Interstellar (2014)

8-13-1990:

A3 Overlap (gray black big squares), 2013 
420 x 297 mm

(via oscob)


"And you think if you save poor Catherine, you could make them stop, don’t you? You think if Catherine lives, you won’t wake up in the dark ever again to that awful screaming of the lambs." - The Silence of the Lambs (1991) (X)

"And you think if you save poor Catherine, you could make them stop, don’t you? You think if Catherine lives, you won’t wake up in the dark ever again to that awful screaming of the lambs." - The Silence of the Lambs (1991) (X)

"And you think if you save poor Catherine, you could make them stop, don’t you? You think if Catherine lives, you won’t wake up in the dark ever again to that awful screaming of the lambs." - The Silence of the Lambs (1991) (X)

"And you think if you save poor Catherine, you could make them stop, don’t you? You think if Catherine lives, you won’t wake up in the dark ever again to that awful screaming of the lambs." - The Silence of the Lambs (1991) (X)

"And you think if you save poor Catherine, you could make them stop, don’t you? You think if Catherine lives, you won’t wake up in the dark ever again to that awful screaming of the lambs." - The Silence of the Lambs (1991) (X)

"And you think if you save poor Catherine, you could make them stop, don’t you? You think if Catherine lives, you won’t wake up in the dark ever again to that awful screaming of the lambs." - The Silence of the Lambs (1991) (X)

(via scumsberg)

unknowngenre:

Cars We Love by Cihan Ünalan

"This series started out of the passion I have for these iconic cars that made a big impact on all of our lives."

unknowngenre:

Cars We Love by Cihan Ünalan

"This series started out of the passion I have for these iconic cars that made a big impact on all of our lives."

unknowngenre:

Cars We Love by Cihan Ünalan

"This series started out of the passion I have for these iconic cars that made a big impact on all of our lives."

unknowngenre:

Cars We Love by Cihan Ünalan

"This series started out of the passion I have for these iconic cars that made a big impact on all of our lives."

unknowngenre:

Cars We Love by Cihan Ünalan

"This series started out of the passion I have for these iconic cars that made a big impact on all of our lives."

unknowngenre:

Cars We Love by Cihan Ünalan

"This series started out of the passion I have for these iconic cars that made a big impact on all of our lives."

unknowngenre:

Cars We Love by Cihan Ünalan

"This series started out of the passion I have for these iconic cars that made a big impact on all of our lives."

unknowngenre:

Cars We Love by Cihan Ünalan

"This series started out of the passion I have for these iconic cars that made a big impact on all of our lives."

cinephiliabeyond:

On the set of A Woman Under the Influence. Photography by Brian Hamill & Sam Shaw.
John Cassavetes was inspired to write A Woman Under the Influence when wife Gena Rowlands expressed a desire to appear in a play about the difficulties faced by contemporary women. His completed script was so intense and emotional she knew she would be unable to perform it eight times a week, so he decided to adapt it for the screen. When he tried to raise funding for the project, he was told, “No one wants to see a crazy, middle-aged dame.” Lacking studio financing, Cassavetes mortgaged his house and borrowed from family and friends, one of whom was Peter Falk, who liked the screenplay so much he invested $500,000 in the project. The crew consisted of professionals and students from the American Film Institute, where Cassavetes was serving as the first “filmmaker in residence” at their Center for Advanced Film Studies. Working with a limited budget forced him to shoot scenes in a real house near Hollywood Boulevard, and Rowlands was responsible for her own hairstyling and makeup.

Upon completion of the film, Cassavetes was unable to find a distributor, so he personally called theater owners and asked them to run the film. According to college student Jeff Lipsky, who was hired to help distribute the film, “It was the first time in the history of motion pictures that an independent film was distributed without the use of a nationwide system of sub-distributors.” It was booked into art houses and shown on college campuses, where Cassavetes and Falk discussed it with the audience. It was shown at the San Sebastián Film Festival, where Rowlands was named Best Actress and Cassavetes won the Silver Shell Award for Best Director, and the New York Film Festival, where it captured the attention of film critics like Rex Reed. When Richard Dreyfuss appeared on The Mike Douglas Show with Peter Falk, he described the film as “the most incredible, disturbing, scary, brilliant, dark, sad, depressing movie” and added, “I went crazy. I went home and vomited,” which prompted curious audiences to seek out the film capable of making Dreyfuss ill.

