MCN Columnists
Douglas Pratt

The Ultimate DVD Geek By Douglas PrattPratt@moviecitynews.com

Cruising

Few movie making careers have crashed and burned as resoundingly as William Friedkin’s. It began to skid out of control beforehand, and it is still smoldering in mediocrity today, but the flames of disaster reached their apex with Friedkin’s head-scratchingly stupid 1980 story of an undercover cop, played by Al Pacino, trying to solve a series of…

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DVDs: The First Decade

2007 marked the end of the first decade of DVDs and represented a profound change in the motion picture business. Where previously, home video was an ancillary market, with the full penetration of the inexpensively manufactured 5-inch (actually, 12cm) format (and while artists and film executives-and television producers-are not entirely willing to admit it yet),…

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The Ultimate DVD Geek

Quote Unquotesee all »

“All of the security, all of the waiters, all of the musicians … that’s 3,000 people!” The shopping required fifty tractor trailers. The are thirty gallons of cocktail sauce; 350 pounds of smoked salmon; 200 pounds of brussels sprouts, 250 pounds parmesan cheese; 3,600 eggs; 6,000 mini-brioche buns; five gallons of hot fudge; 20 pounds pickled ginger; 30 pounds edible gold dust; 7,000 miniature chocolate Oscars. There are 1,400 bottles of Piper-Heidsieck champagne and 2,200 bottles from Francis Ford Coppola’s winery. This will be served in and upon 13,000 glasses, 4,500 bamboo skewers, 4,800 ramekins and 6,000 cocktail forks.”
~ Wolfgang Puck Goes Oscar Dinner Shopping

“While these images seem to reveal all, they disclose nothing beneath the surface. All that we know is what we see onscreen and that Seberg’s face is delicate and lightly creased. She’s rarely shown smiling, although there are instances when she laughs emphatically, moments that feel uncomfortable and artificial, as if she were trying out an emotion she had forgotten. We know the texture of her skin; the patterns on the walls; the depth of field; the quality of the light; the contrast of the black-and-white film; the level of grain; the dowdiness of her clothes. She’s partial to granny dresses, or maybe they’re nightgowns, and when she stands in front of a window, the sunlight glows softly, creating a kind of ravishing halo effect: Saint Jean.”
~ Manohla Dargis On Philippe Garrel’s Les Hautes Solitudes