Paul Thomas Anderson once said that he learned everything he knows about directing from John Sturges’ commentary on the ‘Bad Day at Black Rock’ LaserDisc. This was an exclusive of Cinephilia & Beyond, the commentary stayed on the Criterion LD for ages — until it was ripped a while ago. So the only way anyone could ever hear this is if they had a LaserDisc player. Well, not anymore. “This was the first MGM film to be shot in Cinemascope. According to director John Sturges’s commentary track on the Criterion Laserdisc release, it was also filmed at the same time in the standard 4:3 ratio version because studio executives still weren’t sure how well the wide screen format would work. That version was never released.” —Behind the Camera On ‘Bad Day at Black Rock’

Film is about reaction

“Film is reactive. What counts is what your players react to. So, if you go past your principal actors at what’s happening, then you cut around, reverse back onto that actor — automatically you’re in a close shot, which is what you wanna be, and automatically you’re cutting off what happened to see how it affected him. That’s the name of the game in films. Hitchcock said it all. He said, ‘Cutting means the ability to make an audience feel what you want them to feel by the reaction of somebody to something.’”


“Here, Sturges talks about how Dore Schary of MGM and screenwriter Millard Kaufman, who wrote the script to ‘Bad Day at Black Rock,’ came up with two elements for the story and how they work together to form a living narrative: ‘One: He was a man whose life was saved by a Japanese boy in Italy. The boy died and he was given a metal for his heroism. He’s looking for the father of that boy to give him the metal in an expression of thanks. Two: He’s lost the use of his arm. He feels mutilated, unneeded, defeated, and leading a pointless existence. Put those two elements in this and you have a story. And it moves. It’s alive, and you identify. It goes somewhere.’” —V Renée, No Film School

“Millard Kaufman, who passed away on March 14, 2009, at the age of 92, accomplished something maybe even more significant than his two Academy Awards nominations. And that is the fact that he managed to sustain a writing career for seven decades. Documentary filmmaker Edmond Stevens presents a segement of his feature length documentary, ‘Spec,’ about the culture and commerce of spec screenplay writing. Millard was generous enough to to contribute an interview for this movie and here are a few excerpts and his take on ‘a life well-written.’ A special thank you goes out to his wife of 66 years, Lorraine Kaufman.” —Millard Kaufman: A life at the Movies

Read, learn, & absorb: Millard Kaufman's screenplay for ‘Bad Day at Black Rock.’ (NOTE: For educational purposes only)

“The film itself is an hour and 21 minutes, when I got done splicing up the bits I marked as informative — I had about 50 minutes of material from Sturges. After the split, I left out about 20 minutes that was good, but mostly outdated. So what you’ve got is essentially 30 minutes of some really great fucking filmmaking discussion. I am thankful that this great man left us with some insight before he left this earth.” —filmschoolthrucommentaries

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Pumzi - dir. Wanuri Kahiu // Kenya

In a dystopian future 35 years after an ecological WWIII  has torn the world apart, East African survivors of the devastation remain locked away in contained communities, but a young woman in possession of a germinating seed struggles against the governing council to bring the plant to Earth’s ruined surface.

The main character is a museum curator in the future and also yes I would like see this now please


Based on this 
This took a left turn when I remembered Superman will outlive us all. 


Based on this 


This took a left turn when I remembered Superman will outlive us all. 

(via dcu)

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