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Further he was selected to the talent pool Trailblazer in by the Edinburgh Int. Film Festival recognising new emerging talent and won the Channel 4, 4Talent award for Best Directing in In Timo started working with Mark Cousins and has been editing his films ever since.
Sometime in early , I bumped into Mark Cousins on the street in Edinburgh, and asked what he was up to. He said that he and Tilda Swinton had dreamed up a new idea for a film festival that summer, which involved pulling the Screen Machine, a ton mobile cinema, by hand across the Scottish Highlands, showing great movies in small villages along the way.
They called this wild idea The Pilgrimage. Mark had consulted the British Tug-of-War Association about how many people it would take to pull a truck of that size, and showed me some figures scribbled on the back of an envelope.
Mark was a maths whizz long before he was a world-renowned cinephile, but he was a bit troubled about his calculations. It might be a disaster.
I decided then and there that my family — myself, wife Mary Bell and our two sons, then 8 and 12, both film mad — had to become Pilgrims.
Mark may have been uncertain about whether he and Tilda could pull off this lunatic scheme, but I had no doubt whatsoever that it would be an once-in-a-lifetime experience for anyone who took the plunge and trusted in their vision.
And so it proved. We met amazing people who came from all over the world. We watched great films. We swam in lochs. We got eaten by midges. About 50 people pulled the Screen Machine with ease though not me, because I had a bad back.
For all his modesty, Mark has a clarity of conviction which makes remarkable things happen, and which delivers enormous rewards for anyone who tags along for the ride.
So being giving the chance to help him make his next film was an extraordinary gift. There are some horses or is it a dog, or a cat? The local "Cine-Disco" involved about an hour of music where us kids were allowed up on the main stage to dance about to the music, chat with our mates, eat lots of sweets and learn what it was all about to speak to girls!
Then once the hour of music was over we all returned to the cinema seats and were treated to some cartoons, an old black and white mystery serial that would run on each week and then a main feature.
As I got older and into my teens, I was given my first video recorder an old Betamax and I would record virtually any film that was broadcast on TV.
This enabled me to watch the likes of films by Hawks, Hitchcock, Lang, Ford and discover foreign cinema at quite an early age.
I was hooked and wanted to learn more, so started reading many books on film too. Outside of my day job, my work in film has begin to develop over the past 10 years or so, to a point now where I am keen for this to be my main vocation.
I have my own archive of films and documentaries on cinema as well as having access to many private film collections around the world and some film archives too.
I help many film writers, critics, directors and film lecturers by tracking down titles they are looking for, for research and study purposes. Whilst at the festival we hung out a few times together, got talking about films generally and gradually got to know a bit more about each another.
I expressed that I was not very happy in my current job and Mark very kindly offered to help to see if he could find me something linked more with my strengths and knowledge of film.
Towards the end of November I received an email from Mark asking if I would be interested in being a researcher on a new film he was about to start making.
About a week later Mark and I met in Cambridge and spent a few hours discussing the film in more detail and what my role would entail. The next challenge, once I had seen a rough cut of the film towards the end of February, was to then start acquiring the best possible source materials of each of the 53 films that are used in the film.
Mark had a few of the titles in his personal collection and the rest I was able to obtain via other means.
By the end there were only a couple of titles that proved difficult to obtain. So it was with A Story of Children and Film.
I realised early on in my thinking that, unlike my other films, it would not be about a journey, a road movie, it would be a series of themes. So I scribbled each childhood theme — shy, secretive, performative, destructive, watching, leaving, adventurer, dreaming, grumpy, scared, loss, limited horizon, daring, class, adult, dog with a bone, alone — on the page, and drew a rough box around each.
Then, each time I watched a film, if it had a good scene about one of those themes, I wrote it down in the relevant box. I noted down the order in which I saw the themes — shyness came first, for example, and destructiveness came last.
This, by and large, became the order in which we edited the scenes in the film. When it came to the edit, we chose what I thought were the best examples.
The former allows me to jump between themes, notice connections, etc. The screening was presented by Cannes artistic director Thierry Fremaux.
Without condescension or cynicism, Cousins offers us his own humanist idealism, as refreshing as a glass of iced water. Throughout, the film is rich in [its cinematic] finds, works seldom seen or discussed but, in many cases, just as impressive as the famous examples he samples.
The movie is as self-indulgent as it is brilliant. Vivian Van Dijk writes: Film director Mark Cousins has made with this film a blueprint for many film generations to come.
This is a must-see for anybody who is attending this Cannes Film Festival. Whether you are a film student or a successful film director already or just a film lover, Mark Cousins knows how to point you to the key ingredients that make children shine in film and also make their roles and behavior in film transparent.