A script is a series of words strung together. When I first start writing there’s a sense of discovery. In some way it’s not working, it’s finding some romance in the lives of people. You get fascinated with their lives. If they stay with you then you want to do something — make it into a movie, put it on in some way. It was that which propelled us to keep on working at it. Making a film is a mystery. If I knew anything about men and women to begin with, I wouldn’t make it, because it would bore me. I really feel that the script is written by what you can get out of it and how much it means to you, and if it means nothing to you, we start again and try to put ourselves up and communicate with you. The idea of taking a laborer and having him married to a wife who he can’t capture, is really exciting. I don’t know how you work on that. So I write – I’ll do it any way [I can]. I’ll hammer it out, I’ll kick it out, I’ll beat it to death, anyway you can get it. I don’t think there are any rules. The only rules are that you do the best you can. And when you’re not doing the best you can, then you don’t like yourself. And that’s very individual with everyone. —John Cassavetes, chapter on The Making of A Woman Under the Influence

It’s a great privilege to read John Cassavetes’ (rare and hard to get) screenplay for A Woman Under the Influence [pdf]. (NOTE: For educational purposes only). Thanks to nickpaulwhite and the great folks at Write to Reel. The DVD/Blu-ray of the film is available at the Criterion Collection and the British Film Institute (BFI).

For more film related items throughout the day, follow Cinephilia & Beyond on Twitter. Get Cinephilia & Beyond in your inbox by signing in. You can also follow our RSS feed. Please use our Google Custom Search for better results. If you enjoy Cinephilia & Beyond, please consider making a small donation to keep it going:

// cinephiliabeyond:

On the set of A Woman Under the Influence. Photography by Brian Hamill & Sam Shaw.
John Cassavetes was inspired to write A Woman Under the Influence when wife Gena Rowlands expressed a desire to appear in a play about the difficulties faced by contemporary women. His completed script was so intense and emotional she knew she would be unable to perform it eight times a week, so he decided to adapt it for the screen. When he tried to raise funding for the project, he was told, “No one wants to see a crazy, middle-aged dame.” Lacking studio financing, Cassavetes mortgaged his house and borrowed from family and friends, one of whom was Peter Falk, who liked the screenplay so much he invested $500,000 in the project. The crew consisted of professionals and students from the American Film Institute, where Cassavetes was serving as the first “filmmaker in residence” at their Center for Advanced Film Studies. Working with a limited budget forced him to shoot scenes in a real house near Hollywood Boulevard, and Rowlands was responsible for her own hairstyling and makeup.

Upon completion of the film, Cassavetes was unable to find a distributor, so he personally called theater owners and asked them to run the film. According to college student Jeff Lipsky, who was hired to help distribute the film, “It was the first time in the history of motion pictures that an independent film was distributed without the use of a nationwide system of sub-distributors.” It was booked into art houses and shown on college campuses, where Cassavetes and Falk discussed it with the audience. It was shown at the San Sebastián Film Festival, where Rowlands was named Best Actress and Cassavetes won the Silver Shell Award for Best Director, and the New York Film Festival, where it captured the attention of film critics like Rex Reed. When Richard Dreyfuss appeared on The Mike Douglas Show with Peter Falk, he described the film as “the most incredible, disturbing, scary, brilliant, dark, sad, depressing movie” and added, “I went crazy. I went home and vomited,” which prompted curious audiences to seek out the film capable of making Dreyfuss ill.

