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)

Losing A Bet Punishment

poet of hell


The work of the filmmaker, born 1957 in the United States and author Buddy Giovinazzo is as narrow as important to the history of American underground cinema. Growing up in Staten Iceland, then one of the most run-down district of New York, where his first two feature films are located, began Giovinazzo mid-70s to shoot Super 8 movies. Together with his brother Rick, who later wrote the music for his films, gründtete Giovinazzo a punk band, resorted to first appearances at the legendary CBGBs, but on the rotation of videos for other bands. In the early 80s followed short films as Lobotomy and The Christmas Album , 1986, came out Combat Shock, a valid study to date on urban and mental decay. This theme is also found in the later works No Way Home (1996) and Life Is Hot in Crack Town (2009) again, poverty, addiction, crime, broken families and violence are everywhere. The film features a radically pessimistic to find and the attitude of courage, candid photos for an existence beyond the Existenzminimus.

Life is hot sweat in the Films of Buddy Giovinazzo, the characters, they are under pressure, just before exploding. The apartments are no safe havens, but buggy mud holes from which they fled rather in the ruined streets, in families, there is no security, but stress and contempt that society is so remote as the moon. The cities look like in the war destroyed and eaten by mold as the power is in the hands of pimps and drug dealers, keep all the threads of the underground economy in their hands. There is no Solidarity between the characters, each fighting and dying for their own. Buddy Giovinazzo: "I was always interested in the issues of poverty and violence, I really do not know why. I think it's the people that fall through the social grid, follow me. Their stories touch me, are so much more moving than the more or less normal, we make every day on the road. "

In the series" Cinema Bizarre "will present his work in Buddy Giovinazzo B-Movie and three films that have influenced him.

Friday 11 June, 21 Clock, Double-Feature:

Joe - revenge for America , USA 1970, 107 min, VHS, DF, directed by John G. Avildsen, starring: Peter Boyle, Dennis Patrick, Susan Sarandon

Eraserhead , USA 1976, 89 min, 35mm , OF, directed David Lynch , Starring: Jack Nance, Charlotte Stewart, Judith Roberts

The influence of Eraserhead on Combat Shock is obvious: young fathers on the verge of a nervous breakdown escape from the hell of responsibility and the noise of the deformed offspring - with Lynch in a mirror world behind the heater in Giovinazzo in the streets of Staten Iceland, which look even more parlous than the industrial ruins of Pittsburgh. A different kind of urban nightmare presented Rocky director Avildsen in the unjustly forgotten Joe in which the frightening Peter Boyle organized as a racist avenger of the man in a massacre on hippies, along with a father who lost his daughter to the drug believes. Since neither a film nor a DVD copy could be found, we show Joe in allerschönstem VHS Color. Buddy Giovinazzo: "What Joe for me so extraordinary, is how directly the racism of the main character is shown. The truth is told, without any attempt to make the character sympathetic. This Film is like Combat Shock the time capsule of a city, New York in the 70s. This film Peter Boyle has made a career. "

Saturday 12 June, 20 clock:

Combat Shock - Uncut (with supporting movie Maniac 2 ), USA 1986, 100 min, 16mm, original version, directed by Buddy Giovinazzo, Cast: Rick Giovinazzo, Veronica Stork, Mitch Maglio

Buddy Giovinazzo almost no money shot in the streets of Staten Iceland with this tale of a Vietnam returnee one of the milestones of the U.S. underground cinema of the 80s. The ubiquitous decay that all the faces, houses, things have attacked, we mean being able to smell almost as well as the expired milk, which plays a role in the memorable finale. Anticipate we will show the promo trailer for Maniac 2: Mr. Robbie , has turned the Giovinazzo 1989 with Joe Spinell shortly before his death.

Life Is Hot in Crack Town

Saturday 12 June, 22 clock:

Life Is Hot in Crack Town , USA 2009, 99 min, 35mm, directed by Buddy Giovinazzo, Cast: Evan Ross, Desmond Harrington, Lara Flynn Boyle

Buddy Giovinazzos latest work, a filming of his first novel, is a kind Short Cuts the middle and hopeless. Atmospherically dense and with his usual flair the fears and dreams of the poor and addicts, Giovinazzo said the complex interwoven stories of a variety of figures, for each new day is a struggle for survival is. On the festival with the film was enthusiastically celebrated last year.

Sunday 13 June, 15.30 Clock:

Pink Flamingos , USA 1972, 100 min, 35mm, with subtitles, Director: John Waters Starring: Divine, David Lochary, Mink Stole

"cannibalism, rape, a feeble-minded grandmother in the playpen, the pleasurable eating of dog waste - underground film director John Waters to mocking the sacred taboos of cultural goods. As the title threatens: An exercise in poor taste. "( Catholic film Service ). But if you look long and carefully enough, that has understood Buddy Giovinazzo as opposed to the Fathers: Then beauty and truth of it. Buddy Giovinazzo: "The movie showed me that anyone can make a film. Pink Flamingos was shot without any budget, with friends as actors and crew, and I was totally inspired. Simply hold of a camera and make a movie. "

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A doctor, he should not be

notes of truth, beauty and goodness on film during the series Cinema Bizarre
# 7>> # 6 Reel Animals / / Grizzly Horror & Pet
>> # 5 good bad movie / / Stanley
>> # 4 killed 50! / / Assault on Precinct 13
>> # 3 penetration, mutation, deformation / / Brian Yuzna
>> # 2 Where your money is / / Bloody Friday
>> # 1 Join Us / / Evil Dead

