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Rank:Diamond Member  Status:
RULER OF FIVE GALAXIES AND BOSS OF TV REMOTE
Score:1763 Posts:1763 From: Canada  Registered:12/06/2008
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RE:DOCUMENTARY FESTIVALS
(Date Posted:01/13/2012 3:12 AM)
One of the few productions that proved problematic enough to give Apocalypse Now a run for its money was Fitzcarraldo, Werner Herzog’s 1982 drama, shot in the jungles of South America with a particularly venomous Klaus Kinski in the leading role. He hadn’t been Herzog’s first choice; Jason Robards had been cast in the title role, but become deathly ill with dysentery and was forced by his doctors to leave the film. About forty percent of the film had been shot with Robards in the lead and Mick Jagger as his assistant; Jagger was unable to continue, so Herzog basically had to start over with Kinski (he wrote Jagger’s character out). Kinski proved — unsurprisingly — a contentious leading man, his rows with Herzog growing so severe that, according to the director, one of the native chiefs offered to kill Herzog’s leading man for him. (The filmmaker declined, he says, because this would have required him to restart the shootagain.) Also, Herzog decided to do the centerpiece sequence — moving a 320-ton steamship over a hill — without any special effects. Filmmaker Les Blank captured all of this and more in Burden of Dreams, using a fly-on-the-wall approach to fully document the querulous shoot
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magna
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Rank:Diamond Member  Status:
RULER OF FIVE GALAXIES AND BOSS OF TV REMOTE
Score:1763 Posts:1763 From: Canada  Registered:12/06/2008
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RE:DOCUMENTARY FESTIVALS
(Date Posted:01/13/2012 3:13 AM)
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magna
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Rank:Diamond Member  Status:
RULER OF FIVE GALAXIES AND BOSS OF TV REMOTE
Score:1763 Posts:1763 From: Canada  Registered:12/06/2008
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RE:DOCUMENTARY FESTIVALS
(Date Posted:01/13/2012 3:15 AM)
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magna
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Rank:Diamond Member  Status:
RULER OF FIVE GALAXIES AND BOSS OF TV REMOTE
Score:1763 Posts:1763 From: Canada  Registered:12/06/2008
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RE:DOCUMENTARY FESTIVALS
(Date Posted:01/13/2012 3:17 AM)
The rise and fall of Mr. Welles has produced reams of paper and yards of film, but this 1993 documentary is one of the most fascinating. It shares its title with that of its subject, an unfinished film that Welles started immediately after finishing his Kane follow-up, The Magnificent Ambersons. A four-part anthology meant to serve as a cinematic goodwill ambassador between the US and Latin America, Welles was on location in Brazil when management changed at RKO. In his absence, the studio re-cut Ambersons (and reshot much of its third act); they then terminated not only the It’s All True project, but Welles’ contract. He never found another backer for the project, and the footage from the aborted shoot languished in the RKO vaults until 1985, when filmmakers Bill Krohn, Myron Meisel, and Richard Wilson began working to assemble the surviving film into a documentary account of the first (of many) of Welles’ “lost films.”
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