A script is a series of words strung together. When I first start writing there’s a sense of discovery. In some way it’s not working, it’s finding some romance in the lives of people. You get fascinated with their lives. If they stay with you then you want to do something — make it into a movie, put it on in some way. It was that which propelled us to keep on working at it. Making a film is a mystery. If I knew anything about men and women to begin with, I wouldn’t make it, because it would bore me. I really feel that the script is written by what you can get out of it and how much it means to you, and if it means nothing to you, we start again and try to put ourselves up and communicate with you. The idea of taking a laborer and having him married to a wife who he can’t capture, is really exciting. I don’t know how you work on that. So I write – I’ll do it any way [I can]. I’ll hammer it out, I’ll kick it out, I’ll beat it to death, anyway you can get it. I don’t think there are any rules. The only rules are that you do the best you can. And when you’re not doing the best you can, then you don’t like yourself. And that’s very individual with everyone. —John Cassavetes, chapter on The Making of A Woman Under the Influence

It’s a great privilege to read John Cassavetes’ (rare and hard to get) screenplay for A Woman Under the Influence [pdf]. (NOTE: For educational purposes only). Thanks to nickpaulwhite and the great folks at Write to Reel. The DVD/Blu-ray of the film is available at the Criterion Collection and the British Film Institute (BFI).

For more film related items throughout the day, follow Cinephilia & Beyond on Twitter. Get Cinephilia & Beyond in your inbox by signing in. You can also follow our RSS feed. Please use our Google Custom Search for better results. If you enjoy Cinephilia & Beyond, please consider making a small donation to keep it going:

// cinephiliabeyond:

On the set of A Woman Under the Influence. Photography by Brian Hamill & Sam Shaw.
John Cassavetes was inspired to write A Woman Under the Influence when wife Gena Rowlands expressed a desire to appear in a play about the difficulties faced by contemporary women. His completed script was so intense and emotional she knew she would be unable to perform it eight times a week, so he decided to adapt it for the screen. When he tried to raise funding for the project, he was told, “No one wants to see a crazy, middle-aged dame.” Lacking studio financing, Cassavetes mortgaged his house and borrowed from family and friends, one of whom was Peter Falk, who liked the screenplay so much he invested $500,000 in the project. The crew consisted of professionals and students from the American Film Institute, where Cassavetes was serving as the first “filmmaker in residence” at their Center for Advanced Film Studies. Working with a limited budget forced him to shoot scenes in a real house near Hollywood Boulevard, and Rowlands was responsible for her own hairstyling and makeup.

Upon completion of the film, Cassavetes was unable to find a distributor, so he personally called theater owners and asked them to run the film. According to college student Jeff Lipsky, who was hired to help distribute the film, “It was the first time in the history of motion pictures that an independent film was distributed without the use of a nationwide system of sub-distributors.” It was booked into art houses and shown on college campuses, where Cassavetes and Falk discussed it with the audience. It was shown at the San Sebastián Film Festival, where Rowlands was named Best Actress and Cassavetes won the Silver Shell Award for Best Director, and the New York Film Festival, where it captured the attention of film critics like Rex Reed. When Richard Dreyfuss appeared on The Mike Douglas Show with Peter Falk, he described the film as “the most incredible, disturbing, scary, brilliant, dark, sad, depressing movie” and added, “I went crazy. I went home and vomited,” which prompted curious audiences to seek out the film capable of making Dreyfuss ill.

A script is a series of words strung together. When I first start writing there’s a sense of discovery. In some way it’s not working, it’s finding some romance in the lives of people. You get fascinated with their lives. If they stay with you then you want to do something — make it into a movie, put it on in some way. It was that which propelled us to keep on working at it. Making a film is a mystery. If I knew anything about men and women to begin with, I wouldn’t make it, because it would bore me. I really feel that the script is written by what you can get out of it and how much it means to you, and if it means nothing to you, we start again and try to put ourselves up and communicate with you. The idea of taking a laborer and having him married to a wife who he can’t capture, is really exciting. I don’t know how you work on that. So I write – I’ll do it any way [I can]. I’ll hammer it out, I’ll kick it out, I’ll beat it to death, anyway you can get it. I don’t think there are any rules. The only rules are that you do the best you can. And when you’re not doing the best you can, then you don’t like yourself. And that’s very individual with everyone. —John Cassavetes, chapter on The Making of A Woman Under the Influence

It’s a great privilege to read John Cassavetes’ (rare and hard to get) screenplay for A Woman Under the Influence [pdf]. (NOTE: For educational purposes only). Thanks to nickpaulwhite and the great folks at Write to Reel. The DVD/Blu-ray of the film is available at the Criterion Collection and the British Film Institute (BFI).

