July 8, 2020

Episode 475: Black God, White Devil (1964)

Guest Co-Hosts: Chris Stachiw, Ken Stanley

Cinema Novo month continues with a look at Glauber Rocha's Black God, White Devil (1964) (and its follow-up, Antonio Das Mortes from 1969). It's two stories in one as our main character, Manuel, kills his boss and then goes on the run, becoming a follower of Sebastian (the Black God of the title) before eventually becoming a follower of Corisco (the White Devil).

Ken Stanley and Chris Stachiw join Mike to discuss Rocha's work before and after the political coup that changed Brazilian history.

Listen/Download Now:

Links:
Buy Black God, White Devil on DVD
Buy Antonio Das Mortes on DVD

Music:
"Antonio das Mortes" - Ramiro Musotto

Watch:


July 1, 2020

Episode 474: Vidas Secas (1963)

Guest Co-Hosts: Chris Stachiw, Trevor Gumbel

We are kicking off a month of shows discussing the Cinema Novo movement from Brazil with a look at Nelson Pereira dos Santos's 1963 film Vidas Secas. Also known as Barren Lives, the film is based on a 1938 novel by . It’s the story of a family trying to survive in the scraggly countryside of Northeast Brazil. We join them as they search for a place to live, a way to put food on their table, and how to make enough money to buy a leather bed.

Chris Stachiw and Trevor Gumbel join Mike to unpack this "first wave" Cinema Novo film.

Listen/Download Now:

Links:
Buy Vidas Secas on DVD
Buy Vidas Secas by Graciliano Ramos
Read Defining Cinema Novo

Music:
"Terra" - Autoload

Watch:




June 24, 2020

Episode 473: Can Dialectics Break Bricks? (1973)

Special Guest: Keith Sanborn
Guest Co-Hosts: Rob St. Mary, Spencer Parsons

Can Dialectics Break Bricks? (AKA La dialectique peut-elle casser des briques?) is the 1973 film from René Viénet which is a re-dubbing of the 1972 film Crush. The film re-tells re-tells the story of Crush as a tale of a bunch of rotten bureaucrats who have oppressed the working class long enough. The workers look forward to a day when the landlords will all hang, priests will be cut in two and the churches will be burned to the ground.

Spencer Parsons and Rob St. Mary join Mike to to discuss the Situationist movement, detournement, and its modern implications.

Listen/Download Now:

Links:
Follow Rene Vienet on Vimeo
See more from Rene Vienet at Ubu.com
Learn more about Keith Sanborn
Buy Speaking in Subtitles: Revaluing Screen Translation by Tessa Dwyer
Buy Mad Movies with the L.A. Connection by Mike White
Read more about A Mustache for Two
Read more about Peking Duck Soup

Music:
"Bring Da Ruckus (Instrumental)" - Wu Tang Clan
"Wing Chun" - Bomb 20

Watch:

F.A. version crayonnée LA DIALECTIQUE PEUT ELLE CASSER DES BRIQUES from vienet on Vimeo.









June 17, 2020

Episode 472: Pink Narcissus (1971)

Guest Co-Hosts: Maitland McDonagh, David Kittredge

James Bidgood's Pink Narcissus (1971) is a wordless film which tells the story of a young hustler (Bobby Kendall) who engages in a series of fantasies throughout an evening. The film was shot on 8mm but still presents a lush, fantastic color palette and incredible sets that are even more incredible when the viewer remembers that this was all shot in Bidgood's Hell's Kitchen apartment.

Maitland McDonagh and David Kittredge join Mike to discuss lyrical pornography, New York real estate, and the importance of finishing projects.

Listen/Download Now:

Links:
Buy Pink Narcissus on DVD
Buy James Bidgood by Bruce Benderson

Music:
"Toreador del Amor" - Tuxedomoon

Watch: (NSFW)

June 12, 2020

An Interview with Fernando Arrabal

Only in complete darkness the firefly shines

As part of our Viva La Muerte episode, Fernando Arrabal was generous enough to answer some questions via an email interview. Huge thanks to Elena Anele of the Horror Rises from Spain podcast for translating!


The Projection Booth: How old were you when you wrote your first play? What was it about?
I wrote my first play when I was 13. This was published many years after. At that time everybody thought I wanted to be a painter. So did I.

