list http://www.spout.com/ Recent community activity around El Mariachi on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/El_Mariachi/10292/default.aspx Title: El Mariachi
Year: 1993
Director: Robert Rodriguez
Plot: Filmed in two weeks on a budget of 7,000 dollars, El Mariachi was one of the singular pleasures of the 1993-1994 movie season. Kind-spirited guitarist El Mariachi (Carlos M. Gallardo) simply wants to wander through life as his father and grandfather did, with a song in his heart and a smile on his lips. He wanders into a small mob-run town, guitar case in hand. It so happens that the local criminal element is awaiting the arrival of vicious hit man Azul (Reinol Martinez), who is well known for carrying his weapons in...a guitar case. Just when you think you've got a lock on what's going to happen next, director Robert Rodriguez throws us for a loop, unexpectedly alternating whimsical comedy with graphic violence. Rodriguez later retooled the plot of El Mariachi for his far more expensive (and far less satisfying) Antonio Banderas vehicle Desperado (1995). ~ Hal Erickson, All Movie Guide
Times Tagged: 15
Number of Lists: 30
Number of blog posts: 4
Number of discussion threads: 6
SpoutRating: 3
]]>Fri, 31 Jul 2009 19:33:10 GMTEl Mariachi1993Robert RodriguezFilmed in two weeks on a budget of 7,000 dollars, El Mariachi was one of the singular pleasures of the 1993-1994 movie season. Kind-spirited guitarist El Mariachi (Carlos M. Gallardo) simply wants to wander through life as his father and grandfather did, with a song in his heart and a smile on his lips. He wanders into a small mob-run town, guitar case in hand. It so happens that the local criminal element is awaiting the arrival of vicious hit man Azul (Reinol Martinez), who is well known for carrying his weapons in...a guitar case. Just when you think you've got a lock on what's going to happen next, director <a href="/players/P___151002/default.aspx" style='text-decoration:underline'>Robert Rodriguez</a> throws us for a loop, unexpectedly alternating whimsical comedy with graphic violence. Rodriguez later retooled the plot of El Mariachi for his far more expensive (and far less satisfying) <a href="/players/P_____3682/default.aspx" style='text-decoration:underline'>Antonio Banderas</a> vehicle <a href=/films/92132/default.aspx style='text-decoration:underline'>Desperado</a> (1995). ~ Hal Erickson, All Movie Guide15Tag Target (>10)30463http://www.spout.com/ProductImages/t32388u3khx.jpghttp://www.spout.com/films/El_Mariachi/10292/default.aspxFilm http://www.spout.com/blogs/zularian/archive/2008/7/1/31991.aspx Post By: Zularian
Post To: Zularian Blog
Post Date: 7/1/2008 7:22:09 PM
Body: I am feeling a bit grumpy at the moment so I am going to revisit the subject of my first post -- that of a director pilfering through their own material. There are a number of excellent examples of this but I am going to limit myself to two directors. The reason for this is that both of these men, Robert Rodriguez and Kevin Smith have had a very large impact on me. My current career path has been shaped largely by these directors which is why their transgressions pain me so. First, Mr. Smith. Once upon a time there was a directory who made a crappy (production-wise) little movie called Clerks. It is not a pretty movie nor is it an interesting-looking film. Clerks has very few merits except the fact that it is quite funny and original and it somehow manages to convey the joy and exuberence of it's creator. There is a quality to Clerks, a "I just wanted to make a movie" attitude that is infectious. This film feels to me to emboy the very spirit of Charles Foster Kane in Citizen Kane (1941) when he decides that it would be fun to run a paper. Now we flash forward to 2007. Nevermind the fact that Mr. Smith has made only one movie since this first one that has not relied heavily on the strange universe he created or his two uninpsired characters, Jay and Silent Bob. Arguments can be made for Chasing Amy, Dogma and even Mallrats as being steps away from Clerks. What I want to talk about is Jersey Girl, how it did not do well and what came next. I very much enjoyed Jersey Girland I was proud of Mr. Smith for taking his work in a different direction. Would this film have done better with a different actor as the lead? Was it just poor timing that the world at large became sick of Mr. Affleck when this film was released? Who knows. What I do know is everyone other than Mr. Smith was not shocked when his fanbase, by