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QotD: What do you like to eat while watching a motion picture?
/lbg/ - Letterboxd General
Owen Torres
Isaiah Davis
:)
Angel Gutierrez
:&D
Lucas Wood
brucie poo
Benjamin Walker
It seems to me if they ain't got you one way they've got you another. So what's the answer? ...what's it all about? -Michael Caine in Alfie
Xavier Gonzalez
Ayden Nguyen
Bruce hated Alfie and Tom jones
He said they were sexist and mysogynistic
Gabriel Collins
Alfie is sloppy slapstick!
Gavin Edwards
Alfie is juxtaposition reaching a wider sum of phenomenorepresentation.
Parker Gutierrez
Alfie is what Woody Allen wished he could achieve
Logan Martinez
The sexy 60s
Jack Cooper
The sexy 2007-present
Jonathan Clark
Why do cinephiles hate sex?
Aiden Gutierrez
post tunes, /lbg/
Dylan Cox
Aaron Roberts
Jose Carter
Brandon Brown
Kevin Morgan
i have no clue how people thought he sounded black
Aaron Powell
frog lady is completely inane aint she
Easton Robinson
frog lady is completely inane aint she
Lucas Fisher
Nathan Sanchez
Barbra Streisand
Jeremiah Howard
No other American director of his time is more engaging or less easy to pin down. Vidor could be radical and conservative (Our Daily Bread and The Fountainhead). He could handle so many genres while retaining such a vibrant sense of the oddity of people. For example, in the very melodramatic setup of Duel in the Sun, notice how the characters grow in complexity as the film advances. Moreover, Vidor could be shocking - there's a kind of spiritual violence in, say, Beyond the Forest, The Fountainhead, or Stella Dallas that is still engrossing. Was he optimist or pessimist?
Julian Rodriguez
vulgar studio hack
Nicholas Reyes
"Informing most of his lasting work is the struggle of Man against Destiny and Nature. In his great silent pictures, The Big Parade and The Crowd, the hero wanders through an anonymous and malevolent environment, war-torn Europe and the American City, respectively... Vidor exercised more control on his films after Our Daily Bread (1934), often serving as producer, but his projects continued to fluctuate between intense metaphysical drama and light-weight comedy and romance.
Evan Campbell
King Vidor's films range across all genres, but they are unified by a concern with the struggle for selfhood in a pluralistic, mass society. Influenced both by D.W. Griffith's realism and Sergei Eisenstein's montage aesthetic, Vidor has come closer to reconciling these strains than any other American director... Vidor's darkly humanistic vision, accompanied (especially in the 1925-35 period) by a striking and eclectic visual style, made him one of the most influential directors of his time. His oeuvre is as rich, diverse and intelligent as any in the history of cinema
Carter Robinson
Reminder Yasujiro Ozu's favorite directors were King Vidor and Ernst Lubitsch.
His favorite film was The Stranger's Return
Josiah Young
Frank Borzage and King Vidor
Fringe benefits, not pantheon
Jose Anderson
Certainly unique and strange but neither consistent
Logan Turner
Follow the papa
Luke King
Fuck the papa
Parker Ward
Same applies for Dovzhenko
Kayden Smith
Yes, you fuck the Papa, user.
Matthew Rodriguez
King Vidor's Favorite Films
The Best Years of Our Lives (1946) William Wyler
The Big Parade (1925) King Vidor
Brief Encounter (1945) David Lean
Citizen Kane (1941) Orson Welles
City Lights (1931) Charles Chaplin
Intolerance (1916) D.W. Griffith
The Last Laugh (1924) F.W. Murnau
The Red Shoes (1948) Michael Powell & Emeric Pressburger
Rome, Open City (1945) Roberto Rossellini
Sunrise (1927) F.W. Murnau.
Ryan Parker
>Listed his own film
He learned well.
Kevin Jackson
Oddly enough fits his personality and worldview to a T.