For more film related items throughout the day, follow Cinephilia & Beyond on Twitter. Get Cinephilia & Beyond in your inbox by signing in. You can also follow our RSS feed. Please use our Google Custom Search for better results. If you enjoy Cinephilia & Beyond, please consider making a small donation to keep it going:

// cinephiliabeyond:

On the set of A Woman Under the Influence. Photography by Brian Hamill & Sam Shaw.
John Cassavetes was inspired to write A Woman Under the Influence when wife Gena Rowlands expressed a desire to appear in a play about the difficulties faced by contemporary women. His completed script was so intense and emotional she knew she would be unable to perform it eight times a week, so he decided to adapt it for the screen. When he tried to raise funding for the project, he was told, “No one wants to see a crazy, middle-aged dame.” Lacking studio financing, Cassavetes mortgaged his house and borrowed from family and friends, one of whom was Peter Falk, who liked the screenplay so much he invested $500,000 in the project. The crew consisted of professionals and students from the American Film Institute, where Cassavetes was serving as the first “filmmaker in residence” at their Center for Advanced Film Studies. Working with a limited budget forced him to shoot scenes in a real house near Hollywood Boulevard, and Rowlands was responsible for her own hairstyling and makeup.

Upon completion of the film, Cassavetes was unable to find a distributor, so he personally called theater owners and asked them to run the film. According to college student Jeff Lipsky, who was hired to help distribute the film, “It was the first time in the history of motion pictures that an independent film was distributed without the use of a nationwide system of sub-distributors.” It was booked into art houses and shown on college campuses, where Cassavetes and Falk discussed it with the audience. It was shown at the San Sebastián Film Festival, where Rowlands was named Best Actress and Cassavetes won the Silver Shell Award for Best Director, and the New York Film Festival, where it captured the attention of film critics like Rex Reed. When Richard Dreyfuss appeared on The Mike Douglas Show with Peter Falk, he described the film as “the most incredible, disturbing, scary, brilliant, dark, sad, depressing movie” and added, “I went crazy. I went home and vomited,” which prompted curious audiences to seek out the film capable of making Dreyfuss ill.

A script is a series of words strung together. When I first start writing there’s a sense of discovery. In some way it’s not working, it’s finding some romance in the lives of people. You get fascinated with their lives. If they stay with you then you want to do something — make it into a movie, put it on in some way. It was that which propelled us to keep on working at it. Making a film is a mystery. If I knew anything about men and women to begin with, I wouldn’t make it, because it would bore me. I really feel that the script is written by what you can get out of it and how much it means to you, and if it means nothing to you, we start again and try to put ourselves up and communicate with you. The idea of taking a laborer and having him married to a wife who he can’t capture, is really exciting. I don’t know how you work on that. So I write – I’ll do it any way [I can]. I’ll hammer it out, I’ll kick it out, I’ll beat it to death, anyway you can get it. I don’t think there are any rules. The only rules are that you do the best you can. And when you’re not doing the best you can, then you don’t like yourself. And that’s very individual with everyone. —John Cassavetes, chapter on The Making of A Woman Under the Influence

It’s a great privilege to read John Cassavetes’ (rare and hard to get) screenplay for A Woman Under the Influence [pdf]. (NOTE: For educational purposes only). Thanks to nickpaulwhite and the great folks at Write to Reel. The DVD/Blu-ray of the film is available at the Criterion Collection and the British Film Institute (BFI).

For more film related items throughout the day, follow Cinephilia & Beyond on Twitter. Get Cinephilia & Beyond in your inbox by signing in. You can also follow our RSS feed. Please use our Google Custom Search for better results. If you enjoy Cinephilia & Beyond, please consider making a small donation to keep it going:

// cinephiliabeyond:

On the set of A Woman Under the Influence. Photography by Brian Hamill & Sam Shaw.
John Cassavetes was inspired to write A Woman Under the Influence when wife Gena Rowlands expressed a desire to appear in a play about the difficulties faced by contemporary women. His completed script was so intense and emotional she knew she would be unable to perform it eight times a week, so he decided to adapt it for the screen. When he tried to raise funding for the project, he was told, “No one wants to see a crazy, middle-aged dame.” Lacking studio financing, Cassavetes mortgaged his house and borrowed from family and friends, one of whom was Peter Falk, who liked the screenplay so much he invested $500,000 in the project. The crew consisted of professionals and students from the American Film Institute, where Cassavetes was serving as the first “filmmaker in residence” at their Center for Advanced Film Studies. Working with a limited budget forced him to shoot scenes in a real house near Hollywood Boulevard, and Rowlands was responsible for her own hairstyling and makeup.

