Can You Use Pancake Mix For Waffles

fighters in two systems


addition to three resulting in the U.S. has the No-/Low-Budget-Produktionen filmography Buddy Giovinazzo many German TV thriller. In 2003, he has his first Police call 110 turned to Edgar Selge, followed by two episodes Wilsberg , three episodes The detective, a consequence use in Hamburg and three crime scenes, in August turned Giovinazzo another in Leipzig . 2008/2009 he was 18 months in LA to shoot the independent film Life Is Hot in Crack Town , 14 years had taken it until he had found a donor for the filming of his debut novel. Rich he will also not work with this, Cracktown was indeed in the United States flopped in theaters, but. With the realistic depiction of poverty, addiction and violence in America, no director has become rich.

During his visit to Hamburg Buddy Giovinazzo told many interesting anecdotes about his life as a director between the worlds, a position that does not make him rich, but it allows for many interesting insights into the various film production systems in the U.S. and Germany. What For example, the work concerns with German actors, Giovinazzo was amazed at the tendency to scream and Erregtsein the male performer. During his first police call 110 ( Deep Wounds of 2003) he brought in Edgar Selge that Tauber is not a permanent Wutkopf, but a gentleman with precipices, which also disengages times, but can also be very calm and tender. In the same year he won Axel Prahl ( scene: 3 x black cat ) that Inspector Thiel not bleeding to 180 must, but after winning a dispute may sometimes treat yourself to a relaxed smile. In the U.S., Giovinazzo, the actors are more relaxed and speaking in front the camera in the same quiet tone of voice as behind the camera when reviewing the scene.

Cracktown cost around a million dollars less than the average crime scene, the gross production costs 1.3 to 1.6 million euros lie. lie so close to the budget in numbers together, as far as they gape in the system comparison: While the total cost of Cracktown Giovinazzo According covering only about the catering costs the average U.S. feature film, you move on German TV with the same money in the big leagues . Rich, so Giovinazzo, but it could still only in the U.S., for while the irregular Working for German television, with its fixed fee rates as he and his wife financially just helps make ends meet, can also be the cheapest feature film production in the USA getting six are in the lottery, see Reservoir Dogs , The Blair Witch Project or Paranormal Activity.

The question of why he do not work for American TV, answered Giovinazzo, pointing out that a director in the U.S. TV in general have no freedom, his only task was to film previously well-defined settings. Anyone willing to experiment, is released, all creative power is in the hands of the writers and producers. Everybody knows today, David Simon, JJ Abrams and Alan Ball, none of the episodes directors The Wire, Lost or Six Feet Under . By contrast, the rules that apply to turning a crime scene (this would be one to follow), manageable, as long as you adhere to the basic structure of the screenplay, one could also try things. Just as in a New Perspective (2006) with Udo Kier as eccentric profiler on the side of Edgar Selge, considered the most bloody as a German TV crime history and Giovinazzos prepared editor sleepless nights.

the huge quality difference between the American and German TV productions said Giovinazzo work on the scripts: create While the U.S. has several authors, five, six, seven or more versions of a book and work out his themes, motifs and dialogue is always accurate, in this country no later than the second draft final, more time and money would not invested. He also lamented the fact that in Germany there is no free market for screenplays, because this is not worthwhile for the authors. They wrote only in the context of permanent contracts with TV broadcasters and production companies, which is why he has found to this day still not a good script for his first German film.

Where the too frequent revision of scripts also can lead, shows the currently in development history of Potsdamer Platz after the same great Berlin novel Buddy Giovinazzo. Tony Scott, a great admirer of the book, has secured the option on the film version and Giovinazzo charged with writing the screenplay. After he had written two versions, the book by Louis Mellis and David Scinto was revised recently, it was announced that the movie in Puerto Rico to be realized. The script doctors will therefore still have much work.

Buddy Giovinazzo recommends 5 TV Series:

first Dexter
second True Blood
third Curb Your Enthusiasm
4th Weeds
5th Mad Men

Why Do I Talk Like I Have A Stuffy Nose

O tempora o mores!

"Except for a few live pictures in Paris, I have, I think, seen in my entire life, but one pornographic film. He had the charming title Soeur Vaseline . We saw a nun in a monastery garden to sleep with a gardener who was driven in turn by a monk, until all three of us a number to came together. I can still see the black cotton stockings of the nun in front of me that stopped above the knee. Jean Meauclair of Studio 28 I had given the film, I've lost it. With René Char, who was strong as I am, I planned to enter a child's imagination to tie and gag the presenter and demonstrate the youthful audience Soeur Vaseline . O tempora o mores! Children appeared to destroy us as one of the most attractive forms of subversion. Of course there is nothing has been done. "(Luis Bunuel, My Last Sigh )

What Bunuel planned and implemented Tyler Durden in Fight Club into action, of which I was spared as a child and I dream of it as an adult: that one day the film use the dominant image suddenly and unprepared regime by another, bloodier, naked is being replaced by an image or a scene that is beyond the scope. This sudden emergence of another that is not necessarily the real be designated, one in psychology and in art as a "shock". What is feared in a specialist area with its often traumatic impact, is celebrated in the other as the guarantor of catharsis and deeper insight. In his history of rail travel defined Wolfgang Schivelbusch the shock as follows: "With shock he described a sudden and violent force operation that enters the continuity of an artificially-made mechanical movement or situation, and the subsequent State of disorder. "Closely associated with this mechanistic view of the shock is the term of protection stimulus, a mental apparatus that is responsible for a continuous perception of reality and the suppression / attenuation of disturbing factors.