I was all time drawing, water coloring or painting things I can’t do today. It was thought I got some of my father, brother, grandmother….’s talent.

A lot of them, in my modest opinion, were and are great painters.

My brother and my father’s father entered in the military academy and the painting school of San Fernando in the same year.

[… Dalí dreamed of reaching his true memories: Un diari: Les meves impresions i records intimes]

Both chose to belong to the army. When I tell that my brother was a champion on air acrobatics in 1984 people laugh skeptically. And if I say I believe that he is the best oil portrait painter that laughter turns into revelry.

To tell you the real truth… he was the first oil portrait painter these days, because most of them are abstracts and concept paintings, and that kind of artists does not exist anymore.

Life is a big fun! When the person honoring me – not deserved at all- by worrying about me, I mean my living years, my everyday meetings in the surrealistic group I also make them smile. Surrealism is such a funny word, too.

If I bring back the pataphysics … the laughter is big. If I talk about aeronautic– even worse about the painting ones- victories, the guffaw is huge.

How could it be possible that you make up such funny lies with that complicit generous gaze?

TPB: What was it about?
I supposed you are asking me about the main theme of that play. I wanted to refer to the war that was in all media in those years.

One day I knew – nothing related to my theater- that two confronted managers asked their troops fiercely to increase their virtues and principles in 1915.

TPB: How did you get involved in the “Panic Movement”?
Just creating it. The elephant is better than the flea to verify its insignificance.

TPB: Can you tell me about meeting Roland Topor and Alejandro Jodorowsky?
I had met Topor since the beginning. Every day I mourn his absence and I miss him. Every moment with him was fulfill of the nostalgia of the chance of being.

I met Jodo much more later.

TPB: From what I understand, Picnic on the Battlefield was adapted several times for different television shows and movies.
And also, as an opera. It has been my most adapted work. There is nothing to justify. I do not understand the fact that there are parrots which learn to speak just to justify themselves.

TPB: How was that for you?
I was happy and surprised, but... I say that again… it is not my favorite work. The dromedary among camels proves the rule.

TPB: Did you have a particularly favorite version?
I have seen it so many times in last 50 years! If the Trojan horse had been a mouse, would he have gone totally unnoticed?

TPB: How did you get involved with Who Are You Polly Magoo?
By chance. Actually, God created the fish tank before the fishes.

TPB: Was Le Grande Ceremonial the first work of yours that was adapted for film?
Maybe. In the pub Destiny the roulette is Russian.

TPB: How was it working with Pierre-Alain Jolivet?
Hardly ever or never I was told Jolivet was my Pavlov and that he started salivating before his dog did.

TPB: What was your collaboration with Jodorowsky like on Fando Y Lis?
Impossible for the direction of my play in Mexico. I was in Paris. Impossible for the movie later on: I was in jail. Even the most lewd well-digger wanted to dress the naked Truth.

TPB: How did you manage to get Viva La Muerte made?
The project won the : l´avance sur recettes award. As if Newton’s bonsai discovered universal gravitation.

TPB: What were some of the differences between the film (Viva la Muerte) and the original source novel Baal Babilonia?
Many and huge. Nabucodonosor’s nephew was the first at calling him Nabuco.

TPB: What is your process when it comes to adapting your own work for the screen?
A youth mistake: I did it by my own in my room. There are some becoming tramps due to their dreams. Then I asked some of my friends as for example Jean-Pierre Melville, Truffaut, Trauner and Buñuel.

I should have asked them since the very beginning.

TPB: Can you tell me more about the “fantasy” sequences and how you dealt with videotape as a medium vs. film?
Nobody knew anything of all that, no one around me had the slightest idea. Production took us 3 days in which we worked 16 hours a day in a London lab. My assistant (Claudine Lagrive, Pan have her on His right) and I had to deal with two nice helpful English men that couldn’t even speak our language better than we spoke English.

In the light of the issue I called images/phantasmes - what I was seeing and I felt in love with the final result.

At the end, we even had time to celebrate the result in a pub with two improvised and friendly co-workers.

Turmoil once again surrounded me so much that I could have some utopias.

TPB: How was the film marketed? Was it different from country to country?
Intense. Only in complete darkness the firefly shines.