Read the review here. Here, he shares with Film4. Another typically thoughtful trawl through the history of film seems likely.
Full interview is now online here. Ross Miller, Thoughts on Film: For any cinephile it would be tough to watch this film and not feel a sense of joy…an intimate lyrical essay on the unique way cinema can showcase childhood.
Chris Buckle, The Skinny: Michael Clancy, The Artifice: It makes for an excellent companion piece to his early opus, The Story of Film: An Odyssey, making Cousins one of the most astute and thoughtful filmmakers working today.
Teddy Jamieson, Herald Scotland: Dial M For Movies: The Toronto International Film Festival has announced the line up of its edition.
More information on their website. Without pedantry, he speaks like a professor in love with his discipline, who wants the viewer to share his enthusiasm.
What a way to start a Telluride! A review from the Adelaide screening can be read here. The deal was brokered by Oli Harbottle, head of Distribution for Dogwoof, with Adam Dawtrey who has produced the film.
Read the story here. Here you can access some of them:. The lengthy interview which covers many different subjects on and around childhood is online here.
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The photography is phenomenal and combined with great acting is a recipe for a classy film. However occasional brilliant sequences, are often marred by the continuous commentary, which prevents any real, deep, emotional involvement with any of the characters.
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Full Metal Jacket Lock, Stock and Two Smoking Barrels Edit Cast Cast overview, first billed only: Ginger McKenna Joe Pesci Nicky Santoro James Woods Lester Diamond Don Rickles Billy Sherbert Alan King Andy Stone Kevin Pollak Pat Webb Dick Smothers Frank Marino John Bloom Don Ward Pasquale Cajano Remo Gaggi Melissa Prophet Jennifer Santoro Bill Allison John Nance Vinny Vella Sam convinces Ginger to come back with Amy, and then scolds her for stealing his money and kidnapping their daughter.
After he overhears Ginger talking on the phone about killing him, Sam kicks her out of the house, but soon relents. Sam discovers this after finding Amy tied to her bed by Ginger, who is with Nicky at his restaurant.
Sam confronts and disowns Ginger, and ends his friendship with Nicky. Nicky also severs his ties with Ginger when she demands he kill Sam. Even though she succeeds in taking all of the money from the safety deposit box, she is arrested by the FBI as a material witness.
The FBI moves in and closes the casino. Green decides to cooperate with the authorities. Piscano dies of a heart attack in front of his wife upon observing federal agents discover his notebook.
Nicky flees Las Vegas before he can be caught. The bosses are arrested and put on trial; aware that they will not escape conviction, they plan to eliminate anyone involved in the scheme to prevent them from testifying.
Among those killed are three casino executives, Teamsters head Andy Stone, and money courier John Nance. Ginger travels to Los Angeles and ultimately dies of a drug overdose in a motel.
Sam himself is almost killed by a car bomb and suspects Nicky was behind it. With the Mob now out of power, the old casinos are purchased by big corporations and demolished.
The corporations build new and gaudier attractions, which Sam laments are not the same as when the Mafia was in control. Sam subsequently retires to San Diego and continues to live as a sports handicapper for the Mob, in his own words, ending up "right back where I started".
The research for Casino began when screenwriter Nicholas Pileggi read a report from the Las Vegas Sun about a domestic argument between Frank "Lefty" Rosenthal , a casino figure, and his wife Geri McGee , a former topless dancer.
Argent was owned by Allen Glick, but the casino was believed to be controlled by various organized crime families from the Midwest.
This skimming operation, when uncovered by the FBI, was the largest ever exposed. Pileggi contacted Scorsese about taking the lead of the project, which became known as Casino.
Scorsese and Pileggi collaborated on the script for five months, towards the end of Some characters were combined, and parts of the story were set in Kansas City instead of Chicago.
A problem emerged when they were forced to refer to Chicago as "back home" and use the words "adapted from a true story" instead of "based on a true story".
They also decided to simplify the script, so that the character of Sam "Ace" Rothstein only worked at the Tangiers Casino, in order to show a glimpse of the trials involved in operating a Mafia-run casino hotel without overwhelming the audience.
Filming took place at night in the Riviera casino in Las Vegas, with the nearby defunct Landmark Hotel as the entrance, to replicate the fictional Tangiers.
According to the producer Barbara De Fina , there was no point in building a set if the cost were the same to use a real-life one.
Several edits were made in order to reduce the rating to R. Upon its release, the film was heavily criticized for its intense violence. It received mostly positive reviews from critics; however, their praise was more muted than it had been for the thematically similar Goodfellas , released only five years earlier, with some reviews criticizing Scorsese for retreading familiar territory.
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