and large, did not take to this movie. You mean the 30 year-old stoner didn't like this movie? How can this be? So then we arrive at Clerks 2. Say what you will about any other movie Mr. Smith has done, this one can be seen as nothing other than a retreat to a proven formula because his last attempt was stomped by everyone. To say that Clerks 2 made me sad in my heart is like saying that what is bad for Mexico is bad for Mexicans. Clerks 2 isn't just a rehashing of past material, it is one of those dreadful sequels where the main characters appear to have forgotten everything that has happened in the previous installment. The shining example of this is Dante being torn between two women (again) only this time he is involved with both of them. Poor Dante, apparently the lessons learned in the first movie were forgotten during the ten year period these poor sould were left on their own. Then we have Mr. Rodriguez. Once upon a time he was the ambitious young filmmaker who decided he could make a movie with a crew of one. And what a movie he made. Originally intended for the spanish home video market El Mariachi is a highly inventive and unusual film. Slightly campy but containing a big heart El Mariachi delivers as a comedy and action film. Apparently this movie did not make enough money or receive enough attention to dissuade Mr. Rodriguez and others when it came time for making his next movie.Desperado. (I am not forgetting the movie Road Racers here, I think the number of people who have seen this film is still very small) Somehow this movie was conceived as a sequel to Mariachi, which is odd because the lead actor has changed and because this film is now all about killing, explosions and drugs. Perhaps I am just a bit think and taking the whole matter too literally. Desperado works because the two lead actors are wonderful actors and play together nicely. The plot is a bit strange to me (again perhaps I am too literal) because the man who shoots the El's hand in the first movie is not the same man who does in Desperado. Couple that with dream sequences that contain the dreaded Mocho (the spelling may be wrong on this one) who I think has morphed somehow into the new bad guy (who now seems to have ties to our hero which he did not in Mariachi). All of this could be forgiven, in fact I think most viewers were fine with this oddness, until Once upon a Time in Mexico was released. To be very brief -- the movie is meant to be the fourth film in this series (the third was never made but the important bits are relayed to the audience through flashbacks and dreams). This time around our hero is not the only lead actor and to further add to the confusion actors who were in the first and second movie (and died) appear as different characters in this film. Mr. Rodriguez had just discovered the joys of HD before beginning this project and his work as a musician on Tarantino's Kill Bill movies led him to score this film as well. The idea, so the film's commentary says, was to make this move on an epic scale, much like another film with a similar title, Once upon a Time in the West. Since this entry is really meant to be a personal gripe I'll just get on with my grumble and end this entry. What makes this particular film (for those of you having a hard time keeping up I am refering to Once upon a Time in Mexico now) so disappointing to me is that much like Clerks 2 this movie felt like a retreat to safe ground. From the story, which admittedly departs from previous works of Mr. Rodriguez, to the low-budget feel of the movie I can't help but feel this picture was made because it was safe. What made both Clerks and El Mariachi such appealing films was that both of them involved a fair amount of risk to their creators and that this risk was reflected in the movie itself. These two films truly feel like independent films in the sense that there is little that is formulaic or predictable about them. I am tempted to start listing examples from both movies but chances are if you are reading this you can think of them already. I recognize the fact that both of these directors have been very successful and what they did for their first films would undoubtedly not work now. My frustration stems from them attempting to steal from these early films, but oddly enough, lifting the banal parts or simply ignoring crucial story elements and hoping that everyone will go along. If you read the reviews for the later films from both directors it seems as though this is what happened too...