A little typology of the Mad Doctor

Daring cuts are a unifying element of Cinema Bizarre and advanced medical work on the body. Directors like Lucio Fulci, which a falling film body not only from a distance, but also brutally into the assembled close-ups show what rock can do with a human face ( Do not Torture a Duckling , 1972), have as much spirit of research such as Dr. Herbert West and his colleagues, Sew the bat wings on heads ( Bride of Re-Animator , directed by Brian Yuzna , 1990). Film and medicine influence each other improve in their visionary search for the new meat in their attempts to beautify the human body to revive, to control and make it last longer. Here are a few branches of research have emerged, here will be presented shortly.


first Re-animation. Research purpose: Reviving a dead being, as a whole or by joining various parts. Famous representatives: Victor Frankenstein, Herbert West (Re-Animator , Bride of Re-Animator ). The victory over death, which is the oldest and most frightening dream of the medical profession. A problem of this branch is the access to research results: although there are many dead bodies, they get to heavy. Result is usually one or the other form of acquisitive crime, often by grave robbery, and sometimes by the Mad Doctor carried a living death, to bring him back then can. The experiment succeeds, the next biggest problem arises, the zombie phenomenon has revived the body is not necessarily a revitalized spirit. Most of the entire human civilization Sublimationsapparat on the threshold between death and life is stuck, leaving only aggressive drive monster that react only to one or the other primary stimulus. The disturbed balance between bodily impulses and regulating consciousness is the central problem of all Mad Doctors.


second Plastic Surgery. Research Purpose: Restoration of the external shell of the body after heavy Accidents / injuries. Famous representatives: Dr. Genessier (Les yeux sans visage , directed by Georges Franju, 1960), Dr. Keloid ( Rabid, directed by David Cronenberg, 1977). As with the Re-animators, there are also the transplant outside a procurement problem, because some has to come the new, tender skin, yes. Here are two solutions to be distinguished: First, the material is being operated by the patients themselves, as in the clinic of Dr. keloid, the "morphogenetic neutralized 'own tissue transplanted. Second, the material comes from not always voluntary foreign volunteers, like Dr. Genessier who wants to model his disfigured by an accident daughter a new face why his assistant must constantly acquire new students. Foreign material is not difficult to obtain, it is also repelled often, as in Dr. Genessier, or developed a life of its own (as in the subgenre of "transplant killer hands": Orlacs hands , The Beast with Five Fingers , Mad Love ). Another danger to mutations and the appearance of body parts as in Rabid .


third Vivisection / re-combination. Research Purpose: creation of hybrid creatures. Famous representatives: Dr. Moreau. Mad Doctors play God do all a little bit, but not in such great Scale as the representative of this genus. Moreau's avowed desire to make the island a little man-like beasts of his hidden, hardly the underlying ambition of the ruler of his own creation to be. Main problem with this line of research is primarily the large space requirements. A remote island, it must be so.


4th De-and rematerialization. Research purposes: invisibility and / or teleportation of organic matter. Famous representatives: Sebastian Caine ( Hollow Man, directed by Paul Verhoeven, 2000), Seth Brundle (The Fly , directed by David Cronenberg, 1986). This line of research is the furthest from the classical Human medicine away, knowledge of the molecular physics and biochemistry is a plus. Maybe because they lack the patient base, the scientists working in this field like in person. As so often in experiments on the body's radical transformation leads to a regression of civilization, so that the invisible men usually think of nothing better than to enrich the material, and lick of visible female bodies. In its purest form, the related technical progress shows atavism in the shape of the Brundlefly, a reminder of the monstrous power of chance, which holds even in the most controlled experimental designs of modern medicine feeder.


5th Brain Fucking. Research purpose: mental optimization of people, relief from psychological and social constraints. Famous representatives: Dr. Jekyll, Dr. O'Blivion ( Videodrome, directed by David Cronenberg, 1983). The ugly side effect of most body experiments of Mad Doctors, desublimation and release of animal instinct is the declared main aim of this research direction. What Dr. Jekyll is succeeded by chance, especially for doctors in many of David Cronenberg films, the main concern: total disinhibition in the sense of Re-/Deprogrammierung "harmful" civilizational patterns. Whether the sex of the parasites, Dr. Emil Hobbes ( Shivers, 1975), Dr. Hal Raglan Psychoplasmics with which one can materialize let his fears and desires ( The Brood, 1979), or administered by the TV signal Brainwash O'Blivion of Brian, is the focus of these experiments always the (sexual) liberation of people from the shackles of reason, which leads according to the dialectic of Mad-Doctor movies to an even more gracious looser submission under the heel of the (new) flesh.

The two earliest examples of that architectural feature of buildings unverputzem concrete, in which David Cronenberg and his Mad Doctors looking after the "new meat", the Canadian Academy for Erotic Inquiry ( Stereo , 1969) and the House of Skin ( Crimes of the Future, 1970). Never again did the scientist and director of experimental arrangements so perfect to cover in these two early works Cronenberg. In both films was omitted narration and dialogue, instead there is a cool, scientific look that is particularly interested in the movement of subjects through the surrounding space and Cronenberg compares with the observation of an aquarium. In Stereo follows this view seven subjects that will develop by surgical removal of their language skills and social isolation telepathic abilities, is in Crimes of the Future it to the triggered by new cosmetics global extinction of all mature women. In both films, accompanied by a scientific objectivity suggestive voice-over the running out of control experiments, the promise of a new human being ends in radical dehumanization.

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Saturday 15 May, 21 clock, B-Movie :
Bizarre Cinema double feature with Re-Animator & Bride of Re-Animator