namjerno nepametna zabava mogla postati impresivna orgija raspomamljenih zombija, Rodriguez se gubi u manje atraktivnim epizodama te previše prostora daje nebitnim, sporednim likovima. Njegov niz senzacija, za kojega bi bilo najbolje da je krenuo umnožavati se, postaje tako ozbiljno usporen. Dijalozi ne trpe blizinu Tarantina, kojega Rodriguez tu opet ne može dostići, a čak se i uništavanje vrpce, kako bi se dobio dojam ofucane kopije, doima naknadno dodano, tek kao obavezni zajednički nazivnik "Grindhouse" estetike.

Ipak, optužbe za propast projekta su pretjerane. Tamo gdje Tarantino skuplja bodove na redateljskim i scenarističkim zahvatima, Rodriguez ih s lakoćom gubi, ali nadomješta svojim znanim koreografskim atrakcijama. Nekoliko scena ući će u kolektivnu memoriju ovog filma, poput napada na zombije elipsom helikoptera, a još više, kao zaštitni znak "Planeta", prizor Rose McGowan koja na mjestu amputirane noge nosi mitraljez, kasnije još i teže oružje. S ovom urnebesnom protezom snalazi se McGowanova poput lebdeće balerine, što "Planet Terora" može prebaciti prije u "Bullet Ballet" nego u "Noć živih mrtvaca", jer Rodriguez odabire ne baviti se zombijima previše, nego za razliku od uzora Georgea A. Romera, tretira ih kao zadanu varijablu, napast iz pozadine. Šteta, jer da se nije natjecao sa svojim sposobnijim prijateljem, mogao je složiti još beskompromisniji film koji bi nedostatak zapleta maskirao još pametnije - tako da ga potpuno ukine. Međutim, "Planet Terora" vjeran je Rodriguezovoj dječačkoj žanrovskoj ljubavi, traje dovoljno kratko da i sam ne postane živo-mrtva dosada i nudi dovoljno scena nesmiljenog, neargumentiranog pretjerivanja koje unatoč svemu zamjerenom, od njega čine uspješan, iako ne i antologijski "grindhouse" film.

Željko Luketić

Zanimljivo, ja sam čuo od brata da je Rodrigezova polovina dobra, a Tarantinova užasna. A onda, kao što se vidi na ovom topiku, Ghoul je secondovao to mišljenje.

pa ne, tacnije bi bilo reci da je prva gledljiva, a druga uglavnom nije.

Close enough!  

Ma ne slusaj nikog bre,oba filma su sasvim OK,sta Ameri i Hollywood uglavnom prave poslednjih godina,ovo je super !!!!

Oba filma su odlicna zabava i prava je uzivancija gledati ih od prve do poslednje scene. Bar sto se mene tice.

Quote from: "Bilja"Oba filma su odlicna zabava i prava je uzivancija gledati ih od prve do poslednje scene. Bar sto se mene tice.

Potpisujem.

i ja!

naročito ako ih ne gledaš sa prstom na čelu, već taj prst upireš u ekran i veseliš se...

Pogledao sam sa zakašnjenjem DEATH PROOF Quentina Tarantina, courtesy of Kunac.

Moram priznati da sam posle teškom mukom pogledanog PLANET TERRORa Roberta Rodrigueza, odložio gledanje DEATH PROOFa što mislim da dosta govori o tom iskustvu koje je toliko upečatljivo da sam posle njega odložio gledanje novog Tarantina. Kad kažem "novog
Tarantina" ne aludiram da mi je Tarantino omiljeni reditelj ali on svakako jeste jedan od autora koje pratim sa velikom pažnjom,
naročito posle KILL BILLa.

U neku ruku DEATH PROOF jeste produžetak KILL BILLa drugim sredstvima, ali ovog puta u pravcu revivala road moviea i car chase moviea koji su rađeni u AIP produkciji. Ono u čemu je Tarantino beskrajno autentičan jeste činjenica da je dinamiku svog filma zaista žrtvovao onome što jeste esencija tog tipa exploitation filma. Naime, ti exploitation road filmovi ne samo da su bili karakteristični vehicli za reditelje koje exploitation ne zanima previše kao što je Jonathan Kaplan već su obično bivali vehicli i
za glumce koji nisu tipični akcioni heroji kakvi su inače igrali u AIP filmovima. Stoga su ti filmovi obično bili priče o Americi i nekim karakterima usamljenicima koji lutaju Amerikom, ne snalaze se, i sve to je bilo filovano njihovim buntovništvom koje se manifestuje brzom vožnjom. Međutim, tih auto potera ni u izvornim filmovima nije bilo previše tako da ih Tarantino daje u obimu koji je je i nekada postojao i u kvalitetu koji oni nikada nisu postigli.