]]>Tue, 01 Jul 2008 23:22:09 GMTZularianZularian Blog7/1/2008 7:22:09 PMI am feeling a bit grumpy at the moment so I am going to revisit the subject of my first post -- that of a director pilfering through their own material. There are a number of excellent examples of this but I am going to limit myself to two directors. The reason for this is that both of these men, Robert Rodriguez and Kevin Smith have had a very large impact on me. My current career path has been shaped largely by these directors which is why their transgressions pain me so. First, Mr. Smith. Once upon a time there was a directory who made a crappy (production-wise) little movie called Clerks. It is not a pretty movie nor is it an interesting-looking film. Clerks has very few merits except the fact that it is quite funny and original and it somehow manages to convey the joy and exuberence of it's creator. There is a quality to Clerks, a "I just wanted to make a movie" attitude that is infectious. This film feels to me to emboy the very spirit of Charles Foster Kane in Citizen Kane (1941) when he decides that it would be fun to run a paper. Now we flash forward to 2007. Nevermind the fact that Mr. Smith has made only one movie since this first one that has not relied heavily on the strange universe he created or his two uninpsired characters, Jay and Silent Bob. Arguments can be made for Chasing Amy, Dogma and even Mallrats as being steps away from Clerks. What I want to talk about is Jersey Girl, how it did not do well and what came next. I very much enjoyed Jersey Girland I was proud of Mr. Smith for taking his work in a different direction. Would this film have done better with a different actor as the lead? Was it just poor timing that the world at large became sick of Mr. Affleck when this film was released? Who knows. What I do know is everyone other than Mr. Smith was not shocked when his fanbase, by and large, did not take to this movie. You mean the 30 year-old stoner didn't like this movie? How can this be? So then we arrive at Clerks 2. Say what you will about any other movie Mr. Smith has done, this one can be seen as nothing other than a retreat to a proven formula because his last attempt was stomped by everyone. To say that Clerks 2 made me sad in my heart is like saying that what is bad for Mexico is bad for Mexicans. Clerks 2 isn't just a rehashing of past material, it is one of those dreadful sequels where the main characters appear to have forgotten everything that has happened in the previous installment. The shining example of this is Dante being torn between two women (again) only this time he is involved with both of them. Poor Dante, apparently the lessons learned in the first movie were forgotten during the ten year period these poor sould were left on their own. Then we have Mr. Rodriguez. Once upon a time he was the ambitious young filmmaker who decided he could make a movie with a crew of one. And what a movie he made. Originally intended for the spanish home video market El Mariachi is a highly inventive and unusual film. Slightly campy but containing a big heart El Mariachi delivers as a comedy and action film. Apparently this movie did not make enough money or receive enough attention to dissuade Mr. Rodriguez and others when it came time for making his next movie.Desperado. (I am not forgetting the movie Road Racers here, I think the number of people who have seen this film is still very small) Somehow this movie was conceived as a sequel to Mariachi, which is odd because the lead actor has changed and because this film is now all about killing, explosions and drugs. Perhaps I am just a bit think and taking the whole matter too literally. Desperado works because the two lead actors are wonderful actors and play together nicely. The plot is a bit strange to me (again perhaps I am too literal) because the man who shoots the El's hand in the first movie is not the same man who does in Desperado. Couple that with dream sequences that contain the dreaded Mocho (the spelling may be wrong on this one) who I think has morphed somehow into the new bad guy (who now seems to have ties to our hero which he did not in Mariachi). All of this could be forgiven, in fact I think most viewers were fine with this oddness, until Once upon a Time in Mexico was released. To be very brief -- the movie is meant to be the fourth film in this series (the third was never made but the important bits are relayed to the audience through flashbacks and dreams). This time around our hero is not the only lead actor and to further add to the confusion actors who were in the first and second movie (and died) appear as different characters in this film. Mr. Rodriguez had just discovered the joys of HD before beginning this project and his work as a musician on Tarantino's Kill Bill movies led him to score this film as well. The idea, so the film's commentary says, was to make this move on an epic scale, much like another film with a similar title, Once upon a Time in the West. Since this entry is really meant to be a personal gripe I'll just get on with my grumble and end this entry. What makes this particular film (for those of you having a hard time keeping up I am refering to Once upon a Time in Mexico now) so disappointing to me is that much like Clerks 2 this movie felt like a retreat to safe ground. From the story, which admittedly departs from previous works of Mr. Rodriguez, to the low-budget feel of the movie I can't help but feel this picture was made because it was safe. What made both Clerks and El Mariachi such appealing films was that both of them involved a fair amount of risk to their creators and that this risk was reflected in the movie itself. These two films truly feel like independent films in the sense that there is little that is formulaic or predictable about them. I am tempted to start listing examples from both movies but chances are if you are reading this you can think of them already. I recognize the fact that both of these directors have been very successful and what they did for their first films would undoubtedly not work now. My frustration stems from them attempting to steal from these early films, but oddly enough, lifting the banal parts or simply ignoring crucial story elements and hoping that everyone will go along. If you read the reviews for the later films from both directors it seems as though this is what happened too... http://www.spout.com/groups/Movie_Games/Re_More_than_one_trilogy/598/29862/1/ShowPost.aspx Post By: leeroy711
