Our friends at Grolsch Film Works have a website where you can find out what they’ve been up to and read/watch interesting stuff about films. Every week we'll be plucking the highlights. This is that.
OSCAR ISAAC TALKS 'INSIDE LLEWYN DAVIS', CATS AND THE COEN BROTHERS
Winner of the Cannes Jury Prize 2013 and nominated for two Academy Awards, critics are universally hailing Inside Llewyn Davis as the Coen brothers’s latest triumph. But before you get too carried away, Oscar Isaac – who stars as the eponymous, down-at-the-heels folk singer of 1961 – would like to set the record straight. As tempting it might be to liken Inside Llewyn Davis to Joyce’s Portrait of the Artist As a Young Man or wax rhapsodic about what Ulysses the cat symbolises in the film, Isaac affirms that the Coens just “don’t talk about that shit.”
WATCH 12 ESSENTIAL MAKING-OF DOCUMENTARIES, FEAT. ERASERHEAD AND BEING JOHN MALKOVICH
Glimpsing behind-the-scenes footage of De Niro in Taxi Driver (or Macaulay Culkin in Home Alone, for that matter) can be all kinds of disconcerting. It's like that revelatory moment when you pop the hood of your car to observe, as if by magic, how it all works. But most magicians are reluctant to reveal their tricks, just as most directors and reluctant to break the fourth wall. Above all, filmmakers want you to believe in their characters, get to know them, invest in them. They don't want you to be the smart ass in the movie theatre who points out the reasons why a certain explosion scene that takes place in space is completely illogical. Play dumb, suspend your disbelief.
FIRST LOOK: CHRIS CUNNINGHAM'S DOCUMENTARY ON WARPAINT
British video artist Chris Cunningham is known for making some of the most insane music videos on the planet: Bjork's "All is Full of Love", Aphex Twin's "Come to Daddy". So it's hardly surprising that his first foray into documentary just so happens to centre on music. Namely atmospheric L.A. indie band Warpaint.
FILM LOCATIONS: DETROIT
Detroit, Michigan. As the birthplace of Techno, Motown, The White Stripes, and the embryonic head-quarters of Ford cars, Motor City has had a suitably turbulent representation on film. Once the fourth largest city in America, Detroit was a city shaped by and for the automobile, with glittering freeways and optimum suburban planning, it became the ultimate embodiment of the American dream. Alas, this is no longer. From Peter Mettler’s The End of Time (2012) to Julian Temple’s Requiem for Detroit? (2010), as well as a recent TIME photo essay called ‘Detroit’s Beautiful, Horrible Decline’, an industry has been built around its urban industrial decay. This may well be the ultimate in Ruin Porn.
Keep your peepers peeled for more Grolsch Film Works updates next week. Go to grolschfilmworks.com to see what’s happening right now.