Upon completion of the film, Cassavetes was unable to find a distributor, so he personally called theater owners and asked them to run the film. According to college student Jeff Lipsky, who was hired to help distribute the film, “It was the first time in the history of motion pictures that an independent film was distributed without the use of a nationwide system of sub-distributors.” It was booked into art houses and shown on college campuses, where Cassavetes and Falk discussed it with the audience. It was shown at the San Sebastián Film Festival, where Rowlands was named Best Actress and Cassavetes won the Silver Shell Award for Best Director, and the New York Film Festival, where it captured the attention of film critics like Rex Reed. When Richard Dreyfuss appeared on The Mike Douglas Show with Peter Falk, he described the film as “the most incredible, disturbing, scary, brilliant, dark, sad, depressing movie” and added, “I went crazy. I went home and vomited,” which prompted curious audiences to seek out the film capable of making Dreyfuss ill.

A script is a series of words strung together. When I first start writing there’s a sense of discovery. In some way it’s not working, it’s finding some romance in the lives of people. You get fascinated with their lives. If they stay with you then you want to do something — make it into a movie, put it on in some way. It was that which propelled us to keep on working at it. Making a film is a mystery. If I knew anything about men and women to begin with, I wouldn’t make it, because it would bore me. I really feel that the script is written by what you can get out of it and how much it means to you, and if it means nothing to you, we start again and try to put ourselves up and communicate with you. The idea of taking a laborer and having him married to a wife who he can’t capture, is really exciting. I don’t know how you work on that. So I write – I’ll do it any way [I can]. I’ll hammer it out, I’ll kick it out, I’ll beat it to death, anyway you can get it. I don’t think there are any rules. The only rules are that you do the best you can. And when you’re not doing the best you can, then you don’t like yourself. And that’s very individual with everyone. —John Cassavetes, chapter on The Making of A Woman Under the Influence

It’s a great privilege to read John Cassavetes’ (rare and hard to get) screenplay for A Woman Under the Influence [pdf]. (NOTE: For educational purposes only). Thanks to nickpaulwhite and the great folks at Write to Reel. The DVD/Blu-ray of the film is available at the Criterion Collection and the British Film Institute (BFI).

For more film related items throughout the day, follow Cinephilia & Beyond on Twitter. Get Cinephilia & Beyond in your inbox by signing in. You can also follow our RSS feed. Please use our Google Custom Search for better results. If you enjoy Cinephilia & Beyond, please consider making a small donation to keep it going:

// cinephiliabeyond:

On the set of A Woman Under the Influence. Photography by Brian Hamill & Sam Shaw.
John Cassavetes was inspired to write A Woman Under the Influence when wife Gena Rowlands expressed a desire to appear in a play about the difficulties faced by contemporary women. His completed script was so intense and emotional she knew she would be unable to perform it eight times a week, so he decided to adapt it for the screen. When he tried to raise funding for the project, he was told, “No one wants to see a crazy, middle-aged dame.” Lacking studio financing, Cassavetes mortgaged his house and borrowed from family and friends, one of whom was Peter Falk, who liked the screenplay so much he invested $500,000 in the project. The crew consisted of professionals and students from the American Film Institute, where Cassavetes was serving as the first “filmmaker in residence” at their Center for Advanced Film Studies. Working with a limited budget forced him to shoot scenes in a real house near Hollywood Boulevard, and Rowlands was responsible for her own hairstyling and makeup.

