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Paul Tilburgs

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About Paul Tilburgs

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  • Birthday 04/24/1966

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    Eindhoven, the Netherlands
  1. This thread is great . I'll add another one (with trains! ): Transsiberian (2007): Roy (Woody Harrelson) and Jessie (Emily Mortimer) are a naive American couple traveling from China to Moscow on the legendary Transsiberian express. They meet another couple - the mysterious and seductive Carlos (Eduardo Noriega) and his enigmatic girlfriend Abby (Kate Mara) - and what was a simple train journey soon turns into a thrilling chase of deception and murder as corrupt police officers (Ben Kingsley and Thomas Kretschmann) pursue them and it soon becomes clear that everyone is not what they first seem.
  2. I thought of some more... 8 Femmes (2002): One morning the industrialist Marcel is found stabbed in his room. Eight women are his potential murderers: His wife Gaby, his daugthers Suzon and Catherine, his mother-in-law Mamy, his sister-in-law Augustine, his sister Pierette, the cook Chanel and the maid Louise. The house is isolated in a snowstorm, the phone is dead and one of them has to be the culprit. Mutual suspisions reveal the various secrets in their lives. Swimming Pool (2003): Sarah Morton is a famous British mystery author. Tired of London and seeking inspiration for her new novel, she accepts an offer from her publisher John Bosload to stay at his home in Luberon, in the South of France. It is the off-season, and Sarah finds that the beautiful country locale and unhurried pace is just the tonic for her--until late one night, when John's indolent and insouciant French daughter Julie unexpectedly arrives. Sarah's prim and steely English reserve is jarred by Julie's reckless, sexually charged lifestyle. Their interactions set off an increasingly unsettling series of events, as Sarah's creative process and a possible real-life murder begin to blend dangerously together.
  3. The Deep End (2001): Still waters run deadly in this gripping suspense thriller about the extraordinary depths to which seemingly ordinary people will sink in the name of love. Tilda Swinton "is magnificent" (The New York Times) as housewife Margaret Hall, a fiercely protective mother caught in a vortex of deception when it appears that her son may be guilty of murder. One desperate act leads to another, and soon she's being blackmailed by the mysterious Alek Spera. Plein Soleil (1960): In a taut, expertly crafted thriller Delon is Ripley, an emissary sent by a wealthy American industrialist to save his son, errant playboy Phillipe Greenleaf (Maurice Ronet), from a life of decadence in Rome. Insinuating himself into Greenleaf's existence, Ripley practices his signature and dresses up in his clothes before attempting to steal his life, his girl and most importantly his money. Endgame (2001): Tom is a stunning London Rent boy, the perfect blackmailing bait for his sadistic pimp George Norris. Dunston (John Benfield of Prime Suspect) is a dirty cop buried deep in drugs, violence, and corruption. When Norris is killed in his apartment, Tom seizes his chance to escape. Terrified and covered in Norris's blood, Tom heads downstairs to his neighbors, Max and Nikki his new friends in the city. With going to the police out of the question, Max and Nikki speed Tom to their desolate cottage deep in the Welsh countryside. Dunston follows in hot pursuit to permanantly silence the youth. Midnight in the Garden of Good and Evil (1997): This panoramic tale of Savannah's eccentricities focuses on a murder and the subsequent trial of Jim Williams: self made man, art collector, antiques dealer, bon vivant and semi-closeted homosexual. John Kelso a magazine reporter finds himself in Savannah amid the beautiful architecture and odd doings to write a feature on one of William's famous Christmas parties. He is intrigued by Williams from the start, but his curiosity is piqued when he meets Jim's violent, young and sexy lover, Billy. Later that night, Billy is dead, and Kelso stays on to cover the murder trial. Along the way he encounters the irrepressible Lady Chablis, a drag queen commedienne, Sonny Seiler, lawyer to Williams, whose famous dog UGA is the official mascot of the Georgia Bulldogs, an odd man who keeps flies attached to mini leashes on his lapels and threatens daily to poison the water supply, the Married Ladies Card Club, and Minerva, a spiritualist. Between being Jim's buddy, cuddling up to a torch singer, meeting every eccentric in Savannah, participating in midnight graveyard rituals and helping solve the mysteries surrounding Billy's murder, Kelso has his hands full. Brick (2005): Brendan Frye (Joseph Gordon-Levitt, Mysterious Skin) is a loner at his high school, someone who knows all the angles but has chosen to stay on the outside. When the girl he loves, Emily (Emilie de Ravin, Lost), turns up dead, he is determined to find the “who” and “why”. Enlisting the aid of his only true friend, The Brain, Brendan plunges headlong into the dark and dangerous social strata of rich girl Laura, intimidating Tug, and the mysterious Pin (Lukas Haas, Last Days). It is only by gaining acceptance into The Pin's closely guarded inner circle of crime and punishment that Brendan can uncover hard truths about himself, Emily, and the suspects he is getting closer to.
