Andy Warhol Interview magazine, January 1979 Issue (part 2)

Sad Day,

On Monday morning, employees at Interview announced on Twitter that the magazine, founded by Andy Warhol in 1969, has folded. According to the Observer, the publication is liquidating its assets through Chapter 7 bankruptcy.

https://www.thecut.com/2018/05/interview-magazine-folded.html

https://www.theguardian.com/artanddesign/2018/may/21/andy-warhol-interview-magazine-closes

My friend Michael Musto stated on his Facebook Page

“I worked for them in the heyday, interviewing people like the Plasmatics and Nona Hendryx, and went on to write for Ingrid Sischy as the magazine soldiered on. But now it’s as gone as poor Andy, with tons of money owed for years.”

January 1979 issue, interviewed by Michael Musto(photo credit: George Sebastian Walz DuBose)

Canon Scoopic M 16mm

Canon Scoopic M 16mm camera, I purchased in 1973, I haven’t used this camera much, because of this Canon lens’ color tendencies. Now I can work on the post-production processing and be able to manipulate the color saturation and the luma curve since digital got so easier than analog management. I am enjoying 1970’s technologies.

And it has the best Viewfinder

If you shoot S16 or 35, it becomes too refined and too sophisticated look; it loses its roughness and inferior appearance, I like student-film-look and less matureness.

Overview of all Scoopic models

All models feature the described automatic aperture with EE (Electric Eye) exposure meter above the objective. Individual types can be distinguished as follows:

Scoopic 16, 1965, according to Canon this was the first 16mm camera with built-in zoom lens, 13 to 76 mm focal length(f/1.6). 30 m daylight reel, shooting speeds: 16, 24, 32, 48 fps, 135-degree shutter

Scoopic DS-8, 1970, Double Super 8 Model in 16mm housing, 7.5 to 60 mm (f/1.4) zoom lens from the Canon Auto Zoom 814, shooting speeds: Single frame, 12, 18, 24, 36, 54 fps, 0-165 degree variable shutter, e.g., For shooting headlights on full beam and fade-outs

Sound Scoopic 100, 1970, 30 m daylight reel, magnetic soundtrack circuitry with 28 frame distance between sound recording and film gate, frequency response: 150 to 8,000 hertz, shooting speed: only 24 fps, 135-degree shutter

Sound Scoopic 200, 1970, 60 m daylight reel, like the Model 100, but with a 200-foot load capacity

Sound Scoopic 200 S and SE, 1972, a new faster zoom lens (f/1.8), 60 m daylight reel, magnet sound recording, frequency response: 200 to 8,000 hertz, shooting speed: only 24 fps, 170-degree shutter, SE features special TV frame lines on the ground glass.

Sound Scoopic 200 S 10, 1972, 60 m daylight reel, similar to the 200 S, however with removable optics and a 12 to 120 mm zoom lens.

Scoopic 16 M, 1973, 30 m daylight reel, new 12.5 to 75 mm (f/1.8) Vario objective, “M” stands for “macro,” shooting speeds: single frame, 16, 24, 32, 48 and 64 fps, 170-degree shutter.

Scoopic 16 MN, 1974, like the 16M only without single frame operation, with internal filter slot on the right side

Scoopic 16MS, 1977, like the16M, but with internal filter slot on the right side and a new magazine shaft on top for Mitchell Type 16 or Cinema Products CP16R magazines with 122 m loads.

https://www.super8.tv/en/an-unconventional-family/

chosei’s original website year 2000

Chosei produced or directed over 200 pictures, since 1968

This is chosei’s original website that created year 2,000

These are the screenshot from Tokyo Decadence NC17

one of the happy strangulation snuff scene

Miho Nikaido is beautiful

Leica M6

 

Funny, a couple of Japanese FB friends posted Leica M6 that made me curious about my M6.
Mine is Leica M6, not Leitz M6.
There are three variations available that I have just have learned.
I bought this M6 in early 1990’s, and I haven’t used since 2001, it was in a box and had to look for the storage to locate it, and it says Leica M6 and Red Leica logo on it. I forgot about its appearance.