Upon completion of the film, Cassavetes was unable to find a distributor, so he personally called theater owners and asked them to run the film. According to college student Jeff Lipsky, who was hired to help distribute the film, “It was the first time in the history of motion pictures that an independent film was distributed without the use of a nationwide system of sub-distributors.” It was booked into art houses and shown on college campuses, where Cassavetes and Falk discussed it with the audience. It was shown at the San Sebastián Film Festival, where Rowlands was named Best Actress and Cassavetes won the Silver Shell Award for Best Director, and the New York Film Festival, where it captured the attention of film critics like Rex Reed. When Richard Dreyfuss appeared on The Mike Douglas Show with Peter Falk, he described the film as “the most incredible, disturbing, scary, brilliant, dark, sad, depressing movie” and added, “I went crazy. I went home and vomited,” which prompted curious audiences to seek out the film capable of making Dreyfuss ill.

A script is a series of words strung together. When I first start writing there’s a sense of discovery. In some way it’s not working, it’s finding some romance in the lives of people. You get fascinated with their lives. If they stay with you then you want to do something — make it into a movie, put it on in some way. It was that which propelled us to keep on working at it. Making a film is a mystery. If I knew anything about men and women to begin with, I wouldn’t make it, because it would bore me. I really feel that the script is written by what you can get out of it and how much it means to you, and if it means nothing to you, we start again and try to put ourselves up and communicate with you. The idea of taking a laborer and having him married to a wife who he can’t capture, is really exciting. I don’t know how you work on that. So I write – I’ll do it any way [I can]. I’ll hammer it out, I’ll kick it out, I’ll beat it to death, anyway you can get it. I don’t think there are any rules. The only rules are that you do the best you can. And when you’re not doing the best you can, then you don’t like yourself. And that’s very individual with everyone. —John Cassavetes, chapter on The Making of A Woman Under the Influence

It’s a great privilege to read John Cassavetes’ (rare and hard to get) screenplay for A Woman Under the Influence [pdf]. (NOTE: For educational purposes only). Thanks to nickpaulwhite and the great folks at Write to Reel. The DVD/Blu-ray of the film is available at the Criterion Collection and the British Film Institute (BFI).

For more film related items throughout the day, follow Cinephilia & Beyond on Twitter. Get Cinephilia & Beyond in your inbox by signing in. You can also follow our RSS feed. Please use our Google Custom Search for better results. If you enjoy Cinephilia & Beyond, please consider making a small donation to keep it going:

// cinephiliabeyond:

On the set of A Woman Under the Influence. Photography by Brian Hamill & Sam Shaw.
John Cassavetes was inspired to write A Woman Under the Influence when wife Gena Rowlands expressed a desire to appear in a play about the difficulties faced by contemporary women. His completed script was so intense and emotional she knew she would be unable to perform it eight times a week, so he decided to adapt it for the screen. When he tried to raise funding for the project, he was told, “No one wants to see a crazy, middle-aged dame.” Lacking studio financing, Cassavetes mortgaged his house and borrowed from family and friends, one of whom was Peter Falk, who liked the screenplay so much he invested $500,000 in the project. The crew consisted of professionals and students from the American Film Institute, where Cassavetes was serving as the first “filmmaker in residence” at their Center for Advanced Film Studies. Working with a limited budget forced him to shoot scenes in a real house near Hollywood Boulevard, and Rowlands was responsible for her own hairstyling and makeup.

Upon completion of the film, Cassavetes was unable to find a distributor, so he personally called theater owners and asked them to run the film. According to college student Jeff Lipsky, who was hired to help distribute the film, “It was the first time in the history of motion pictures that an independent film was distributed without the use of a nationwide system of sub-distributors.” It was booked into art houses and shown on college campuses, where Cassavetes and Falk discussed it with the audience. It was shown at the San Sebastián Film Festival, where Rowlands was named Best Actress and Cassavetes won the Silver Shell Award for Best Director, and the New York Film Festival, where it captured the attention of film critics like Rex Reed. When Richard Dreyfuss appeared on The Mike Douglas Show with Peter Falk, he described the film as “the most incredible, disturbing, scary, brilliant, dark, sad, depressing movie” and added, “I went crazy. I went home and vomited,” which prompted curious audiences to seek out the film capable of making Dreyfuss ill.

