Songs from Wes Anderson film soundtracks
Filming jack Nicholson’s iconic “Here’s Johnny!” moment on the set of The Shining.
The camera has been heavily protected from Jack’s axe and the debris which resulted from hacking open the door.
"In my films landscapes are never just picturesque or scenic backdrops as they often are in Hollywood films. In Aguirre the jungle is never some lush, beautiful environment it might be in a television commercial. Sometimes when you see the jungle in the film it is a reality so strange you cannot trust it, and maybe think it is a special effect. The jungle is really all about our dreams, our deepest emotions, our nightmares. It is not just a location, it is a state of our mind. It has almost human qualities. It is a vital part of the characters’ inner landscapes. The question I asked myself when first confronted by the jungle was ‘How can I use this terrain to portray landscapes of the mind?’ I had never been to Peru before filming but had imagined the landscapes and the atmosphere with real precision. It was curious because when I arrived there everything was exactly as I had imagined it. It was as if the landscapes had no choice: they had to fit my imagination and submit themselves to my ideas of what they should look like.” — Werner Herzog
Ryan Gosling on the set of Only God Forgives
During the scene where Billy and Frank are talking, Jack Nicholson felt that he wasn’t “intimidating” enough. Director Martin Scorsese reveals that the next day, Nicholson shocked everyone on set by deviating from the script and pulling out a weapon to frighten his co-star and provoke a genuine reaction. Scorsese says, “He pulled a gun on him. He didn’t tell me he had a gun. It was great… Leo’s reaction is real-time. I still get chills… It’s so real to me.” Of the incident, Dicaprio says, “It was one of the most memorable moments of my life, as far as being an actor is concerned.”
In the opening scene, Marion Crane is wearing a white bra because Alfred Hitchcock wanted to show her as being “angelic”. After she has taken the money, the following scene has her in a black bra because now she has done something wrong and evil. Similarly, before she steals the money, she has a white purse; after she’s stolen the money, her purse is black.
Days of Heaven | Terrence Malick | 1978
Day-Lewis spoke about his concerns of how Freasier would react to the more serious scenes: “I started to worry a little bit because we were very close, and I thought, ‘Man, how’s he going to feel when I start treating him harshly?’ So I kind of sat him down. I created this sort of atmosphere… portentous atmosphere. ‘Dillon, you know how I feel about you and there are going to be moments… I’m not going to treat you nicely. I want you to understand that I love you.’ He looked at me like I was insane.”
The focus on eyes emphasises the overall desperation for secrets and trust that characterises both the FBI and the criminals. On close ups, having Jodie Foster look slightly off camera and all the other actors straight on, subtly highlights the fact that most of the film is from Clarice’s point of view and that others struggle to know her intimately. When she finally confides in Lecter and tells him about her childhood and the lambs, she looks straight into the camera for one of the first times [x]