I have recently been uploading old 1990s photos and interviews from my high school magazine collection. I’ve added ones of Jared Leto and Leonardo DiCaprio, so here now is my Brad Renfro collection.
I think this particular interview is an absolute treasure, a total find, as Renfro mentions my favourite actor, River Phoenix. It’s very sad to hear him talk of being compared to River Phoenix, unaware then that the comparison people would eventually make between him and River would be his similar untimely death and drug overdose, and not his great acting talent. Very, very sad indeed.
This interview also gives an insight into Brad Renfro’s difficult childhood, his hard life, and also his special relationship with his grandmother, which I always thought was very sweet. (A couple of weeks after he died, his grandmother also passed away. Perhaps from a broken heart…)
In the interview, Renfro says that he doesn’t have many friends, “I find it hard to trust people now - everyone I’ve ever trusted has given me the short end of the stick." He then says that his only friend is his agent, which is heartbreaking! He was 15 years old and the only person he trusted, that he considered a friend, was essentially a person that he paid for their loyalty, his agent! So sad!
He also talks of his parents and it sounds like he felt really abandoned by both of them; his mother moved to another state and his father remarried. Even though he talks of how it hurt him, he says it was quite “selfish” of him to feel this way. I find this really shocking. Again, Brad is 15 years old in this interview and doesn’t even think he is entitled to his own parent’s love!!! What must he have been through in the years leading up to this to ever think this?! Unreal.
Brad also goes on to mention outright that he doesn’t take drugs, he says "I don’t do drugs - I’m not stupid." I think that it’s obvious from this interview that he was hurting a lot during his teenage years and obviously that pain became too much to bear.
Overall, a very sad, but insightful interview. I hope Brad Renfro fans will enjoy reading this and the other uploads to follow.
This has been an amazing week for the Good Time team— Rob has appeared on the covers of Cahiers Du Cinema and Cinema Scope magazines (which is a really big deal within the film community), and today Filmmaker magazine came out, with Josh and Ben Safdie on the cover. This is a huge deal for any director. They were so excited, they recreated the cover.
Inside the magazine they talked about Rob a bit.
Q: Pattinson’s been helping get a lot of movies made by playing key supporting roles, like in The Lost City of Z or The Rover. What do you think attracted him to the lead in this one?
Josh: He doesn’t need money – what he’s after is so much more existential, and he related to Connie in that regard. He felt imprisoned, and that he couldn’t be free because of the Twilight thing. That’s why he’s been making these interesting decisions. He wants to get at what makes acting acting to him. He wants to lose himself. So, for the role of Connie, he gave us four months of character development. He was traveling to New York, meeting people, going to jails in character.
Stanley Kubrick plays drums with members of the George Lewis Ragtime Jazz Band of New Orleans in George Lewis’ backyard, as photographed by music critic Joseph Roddy with Kubrick’s Rolleiflex, New Orleans, 1950
I am making a short film about the body called “My Body, My World” and I will be working with two very talented musicians for this project, Noah Kittinger (singer of Bedroom) and Igor Belloube. This is a little teaser that I made with the footage I have so far.. I hope you enjoy it! 𝘹𝘰
Hi everyone! It’s my pleasure to present a new upcoming online magazine for movie lovers called Nostalgic Cinema.
Launching on March 1, the basic idea is that every month the “theme” will be a different movie and the first movie we’ll be exploring is “Palo Alto” directed by Gia Coppola!
If you’re an aspiring writer, photographer, artist, filmmaker and are interested in movies then don’t hesitate to submit your work to the magazine! Your submission must revolve in someway around the movie Palo Alto and its overall themes.
If you’re interested, please reblog this post to spread the word!! And all you have to do is submit your work to email@example.com If you have any questions regarding the magazine, message me on tumblr or contact me through the email above.
Don’t feel intimidated! This is a great magazine to showcase your work and share your opinions. Everyone is welcome to submit!
By Maureen Lee Lenker, who is an avid
TCM fan, and a Los Angeles based writer and actress who writes a monthly
column, “Dame in the Game,” about women in Hollywood history for Ms. in the
With the success of last year’s Selma, the first Best Picture nominee
directed by an African-American woman, Ava DuVernay and independent
African-American female filmmakers came more fully to international attention
than ever before. DuVernay had already made history as the first
African-American woman to win Best Director at the Sundance Film Festival for
her 2012 feature Middle of Nowhere, making
its TCM premiere tonight (though that success did not translate into the same
visibility and access that Selma has
DuVernay is an outspoken champion
of black female directors, recently challenging her Twitter followers to devise
a list of films starring a female protagonist and directed by a woman of color.
