I know the answer here. Sallitt is firm on making low-budget indies his own way, which in practice means that he self-finances them with a regular-person IT job, saves up the budget over several years, and shoots the movies on accumulated vacation time. From what I’ve read, he realized early on that he couldn’t fit… Read more
Technically speaking, the entire crew was American.
We considered Deep Throat but ultimately decided that the Colombo crime family does not count as an independent production outfit.
No, it’s even weirder than that. AIP started it in 1969 and gave up. 20th Century Fox got it through production and then bowed out. Warners came in and finally released in 1971. Then Laughlin sued Warners for millions because they didn’t do a good enough job marketing it. He got the right to re-release it himself in… Read more
Variations of this question have come up a few times, and I think it comes down to a misunderstanding of scale. So, to clarify: Studios are complex media conglomerates that are capable of producing movies on very large budgets and distributing them around the world. They have their own studio facilities and various… Read more
To get into the finer details: There is a difference between production companies and studios. A studio has production resources, units, an infrastructure, executives, and so on. AIP was a company that released movies by essentially independent producers. The Trip was financed by Corman himself.
Pulp Fiction was produced by Tarantino and Lawrence Bender’s own outfit A Band Apart. Miramax set up their financing in the sense that they signed on to distribute it and financed the film through overseas pre-sales to foreign territories based entirely on the fact that Bruce Willis was in it.
You’re right. How could I mix that up? It’s fixed.
Thanks for catching that.
Kino Lorber (the distributor) tweeted out that there are, in fact, no cuts; it’s really just one take.
I’d point out that you’re misreading parts of the review (and, it appears, whatever aspect of my politics I’ve brought to it), but I can’t get over the fact that you think Octavia Spencer is in this movie.
One more terrific thing about Alphaville: It takes a common 20th experience of alienation—driving through a city’s center and modernist outer high rises at night and feeling like you’re exploring another planet—as the basis for an entire aesthetic strategy. Elevators? Tower blocks? A TV in your hotel room? Sure, this… Read more