Oliver Stone...honored with Director's Award! San Francisco International Film Festival!



Academy Award-Winner - Oliver Stone - is getting a nod from the long-running San Francisco International Film Festival.

Stone - who helmed blockbuster hits such as "Wall Street" and "JFK" - will be honored with a prestigious Festival Founder's Directing Award.

In honor of the occasion, the film society is slated to screen clips of Stone's work on April 27th in the bay area during the course of this year's Festival (which runs April 21st to May 5th).

Mr. Stone is expected to be appear in person on the night of the award celebrations (April 28th) for an on-stage interview which is expected to sell-out to capacity.

Former honorees have been highly-ranked in their craft, as well, and include notables such as Akira Kurosawa, Francis Ford Coppola, Spike Lee, Werner Hertzog, Milos Forman, Warren Beatty, and Clint Eastwood (to name a few).

Founded in 1957, the International Film Festival is the longest-running one of its kind in the Americas, and held each spring over a two-week period.

The highly-respected fest showcases upwards of 200 films each year and usually attracts an annual audience of 80,000 film-goers.

According to their Mission Statement, San Francisco's International Film Festival is deeply rooted in the best and finest traditions of the appreciation of film - both as an art form - and as a meaningful agent for social change.

SFIFF features ground-breaking narrative feature films, live action and animated shorts, television and theatrical documentaries, experimental work and a variety of new digital media.

In addition, there is usually a smart lineup of industry panels and seminars, awards events, onstage tributes, retrospectives and the highly acclaimed Schools at the Festival program (which brings about 4,200 students in grades 1-12 into the festivities).

The offerings are screened at eight venues in the Bay Area.

In spite of its remarkable reach and scope, the much-anticipated Fest manages to remain intimate in many respects, while maintaining widespread appeal across the board in the community-at-large.

In sum, the fest combines a range of marquee premieres, international competitions, hard-hitting documentaries, digital media work and star-studded gala events - that ultimately - educate, enlighten, and inspire.

See 'ya there!

http://www.thetattler.biz



Charlie Sheen pot-boiler!

France...offers tax incentives to Hollywood filmmakers! Cultural Minister Frédéric Mitterrand pitches exotic locales!

Exotic locales on Riviera a lure!



French Culture Minister  Frédéric Mitterrand swallowed a little pride and trotted in to Hollywood to meet with industry execs in recent days in a ballsy effort to boost the ailing film business overseas.

In order to achieve that ambitious goal, Mitterrand (who is the nephew of the former French Prime Minister François Mitterrand ) was inclined to converse in a language that spoke volumes in the corridors of power in Tinsel Town.

After all - when it comes to cost-cutting, tax breaks, and inviting financial perks - the suits at the major studios are inclined to be all ears - and likewise - open-minded when it comes to keeping budgets in line.

Consequently, the well-heeled European “took lunch” with movers-and-shakers like Bob Iger (Walt Disney Company) and Barry Meyer (Warner Brothers) to enlighten filmmakers about the advantages of shooting their multi-million-dollar projects in exotic breathtaking locales in France.

For starters, the French Government has introduced fresh incentives which guarantee foreign movie-makers a 20% tax rebate toward film production costs (with a maximum of $5.6 million per project or 4 million Euros).

There are a couple of hitches, though.

Most non-sports and news programming on French Television Networks must be French-based or European in origin in accordance with applicable laws.

But, any wheeler-dealer in a shark-skin suit should be able to jump the hurdles, when it comes to tricky film shoots.

For example, to qualify for the feature film rebate, scriptwriters are required to promote France by showcasing its rich cultural heritage in the storyline.

To accomplish this end, French officials launched a program to provide grants to screenwriters so they may tour France for free - and thus - familiarize themselves with the country’s historical background with the express aim of meeting the criteria.

More than a dozen filmmakers from the U.S. have taken advantage of the tax incentives to date, and it is expected that with a turn-around in the economy on the horizon, business overseas may start booming in the French film industry.

Meanwhile, a posse of producers in California are fighting – too – to prevent run-away production, with the ultimate goal of ensuring that Hollywood remains the film capitol of the world!

Fists across the water?

News at 11!

http://www.thetattler.biz

French filmmakers renowned the world-over!





Alfred Hitchcock...post on film style translated by site visitor into foreign language! Curious...