A script is a series of words strung together. When I first start writing there’s a sense of discovery. In some way it’s not working, it’s finding some romance in the lives of people. You get fascinated with their lives. If they stay with you then you want to do something — make it into a movie, put it on in some way. It was that which propelled us to keep on working at it. Making a film is a mystery. If I knew anything about men and women to begin with, I wouldn’t make it, because it would bore me. I really feel that the script is written by what you can get out of it and how much it means to you, and if it means nothing to you, we start again and try to put ourselves up and communicate with you. The idea of taking a laborer and having him married to a wife who he can’t capture, is really exciting. I don’t know how you work on that. So I write – I’ll do it any way [I can]. I’ll hammer it out, I’ll kick it out, I’ll beat it to death, anyway you can get it. I don’t think there are any rules. The only rules are that you do the best you can. And when you’re not doing the best you can, then you don’t like yourself. And that’s very individual with everyone. —John Cassavetes, chapter on The Making of A Woman Under the Influence

It’s a great privilege to read John Cassavetes’ (rare and hard to get) screenplay for A Woman Under the Influence [pdf]. (NOTE: For educational purposes only). Thanks to nickpaulwhite and the great folks at Write to Reel. The DVD/Blu-ray of the film is available at the Criterion Collection and the British Film Institute (BFI).

For more film related items throughout the day, follow Cinephilia & Beyond on Twitter. Get Cinephilia & Beyond in your inbox by signing in. You can also follow our RSS feed. Please use our Google Custom Search for better results. If you enjoy Cinephilia & Beyond, please consider making a small donation to keep it going:

// cinephiliabeyond:

On the set of A Woman Under the Influence. Photography by Brian Hamill & Sam Shaw.
John Cassavetes was inspired to write A Woman Under the Influence when wife Gena Rowlands expressed a desire to appear in a play about the difficulties faced by contemporary women. His completed script was so intense and emotional she knew she would be unable to perform it eight times a week, so he decided to adapt it for the screen. When he tried to raise funding for the project, he was told, “No one wants to see a crazy, middle-aged dame.” Lacking studio financing, Cassavetes mortgaged his house and borrowed from family and friends, one of whom was Peter Falk, who liked the screenplay so much he invested $500,000 in the project. The crew consisted of professionals and students from the American Film Institute, where Cassavetes was serving as the first “filmmaker in residence” at their Center for Advanced Film Studies. Working with a limited budget forced him to shoot scenes in a real house near Hollywood Boulevard, and Rowlands was responsible for her own hairstyling and makeup.

Upon completion of the film, Cassavetes was unable to find a distributor, so he personally called theater owners and asked them to run the film. According to college student Jeff Lipsky, who was hired to help distribute the film, “It was the first time in the history of motion pictures that an independent film was distributed without the use of a nationwide system of sub-distributors.” It was booked into art houses and shown on college campuses, where Cassavetes and Falk discussed it with the audience. It was shown at the San Sebastián Film Festival, where Rowlands was named Best Actress and Cassavetes won the Silver Shell Award for Best Director, and the New York Film Festival, where it captured the attention of film critics like Rex Reed. When Richard Dreyfuss appeared on The Mike Douglas Show with Peter Falk, he described the film as “the most incredible, disturbing, scary, brilliant, dark, sad, depressing movie” and added, “I went crazy. I went home and vomited,” which prompted curious audiences to seek out the film capable of making Dreyfuss ill.

A script is a series of words strung together. When I first start writing there’s a sense of discovery. In some way it’s not working, it’s finding some romance in the lives of people. You get fascinated with their lives. If they stay with you then you want to do something — make it into a movie, put it on in some way. It was that which propelled us to keep on working at it. Making a film is a mystery. If I knew anything about men and women to begin with, I wouldn’t make it, because it would bore me. I really feel that the script is written by what you can get out of it and how much it means to you, and if it means nothing to you, we start again and try to put ourselves up and communicate with you. The idea of taking a laborer and having him married to a wife who he can’t capture, is really exciting. I don’t know how you work on that. So I write – I’ll do it any way [I can]. I’ll hammer it out, I’ll kick it out, I’ll beat it to death, anyway you can get it. I don’t think there are any rules. The only rules are that you do the best you can. And when you’re not doing the best you can, then you don’t like yourself. And that’s very individual with everyone. —John Cassavetes, chapter on The Making of A Woman Under the Influence

It’s a great privilege to read John Cassavetes’ (rare and hard to get) screenplay for A Woman Under the Influence [pdf]. (NOTE: For educational purposes only). Thanks to nickpaulwhite and the great folks at Write to Reel. The DVD/Blu-ray of the film is available at the Criterion Collection and the British Film Institute (BFI).