  4. How would you describe the opening camera shot of this film? What is Hitchcock seeking to establish in this single shot that opens the film? Whose vantage point is being expressed in this shot, given that Jeff has his back to the window? Hitchcock seems to be setting the scene: first a cursory glance over the courtyard showing us the layout and then making clear that this the view out of the window of our protagonist. Next shot shows the heat and gives some closer shots of some of the neighbors, whose antics arouse our curiosity and even titillate us (shaving oneself in the sitting room, sleeping on the balcony, miss torso scarcely dressed and bending over, the leg stretching): we want to see/know more... Even though Jeff's back is to the window, clearly this vantage point is from his point of view and, since he is the hero (we get more details about him: incapacitated with broken leg, professional photographer (action, danger, glamour) with whom we will sympathize/identify, also the audiences vantage point. What do we learn about Jeff in this scene without any pertinent lines of dialogue (other than what is written on Jeff’s leg cast)? How does Hitchcock gives us Jeff’s backstory simply through visual design? He is a professional photographer of action (broken camera and pictures on the wall of accidents and explosions) and glamour (cover of magazine shows the glamour and the presence of negative of the cover photo indicates Jeff shot it). Being a man of action now confined to a chair because of the broken leg probably means he is bored out of his skull. Does this opening scene make you feel like a voyeur or, at a minimum, remind you of being a an immobile spectator? What feelings does Hitchcock elicit from you as his camera peers into these other people’s apartments? Curiosity and titillation, see answer above. Bonus question: if you have seen the entire film before, do you agree with Hitchcock that this film is his most cinematic? It has been quite some time since I saw the film last: I need to re-watch it first.
  5. I just found a copy of the release script on my dvd copy: I checked and it is "Bandrika".
  6. During the 2012 restoration of 9 early Hitchcock films, 20 minutes were added back to the Pleasure garden, see https://www.theguardian.com/film/filmblog/2012/jun/29/bfi-hitchcock-the-pleasure-garden. So the complete film should run abnout 80 minutes. As far as I know this version is not yet available anywhere on DVD or Blu-ray.
  7. I would suggest Charade, also by Stanley Donen: A young American in Paris (Audrey Hepburn) flees a trio of crooks who are trying to recover the fortune her late husband stole from them. The only person she can trust is Cary Grant's suave, mysterious stranger. Director Stanley Donen goes deliciously dark for Charade, a glittering emblem of sixties style and macabre wit.
  8. Compare the opening of The Lodger to the opening of The Pleasure Garden - what similarities and differences do you see between the two films? similarities: the use of point of view shots the minimal use of title cards differences: The Lodger starts dramatically with a murder of a “golden curled” girl whereas The Pleasure Garden starts more leisurely setting the scene/introducing characters. The Lodger’s opening shot is one self-contained story strand (the murder and spreading the news of it) whereas The Pleasure Garden’s has at least 2: the story of the self-assured Blond inside the theatre (performing and being accosted by the leery “gentleman”) and the story of the timid dark-haired girl (being robbed and entering the theatre). In the Pleasure Garden Hitchcock uses camera movement as a story telling/mood setting device, whereas in The Lodger the camera is static and (rapid) intercutting is used achieve this. Identify elements of the "Hitchcock style" in this sequence? Please provide specific examples. Even if you are not sure if it is the "Hitchcock style," what images or techniques stand out in your mind as powerful storytelling? Or images that provide an excess of emotion? Visual storytelling (limited use of title cards) Distorted images (the reflection the man mimicking the murderer) Rhythmic cutting (used throughout the entire clip) Even though this is a "silent" film, the opening image is one of a woman screaming. What do you notice in how Hitchcock frames that particular shot that makes it work in a silent film even though no audible scream that can be heard. And what other screams like that come to mind from Hitchcock's later work? The tilted camera shot and the fade to black provides a sense of unease, which an audible scream would also have done. To me it brings the famous scream in the 39 Steps to mind, where at the moment of the actual scream upon discovery of the body, there is an abrupt cut to the train leaving a tunnel and the sound of the scream effectively replaced by the train whistle.
  9. Do you see the beginnings of the "Hitchcock touch" in this sequence? Yes: we see what Hitchcock wants us to see (the focus on the staircase by having the sides completely black, the point of view shots, the lighting emphasis on the bag of the girl outside the theater as being looked at by the pick-pocketing thieves): all things we will see again in later films like Rear Window, Vertigo, etc. Also note that Hitchcock is already using the mechanical possibilities of the camera to establish mood: the initially out of focus p.o.v. shot to zoomed in in focus shot on the blonde suggests the leering of the viewer. In Vertigo we have the famous dolly zoom shot (camera dollies is while zoom lens is zooming out) suggesting the mind-altering realization the character is undergoing. Do you agree or disagree with Strauss, Yacowar, and Spoto assessments that this sequence contains elements, themes, or approaches that we will see throughout Hitchcock's 50-year career? Well, yes: the creative use of the camera itself, we have the blonde (although fake), we have a character undergoing difficulties because of circumstances outside her/his control (the girl whose letter of introduction is stolen), there is the staircase, etc. Since this is a silent film, do you feel there were any limitations on these opening scenes due to the lack of synchronous spoken dialogue? No, not at all: Hitchcock's visual story telling is already strong in this first film's opening shot: it is quite clear what most characters think without having it explicitly stated in spoken dialogue. The chosen score is hideous, though...
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