Evan Cox
I prefer The Worst Years of Our History: A Post-Iraq War Termigant
Jaxson Mitchell
Himself influenced (and reviled) by the Surrealists, Cocteau's independent, personal style of film-making was highly attractive to Nouvelle Vague directors; equally, very few experimental film-makers have not felt his influence
William Wood
His egotism made him a solitary, maverick figure. But in stressing playfulness, amateurism, and the disposition to the dream experience of movies, Cocteau is a vital link between the avant-garde and the underground. The curious weightlessness in his work, although it might be thought to conform to his own ideals of lightness, bars him from greatness. Arguably, there are films based on his works by other men that are more searching than his own pictures. But Cocteau serves as a comet, passing over French cinema, throwing a vivid light on the landscape
Jack Ortiz
Certainly more merit than Dovzhenko for bringing the statue-esque and delineation of conscious space, but still ultimately fringe
Rickmasters
Austin Collins
There are precedents though
Zachary King
Garbo shines
Xavier Robinson
Another
Owen Jenkins
Flaherty is the only one that can't be done in any other medium
Noah Edwards
Griffith as well if you account for cumulative
Andrew Nelson
Griffith and Flaherty
Similar and Dissimilar
Griffith the created and imagined real
Flaherty the deconstructed real
Xavier Jackson
Both answered all epistemological and heuristic questions
Hudson Jenkins
Griffith sought the wagnerian, other mediums as dialectical appendage
Flaherty the pure and distilled.
Andrew Wilson
>Yet make no mistake, Syberberg's approach is quite far removed from what one might often think of as "transcendental" filmmaking in Schrader's sense. The director may favor long takes and slow camera movements here, but otherwise he bares little similarity to Tarkovsky. Or Bresson, for that matter, despite the mannered performances from his actors. Syberberg's style is overwhelmingly theatrical and above all artificial in a grand, at times almost bordering on camp sensibility.
>This "artificiality" is something which Syberberg intentionally strove for in his work, building upon Wagner's own concept of the Gesamtkunstwerk ("total work of art"), and augmenting with Brecht's Epic Theater.
Why does Syberberg get praised for the qualities Griffith is criticized for rickmasters
Chase Mitchell
Why does rickmasters watch genre trash like death wish when he has less than 20 films from the 1910s logged?
Angel Evans
Syberberg is Kracauer for dummies.
Reminder Peter Greenaway said opera is the dumbest of all the arts
Noah Harris
Good thing Griffith took more from painting and theatre than opera and literature
Camden Kelly
Rickmasters is a lesser coop, so he's also got his tongue stuck up the ass of the polish fraud
Joshua Thomas
And in the process killed literature :)
Brody Brooks
1. Sherlock Jr. (1924) dir. Buster Keaton
2. The Gold Rush (1925) dir. Charlie Chaplin
3. Sunrise: A Song of Two Humans (1927) dir. F.W. Murnau
4. The Passion of Joan of Arc (1928) dir. Carl Theodor Dreyer
5. The Blood of a Poet (1932) dir. Jean Cocteau
6. Vampyr (1932) dir. Carl Theodor Dreyer
7. Shadow of a Doubt (1943) dir. Alfred Hitchcock
8. Double Indemnity (1944) dir. Billy Wilder
9. Panique (1946) dir. Julien Duvivier
10. Une Si Jolie Petite Plage (1949) dir. Yves Allegret
11. Tokyo Story (1953) dir. Yasijuro Ozu
12. The Searchers (1956) dir. John Ford
13. Bob le Flambeur (1956) dir. Jean-Pierre Melville
14. A Man Escaped (1956) dir. Robert Bresson
15. Wild River (1960) dir. Elia Kazan
16. The Devil’s Trap (1962) dir. Frantisek Vlacil
17. The Man Who Shot Liberty Valance (1962) dir. John Ford
18. The Trial of Joan of Arc (1962) dir. Robert Bresson
19. Harakiri (1962) dir. Masaki Kobayashi
20. Lawrence of Arabia (1962) dir. David Lean
21. The House is Black (1963) dir. Forugh Farrokhzad
22. Persona (1966) dir. Ingmar Bergman
23. Blow-Up (1966) dir. Michelangelo Antonioni
24. Belle de Jour (1967) dir. Luis Bunuel
25. Marketa Lazarova (1967) dir. Frantisek Vlacil
Lincoln Thomas
Fuck literature. One of the dumbest of all the "arts"
Juan Williams
26. Hour of the Wolf (1968) dir. Ingmar Bergman
27. The Plea (1968) dir. Tengiz Abuladze
28. The Wild Bunch (1969) dir. Sam Peckinpah
29. Army of Shadows (1969) dir. Jean-Pierre Melville
30. Sayat Nova (1969) dir. Sergei Parajanov
31. The Devils (1971) dir. Ken Russell
32. Diabel (1972) dir. Andrzej Zulawski
33. Aguirre: The Wrath of God (1972) dir. Werner Herzog
34. Lucifer Rising (1972) dir. Kenneth Anger
35. The Texas Chainsaw Massacre (1974) dir. Tobe Hooper
36. Picnic at Hanging Rock (1975) dir. Peter Weir
37. Sorcerer (1977) dir. William Friedkin
38. Stalker (1979) dir. Andrei Tarkovsky
39. Possession (1981) dir. Andrzej Zulawski
40. Parsifal (1982) dir. Hans-Jurgen Syberberg
41. A Nos Amours (1983) dir. Maurice Pialat
42. American Dreams (Lost and Found) (1984) dir. James Benning
43. A Time to Live, A Time to Die (1985) dir. Hou-Hsiao Hsien
44. To Live and Die in LA (1985) dir. William Friedkin
45. Mauvais Sang (1986) dir. Leos Carax
46. Unforgiven (1992) dir. Clint Eastwood
47. L’Eau Froide (1994) dir. Olivier Assayas
48. In the Mood for Love (2000) dir. Wong-Kar Wai
49. The New World (2005) dir. Terrence Malick
50. Miami Vice (2006) dir. Michael Mann
Owen Gomez
Words will never replace reality. The image precedes the text, dummies.