Post To: Movie Games
Post Date: 5/23/2008 6:01:01 PM
Body: Antonio Banderas in El Miriachi trilogy and Spy Kids trilogy. (Both Rob Rodriguez) El Mariachi (1992) Desperado (1995) Once Upon a Time in Mexico (2003) Spy Kids (2001) Spy Kids 2: The Island of Lost Dreams (2002) Spy Kids 3-D: Game Over (2003)
]]>Fri, 23 May 2008 22:01:01 GMTleeroy711Movie Games5/23/2008 6:01:01 PMAntonio Banderas in El Miriachi trilogy and Spy Kids trilogy. (Both Rob Rodriguez) El Mariachi (1992) Desperado (1995) Once Upon a Time in Mexico (2003) Spy Kids (2001) Spy Kids 2: The Island of Lost Dreams (2002) Spy Kids 3-D: Game Over (2003) http://www.spout.com/groups/Friends_of_Foreign_Flicks/Re_Why_I_got_into_foreign_films/591/27761/1/ShowPost.aspx Post By: indieabby88
Post To: Friends of Foreign Flicks
Post Date: 4/24/2008 1:32:42 PM
Body: I totally agree! One of the biggest perks of foreign films for me is when I'm learning about a different culture while simultaneously being entertained. I always cite "To Live" and "Raise the Red Lantern," two movies I saw in my History of East Asia class, as prime examples. I wouldn't say that's specifically why I got into watching foreign movies, but it's one reason why I enjoy them. I watch foreign films for the same reason I watch any other movie: simply because it looks interesting. For me, a movie is a movie, no matter where it comes from, and I feel like what makes a movie appealing should go beyond whether or not you have to read subtitles. I can't stand it when someone refuses to watch a foreign film because they "don't like reading." For a while in high school and my first year in college, I got really into Spanish, Mexican and South American films. We watched a lot of spanish-language movies in my high school spanish class, like "The Sea Inside," "El Norte" and "The Official Story" as chances to learn about the cultures, and to see how much of the movie we could understand with our limited command of the language. The high point was when our teacher let us watch "El Mariachi." I was pretty excited last year when I saw "Pan's Labyrinth" and realized I could actually understand what the actors were saying fifty percent of the time.
]]>Thu, 24 Apr 2008 17:32:42 GMTindieabby88Friends of Foreign Flicks4/24/2008 1:32:42 PMI totally agree! One of the biggest perks of foreign films for me is when I'm learning about a different culture while simultaneously being entertained. I always cite "To Live" and "Raise the Red Lantern," two movies I saw in my History of East Asia class, as prime examples. I wouldn't say that's specifically why I got into watching foreign movies, but it's one reason why I enjoy them. I watch foreign films for the same reason I watch any other movie: simply because it looks interesting. For me, a movie is a movie, no matter where it comes from, and I feel like what makes a movie appealing should go beyond whether or not you have to read subtitles. I can't stand it when someone refuses to watch a foreign film because they "don't like reading." For a while in high school and my first year in college, I got really into Spanish, Mexican and South American films. We watched a lot of spanish-language movies in my high school spanish class, like "The Sea Inside," "El Norte" and "The Official Story" as chances to learn about the cultures, and to see how much of the movie we could understand with our limited command of the language. The high point was when our teacher let us watch "El Mariachi." I was pretty excited last year when I saw "Pan's Labyrinth" and realized I could actually understand what the actors were saying fifty percent of the time. http://www.spout.com/blogs/lopezdash/archive/2008/3/11/26112.aspx Post By: lopezdash
Post To: The Movie Blog
Post Date: 3/11/2008 8:32:07 PM
Body: March 10, 2008By Laura Tillman Along with films and music, Austin's annual South by Southwest festival offers pass-holders the chance to attend intimate panel discussions with experts and some of their favorite artists. Monday, three of the festival's Latin American born filmmakers joined moderator Charles Ramirez Berg, a professor at the University of Texas at Austin, to discuss "New Trends in Latino Cinema." About 30 seconds into the talk, however, they realized they might not have much to say on the given subject."I think there is a change in that Latino filmmakers are getting away from being so easily identified or grouped together and I think that's good," said Berg, who initially organized the event as a conversation between himself and producer Elizabeth Avellan. Avellan, who worked with her husband Robert Rodriguez on films like "El Mariachi," "Desperado," and "Sin City," recommended that Peruvian director Ricardo de Montreuil, who brought his film "Mancora" to the festival, join the conversation. Then, when they discovered that Mexican director Jonas Cuaron, the 26-year-old son of "Y Tu Mama Tambien" director Alfonso Cuaron, was bringing his first film "Ano Una" to the festival, they invited him to join in. Berg welcomed the panelists to discuss whether each of them recognized any trends in Latino cinema, and Cuaron, the youngest of the group, quickly questioned the term itself. "I think talking in general about Latin