this side of the stimulus shield wall: Le Sang des bêtes by Georges Franju

The cinema is a paradoxical institution because it is also a place of charm protection, a dark, samtverkleidet cave the viewer from the harsh and cruel world out there to protect, and a place where we the Begegegnung with the other, the real, the horrors desire to get into a state of disruption and purified in the suddenly become bearable reality step out. By cinema history runs like a hidden thread of the story of the trials, the stimulus-to-date protection contract between filmmakers and audiences to break down and sneak pictures, the quote to one of the most famous, cut the eye of the beholder. That in the experiment is still being, says something about the history of cinema shocks non-linear and runs straight ahead, but in waves, loops, swirls. Perhaps the image consumers in the not too distant Future in the family circle in pornographic 3-D extravaganza delight to feed into the terrorist hackers pictures of green meadows and extinct animal species attempt.

It is not a property of the image that evokes the shock, but the difference from the previous image. A very nice example of a classic shock, a collapse of the bloody reality in the romantic idyll, is found in George Franjus Le sang the bêtes . In the documentary Lynch the master himself tells about his encounter with this film, whose electrifying and disruptive effects resonates in his words (which question 3 of the Wayward Cloud Anniversary Quiz aufgelöst wäre; bleiben noch drei weitere Fragen …):

„There’s this film I saw one morning and it was incredible. It was kind of black and white and I could swear it was colored … in this cool countryside two lovers arm in arm are walking as I recall, I don’t know for sure … and they cut from this couple walking down this road to this … old place man it was so beautiful … this courtyard, stonewalls like 15 feet tall, cobblestones, giant iron gate … and they bring out this giant white horse, you see the steam coming out … guys with these thick aprons and gloves and stuff … and they take this thing like a giant white tube … and they take it to the horse’s head ... boom ... it goes down ... and they take this chain and they pull this horse up ... they slit its neck, blood gushing out ... just steam going all over the place ... well this thing and they roll out the guts ... and just like bang you know they got the thing cleaned out ... you know ... no more horse. "

the past 15 years, probably no other director so intense the stimulus threshold of the public protection process, such as Takashi Miike. His best film in this respect is not Dead or Alive , Visitor Q or Ichi the Killer , the move from the first until the last minute on the threshold of visually tolerable, but the great Audition , whose shock-like swing at the very end comes . As in Hitchcock Psycho (of the publicity campaign until the plot construction of one of the most thorough experiments in film history, to shock the audience ) the distress to the lustful gaze of a man begins: looking for a widower Aoyama and is a phony casting a worthy replacement for his deceased wife. But in Japan the pathologies lie elsewhere than to be headed in Bates' Motel, seems this time of death the desiring gaze.

Beyond the stimulus shield wall: Audition by Takashi Miike

Aoyama is a beloved spirit, a demon, a phantasm of the man? In any case, it can be extremely violent, and determine the final must Aoyama, how extremely painful it can be to be demoted himself the object of a casting. This sudden, barely announced reversal of the beholder to the intuited from the agile dream machine into a passive suffering machine, Aoyama suffers in our place, representing the audience, the remains of the unimaginably painful encounter with reality once again only a pale reflection, a sensory overload that dissolves in a pleasant catharsis. The cinema is thanks.

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In the series "Brigade Mondaine" ended in June the following films in the B-Movie :

Audition , Japan 1999, 35mm, with subtitles, 115 min, directed by Takashi Miike, photography: Hideo Yamamoto, Ryo Ishibashi with, eIHE Shiina

Silence , Sweden 1963, 35mm, DF, 96 minutes, directed by Ingmar Bergman, director of photography: Sven Nykvist, Ingrid Thulin, Gunnel Lindblom

Montana Sacra , Mexico / USA 1973, 35mm, DF, 114 Min Director: Alejandro Jodorowsky, Camera: Rafael Corkidi, Alejandro Jodorowsky, Horacio Salinas

The Portrait of Doriana Grey (aka The Marquise de Sade ), Switzerland 1976, 35mm, DF, 78 minutes, directed by Jesus Franco, director of photography: Peter Baumgartner, Jesus Franco, Lina Romay with, Monica Swinn

short film "Youth without God - a cheerful introduction to the subversive film"
including Un chien andalou (France 1928, directed by Luis Bunuel, Salvador Dali), Soeur Vaseline (France 1925, directed in anonymous) , It's a sin (England 1987, directed by Derek Jarman), Fireworks (USA 1947, directed by Kenneth Anger), Les Miserables (Austria 1987, directed by Mara Mattuschka) Mann & Frau & Animal (Austria 1973, directed by Valie Export), Rubber Johnny (England 2005, directed by Chris Cunningham), Le Sang des bêtes (France 1949 , directed by Georges Franju)