DuVernay regular points out inequities on her social media platforms and calls
for change in the entertainment industry.
This furthers an effort she began
in 2010 to distribute and promote independent films directed by women and
people of color. At that time, she founded the African-American
Film Festival Releasing Movement (AAFRM), now renamed ARRAY. The
organization is a distributor as well as a resource collective for independent
Though DuVernay calls the number of
female African-American filmmakers out there a “small sorority,” there are a
number of women who blazed the path before her, including tonight’s co-host
Julie Dash, whom DuVernay has named as a big inspiration.
In “Black Women Film-makers
Defining Ourselves,” Alile Sharon Larkin explains Hollywood’s role in excluding
people of color from telling their own story:
From the moment that Africans were
brought to the Americas and made slaves, we lost much more than our freedom. We
lost control of our image. Film and television have been crucial in this legacy
of loss, our loss of name and culture, for Hollywood has the power to rewrite,
redefine, and recreate history, culture, religion and politics. Hollywood has
the power of the spoken word and the visual image and all sounds and dreams.
It’s crucial then that women, especially women of color,
have the opportunity and agency to speak for themselves.
In a book on black women’s
literature and film, Judylyn S. Ryan describes how true equality requires “a
democracy of narrative participation.” Ryan goes on to explain how the work of
Julie Dash as a director demonstrates the need for “representation and
participation in national cinema and national history.” Ryan points
specifically to Dash’s Illusions (1982)
as a film that makes this argument by revising the history of classic
featured film Daughters of the Dust (1991),
which Dash fought to get made from 1975 through its 1991 Sundance debut,also speaks to this need for “a
democracy of narrative participation.” The film stresses family ties and
historical awareness as crucial to the women at its center, even keeping the
dialogue in Gullah without subtitles; it emphasizes a historical consciousness
that can be heightened by cinema. As Ryan explains, “black women filmmakers
frequently return to the past in order to reinscribe the history of Black
women’s agency as a basis for constructing future agency.”
tonight’s films focus on this construction of future agency for their black
female protagonists. Dash accomplishes it by reclaiming a narrative of the past
and figures traditionally marginalized in the historical record. Losing Ground (1982), Just Another Girl on the I.R.T. (1992)
and Middle of Nowhere (2012) tell the
stories of contemporary black women who already possess agency as a philosophy
professor, a girl with college aspirations and a medical student, respectively.
Circumstances in their life force them each to go on a further journey of
self-discovery to develop a more internal sense of agency.
color often feel excluded from the feminist conversation because of the
tendency of some white feminists to ignore issues of class and race. Audre
Lorde critiqued white feminist attitudes in the 1980s: “By and large within the
women’s movement today, white women focus upon their oppression as women and
ignore differences of race, sexual preference, class, and age. There is a
pretense to a homogeneity of experience covered by the word sisterhood that does not in fact exist.”
Thus, in a
programming series that celebrates sisterhood and Trailblazing Women behind the camera, it’s essential to include a
night of viewing dedicated to African-American independent female filmmakers—to
allow their voices to be a part of the conversation; to reclaim their history
and their stories. Only now, they’ve become a part of the historical narrative,
the story of women in film, themselves.
Larkin, Alile Sharon. “Black Women Film-makers Defining
Ourselves: Feminism in Our Own Voice.” In Female
Spectators: Looking at Film and Television, edited by E. Deidre Pribram.
London and New York: Verso, 1988.
Lorde, Audre. Sister
Outsider: Essays and Speeches by Audre Lorde. New York: Crossing Press,
Ryan, Judalyn S. Spirituality as Ideology in Black Women’s
Film and Literature, Virginia: University of Virginia Press, 2005.
Tickets are on sale for our 11th annual Best Film Not Playing at a Theater Near You. In collaboration with IFP and Filmmaker Magazine, this series highlights emerging talent in American filmmaking. Filmmakers take part in Q&A discussions following selected screenings. Check out moma.org for lineup and info.
[Free In Deed. 2015. USA/New Zealand. Directed by Jake Mahaffy. Courtesy the filmmaker]
It was often believed to be the case in indie film that there was a quality-control ceiling on micro-budget work; films that didn’t look particularly great, or sound too good, were limited to a certain group of distributors that they could not climb beyond. This is no longer the case.