American cinema becomes restrictive," he said. "I have Mexican cinema influences, but I also love Iranian and European cinema." The other filmmakers underscored this sentiment. It's limiting to categorize Hispanic filmmakers as Hispanic, they said. Filmmakers are filmmakers and the movies they make are as diverse as the Americas themselves. "Some films in neighboring Latin American countries are never even screened in those other countries," said Montreuil, pointing out that while the nations are close together, their respective artistic communities might be more foreign than most people realize. The panelists own films prove this point. Montreuil's film "Mancora" brings viewers to Peru and takes its 22-year-old protagonist on a story of dark self-discovery and redemption following his father's suicide. Cuaron's film on the other hand is an often comedic, experimental collection of photographs documenting an actual year of the filmmaker's life. Cuaron then set a fictional narrative over the photographs, offering an un-stereotypical look at an American tourist's experience in Mexico City. Ultimately, the filmmakers said they appreciated the evolution of filmmaking in Latin American countries, but they were eager to move on. "I believe that the world wants to hear new voices, new forms even in mainstream cinema," said Avellan. "I think we're ready for new stories told a different way." Source: The Brownsville Herald
]]>Wed, 12 Mar 2008 00:32:07 GMTlopezdashThe Movie Blog3/11/2008 8:32:07 PMMarch 10, 2008By Laura Tillman Along with films and music, Austin&#39;s annual South by Southwest festival offers pass-holders the chance to attend intimate panel discussions with experts and some of their favorite artists. Monday, three of the festival&#39;s Latin American born filmmakers joined moderator Charles Ramirez Berg, a professor at the University of Texas at Austin, to discuss &quot;New Trends in Latino Cinema.&quot; About 30 seconds into the talk, however, they realized they might not have much to say on the given subject.&quot;I think there is a change in that Latino filmmakers are getting away from being so easily identified or grouped together and I think that&#39;s good,&quot; said Berg, who initially organized the event as a conversation between himself and producer Elizabeth Avellan. Avellan, who worked with her husband Robert Rodriguez on films like &quot;El Mariachi,&quot; &quot;Desperado,&quot; and &quot;Sin City,&quot; recommended that Peruvian director Ricardo de Montreuil, who brought his film &quot;Mancora&quot; to the festival, join the conversation. Then, when they discovered that Mexican director Jonas Cuaron, the 26-year-old son of &quot;Y Tu Mama Tambien&quot; director Alfonso Cuaron, was bringing his first film &quot;Ano Una&quot; to the festival, they invited him to join in. Berg welcomed the panelists to discuss whether each of them recognized any trends in Latino cinema, and Cuaron, the youngest of the group, quickly questioned the term itself. &quot;I think talking in general about Latin American cinema becomes restrictive,&quot; he said. &quot;I have Mexican cinema influences, but I also love Iranian and European cinema.&quot; The other filmmakers underscored this sentiment. It&#39;s limiting to categorize Hispanic filmmakers as Hispanic, they said. Filmmakers are filmmakers and the movies they make are as diverse as the Americas themselves. &quot;Some films in neighboring Latin American countries are never even screened in those other countries,&quot; said Montreuil, pointing out that while the nations are close together, their respective artistic communities might be more foreign than most people realize. The panelists own films prove this point. Montreuil&#39;s film &quot;Mancora&quot; brings viewers to Peru and takes its 22-year-old protagonist on a story of dark self-discovery and redemption following his father&#39;s suicide. Cuaron&#39;s film on the other hand is an often comedic, experimental collection of photographs documenting an actual year of the filmmaker&#39;s life. Cuaron then set a fictional narrative over the photographs, offering an un-stereotypical look at an American tourist&#39;s experience in Mexico City. Ultimately, the filmmakers said they appreciated the evolution of filmmaking in Latin American countries, but they were eager to move on. &quot;I believe that the world wants to hear new voices, new forms even in mainstream cinema,&quot; said Avellan. &quot;I think we&#39;re ready for new stories told a different way.&quot; Source: The Brownsville Herald http://www.spout.com/groups/Top_5/Re_Top_Five_Movies_with_Budgets_under_10_million/190/16919/1/ShowPost.aspx Post By: tinokiev
Post To: Top 5
Post Date: 7/31/2007 12:44:20 AM
Body: El mariachi !! -- rodriguez spent 2.000 $Clerks, The Blair Witch ProjectThe Idiots
]]>Tue, 31 Jul 2007 04:44:20 GMTtinokievTop 57/31/2007 12:44:20 AMEl mariachi !! -- rodriguez spent 2.000 $Clerks, The Blair Witch ProjectThe Idiots http://www.spout.com/blogs/el_aaron/archive/2007/6/23/11847.aspx Post By: El_Aaron
Post To: El_Aaron Blog
Post Date: 6/23/2007 5:38:16 PM
Body: If you want to see an extraordinarily amzing Low-Budget feature, then watch this! This is my favourite Indie film. It's even better than Clerks (sorry Kevin). It's interesting how Robert Rodriguez made it. He got a 16mm movie camera (an Arriflex I believe) and shot the film in Mexico. After each shot, he recorded the sound on a portable cassette recorder. When he edited it, he transferred the film to video. If his sound went out of sync, he would insert another sound, a static or a close-up or reaction shot. He tried to sell the final cut to the Spanish Video Market, but they didn't want it. However, an executive from Columbia Pictures wished to buy the film. The film also won Sundance Film Festival in 1993. That's how it's interesting and inspiring.