希区柯克...影片风格和技术规定除了导演！
July 7, 2008 by julianayrs 08年7月7日由julianayrs

Recently, I attended a screening of a retrospective of a young director’s work, and found myself comparing the artist’s filmic style to Hitchcock’s - a compliment - to be sure.最近，我参加了一个放映了回顾一个年轻的导演工作，并发现自己比较艺术家的电影风格，以希区柯克的-是一种恭维-确定。

What makes a film decidedly Hitchcockian in nature?是什么让电影果断Hitchcockian性质呢？

The way a location is used, for instance.方法的位置使用，例如。

Hitchcock was a firm believer that if a director had a distinctive setting - it should be dramatized and become indigenous to the whole picture - not just remain in the background.希区柯克是一个坚信，如果一个主管有独特的设定-它应该是戏剧，成为土著人的全貌-不只是留在背景。

An exemplary example of this was in the intense drama, “Foreign Correspondent”.堪称典范的例子，这是在激烈的戏剧， “外国记者” 。

The tale was set in Holland.故事设在荷兰。

What was the prominent characteristic in the landscape the auteur chose to weave into the storyline?是什么突出特点的景观的导演选择编织成的故事？

Ah, the windmill.啊，风车。

In one key scene, the character astutely notices that when his hat blows off - it does so in the direction of the wind - the opposite way the arms of the distinctive Dutch landmark were turning.在一个关键的现场，敏锐的性质告示，当他的帽子打了-它这样做的风向-相反的武器荷兰的独特标志的转折点。 It suddenly dawns on the lead character that the odd reaction to this natural force of nature is a secret signal to conspirators.这突然到来的主角是古怪的反应自然力量的性质是一个秘密的信号阴谋。

Pure genius on the part of Hitchcock, eh?纯粹的天才的一部分，希区柯克，嗯？

Placing an ordinary person in extraordinary circumstances was a common element of Hitchcock’s scenarios, as well.把一个普通人在特殊情况下是一个共同的因素希区柯克的情景，以及。

In - “The Man Who Knew too Much” - an ordinary man from Indianapolis is vacationing in Morocco when his son is kidnapped.在-“的擒凶记” -一个普通的人从印第安纳波利斯是在摩洛哥度假时，他的儿子被绑架。

In - “The Wrong Man” - Henry Fonda is arrested for a crime he didn’t commit.在-“错误的人” -亨利方达被逮捕的犯罪行为，他不承诺。

Also, Janet Leigh is an ordinary secretary whose plans are violently interrupted by a schizophrenic, in the outstanding spine-tingler - “Psycho”.此外，珍妮特李是一个普通的秘书，其计划是粗暴打断了精神分裂症，在悬而未决的脊柱，心惊肉跳-“心理” 。

Mistaken identity (or the loss of one) was a common plot device in the English director’s films, too.误区身份证（或损失之一）是一个共同的阴谋装置在英文导演的电影，太。

For example, in “North by Northwest” the lead character Roger Thornton is mistaken for a non-existent CIA agent.例如，在“北西北”的主角罗杰桑顿是错误的不存在的中央情报局特工。

In “Vertigo” - in a clever twist - the intriguing plot revolves around actor James Stuart’s investigation of a woman (Kim Novak) and her elusive identity.在“眩晕” -在一个聪明的扭曲-耐人寻味阴谋围绕着演员詹姆斯斯图尔特的调查一名女子（金诺瓦克）和她的难以捉摸的身份。

Hitchcock also leaned toward the use of suspense over surprise in his films.希区柯克还俯身对暂不使用的惊喜在他的电影。

If he relied on a jolt last minute, the director felt that was tantamount to simply banging the audience over the head with frightening things.如果他依靠颠簸最后一分钟，导演认为，无异于仅仅敲打观众的头与可怕的事情。 Not very inventive, according to Hitch.不是很发明，根据故障。

With the tools of suspense, on the other hand, the legendary director argued that he could reveal things to the filmgoer which the characters in the film did not know, and then artfully build tension as the characters began to learn the truth as it unfolded.随着工具的悬念，另一方面，著名的导演认为，他可以揭示事物的filmgoer的字符在影片中不知道，然后巧妙地建立紧张的字符开始了解真相，因为它展开。

He was also fascinated by imagery and often used repeating themes.他还迷上了图像和经常使用重复的主题。

For example, stairwells often played a central role in Hitchcock dramas.例如，楼梯间往往发挥着核心作用，希区柯克电视剧。

In Hitchcock’s first movie - “The Lodger” - he tracked a suspected serial killer’s movements on a staircase with diabolical effect.在希区柯克的第一部电影-“的房客” -他跟踪一宗怀疑连环杀手的变动对楼梯与凶残的效果。

Meanwhile, in “Psycho” several staircases were featured prominently; on the path up to the Bate’s mansion and at the entrance to the fruit cellar, for instance.与此同时，在“心理”的楼梯有几个突出;的道路上到贝特官邸并在入口处的水果窖，例如。

