Spanish-director

RIP Jesús Franco (1930-2013)

Jesús “Jess” Franco (born Jesús Franco Manera; 12 May 1930 – 2 April 2013) was a Spanish film director, writer, cinematographer and actor. His career took off in 1961 with his cult classic The Awful Dr. Orloff, which received wide distribution in the United States and the UK. Though he had some American box office success with Necronomicon (1967), Ninety-Nine Women (1968) and his two Christopher Lee films, The Bloody Judge and Count Dracula, he never achieved wide commercial success. Franco moved from Spain to France in 1970 so that he could make more violent and sexual films, and it was at this point that his career began to go downhill commercially, as he turned to low-budget filmmaking with a heavier accent on adult films. Although he produced a number of well-received, low budget horror films in the early 70’s (Dracula vs Frankenstein, Vampyros Lesbos, A Virgin Among the Living Dead), many people in the industry considered him a porn director due to the huge number of X-rated adult films he began churning out. Franco returned to low-budget horror in a brief comeback period from 1980-1983 (Bloody Moon, Mondo Cannibale, Oasis of the Zombies), but after 1983, his career took a second downturn as he returned to pornographic films. He died in 2013 at the age of 82. (Source: Wikipedia).

Sad news of the passing of Spanish film director Jesús “Jess” Franco. An “interesting” director, I’ve always felt that his artistic ambitions were more often than not hampered or curtailed by lack of proper financial investment for his numerous projects. That and the fact that he was stark raving mad (or deeply eccentric, take your pick)! Franco often worked with actor Sir Christopher Lee, who played both Count Dracula and Dr Fu Manchu under Franco’s direction. A unique director who will be sadly missed.

RIP Jesús Franco (1930-2013), and thank you for all of your zany, offbeat, and outlandish work!

(Click image for source).

“Esta es una historia contada por un idiota, lleno de ruido y furia, que no tiene ninguna importancia”, recita Antonio Mayans, uno de los actores fetiche de Jesús Franco, en pleno arrebato políglota de variantes de la cita shakespeariana, al final de Al Pereira vs. Alligator Ladies, el testamento cinematográfico del cineasta, que llegó a los cines, en distribución limitada, el pasado 22 de marzo. Al fondo de la escena, un grupo baila caóticamente. Sigue bailando incluso después de que se apague el fondo musical y la voz del director haya pronunciado un casi inaudible “¡corten!”. La cámara se mueve hasta mostrar a un Jesús Franco a la izquierda del plano, que, tras disculparse con sus actrices, suelta un “Bueno… ya está” antes de un corte a negro que ya va a resultar definitivo. Al Pereira vs. Alligator Ladies es una obra capaz de lograr que lo que hoy se entiende por una película low cost parezca, por comparación, un trabajo sobre-producido: también es el testimonio de que Franco, fallecido hoy en Málaga a los 82 años debido a un ictus, ha seguido jugando y divirtiéndose hasta el final, logrando una síntesis crepuscular de su mitología, hecha de apropiaciones (los ecos residuales de Fu-Manchú), autoconciencia (el efecto Meninas de determinadas escenas y ese Al Pereira —personaje que encarnó el propio cineasta en Dowtown (1975)— reconvertido en carcamal moralista), erotismo deconstruido y, sobre todo, un placer entendido como principio rector. Y, también, Al Pereira vs. Alligator Ladies demuestra que, en la vida de Jesús Franco, ha habido ruido y furia hasta el final, aunque, de idiotez, más bien poca.

Link to an obituary article (in Spanish) on Jesús Franco from El País.com.

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THE JACKSON 5IVE (1971)

a Saturday morning cartoon series produced by Rankin/Bass and Motown Productions on ABC from September 11, 1971 to October 14, 1972; a fictionalized portrayal of the careers of Motown recording group The Jackson 5. The series was rebroadcast in syndication through Worldvision Enterprises during the 1984–1985 Saturday morning season, during a period when Michael Jackson was riding a major wave of popularity as a solo artist. The series was animated mainly in London at the studios of Halas and Batchelor, and some animation done at Estudios Moro, BarcelonaSpain and Topcraft, Japan. The director was Spanish-American Robert Balser.

Why was it special?: IT WAS A CARTOON STARRING ONE OF THE MOST BELOVED MUSIC GROUPS OF THE 70′S

Take another look at that intro. We’ve got a cartoon produced by 2 American companies with production assistance by Great Britain, Spain, and Japan. It took multiple companies spread  out across 5 different countries -I say 5 because I definitely think Canada had some sort of hand in this- to bring us the animated adventures of the Jackson 5.

So many people were involved in this and yet it still appears to have the budget of your below-average Hanna-Barbera cartoon. It’s all here; we’ve got limited animation, repeated frames of animation, flat backgrounds, and audio that sounds like it was made in a poorly insulated sound booth. Hilariously, Rankin-Bass actually boned it worse than Hanna-Barbera ever could by including a poorly mixed in laugh track with the show. 

For some reason at the time, a lot of cartoons had laugh tracks like live action sitcoms. I guess this was done to evoke a sense of realism in the cartoons but I don’t know. Rankin-Bass included a laugh track they made themselves but they didn’t put a  whole lot of thought into how it was implemented so there were multiple instances where the wrong laugh would be played at the wrong time. There’s numerous instances of unintended hilarity where a small joke or a quip from one of the characters would be met with a laugh like it was the funniest thing ever uttered by human beings.