Mislim da bi savki drugi reditelj u svom pokušaju da rekonstruiše taj žanr pokušao da ga popravi, da ga izmeni i prilagodi savremenom senzibilitetu, ali je Tarantino ostao prilično dosledan estetici svojih prethodnika. Uostalom WHITE LINE FEVER, VANISHING POINT i ostali i jesu neka vrsta američkih klasika koji su uticali na wendersovsku euroamerikanu a naravno omiljeni su i Americi i njima znače mnogo više nego nama, tako da je sasvim očekivano da ljibiteljima te vrste filma ovako nešto nije dosadno.

Štaviše, siguran sam da oni koji imaju neposrednije iskustvo Amerike mnogo više znače i geografski elementi koji se u ovim
filmovima pominju. Vrlo je zanimljiva svojevrsna fetišizacija provincije koja recimo nama uopšte nije jasna, i mislim da je DEATH PROOF obuhvatio i tu kulturološku liniju.

Kad je reč o deonicama vezanim za karaktere, to je takođe čak za nijansu zanimljivije nego u filmovima koji su inspirisali Tarantina. Tamo takođe postoje dugi monolozi kroz koje junaci pokušavaju da nešto konstatuju, stalne verbalne provokacije, i sl. I to je Tarantino lepo preneo u DAETH PROOF. Isto tako mislim da psihološka igra između prvog seta devojaka i Stuntman Mikea ima jasnu žanrovsku doslednost.

Konačno odnos prema telesnosti junaka takođe ima grindhouse tradiciju. Reditelji tog pravca su naročitu pažnju poklanjali fizičkom izgledu i stanju svojih likova i pokušajima da se njihovo prisustvo oseti na ekranu. I Tarantino je to vrlo dobro dijagnostikovao za razliku od vrlo površnog Rodriguezovog postupka u PLANET TERROR.

Naravno, znam da će me svi domah optužiti da mi je film bio prijatan zbog toga što u njemu glumi Mary Elizabeth Winstead i te gnusne podmetačine moram odmah da negiram. Mada. Jesam se obradovao.

U svakom slučaju, DEATH PROOF je film čije su mane iste one koje imaju VANISHING POINT i slični naslovi koji se danas smatraju klasicima žanra, a sve prednosti koje ima proističu iz Tarantinovog unapređenja izvornog materijala.

Smatram da je za pravilan doživljaj ovog filma potrebno izvesno predznanje, ali da mu u ovom konkretnom slučaju to nije mana već naprosto karakteristika kao što ni sam GRINDHOUSE nije film već konceptualna umetnost a DEATH PROOF u suštini samo fusnota u obliku filma.

* * * / * * * *

Liz Smith reports that exploitation cinema's biggest champion Quentin Tarentino is keen on remaking Russ Meyer's cult campy soft-porn 1965 classic "Faster Pussycat! Kill! Kill!".

The original followed three thrill-seeking strippers who come upon a couple in the desert. Killing the boyfriend, they take the girl hostage and hide out on a secluded ranch owned by a wheelchair-bound redneck farmer and his two dim-witted sons. Trying to locate the man's hidden fortune, they seduce the sons to learn of the secret - soon all hell breaks loose.

Tarantino wants his version to be even raunchier, and his first choices are Kim Kardashian, Eva Mendes and none other than Britney Spears for the roles.

Quote from: "crippled_avenger"Liz Smith reports that exploitation cinema's biggest champion Quentin Tarentino is keen on remaking Russ Meyer's cult campy soft-porn 1965 classic "Faster Pussycat! Kill! Kill!".

The original followed three thrill-seeking strippers who come upon a couple in the desert. Killing the boyfriend, they take the girl hostage and hide out on a secluded ranch owned by a wheelchair-bound redneck farmer and his two dim-witted sons. Trying to locate the man's hidden fortune, they seduce the sons to learn of the secret - soon all hell breaks loose.

Tarantino wants his version to be even raunchier, and his first choices are Kim Kardashian, Eva Mendes and none other than Britney Spears for the roles.

Pitam se ko će da igra dim-witted sinove. U originalu su ovo bili meni prilično dragi likovi. No, da budem iskren, plašim se da će Tarantino da prenaglasi girl-power element originala (gde je to bilo em sveže em kempi) pa da će film da bude jedno malo didaktičko i neprijatno iskustvo, ali ajde da vidimo...

Quote from: "Kunac"

Quote from: "Ghoul"Predlog broj 2: EATEN ALIVE (hooper) + ALLIGATOR (teague)

A šta kažete na ovu varijaciju Ghoulovog predloga...

Predlog br. 4: Tobe Hooper's Eaten Alive (1977) + Umberto Lenzi's Mangiati vivi a.k.a. Eaten Alive (1980); s podnaslovom POSTOJI VIŠE OD JEDNOG NAČINA DA VAS ŽIVE POJEDU.

Incidentally, upravo skidam oba ta filma!  

PREDLOG ZA GH:

FEAST 2
ALIEN RAIDERS

Moze,samo sto ovaj sloppy feast 2 ode direkt na video,a AR imase bar neku bioskopsku karijeru.....ali za After Dark Horrorfest sigurno !