And, who could forget the actual movie with the image in the title, “39 Steps”?而且，谁可以忘记的实际影片中的形象的名称， “ 39步” ？

“39 Steps” is arguably Hitchcock’s best British film. “ 39步”无疑是希区柯克最好的英国电影。

The compositions on-screen were remarkable, too; undoubtedly influenced by the great German and Russian filmmakers of an earlier era.组成屏幕上的显着，太;无疑影响的伟大的德国和俄罗斯电影的早期时代。

The camera often angled up and down, cut off faces, and framed action in highly-unusual stunning and dramatic ways.该相机往往直角向上和向下，切断的面孔，并制定行动高度不寻常的惊人和富有戏剧性的方式。 A style of filmmaking European directors were well-known for.风格的欧洲电影导演是众所周知的。

Hitchcock also got a perverse thrill out of taking audiences on a voyeuristic roller-coaster ride.希区柯克也有有害刺激的考虑受众的偷窥过山车旅程。

In “Rear Window”, as James Stewart’s character stares across the courtyard at his adversary for most of the film - without the subject being none-the-wiser - the filmgoer titters over the intrigue on the sidelines.在“后窗” ，因为詹姆斯斯图尔特的性格盯着整个院子在他的对手的大部分电影-无主题被无的，明智的-在f i lmgoerti tters的阴谋的观望态度。

Then, he used an unexpected element of surprise to jolt the viewer out of their seats.然后，他用一个意想不到的出奇不意，以颠簸观众离开自己的座位。

The audience is thrown - and literally gasps out loud - when Raymond Burr’s character suddenly ( without warning) turns his face to the camera and pointedly asks,观众投掷-和字面大声惊叹-当雷蒙德伯尔的性格突然（不含警告）把他的脸的摄像头和尖锐地问，

“What do you want of me?” “你要什么的我吗？ ”

In another instance in “Psycho”, the camera zeroes in on a hotel-room window, through which the audience is first introduced to Marion Crane and her divorced boyfriend, Sam Loomis.另一个例子是在“心理” ，相机零在一家酒店房间窗口，通过它的观众是第一次介绍给马里昂起重机和她离婚的男友，三卢米斯。

The characters are partially undressed.人物部分脱光衣服。 Subsequently, Marion and Sam, ended up titillating the filmgoers - who surmised from snatches of clues in the frame - that the two characters had been engaged in a passionate sex romp on their lunch break.随后，马里昂和萨姆上涨titillating的电影-谁推测从片段的线索在画面-这两个字符已进行了热情的性别欢蹦乱跳的午餐休息。

Later, in the same psychological thriller, Norman Bates delights in secretly watching Marion undress through a concealed peephole in the wall.后来，在相同的心理惊悚片，诺曼贝茨在秘密欢乐观看透过马里昂脱衣隐蔽窥视孔壁。

Hitchcock’s films were regarded as highly sexed.希区柯克的电影被视为高度夸大。

And, the English director often dealt with taboo subjects.此外，英文导演往往处理的禁忌议题。

Sometimes, due to the conventions of the day, sexuality was cloaked in a symbolic fashion.有时，由于公约的一天，性行为是掩盖在一个象征性的方式。 For example, in one classic scene, the shot cuts abruptly from two aroused lovers to a train entering a tunnel in the next.例如，在一个典型的现场，突然开枪削减从两个引起爱好者的列车进入隧道在未来。

In fact, Hitchcock found a number of ways to convey sexuality without depicting it graphically; for instance, he inferred explicit sexual craving with the passionate consumption of food.事实上，希区柯克发现了一些方式转达性行为没有它生动地描绘，例如，他推断出明显的性渴求与热情消费的食品。

In an amusing scene in “Psycho”, Anthony Perkins carries on a conversation with Janet Leigh while one of his hands strokes a dead animal and the other lingers on his crotch suggestively在一个有趣的场景在“心理” ，安东尼柏金斯进行对话与珍妮李之一，同时他的手杆死动物和其他不散他的裤裆联想

When it came to casting, the celebrated director was a firm believer in selecting unknowns for lesser roles, and for good reason.当它来铸造，著名导演坚信选择未知较轻的作用，并有充分理由的。

Sure, he understood the need for star recognition and box office appeal and the value of high-calibre actors to the success of a film; but, felt the smaller parts - the cameo gems - should not be inhabited by faces that were recognized by the movie-going public at the local theatre.当然，他的理解，需要承认和明星的票房吸引力和价值的大口径者成功的一部影片，但是觉得较小的部分-在客串的瑰宝-不应该居住的面孔，是公认的观众在公众地方戏剧。