You know what the though, despite the lazy production I know for sure that this is an instance where nobody watching cared. I can understand why because if I was a kid growing up in the 70′s I would’ve been absolutely stoked to see the Jackson 5  in any capacity. They did all they could to make us believe this really was the Jackson boys; copying their mannerisms, their family dynamic, and capturing their likenesses for what it’s worth. What probably sold people the most on this cartoon was the fact that due to the partnership with Motown Records, they were to play songs by the group during the show, and they played a lot of songs.

I believe the music is worth the price of admission… well that and Michael but that goes without saying.

It’s a bad cartoon but something enjoyable to kids who were big fans of the Jackson 5.

TRIVIA

  • Because Michael Jackson owned many pets in real life, a few pets were added as extra characters to the cartoon. They included Michael’s pet rats, Ray and Charles (alluding to singer Ray Charles), and his pet snake Rosey ‘The Crusher’ (who is male). 
  • On January 15, 2013, DreamWorks Classicsreleased The Jackson 5ive: The Complete Animated Series on DVD and Blu-ray in Region 1 for the very first time. The 2-disc set features all 23 episodes of the series. For the remastered print (The Jackson 5ive: The Complete Animated Series), the mono soundtrack was replaced the stereo soundtrack in the song, the rest of scene was kept the mono soundtrack.

CLOSING THOUGHTS

The one thing that’s most polarizing to me is what’s the deal with the title? The Jackson Five-ive? I know how they wanted us to pronounce it but it’s still confusing.

What’s also confusing is the complete absence of any of the other Jackson family members particularly, ahem, Janet Jackson, and La Toya Jackson. That’s pretty lame guys.

Luis Bunuel ve Sürrealizm

Luis Bunuel ve sinemasından bahsetmeden önce Bunuel’in tüm filmlerini çekerken etkilendiği sürrealizm akımından bahsetmek gerekir. Sürrealizm (gerçeküstücülük), hiçbir mantıksal çabaya, estetik kaygısına, töre ve ahlaki değerlere bağlı kalmaksızın yalnızca içgüdülerle yola çıkılarak üretilen sanat akımıdır. 1. Dünya Savaşı’nın getirdiği düşünceler yığını, toparlanma, birşeyler yapma dürtüsü…

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Statement by Francis Ford Coppola on being bestowed with the 2015 Princess of Asturias Award for the Arts

What a pleasure to be so honored by the Princess of Asturias Award for the Arts. I graciously accept while noting the coincidence that I happened to be midway in reading Don Quixote de la Mancha; so in Cervantes words ‘Destiny guides our fortunes more favorably than we could have expected’. Thank you.

Francis Ford Coppola
San Francisco, 6th May 2015

No I’m not crying because you used a Don Quixote’s quote to accept the award, Mr Coppola…

Short film about Drugs.

I hope you’ll like it.

tomorrow is the official announcement on whether or not i got accepted to go to ecuador next winter for the spanish program but the director already told me i got in :’)

reddinghulce replied to your post: I met François Ozon today! (Dans la ma…

i want your life :( Jessica…Rosamund…François….And I wouldn’t be surprised if I was forgetting someone…damn man.

I know right? It is just so surreal! Like my life has changed so much in a year that is really scary but idk I just want to enjoy these opportunities I am given, everything is so random tbh

(Besides “just” David Fincher and two spanish directors I absolutely adore by their last movies (totally recommeded: Stockholm and Magical Girl) lmao)

Please be informed that the exhibit Transnational Narrations: Paperworks, previously announced to be on view from May 7 to 31 at the Bulwagang Juan Luna (CCP Main Gallery) and Pasilyo Juan Luna (CCP Main Gallery Hallway), has been moved to February 2016. The exhibition is a gathering of works by artists from the US, Spain, Puerto Rico, Australia, and the Philippines, among others. It was curated by the late British art critic and curator Kevin Power and Mónica Carballas, Spanish curator, former deputy director and exhibition coordinator of the Museo Reina Sofía, Madrid, Spain. Aside from the common medium of working on paper, artists also worked around the ideological concept of contemporary narration as fragmentary, brought about by contemporary modes of information.

Ferrari sporting director Rivola absent from Spanish GP

Ferrari sporting director Rivola absent from Spanish GP

A spokesman for the Italian outfit confirmed to Motorsport.com that Rivola, who has been with the Scuderia since 2009, would not be joining the team in Barcelona for personal reasons.
Rivola’s absence has, however, prompted speculation that his future at the team could be in doubt.
There were even suggestions that he could be on his way to renew his working relationship with Fernando … Keep…

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The ensemble cast for the feel-good film already includes Jorge Garcia, Kaitlyn Bernard and Oliver Jackson-Cohen. The Healer is Arango’s follow-up to his 2012 film Maktub, which earned the Spanish director a Goya nomination for best new director.

Jackson-Cohen has the film’s lead as he plays a man with an unwanted gift for healing, only to discover a cancer-stricken teenager who helps him find himself. The Healer is produced by Arango, Enrique Posner and Michael Volpe.