sewhite2000

No one has mentioned Endless Love, which I stayed up late to watch on HBO after my parents had gone to bed when I was in seventh grade. As I recall, it was pretty overwrought, but it certainly fits in thematically with the rest of Zeferelli's work with its focus on passionate to the point of being borderline out of control young love. From the era when a way too young Brooke Shields was showing up damn near naked in virtually every movie she was making, all apparently with the approval of her mother, and while there was certainly tittering, the world didn't express the vociferous disapproval it would today. But the best performances in the movie are the adults, played by Hollywood vets like Shirley Knight, Don Murray and Beatrice Straight. Also, the first-ever or extremely early appearances by the likes of Tom Cruise, Jamie Gertz and James Spader.

Yes. I understood that.

Of course, Cole's first name was "Gordon", a specific reference to the guy in Sunset Blvd. who wanted to use Norma Desmond's car. Lynch must have loved this movie. The way he titled Mulholland Dr. is clearly a tribute, and he even uses footage from the actual film in Season 3 that finally triggers DougieCoop to shock himself into bringing out his true personality.

Man, if any movie character was ever begging another character to kill them, it was Shelly Winters in that rowboat in A Place in the Sun, with her endless rambling about how it's not going to be so bad to be poor and struggling with a baby and a wife who's not 19-year-old Elizabeth Taylor!

Looks like Gavin must have been under contract to Universal during the height of his stardom, so it's cool any time TCM actually features someone from that studio. Although I see the night in question is only two films, before they move on to Silent Sunday Night and foreign films. They could have also have chosen to show Midnight Lace or Romanoff and Juliet, I suppose. Psycho, I don't know that I know the whole backstory. Officially released by Paramount I believe, but the rights moved over to Universal after the initial theatrical run? Something like that.

Okay, my gosh, i knew I'd seen some Moreno films listed somewhere else before her late substitution into SOTM. But I couldn't remember where.

Those are all great moments.

He continued to act in several episodes that he neither (co) wrote nor directed, but I believe he directed the episode where Maddy was killed, and he also co-wrote and directed the final episode.

Maybe Bette Davis on occasion? But she certainly didn't commit to it the way Winters did. She was quite pretty in A Double Life:

Well, I think she only had a "say" in the sense that she was influencing him.

I've read pretty much anything and everything ever written about the series. My understanding is Cooper and Audrey were supposed to finally become a couple after he rescued her from One Eyed Jacks, and it would have been Audrey who won the beauty pageant and got kidnapped by Windom Earle. However, Kyle Machlachlan was dating Lara Flynn Boyle, who didn't care for all this Cooper/Audrey stuff. Also, Machlachlan felt Cooper would be violating his character's sense of ethics if he got physical with Audrey after the pledge he made when he found her in his bed back in Season One. Machlachlan actually threatened to quit the show at one point. The "inmates were running the asylum" at this point. Lynch and Frost were both off working on other projects (I think Wild at Heart and Storyville, respectively), and the writers and directors left behind invented the character of Annie and more or less proceeded with the same storyline, just with Annie instead of Audrey.

This stirred a feeling of deja vu in me. I thought maybe it was a movie I'd seen, but I finally realized the movie I was thinking of was The Hearse (1980) with Joseph Cotten.

There's a documentary about the plans he had for the movie. I think the title is Jodorowsky's Dune.

Lynch agreed to give away the rights to final cut to that film. He didn't even have any input on the expanded edition that aired on TV a few years later, so that was no director's cut. He vowed he'd never do that again, and he hasn't.

I believe it was Noam Chomsky who once said there are two political parties in America: the Big Business Party and the Other Big Business Party.

Were these guys buddies in real life or what? They appeared in an unusual number of films together. One would assume Newman had the star power to dictate his supporting cast to some degree. Harper, Cool Hand Luke, Butch Cassidy and the Sundance Kid, Slap Shot.

I don't want to turn this into an Off-Topic forum, but Fox News is well known for shouting down all guests who don't agree with the viewpoints of the hosts. I always pity the poor token liberal who comes on for a panel discussion. Inevitably, the host and all the other guests will yell at this poor person so much that he or she will barely get to say a hundred words the entire segment, if that.

This film is also extensively discussed in the book mentioned in this thread. Both it and The Matrix get their own chapters. Personally, I would consider effects and camera techniques every bit as much of what constitutes a "movie" as the more traditionally considered aspects like acting, directing, writing, cinematography, editing, etc. As such, I would say both Blair Witch and Matrix are extremely influential movies in that they got hundreds and hundreds of subsequent movies to imitate their techniques.

I was going to make this a separate thread as I followed this series year by year, but this seems to be the appropriate place for it now: https://film.avclub.com/only-one-movie-in-history-has-been-both-an-unmitigated-1834847247

There's some dispute about this: https://www.vox.com/the-goods/2019/1/14/18182744/cleopatra-white-actress-liz-taylor-angelina-jolie-lady-gaga

So, you suspect arson at Notre Dame?

The original studio version said "F-I-S-H". I have it in my (R.I.P.) iTunes collection. I think they just changed it up occasionally in live performances.

I would!

So, a story put out by New York Times Magazine says there was a systematic cover up of the utter destruction of the master tapes of some 500,000 songs owned by Universal Music Group in a fire in 2008. There's a vested interest in keeping such information quiet, as "remasters" are a big part of the music industry, and UMG certainly didn't want their consumers to know newly remastered material was being taken from secondhand sources: https://www.nytimes.com/2019/06/11/magazine/universal-fire-master-recordings.html Fewer than 24 hours after this story, UMG fired back, saying NYT magazine is full of sh*t: https://news.avclub.com/universal-music-group-disputes-new-york-times-claim-tha-1835423407 We report, you decide!

License to Kill absolutely a mistake. I don't know that the spelling is absolutely to blame, as this is a movie I saw in the theaters back in the day, and I'm almost completely certain the title had been respelled for American audiences back then. However, in social media and Internet 30 years later, it seems to be listed only by its British spelling, so changing it has resulted in a false "hit".