This approach lended more credibility to the project, he felt.这种做法lended更可信的项目，他认为。

In his own words, he noted,用他自己的话说，他指出，

“The best casting man is the novelist; his principals are always new, unfamiliar.” “最好的铸造人是小说家，他的校长总是新的，不熟悉的。 ”

An old-familiar face popping up in a scene in some foreign far-off locale would jar the sense of reality to the audience, he conjectured.一个老熟悉的面孔突然出现在现场一些外国遥远的地方将罐子的现实感给观众，他猜想。

How he achieved his effects on screen were legendary, too.他是如何取得他的影响在屏幕上有传奇色彩了。

The infamous shower scene in “Psycho” was painstakingly achieved by facilitating the head of a nude - and a girl in full figure - with the woman doing the stabbing.臭名昭著的淋浴场景在“心理”是来之不易便利的负责人裸体-和一个女孩全部的数字-与女人做刺伤。

Hitchcock shot a lot of the nude scenes in slow motion because it was important to have the breast covered by an arm at a crucial moment.希区柯克打出了大量的裸体镜头慢动作，因为这是很重要的是，乳腺癌所涵盖的手臂处于关键时刻。 Later, HItch sped up the footage for the final cut.后来，顺利加快了画面的最后切断。

There were an amazing seventy-eight cuts used in a short forty-five second sequence.有惊人的78削减用于在很短的四十五秒序列。

His 1958 film “Vertigo” contains a camera trick that has been imitated and re-used so many times by filmmakers that it has become known as the Hitchcock zoom.他1958年影片“眩晕”包含了相机伎俩已经模仿和重复使用过很多次的电影，它已成为被称为希区柯克变焦。

Although famous for inventive camera angles, Hitchcock generally avoided points of view that were physically impossible from a human perspective.虽然著名的发明照相机的角度，希区柯克通常避免的观点是实际上不可能从人权的观点。

For example, he would never place the camera looking out from inside a refrigerator.例如，他决不会摆放摄像机望着从冰箱。

This was a device to draw the audience into the film’s action, in his opinion.这是一个设备提请观众进入电影的行动，在他的意见。

During an interview conducted by Francois Truffaut a few years ago, Alfred Hitchcock said,在接受采访时进行了弗朗索瓦特吕弗在几年前，希区柯克说，

“What is drama, after all, but life with the dull bits cut out?” “什么是戏剧，毕竟，但生活的枯燥位切断了？ ”

Years ago, I had a funny experience near the set of “Frenzy” (a film about a necktie murderer) in London, England.多年前，我有一个有趣的经验，附近的一套“疯狂” （电影的领带杀人犯）在伦敦，英国。

I noticed some cameras, and a lot of activity in the street, and asked someone what was going on.我注意到一些相机，以及大量的活动在大街上，有人问发生了什么事情。

A passer-by noted that Hitchcock was filming his latest movie.一名途人指出，希区柯克拍摄的最新影片。

Well, I thought to myself, Hitchcock is such a great director; with an eye for talent.好吧，我想，希区柯克是这样一个伟大的导演;着眼人才。 Maybe I should watch from afar - who knows - I might get discovered.也许我应该从远处观看-谁知道-我可能会发现。

A few minutes later, there was an announcement over a loud speaker,几分钟后，有人宣布了扬声器，

“Would the man in the white shirt get out of the shot?” “如果该名男子在白色T恤走出开枪？ ”

Shame-faced, I realized it was me, and moved on.羞耻面，我意识到这是我和转移。

Oh well, that’s show business.噢不错，这表明业务。

Woody Allen...to direct Puccini's Il Trittico. Los Angeles Opera House! September 6th, 2008.

Woody Allen, the quirky filmmaker known for his cerebral film style and for being a consummate New Yorker, will stage a production of Puccini's "Il Trittico", a trio of one-act operas.

The production is slated to open the 2008 - 2009 Opera season in Los Angeles.

When celebrated film actors hanker to get back to their "craft" they often tackle tough stage roles in the legitimate New York Theatre.

So, this begs the question. Is this a star-turn for the three-time academy-award winning director?

"I have no idea what I'm doing," Allen said in a recent statement to the press, "but incompetence has never prevented me from plunging in with enthusiasm."

Quentin Tarantino...tantrum in Park, Utah. Give the man a break!

Embarrassing footage of Quentin Tarantino - cutting up on camera - has been circulating the tabloid gossip shows this past week.