TPB: What your process getting your subsequent films funded and made?
Of all movies I have no idea about funding, even though the blinding uselessness of robots.

TPB: When were you able to go back to Spain?
Short after Franco’s death. When fanatics were fighting reason gave them arguments.

TPB: Did you ever find out what happened to your father?
No. I am hopeful. In March I knew about the existence of my grandmother Coraje [in English it means courage, bravery – Trans. Note]

TPB: Can you tell me how you got involved with Peter Fleischmann?
We were friends from before. I always thought he was a photocopy from another photocopy.

TPB: I do have to ask about the multiple eyeglasses thing. When did you start doing that?
Not long ago. I usually wear two. Each monad has a defined mission: its reason for existence.

TPB: Is that an answer to bifocals?
No! A green rainbow, is this more ecological?

TPB: Thank you for your time!
Same to you and have a good night – best moment of the day- because in the deepest the short-sighted diver is a visionary.

June 10, 2020

Episode 471: Viva La Muerte (1971)

Guest Co-Hosts: Heather Drain, Jess Byard

Fernando Arrabal's 1971 film Viva la Muerte. The film tells the story of Fando (Mahdi Chaouch), a young man, whose mother sold out his father to the fascists during the Spanish Civil War. This was the feature directorial debut of Arrabal who, along with Roland Topor and Alejandro Jodorowsky, began the Panic Movement.

Jess Byard and Heather Drain join Mike to discuss film movements, surrealism, and Arrabal's work.

Links:
Buy Viva la Muerte on DVD
Read our interview with Fernando Arrabal

Music:
"Ekkoleg" - Grethe Agatz

Listen/Download Now:

Watch:


Fernando Arrabal - A Multifaceted Artist from Louisiana Channel on Vimeo.

June 3, 2020

Episode 470: The Magic Garden of Stanley Sweetheart (1970)

Special Guests: Robert T. Westbrook, Linda Gillen, Brandon Maggart
Guest Co-Hosts: Daniel Kremer, Jarrod Labine

Daniel Kremer and Jarrod Labine join Mike to discuss Leonard Horn's The Magic Garden of Stanley Sweetheart (1970). Based loosely on 's book of the same name, the film follows the exploits of the unlikely-named protagonist who’s not very likable, Stanley Sweetheart (Don Johnson). He fancies himself an underground filmmaker and Lothario. The film follows him on his exploits as he navigates life, women, and the scene in 1970s New York.

Our episode features interviews with Robert Westbrook, actress Linda Gillen, and actor Brandon Maggart.

Listen/Download Now:

Links:
Buy The Magic Garden of Stanley Sweetheart by Robert T. Westbrook
Visit the official Robert T. Westbrook website
Visit the official Brandon Maggart website
Follow Linda Gillen on Instagram
Visit the official Linda Gillen website

Music:
"Funny How It Happens" - Stilroc
"Time To Make A Turn" - Crow
"Sound Of Love - Angeline Butler
"Sweet Gingerbread Man" - Sammy Davis Jr.

Watch:




June 1, 2020

Special Report: Don's Plum (2001)

Special Guest: Dale Wheatley
Guest Co-Hosts: Andrew J. Rausch, Mike Sullivan

Bro, on this special episode of The Projection Booth we're looking at the 2001 movie from R. D. Robb, Don's Plum. The film remains officially unreleased in the U.S. while available legally in other parts of the world. It stars a group of young actors known as "The Pussy Posse" including Tobey Maguire and Leonardo DiCaprio. It's about a group of guys who bring their dates to the titular diner where they talk, boast, and engage in bathroom-bound monologues.

Mike Sullivan (Shock Cinema, Cinema Sewer) and Andrew Rausch (My Best Friend's Birthday: The Making of a Tarantino Film) join Mike to boast, debase women, and talk about the history of the film. Producer provides insights from behind-the-scenes.

Listen/Download Now:

Links:
Buy Don's Plum on (Region 2) DVD
Read about different version of Don's Plum
Visit the Free Don's Plum website
Read The Untold Story of 'Don's Plum', The Leonardo DiCaprio Movie That Was Blocked From Being Shown In the U.S. by Zeynep Yenisey

Music:
"Mahna Mahna" - The Brass Action
"Do the Panic" - Phantom Planet

Watch: