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 No.3598>>3599 >>3651 [Watch Thread][Show All Posts]

or rather cult by accident?

Post films that gained cult status/ following by misinterpretation or insensitive post production, later explained by writer/director/re-cut/sequel.

ie. Donnie Darko until DC with twenty minutes of extra footage came. Turns out it was just pretty fine, albeit complicated, time travel sci-fi, but without any deeper meaning overhead that many fan theories suggested.

 No.3599

>>3598 (OP)
Bloody subject field, why do we even have "name" field on anon board…

 No.3600>>3604 >>3718

File (hide): 1425348387486.jpg (139.36 KB, 1119x1612, 1119:1612, exibicao_do_filme_este_obs….jpg) (h) (u)

I don't know if they are cult, but I thought of a couple films where people seem to interpret certain financial compromises as an asset. Or they weave the result of the compromises into a positive interpretation of the film.

I read a lot of praise for El sur (1983), but my reaction was somewhat different. It seemed good but incomplete.
It turns out the director planned to make the film longer but ran out of funds.

Also Bunuel's Cet obscur objet du désir (1977) bothered me a bit because the use of two actresses for one role seemed entirely random. It turns out the first actress quit halfway through and they resumed shooting with someone else.

 No.3603

at the end of the day w/e is there, is there.

good info none the less

 No.3604>>3608

>>3600
Great finds, noted.

Anyway it doesn't need to be cult only, any misinterpreted film goes.

 No.3608>>3651

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>>3604
Side note, I'm glad to finally see a Czech posting here

 No.3651

>>3598 (OP)
I can't agree the cult status of Donnie Darko is accidental; regardless of its plot-wise interpretations, it conveys most of the ingredients that rapidly turn a film into a cult: inspired cinematography, GOAT musical score, intimate storyline that furthermore is representative of a generation, with which many can relate to, etc.

>>3608
Czech these dubs.

 No.3718

>>3600
I think the Buñuel film was made under different circumstances. The explanation is somewhat confusing as I don't grasp the need for two actresses…unless it was done on a whim.

http://en.wikipedia.org/wiki/That_Obscure_Object_of_Desire
>The film is notable for its use of two actresses, Carole Bouquet and Angela Molina, in the single role of Conchita; the actresses switch roles in alternate scenes and sometimes even in the middle of scenes (at one point, Molina walks behind a curtain and Bouquet emerges a second later).

>In his autobiography, My Last Sigh (1983), Buñuel explains (pp. 46–47) the decision to use two actresses to play Conchita:


>In 1977, in Madrid, when I was in despair after a tempestuous argument with an actress who'd brought the shooting of That Obscure Object of Desire to a halt, the producer, Serge Silberman, decided to abandon the film altogether. The considerable financial loss was depressing us both until one evening, when we were drowning our sorrows in a bar, I suddenly had the idea (after two dry martinis) of using two actresses in the same role, a tactic that had never been tried before. Although I made the suggestion as a joke, Silberman loved it, and the film was saved.


>The book does not identify the actress who had caused the "tempestuous argument," though Buñuel makes it clear (p. 250) that she was neither Carole Bouquet nor Angela Molina.


>In Luis Buñuel: The Complete Films (2005), editors Bill Krohn and Paul Duncan identify the actress as Maria Schneider, writing (pp. 177–78) the following in regard to the idea of using two actresses to play Conchita:


>… Buñuel found himself proposing it to Silberman when it became clear after three days of shooting that Maria Schneider was indeed not going to be able to play the part. Carole Bouquet and Angela Molina stepped in …



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