FILM 2015: SICARIO

FILM 2015: SICARIO

TRIVIA: While Benicio Del Toro's character is frequently silent in the movie, he initially had more lines. "In the original script, the character explained his background several times to Kate," Del Toro said. "And that gave me information about who this guy was, but it felt a little stiff to have someone you just met fifteen minutes ago suddenly telling you what happened to him and who he is." Working with director Denis Villeneuve, Del Toro began cutting some of his dialogue to preserve the mystery of who his character is; Villeneuve estimated they cut 90% of what Del Toro was originally intended to say by screenwriter Taylor Sheridan. Like Del Toro, Villeneuve saw power in stripping the character down to a brooding silence, stating that dialogue belongs to plays and "movies are about movement, character, and presence, and Benicio had all that."

When discussing the score with composer Jóhann Jóhannsson, director Denis Villeneuve said he wanted the the sound of a threat. The one film Villeneuve used as a comparison was Steven Spielberg's Jaws (1975).

Emily Blunt based Kate Macer's character on one of four female FBI agents she spoke to in preparation for the role, whom she described as "shy" and with a "loner quality" to them.

The word "Sicario" derives from the Latin word "Sicarius," meaning "dagger man." The term was used by Romans to describe Jewish zealots who killed Roman citizens using a "sica" or small dagger hidden in their cloaks. There were so many murders in the province of Judea around the 1st Century AD that the figure of "Sicarius" was codified in Roman law ("Lex Cornelia de Sicariis et Veneficis -- Cornelian Law for Stabbers and Poisoners") of 81 AD. These words also derive from the verb "secare," which means "to slice."

FILM 1936: ABDUCTED IN PLAIN SIGHT

FILM 1936: ABDUCTED IN PLAIN SIGHT

The twisting, turning, stranger-than-fiction true story of the Brobergs, a naive, church-going Idaho family that fell under the spell of a sociopathic neighbor with designs on their twelve-year-old daughter.

http://m.vogue.mx/fashion-week-mexico/galerias/street-style-fashion-week-mexico-mbfw-mx/4769/image/1349352

Three of my very talented friends have started a kickstarter for their newest book Sweet Dreams | Love, life & death in Mexico.

It looks amazing – of course I will be buying a copy as I already have their other excellent photobooks (previously they went to China and Ghana)

https://www.kickstarter.com/projects/1988779039/sweet-dreams-love-life-and-death-in-mexico?ref=project_link

http://www.designlovefest.com/2016/12/10-dreamy-hotels/

BOOK 136: VERNON GOD LITTLE: DBC PIERRE

Vernon God Little (2003) is a novel by DBC Pierre. It was his debut novel and won the Booker Prize in 2003. It has twice been adapted as a stage play.

The life of Vernon Little, a normal teenager who lives in Martirio, Texas, falls apart when his best friend, Jesus Navarro, murders their classmates in the schoolyard before killing himself, and Vernon is taken in for questioning.

The Booker Prize judges described this book as a "coruscating black comedy reflecting our alarm but also our fascination with America"

The character of Vernon as a troubled teenager has drawn comparisons with the character Holden Caulfield in J. D. Salinger's The Catcher in the Rye novel. There are also significant similarities with Mark Twain's The Adventures of Huckleberry Finn.

The book is written in contemporary vernacular - with the use of foul satirical language and a witty irony. The town in which Vernon lives, Martirio, is ironically given the Spanish word for martyrdom.

Formerly an artist, cartoonist, photographer and filmmaker, and later accused of being a conman and thief following the wild, drug-fuelled international rampage of his twenties, Pierre wrote the novel in London after a period of therapy, personal reconstruction and unemployment. He states the novel was a reaction to the culture around him, which after his own reorientation in life seemed to be full of the same delusional behaviours and self-entitlements which brought his own earlier downfall.

The book was originally drafted as the first part of a trilogy which his UK publisher advised against, but which Pierre has loosely pursued in two subsequent works set 'in the presence of death', and dealing with contemporary, media-infected themes: Ludmila's Broken English (2006), and the final part of the End Times Trilogy, Lights Out In Wonderland (2010). This third book follows to their conclusion many of the questions underlying Vernon God Little, and returns to the first-person narrative of a young man set apart from his culture, this time in Europe.

http://themerrythought.com/page/3/

http://thesundaybest.com.au/mexico-the-cookbook/

http://society6.com/ClaireHefferDesign/Frida-S2y_Print#1=45

Film 972: Touch of Evil

Trivia: Was screened at the 1958 Brussels World's Fair, where judges (and then critics) Jean-Luc Godard and François Truffaut awarded it the top-prize. It was said the film was a great influence on starting Godard's and Truffaut's illustrious careers, both of whom within a year went on to make their first films Breathless and The 400 Blows, respectively.

Marlene Dietrich and Zsa Zsa Gabor share a title card ("Guest Starring Marlene Dietrich, Zsa Zsa Gabor"). Gabor has a bit part; she is onscreen for twenty seconds at most. Dietrich has a pivotal role and appears in four crucial scenes including the finale.

Orson Welles shot predominantly at night in order to fend off meddlesome studio suits.

The nighttime filming of the long, single tracking shot opening sequence had many retakes. It took so long that the sequence used was the last chance that night; the first light of the breaking dawn is visible in the background.

Janet Leigh broke her left arm before filming commenced, but appeared nonetheless. The arm was in a cast, hidden from the camera, for many scenes. In the more revealing motel scenes, the cast was removed for filming, and re-applied afterwards.

Orson Welles was originally hired only to act in the film, but due to a misunderstanding, Charlton Heston understood that Welles was to be the director. To keep Heston happy, producer Albert Zugsmith allowed Welles to direct. Welles made major changes to the already-completed script, including changing Heston's character from a white district attorney to a Mexican narcotics agent, changing Janet Leigh's character from Mexican to American, and changing the setting of the movie from a small California town to a Mexican-American border town.

Orson Welles was fired as director during post-production, and the film was recut contrary to his wishes. Before his death, he left instructions on how he wanted the film to be edited, and in 1998 a version was made the way he intended.

Oscar winner Mercedes McCambridge, only appears in the film because she was having lunch with Orson Welles during filming and Welles convinced her to film a scene. Welles had her wear a leather jacket, he cut her hair himself and had her character say the sinister line, "I wanna watch."

Despite popular speculation, Orson Welles is wearing make-up throughout the film. For hours every night, they'd add pounds and pounds onto him, and use prosthetics for his face. He once said that he was late going to a dinner party at his house during the filming, and arrived with his make-up still on. A famous actress approached him when he entered and in all seriousness said: "Orson! You look wonderful!"

The role of the motel night manager was written specifically for Dennis Weaver, because Welles admired his work on Gunsmoke and wanted to work with him.

In the movie Ed Wood, the Orson Welles character complains to the Ed Wood character about administrative meddling in a director's artistic vision: "I'm supposed to do a thriller with Universal, but they want Charlton Heston to play a Mexican," referring to this film (in reality, Heston's character was originally supposed to be white; it was Welles himself who changed it to a Mexican). Wood also tells Welles, "I've even had producers re-cut my films," a significant issue, as it turned out, for Welles with this film.