Apparently, Quentin was schlepping along the street and minding his own business in Park, Utah - where the Sundance Film Festival is underway - when a cameraman dashed up with the intent of capturing the quirky director in his element.

Quentin stopped dead in his tracks when he spied the paparazzi - turned to him - then quipped, with an exasperated look on his face,

"What are you doing?"

When the photog failed to answer, an altercation ensued between the two.

Now, gossip mongers are using the incident to cast a negative light on Quentin Tarantino, and his reputation.

On more than one occasion, I've covered events that Tarentino attended and not only witnessed his behavior up-close, but also unobserved from afar....on the street, at a local movie house, wherever.

For the record, I can state quite emphatically, that Mr. Tarentino has always been generous to fans, usually stopping to sign an autograph or two.

Give the man a break, eh?

One has only to approach Quentin with a little courtesy, to land a memorable photo op, I assure you.

As to the clash in Utah, well, it was triggered by the inappropriate conduct of the dim-witted cameraman, in my estimation.

Julia Roberts put it succinctly when she noted,

“I don't think I realized that the cost of fame is that it's open season on every moment of your life.”

Wild Strawberries...Ingmar Bergman's best!

In the opening scenes of Wild Strawberries an elderly Doctor is puzzled by a sequence of dreams...

In one, as he gazes skyward, he is taken aback by a town clock without any hands.

As he turns in the street to take in the rest of his surroundings, an ornate horse-drawn carriage - trimmed with a Golden Cherub - turns a corner. A wheel catches on a fixture protruding from a building and upsets the procession - at which point - a nondescript wooden coffin spills out onto the quiet cobblestone street.

Taken aback at first, the doctor draws closer when he notices a corpse in the open casket.

Boldly, he snatches up the lifeless body, and pulls it up to maneuver a gaze at the face.

It's his own, naturally.

Is he staring death in the face?

A few years ago, I experienced a remarkably similar nightmare, in some respects.

In mine, I stumbled into an empty room painted in a blinding, dazzling shade of etheric white. At my feet, I spied my naked dead body with a splash of garish red blood marking a gaping wound at my chest. Almost sacredly, I carried my limp form out of the room.

Curiously, the following evening I was attending a party and in the course of a conversation mentioned the disturbing dream to another guest. Coincidentally, a woman standing nearby turned out to be a dream analyst who proceeded to help me fathom the depths of the startling images.

She noted that the room represented my "house" (me) and that the color of "white" symbolized the attainment of purity. The body, she asserted, was my "dead self". Evidently, I was in a phase of great change in my life, she conjectured. A part of me had died and now there was renewal in my life. The reason I cradled my dead body, she explained, was because we must have compassion on our "former selves".

In essence, we are the sum total of all our experiences and must recognize and accept that.

In the case of the good doctor in Wild Strawberries some might speculate that he was coming face-to-face with mortality. The manner in which he was handling the issue would tend to suggest that he was at odds with the foreboding signs.

After all, noted psychologist Carl Jung believed dreams were expressed in a symbolic language; also, that they were the pathway to self-actualization.

In contrast, Freud argued that dreams were a matter of convenience.

They help to prolong sleep instead of waking up - and subsequently - are the guardians of sleep and not its disturbers

If we are to concur with Freud, the meaning of the good Doctor's dreams signal one avenue of thought.

I am inclined to focus on the Assyrians who alleged dreams were simply omens.

Dreams, according to their cultural heritage, contained warnings; more importantly, were God's way of demanding some type of action.

Yes, perhaps the hour had come for the retiring physician to take stock of his life!

The Wild Strawberries figure quite prominently into the scheme of things, too.

Medieval stone masons carved strawberry designs on altars and around the tops of pillars in Churches and Cathedrals to symbolize perfection and righteousness.

All told, it is evident that Ingmar Bergman's storytelling devices profoundly hit their mark.

The Cinematography in the film is breathtaking.

In one scene, the camera slowly pans as the Doctor cautiously strides down a desolate lane; you could hang a gilded frame on each moment of film for each is so artfully crafted.

While the directing itself is at times formal, it is natural and seamless nonetheless.

His signature style is immediately recognizable on film.

The relentless close-up of the face is one of the useful thematic keys to Bergman's work, for example.

Moreover, his provocative screen images often generate startling feelings of raw, complex subjectivity as well.

When asked about the meaning of his films, he said, "...it is a difficult and dangerous question and I usually give this evasive answer: I try to tell the truth about the human condition, the truth as I see it."

Mr. Bergman once noted, "No art passes our conscience in the way film does, and goes directly to our feelings, deep down into the dark rooms of our souls."

In a staggering body of work spanning fifty years he has proven that to be true.