1973. David Lynch had been shooting Eraserhead for roughly one year when he ran out of cash. The film was suddenly and indefinitely on hold. It was, he says, “a depressing time.” It was also this time that the American Film Institute asked a friend of his, Fred, to shoot a test using two different black and white video stocks to determine which stock was best, because, as Lynch tells it, “they were going to buy a bunch.” Lynch says when he heard AFI was buying video tapes, “it gave me a sadness, and I worried they were going to have to change the name of the place” (from American Film Institute to American Video Institute). “So I looked at Fred, and I got an idea, and I said, um, ‘Fred, does it matter what you shoot?’ And he said, ‘Well, what are you talking about?” And I said ‘Could you shoot anything you want? Twice. One with one stock and one with the other, and go like that, for the test?’ And he said, ‘Well, I don’t see why not.’ So I said, ‘Could I write something and make something for tomorrow?’ And he said, ‘Okay.’”
That evening Lynch wrote The Amputee. The next day he shot this video:
Interviews with Jay-Z, Kendrick Lamar, Common, Chris Rock, Mahershala Ali and others as they discuss issues such as systemic racism, troubles with honesty in relationships, the readiness to love, mentorship and much more.
Directed By: Phuong-Cac Nguyen
Produced By: Alfredo Ritta
South American Cho-Low is a short documentary that examines the meeting point between cholo style and lowrider culture in Sao Paulo. The film features interviews with major personalities and icons from the movement such as photographer Estevan Oriol, Christopher “Duel” Hall, Antonio Carlos Batista “Alemão” Filho, Luiz “Gordo” Teixeira, Mariana de Paula Martins and Leandro Vinicius Pimenta Cabellos, who take viewers through the world of lowriders, tattoos, religion and cholo style as they recount why they’re so passionate about Chicano and lowrider culture, and why they relate so much to those living the life in East Los Angeles. South American Cho-Low shows that despite the violence associated with gang culture, the Brazilian interpretation — where violence is noticeably absent — provokes the deeper question of what it means to truly be a lowrider and maintain a Brazilian identity.
from the LA Times
Though his name was largely known only within the industry, Loren Janes appeared in “Spartacus,” the “Magnificent Seven,” “The Ten Commandments,” “How the West Was Won,” “It’s a Mad, Mad, Mad, Mad World,” “The Dirty Dozen,” “The Graduate,” “Planet of the Apes,” “The Poseidon Adventure,” “Back to the Future,” “To Live and Die in L.A.,” “Spider Man,” hundreds of movies and television shows in all.
He doubled for Jack Nicholson, Paul Newman, Frank Sinatra, Charles Bronson, John Wayne, Debbie Reynolds, Yul Brenner and McQueen over and over again.
The car chase scene in “Bullitt” — a jarring 10-minute adrenaline rush across the streets of San Francisco — became such a classic that it spawned its own subculture, websites, Google forums on where the scenes were shot, and an overlay for Google Maps that lets motorists retrace the chase route. In 2011, the Wall Street Journal even rented a Ford Mustang — albeit not the 1968 Ford Mustang GT used in the film — and took Janes on a slow-speed reenactment of the chase.
“Steve was a great driver, but he was only behind the wheel for about 10% of what you see on screen,” Janes confided during the reenactment. “He drove in scenes that required close-ups — but not in the ones that could kill him.”
–excerpted from Steve Marble’s LA Times obit
Cracked Actor (Live, Los Angeles ’74)
Sweet Thing/Candidate (Live, Los Angeles ’74)
In honor and in celebration of Cracked Actor, the new live release from David Bowie’s infamously depraved yet musically stellar ’74 tour (the new album narrows in on one evening, his September 5th show at Los Angeles’ Universal Amphitheater, which I had the blearied pleasure of attending!), Riot Material scratched up a BBC documentary from that same tour, titled Cracked Actor: A Film About David Bowie. The 1975 film, viewable below, is directed by Alan Yentob: [Read more…]
Though New York for years has had an inspiringly lively and progressive jazz scene, Kamasi Washington, approaching the American cultural front, is singlehandedly making the form relevant once more. His forthcoming EP, Harmony of Difference, currently (and exclusively heard) in its own room at the Whitney, will surely set the stage for the long in coming Jazz Renaissance.
Hands down the best collaborative work at this year’s Biennial, and in fact the single best piece in the exhibition (no diss on an otherwise excellent affair, particularly floor 6), is Washington’s stellar “Truth” and the equally affecting film in accompaniment, Harmony of Difference, written and directed by AG Rojas.
Kerry James Marshall on the idea of representation, contemporary vision, and the elevation of Black imagination. [Read more…]
Chicano artist Harry Gamboa Jr. talks about the creation of No Movies with ASCO [Read more…]