]]>Sat, 23 Jun 2007 21:38:16 GMTEl_AaronEl_Aaron Blog6/23/2007 5:38:16 PMIf you want to see an extraordinarily amzing Low-Budget feature, then watch this! This is my favourite Indie film. It&#39;s even better than Clerks (sorry Kevin). It&#39;s interesting how Robert Rodriguez made it. He got a 16mm movie camera (an Arriflex I believe) and shot the film in Mexico. After each shot, he recorded the sound on a portable cassette recorder. When he edited it, he transferred the film to video. If his sound went out of sync, he would insert another sound, a static or a close-up or reaction shot. He tried to sell the final cut to the Spanish Video Market, but they didn&#39;t want it. However, an executive from Columbia Pictures wished to buy the film. The film also won Sundance Film Festival in 1993. That&#39;s how it&#39;s interesting and inspiring. http://www.spout.com/blogs/matt_od/archive/2007/6/12/10959.aspx Post By: matt_od
Post To: matt_od Blog
Post Date: 6/12/2007 8:04:32 PM
Body: This film is a lot of fun to watch, but it's especially fun if you are a filmmaker yourself. The fact that Rodriguez pulled this thing off for only seven thousand dollars goes a long way to show just how resourceful he is.At the beginning I found the camera work and editing style a bit jarring and rather irritating, but you quickly find yourself pulled into the world of the film and you just accept the style as quirky.I believe that most of the dream sequences don't really have that much meaning to Rodriguez and was another case of him trying to make the film seem more important than it ought to be, but it still works. Those sequences end up coming off a bit comical.And to correct the reviewer below me, Desperado is not a remake of El Mariachi. Desperado is a sequel. There are even flashbacks in Desperado to events that occurred in Mariachi. I don't see how you could think it was a remake unless you haven't seen one or the other.
]]>Wed, 13 Jun 2007 00:04:32 GMTmatt_odmatt_od Blog6/12/2007 8:04:32 PMThis film is a lot of fun to watch, but it&#39;s especially fun if you are a filmmaker yourself. The fact that Rodriguez pulled this thing off for only seven thousand dollars goes a long way to show just how resourceful he is.At the beginning I found the camera work and editing style a bit jarring and rather irritating, but you quickly find yourself pulled into the world of the film and you just accept the style as quirky.I believe that most of the dream sequences don&#39;t really have that much meaning to Rodriguez and was another case of him trying to make the film seem more important than it ought to be, but it still works. Those sequences end up coming off a bit comical.And to correct the reviewer below me, Desperado is not a remake of El Mariachi. Desperado is a sequel. There are even flashbacks in Desperado to events that occurred in Mariachi. I don&#39;t see how you could think it was a remake unless you haven&#39;t seen one or the other. http://www.spout.com/groups/PulpFiction1975/Re_What_If_Hitchcock_Could_Use_Today_s_Technology/66/10755/1/ShowPost.aspx Post By: Risselada
Post To: PulpFiction1975
Post Date: 6/11/2007 1:33:53 PM
Body: There actually have been a huge number of instances of directors remaking their own work.Yasujiro Ozu essentially remade most of his movies over and over from what I hear, some officially like A Story of Floating Weeds (1934) and Floating Weeds (1959)Quite recently it seems as though directors of foreign movies that are successful, often remake their films in English with American stars. Here's a few examples.Robert RodriguezEl Mariachi (1992)Desperado (1995)George SluizerThe Vanishing (1988)The Vanishing (1993)Takashi ShimizuJu-On: The Grudge (2003)The Grudge (2004)Michael HanekeFunny Games (1997)Funny Games (2008)Hideo NakataRingu 2 (1999)The Ring Two (2005)Consider the fact that Evil Dead 2 is essentially a remake of The Evil Dead. I hear that is because Raimi wanted to use footage from The Evil Dead in the beginning of Army of Darkness but he lost the rights. So he decided to just remake the whole movie first. I'm not sure if this is actually true.A lot of filmmakers end up turning a short films into full length films such as George Lucas: THX 1138 and I'm sure countless more that I can't think of at the moment.
