Peleas entre directores

John Carpenter: "Rob Zombie es un mierda"

“He lied about me. He said I was very cold to him when he told me he was going to make it. Nothing could be further from the truth. I said, ‘Make it your own movie, man. This is yours now. Don’t worry about me.’ I was incredibly supportive. Why that piece of shit lied, I don’t know. [... ] I thought he took away the mystique of the story by explaining too much about Michael Myers. I don’t care about that. He’s supposed to be a force of nature, he’s supposed to be almost supernatural, and he was too big, it wasn’t normal.”
 
Lo que es una tontada es tacharlo de simple moda y de tormenta en un vaso de agua. Esto viene para quedarse.
 
Si yo estoy de acuerdo con él sobre lo de que el modelo de streaming debería dejar una ventana de tiempo si la película se ha diseñado para proyección, pero eso también niega inversión en producciones más modestas. Y los estrenos técnicos o le valen o no le valen, pero no legitiman según nos venga. Sería interesante si, siendo inglés, esa distinción le viene por crecer con la ingente producción de tvmovies y miniseries de la tele pública, que marcaba una gran distinción con el cine de marquesina.

El modelo Netflix para mí tiene un gran problema y es que el catálogo es reducidísimo y renovable, al final la gente no verá lo que no tengan.
 
Clickbait de manual. Dice en medio de su charla que odia a Tarantino porque no le gusta que en películas se mate alegremente. Sin más. Pero el redactor aprovecha la ocasión para conseguir que leamos un artículo que de otra forma ni abriríamos.
 
Si piensa eso de Tarantantino, qué pensara de cualquiera que ruede filmes de acción más convencionales ...

Un saludete.
 
Ojo, que Saura fué muy grande en los 60 y 70, ¿EH?

"Peppermint Frappé", "La Caza", "Ana y los Lobos", "La prima Angélica", "Cría Cuervos"... Las dos primeras son de los 60, pero las otras tres, obras maestras... y del tirón. UF, UF.

Las declaraciones ésas ni me molesto en leerlas.
 
Nos hemos pisado, Saura es historia viva del cine español, y La Caza es insuperable.

Encasillar a Tarantino en la violencia gratuita es no conocer su obra, o quizás sí y no respete el cine festivo (que es cuando Tarantino colecciona cadáveres), porque cuando se Quentin se pone serio es muy moral en todas las defunciones de su cine.
 
Saura era uno de los pocos directores con los que Kubrick se volvía loco por ver "su última obra". De hecho, en su lista de pelis favoritas calza nada menos que tres Sauradas:

Stanley Kubrick, cinephile

Peppermint Frappé:

“I first encountered Saura’s work by chance and in a rather strange way one day when I got home quite late and turned on the television; a film in Spanish with subtitles, that I knew absolutely nothing about, and besides, I’d missed the first half hour. It was hard for me to follow and understand but, at the same time, I was convinced it was the film of a great director.

“I watched the rest of the film glued to the TV set and when it was over I picked up a newspaper and saw that it was Peppermint Frappé by Carlos Saura. Later I found a copy of the film, which of course I watched from the beginning and with great enthusiasm, and since then all of Saura’s films that I’ve seen have confirmed the high quality of his work. He is an extremely brilliant director, and what strikes me in particular is the marvellous use he makes of his actors.

“I’d also like to mention the great impression the young girl Ana Torrent made on me in the two roles I saw her play: in Erice’s film The Spirit of the Beehive, and in Saura’s Cría Cuervos. I dare say that in a few years she will be a woman of rare beauty – you can see it already – and a great actress. Besides these two directors I must of course mention Luis Buñuel, whom I have profoundly admired for many, many years.”

— interviewed by Vicente Molina Foix in El Pais – Artes, 20 December 20 1980, translated in 2013 by Georges Privet

Cría Cuervos:

“I saw Cría Cuervos in Zurich when it came out and loved it. I told Stanley what a great film it was and I remember his answer: ‘I am hungry for a great film – try to borrow a print.’ I called Primitivo Álvaro at Carlos Saura’s office in Madrid and told him how I loved the film and that Stanley Kubrick asked me call, etc etc – could we borrow a 35mm print? The answer was, “of course, we would only be too pleased” etc etc. I reminded him that it must have English subtitles. “Of course” was the answer.

“Two days later Emilio drove to the agent at Heathrow, at that time still temporary import formalities and stuff like this, we had the print ready on the next Saturday and invited a lot of people. Stanley and I ran the film. NO SUBTITLES! For the first ten minutes it doesn’t matter so much, one is enthralled by what we see – the little girl on the staircase, the woman coming out of the man’s bedroom, the girl calling Papa. He is dead. She sees the empty glass, takes it, washes it carefully in the kitchen and mixes the glasses. We are intrigued. Mum comes in, lovely little encounter before the masks of happiness slips from Mum’s face – and the girl is off to feed the pet. What a beginning.

“It became clear that there were no subtitles. Stanley first suggested to stop because it’s unfair. ‘Let’s just finish the reel’, someone said. I knew the film, briefed everybody between the reel changes about what we had seen, and we watched the whole film and loved it.”

Y "Bodas de Sangre", de la que no comenta nada, según el artículo :cuniao
 
Es que, curiosamente, Peckinpah y más concretamente Grupo Salvaje es deudora absoluta de La Caza de la que Bloody Sam estaba enamorado, y no hace falta decir lo que es Grupo Salvaje para Tarantino, vamos que Saura es abuelo de Tarantino y no le gusta su nieto.
 
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