Christian Hall
What did Abuladze and Zulawski accomplish that Griffith and Von Sternberg didn't rickmasters
Anthony Reyes
Fuck you. Leave.
Robert Reyes
Fuck Abuladze and Zulawski
Brody Bell
James Perez
it is perfectly okay to rate taste of cherry 4,5 stars
Brayden Carter
You ever stopped to think the reason you get fucked in the ass left and right by advertisers and social media is because you're visually illiterate?
Cooper Scott
"Letterpleb" says sothoth, fan of academy award-winning The Shape of Water. Too afraid to add it to his own letterboxd I see.
Dylan Collins
You ever stopped to think that people who are not mongos like you can be literate in more than one media?
Dylan King
The image contains a thousand words. Frame rates are 24+ frames a second
I'd tell you to add it up, but I doubt your mathematically literate.
Jordan Jackson
What about 24 Frames (2017)
Tyler Gutierrez
If you really insist on being a brainlet, at least bring actual examples to the table, and not idiotic commonplace expressions that mean shit.
Daniel Morales
>can be literate
Don't seem to be proving it.
Liam Wood
Someone who is not me is illiterate. And?
Ryan Lewis
You'll believe whatever you want to believe, bubbleboy.
Logan Morris
>who is not me
Subconsciously might as well be. You lack a unique personality just the same.
Jackson Parker
How is lbg able to detect when bruce and megan are speaking?
Bentley Sanchez
How do you know? please do tell me. Genuinely curious.
Joshua Edwards
I knew it. No actual arguments, as expected.
Carter Bailey
Decided to eat.
Brody Cooper
Look at the way this guy talks. No wonder he spends his time reading fiction and watching flickering images. Because he thinks he can live multiple lives more interesting than his, the no-personality-having sexless void
Brandon Wright
Money on my mind, money everyday
Matthew Gutierrez
I could buy him as a slave, but it would just be a waste since i can get it for free
Benjamin Hernandez
First rule of buisiness: Buy nothing
Elijah Gomez
Money on my mind, money everyday.
Cameron Barnes
D.W. Griffith is by far a fascinating and confusing character in film history. He gets the obligatory nod though Im still sad to say I meet many an aspiring director/writer/actor who doesnt even know the name (dang youth.) If he is known hes 'that old guy who made that racist movie and was in the Klan'. A heavy, and somewhat inaccurate statement (he wasnt aware of his racisim, he wasnt in the Klan, true he was older when he got into film).
Many books have been written about Griffith, and many of them took ancedotes at their word. What Griffith said was truth. In fact they overlooked the fact that he was a showman first, and tended to cast history and his legacy as he saw fit. This biography (at a weighty 800 some pages) painstakingly sorts through all this. For instance Griffith didnt go broke on Intolerance (it didnt sell well but he did turn a modest profit), he didnt make Intolerance to recitify Birth (in fact he made it as a dig at the 'moralizers' and busy bodies), he barely made any films involving race, and he wasnt ever really broke (though given his risky business dealings it was always possible).
Jose Myers
In Whitfield's "Pickford a Woman who Made Hollywood" she says everything Griffith did he did with style. Thats true of how he portrayed his life, how he really lived his life, and even how he died (under the big chandelier of the Knickerbocker Hotel). You can debate Griffith and his work to death, but there is no more authentic, well researched, and well written biography out there then "Griffith: an American Life".