]]>Mon, 11 Jun 2007 17:33:53 GMTRisseladaPulpFiction19756/11/2007 1:33:53 PMThere actually have been a huge number of instances of directors remaking their own work.Yasujiro Ozu essentially remade most of his movies over and over from what I hear, some officially like A Story of Floating Weeds (1934) and Floating Weeds (1959)Quite recently it seems as though directors of foreign movies that are successful, often remake their films in English with American stars. Here&#39;s a few examples.Robert RodriguezEl Mariachi (1992)Desperado (1995)George SluizerThe Vanishing (1988)The Vanishing (1993)Takashi ShimizuJu-On: The Grudge (2003)The Grudge (2004)Michael HanekeFunny Games (1997)Funny Games (2008)Hideo NakataRingu 2 (1999)The Ring Two (2005)Consider the fact that Evil Dead 2 is essentially a remake of The Evil Dead. I hear that is because Raimi wanted to use footage from The Evil Dead in the beginning of Army of Darkness but he lost the rights. So he decided to just remake the whole movie first. I&#39;m not sure if this is actually true.A lot of filmmakers end up turning a short films into full length films such as George Lucas: THX 1138 and I&#39;m sure countless more that I can&#39;t think of at the moment. http://www.spout.com/groups/PulpFiction1975/Re_Classics_thrown_into_the_present/66/3240/1/ShowPost.aspx Post By: Risselada
Post To: PulpFiction1975
Post Date: 10/13/2006 2:34:29 PM
Body: [quote user="paul"]A Fistful of Dollars (2006)Directed by Michael Bay[/quote] A remake of a remake? Go figure. But what would be more interesting, Will Smith as The-Man-With-No-Name or Yojimbo. Will Smith and the latter both seem more excitable.[quote user="paul"]I tend to not like remakes. A remake, like Charlie and the Chocolate Factory, usually polishes off the dated aspects of the original. Costumes, special effects, action scenes, overall gratuity is usually improved. But the fatal flaw for most remakes is in an attempt to make the story more "relatable" to contemporary audiences. Case in point: the musical sequences with the Oompa Loompas that painfully reference pop culture.I wouldn't be surprised in the least if Disney tried to remake Mary Poppins with Beyonce Knowles. That, to me, is the territory most remakes explore.The best example of a remake is Gus Van Sant's Psycho, where he made every effort to pick up the pieces Hitchcock was forced to drop because of censorship norms.[/quote] Now I wouldn't call Charlie and the Chocolate Factory a remake of Willy Wonka and the Chocolate Factory as you seem to be implying. If the the "Charlie" movie had been obviously derived from screenplay of the "Willy" movie, I may agree with you. But they both seem to be totally separate adaptations from the original novel. However, I'm not saying that just because it isn't technically a remake means that they should have filmed another movie based on a book that already had such a memorable film already made of it. Mary Poppins was also originally a book too. Or maybe a series of them. Whatever that means. Although Psycho was also originally a book, from what I hear the newer version was obviously a remake of the original screenplay. I also hear one of the most strictly shot for shot remakes as well. Planet of the Apes also came from a novel. And Dial M for Murder was originally a play. What really bugs me is a seemingly somewhat more recent phenomenon. The director of a successful foreign movie is conned by Hollywood into remaking the movie just a short time afterwards in the Hollywood system with American actors. Usually any edginess or creativity is removed from the script and even major important portions of the movie are changed. I'm sure you can think of plenty of examples. Here's a couple. The Ducth movie The Vanishing (also based on a book) was made in 1988 and remade by the same director George Sluizer in 1993 with Jeff Bridges. The original movie is one of the most fascinating and astounding thiller / character study movies I've ever seen. Although I haven't seen the remake I have read about how horrible it is and how Sluizer inconceivably allowed the ending to be changed in a way that I could imagine it would lose all of it's effect. And somehow my guess is that the remade movie didn't use the same music which is probably the creepiest music I've ever heard anywhere in my life. Robert Rodriguez essentially remade El Mariachi with Desperado albeit with an amazingly higher amount of money. Takashi Shimizu makes pretty much every version of The Grudge in any laguage. The original of which is pretty horrible anyways. Jean-Marie Poiré later remade his French comedy The Visitors into an American version but staring the same two original French actors in the lead. And now in what will probably be the most frustrating remake of this kind, Michael Haneke is remaking his Funny Games with an English speaking cast. From any past indication of the way these things go, there is virtually no chance that this remake will push the envelope even further on it's themes of audience alienation and helplessness. In fact it will probably be shamefully watered down. But it will probably end up getting too much praise, and I'll have to hear a lot of annoying chatter about it from people who aren't even aware of the original. Yeah, I'm a snob I guess.