For more film related items throughout the day, follow Cinephilia & Beyond on Twitter. Get Cinephilia & Beyond in your inbox by signing in. You can also follow our RSS feed. Please use our Google Custom Search for better results. If you enjoy Cinephilia & Beyond, please consider making a small donation to keep it going:

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cinephiliabeyond:

On the set of A Woman Under the Influence. Photography by Brian Hamill & Sam Shaw.

John Cassavetes was inspired to write A Woman Under the Influence when wife Gena Rowlands expressed a desire to appear in a play about the difficulties faced by contemporary women. His completed script was so intense and emotional she knew she would be unable to perform it eight times a week, so he decided to adapt it for the screen. When he tried to raise funding for the project, he was told, “No one wants to see a crazy, middle-aged dame.” Lacking studio financing, Cassavetes mortgaged his house and borrowed from family and friends, one of whom was Peter Falk, who liked the screenplay so much he invested $500,000 in the project. The crew consisted of professionals and students from the American Film Institute, where Cassavetes was serving as the first “filmmaker in residence” at their Center for Advanced Film Studies. Working with a limited budget forced him to shoot scenes in a real house near Hollywood Boulevard, and Rowlands was responsible for her own hairstyling and makeup.

Upon completion of the film, Cassavetes was unable to find a distributor, so he personally called theater owners and asked them to run the film. According to college student Jeff Lipsky, who was hired to help distribute the film, “It was the first time in the history of motion pictures that an independent film was distributed without the use of a nationwide system of sub-distributors.” It was booked into art houses and shown on college campuses, where Cassavetes and Falk discussed it with the audience. It was shown at the San Sebastián Film Festival, where Rowlands was named Best Actress and Cassavetes won the Silver Shell Award for Best Director, and the New York Film Festival, where it captured the attention of film critics like Rex Reed. When Richard Dreyfuss appeared on The Mike Douglas Show with Peter Falk, he described the film as “the most incredible, disturbing, scary, brilliant, dark, sad, depressing movie” and added, “I went crazy. I went home and vomited,” which prompted curious audiences to seek out the film capable of making Dreyfuss ill.

A script is a series of words strung together. When I first start writing there’s a sense of discovery. In some way it’s not working, it’s finding some romance in the lives of people. You get fascinated with their lives. If they stay with you then you want to do something — make it into a movie, put it on in some way. It was that which propelled us to keep on working at it. Making a film is a mystery. If I knew anything about men and women to begin with, I wouldn’t make it, because it would bore me. I really feel that the script is written by what you can get out of it and how much it means to you, and if it means nothing to you, we start again and try to put ourselves up and communicate with you. The idea of taking a laborer and having him married to a wife who he can’t capture, is really exciting. I don’t know how you work on that. So I write – I’ll do it any way [I can]. I’ll hammer it out, I’ll kick it out, I’ll beat it to death, anyway you can get it. I don’t think there are any rules. The only rules are that you do the best you can. And when you’re not doing the best you can, then you don’t like yourself. And that’s very individual with everyone.John Cassavetes, chapter on The Making of A Woman Under the Influence

It’s a great privilege to read John Cassavetes’ (rare and hard to get) screenplay for A Woman Under the Influence [pdf]. (NOTE: For educational purposes only). Thanks to nickpaulwhite and the great folks at Write to Reel. The DVD/Blu-ray of the film is available at the Criterion Collection and the British Film Institute (BFI).

For more film related items throughout the day, follow Cinephilia & Beyond on Twitter. Get Cinephilia & Beyond in your inbox by signing in. You can also follow our RSS feed. Please use our Google Custom Search for better results. If you enjoy Cinephilia & Beyond, please consider making a small donation to keep it going:

Kit’s all prepped for tomorrow’s shoot at the Isle of Wight festival

arcaneimages:

Jack Nicholson
arcaneimages:

Jack Nicholson
arcaneimages:

Jack Nicholson