I'd like to add despite how dry such a big meaty book could be Schickel tells it an in entertaining way (after rationalizing various reasons Griffith's brother may have turned down a independence saving business move Schickel says of the brother, "Or he may just have been an idiot.") Shickel tries to dig beyond the myth and piece together the real man. I suspect hes succeeded better than anyone ever has and probably ever will.
Gabriel Cook
>there is no more authentic, well researched, and well written biography out there then "Griffith: an American Life".
I'll take his OWN biography over what some kike critic wrote
Gavin Rivera
The author was clearly preoccupied with Griffith's life, as he wrote about every single thing the man ever did (the only thing missing are the number of bowels movements per day). Griffith's life was incredibly interesting and deserves a good write up; minus the word-by-word blow of the seven-hundred-fifty-thousand-eleven films he made. This book should have been 1/3 as long, featured the most interesting anecdotes re: him & his glamorous relationships ... and then a filmography listing @ the end. I don't really care how many times he blew his nose during the making of Intolerance (and this books lists that level of info).
Also, he left out most of the trashy stories Griffith in which was involved. The most interesting aspect of the world/age he lived in was the way they were all buck-wild-crazy ~ it was @ the height of American industrialization, just after women's voting legislature, recreational drugs were legal & right before the first crash of Wall Street. Hollwoodland was a small town and so many ppl were incredibly wealthy AND they had to make their own fun ~ People enjoyed life back then!
I'm still looking for a good collection of Griffith stories ~ hope its not too late.
Leo Garcia
This was a very, very dry read. It took me quite a while -- a hundred pages or more -- to really get into this book, and even then it became something of a chore to finish it. The amount of detailed, intricate information on the life of D.W. Griffith is, at times, so detailed as to be mundane, while at other points it seems to skip over large spans of Griffith's life with little more than a footnote.
Much of the lapses in biographical information can be attributed to D. W. Griffith's fondness for personal myth making and the lack of verifiable facts surrounding parts of his life. There simply isn't any kind of record as to where he was or what he was doing during certain times in his early life and career.
The author tends to intersperse the biographical material with loads of encyclopedic information on various productions -- work records, props, camera setups, and other details more aptly suited for a filmography index than a biography -- as though he were so happy to have found any information at all after coming up empty for other less documented periods of Griffth's life that he just couldn't bear to leave out the slightest detail. It becomes tedious.
Isaac Brown
The Man That Made Hollywood a World Leader in Film
This book gives you a real insight into why D.W.Griffith is considered the Father of Full Length Feature which Hollywood dominates the World market with ( over 80% the market ) due to the quality that they produce. This man really laid the foundation of all present day film making, he was a genius and has been admired by every major Director Worldwide for the last 100 years.
Isaiah Lee
Emilio Disi was popular and had many friends, something you will never be able to relate to, soy.
Ryder Ward
For the serious film student only
This book is a very academic study focussing on D. W. Griffith's work in the years 1908-09, which marked the transition from moving pictures as a novelty or gimmick to an actual `story film' as we know them today. Griffith has been honoured with titles like `the Father of Film', and is credited with introducing many directing, filming and editing techniques which are commonplace today, and anyone with a serious interest in the development of cinema would most likely benefit from this book. But put your thinking-cap on first; this is no easy, entertaining read before bedtime! The approach, the language and the analysis used by the author demand concentration, proper attention and respect. It would also be very helpful for the reader to have some previous knowledge of early film development in the first decade of the 1900s, or at least have seen Griffith's `shorts' from the years prior to 1913. Fortunately, I had just finished reading "The Transformation of Cinema, 1907-1915" by Eileen Bowser which was a good, solid introduction to all the factors which led to cinema developing into what it is now, and therefore I was able to follow "The Origins of American Narrative Film" reasonably easily, although one or two chapters at the beginning and end were slightly challenging.
Julian Myers
It's a spiteful way of saying "he made me irrelevant"
Henry Nelson
The absolute state of film criticism
Nathaniel Gomez
No it's not. Especially if you historically rated Flaherty lower than 4. Kiarostami is Flaherty for dummies.
John Edwards
What does he have against Chaplin?
Adrian Torres
For some reason the only physical comedy he truly likes is The General. He only gives a fuck about action movies. He's a dipshit. He doesn't even know film can't convincingly portray motion.
Gabriel Jones
Every Kiarostami flick is if Flaherty treated you like an inebriated retard that can't tie its own shoes
Camden Watson
who made this awful list
William Sullivan
>Ant Man and the Wasp
>cinematography by Dante Spinotti
Jaxon Bennett
Spam this every time Straub-Huillet are talked about positively from now on