]]>Fri, 13 Oct 2006 18:34:29 GMTRisseladaPulpFiction197510/13/2006 2:34:29 PM[quote user="paul"]A Fistful of Dollars (2006)Directed by Michael Bay[/quote] A remake of a remake? Go figure. But what would be more interesting, Will Smith as The-Man-With-No-Name or Yojimbo. Will Smith and the latter both seem more excitable.[quote user="paul"]I tend to not like remakes. A remake, like Charlie and the Chocolate Factory, usually polishes off the dated aspects of the original. Costumes, special effects, action scenes, overall gratuity is usually improved. But the fatal flaw for most remakes is in an attempt to make the story more "relatable" to contemporary audiences. Case in point: the musical sequences with the Oompa Loompas that painfully reference pop culture.I wouldn't be surprised in the least if Disney tried to remake Mary Poppins with Beyonce Knowles. That, to me, is the territory most remakes explore.The best example of a remake is Gus Van Sant's Psycho, where he made every effort to pick up the pieces Hitchcock was forced to drop because of censorship norms.[/quote] Now I wouldn't call Charlie and the Chocolate Factory a remake of Willy Wonka and the Chocolate Factory as you seem to be implying. If the the "Charlie" movie had been obviously derived from screenplay of the "Willy" movie, I may agree with you. But they both seem to be totally separate adaptations from the original novel. However, I'm not saying that just because it isn't technically a remake means that they should have filmed another movie based on a book that already had such a memorable film already made of it. Mary Poppins was also originally a book too. Or maybe a series of them. Whatever that means. Although Psycho was also originally a book, from what I hear the newer version was obviously a remake of the original screenplay. I also hear one of the most strictly shot for shot remakes as well. Planet of the Apes also came from a novel. And Dial M for Murder was originally a play. What really bugs me is a seemingly somewhat more recent phenomenon. The director of a successful foreign movie is conned by Hollywood into remaking the movie just a short time afterwards in the Hollywood system with American actors. Usually any edginess or creativity is removed from the script and even major important portions of the movie are changed. I'm sure you can think of plenty of examples. Here's a couple. The Ducth movie The Vanishing (also based on a book) was made in 1988 and remade by the same director George Sluizer in 1993 with Jeff Bridges. The original movie is one of the most fascinating and astounding thiller / character study movies I've ever seen. Although I haven't seen the remake I have read about how horrible it is and how Sluizer inconceivably allowed the ending to be changed in a way that I could imagine it would lose all of it's effect. And somehow my guess is that the remade movie didn't use the same music which is probably the creepiest music I've ever heard anywhere in my life. Robert Rodriguez essentially remade El Mariachi with Desperado albeit with an amazingly higher amount of money. Takashi Shimizu makes pretty much every version of The Grudge in any laguage. The original of which is pretty horrible anyways. Jean-Marie Poiré later remade his French comedy The Visitors into an American version but staring the same two original French actors in the lead. And now in what will probably be the most frustrating remake of this kind, Michael Haneke is remaking his Funny Games with an English speaking cast. From any past indication of the way these things go, there is virtually no chance that this remake will push the envelope even further on it's themes of audience alienation and helplessness. In fact it will probably be shamefully watered down. But it will probably end up getting too much praise, and I'll have to hear a lot of annoying chatter about it from people who aren't even aware of the original. Yeah, I'm a snob I guess. http://www.spout.com/members/0/tags/romance/MemberTagFilms.aspxromance
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