Unseen photos from Point Blank part 6
In 1966, “Point Blank” was the first film ever to shoot INSIDE Alcatraz. The legendary maximum security penitentiary had only closed three years previous, in 1963. From John Boorman’s autobiography “Adventures of a Suburban Boy”:“Towards the end of the picture we flew up to San Francisco to shoot the scenes in Alcatraz. We arrived late at night and had to shoot early the next morning. I was exhausted. When Phil Lathrop, the cameraman, asked me where I wanted the camera, I blanked out… Suddenly, Lee was at my elbow. ‘You in trouble?’ My denial was not very convincing. He walked back to the wardrobe truck and started roaring. I looked across, as did the whole crew. He emerged staggering and fell headlong on the concrete floor. He rolled around hollering and singing. Production manager Eddie Wohler came over to me. ‘You can’t shoot him in that state.’ They poured black coffee into him. With the pressure off, it took me only ten minutes to figure out the shots and break down the scene. I went over and told Lee I was ready. He made an immediate and total recovery and we made the scene and the day.”
Walter Hill just mentioned recently how much Point Blank screenplay by Alex Jacobs influenced him.
In Greek mythology, Nemesis (Greek, Νέμεσις), also called Rhamnousia/Rhamnusia (“the goddess of Rhamnous”) at her sanctuary at Rhamnous, north of Marathon, was the spirit of divine retribution against those who succumb to hubris (arrogance before the gods). Another name was Adrasteia, meaning “the inescapable.” The Greeks personified vengeful fate as a remorseless goddess: the goddess of revenge. The name Nemesis is related to the Greek word νέμειν [némein], meaning “to give what is due
“pay what you owe”(via iamdavidbrothers)
So what I finally decided was, art is simply inevitable. It was on the wall of a cave in France 30,000 years ago, and it’s because we are a species that’s driven by narrative. Art is storytelling, and we need to tell stories to pass along ideas and information, and to try and make sense out of all this chaos. And sometimes when you get a really good artist and a compelling story, you can almost achieve that thing that’s impossible which is entering the consciousness of another human being – literally seeing the world the way they see it. Then, if you have a really good piece of art and a really good artist, you are altered in some way, and so the experience is transformative and in the minute you’re experiencing that piece of art, you’re not alone. You’re connected to the arts. So I feel like that can’t be too bad.
Steven Soderbergh’s State Of Cinema Talk at the 56th San Francisco International Film Festival. I’m late to this, but the whole thing is brilliant.
We always say in the writers’ room, if Walter White has a true superpower, it’s not his knowledge of chemistry or his intellect, it’s his ability to lie to himself. He is the world’s greatest liar. He could lie to the pope. He could lie to Mother Teresa. He certainly could lie to his family, and he can lie to himself, and he can make these lies stick. He can make himself believe, in the face of all contrary evidence, that he is still a good man. It really does feel to us like a natural progression down this road to hell, which was originally paved with good intentions.
Twin Shadow - Five Seconds