Here is the Link: http://camera-kaukau.lekumo.biz/arrow/2018/04/m6-3c63.html

 

In the Soup – Tribeca Film Festival

 

Directed by Alexandre Rockwell, In The Soup portrays the story of Adolpho (Steve Buscemi), who is writing a screenplay from his crumbling NYC apartment, and falling for the literal girl-next-door. In a desperate attempt to get his screenplay funded, he connects with Joe (Seymour Cassel), a shady high-roller willing to play dirty. After winning the Grand Jury Prize at Sundance in 1992, the film all but disappeared, and only one damaged archival print remained. Through the efforts of Factory 25 and a Kickstarter campaign, the film’s print has been restored in time for its 25th Anniversary.

After the Screening: a conversation with director Alexandre Rockwell, actors Steve Buscemi, Jennifer Beals, and Sam Rockwell, and cinematographer Phil Parmet.

 

ABOUT THE DIRECTOR(S)

A skilled and celebrated filmmaker, Alexandre Rockwell is perhaps best known for his works In the Soup and 13 Moons, both starring Steve Buscemi. Rockwell’s characters are as intricate as they are flawed; he abstains from the shotgun pop of mainstream film, and, instead, he uses classical techniques and sheer creativity to tell his stories.

PANELISTS

Steve Buscemi

Steve Buscemi is an actor, writer, director, and producer. He starred in HBO’s Boardwalk Empire, which garnered him a Golden Globe® Award, two Screen Actors Guild Awards, and two Emmy® nominations. His directing work includes the films Trees Lounge and Interview, and TV credits including The Sopranos, which earned him Emmy® and DGA Award nominations, 30 Rock, Nurse Jackie, Portlandia, and Love. In 2008, Buscemi started Olive Productions with Stanley Tucci and Wren Arthur, which produces his Emmy®-winning AOL series Park Bench with Steve Buscemi. He recently co-starred in Louis C.K.’s critically acclaimed web series Horace and Pete.

Alexandre Rockwell

Alexandre Rockwell won the Grand Jury Prize at the 1992 Sundance Film Festival for In The Soup. Starring Steve Buscemi, Seymour Cassel, Stanley Tucci, Sam Rockwell and his then-wife Jennifer Beals. His next film, Somebody to Love, starred Rosie Perez, Harvey Keitel, and Anthony Quinn. In the ensemble-directing movie Four Rooms, Alex directed The Wrong Man, one of 4 stories, along with Quentin Tarantino, Robert Rodriquez, and Allison Anders. In 2017 completed Little Feet, a feature starring him and his children. Rockwell is the head of the directing area of NYU Grad Film.

PHIL PARMET

Phil Parmet began his career as a documentary cinematographer in the 70’s, shooting for independents as well as the principal American and world news organizations. As DP for feature films from the late 80’s until the present he has DP’d more than 60 feature films and TV series for independents as well as the major studios and networks. Still, photographic works of his have been exhibited in museums and galleries in New York, LA, Paris, and Berlin. His photographs are represented in the permanent collection of the Getty Museum in LA.

Jennifer Beals

Jennifer Beals is an internationally renowned, award-winning actress who has been featured in over 50 films and some of highest rated television series to date. She was last seen on NBC’s Taken and Amazon’s The Last Tycoon, as Margo Taft. Beals will be executive producing and returning as a lead cast member in the sequel to the hit Showtime original series The L Word, now in development. In addition to working with the award-winning director Alexandre Rockwell, she has also worked alongside Claude Chabrol, Adrian Lyne, Sam Fuller, Nanni Morretti and Quentin Tarantino.

Sam Rockwell

Academy Award winner Sam Rockwell has established himself as one of the most versatile actors of his generation. Most recently, in addition to the Academy Award for Best Supporting Actor, Rockwell also won a BAFTA award, Independent Spirit Award, Screen Actors Guild award, and Golden Globe for his work in Martin McDonagh’s darkly comic drama, Three Billboards outside Ebbing, Missouri. Rockwell has also appeared in several critically acclaimed films including Ron Howard’s Academy Award-nominated film Frost/Nixon; Andrew Dominik’s The Assassination of Jesse James by the Coward Robert Ford; as well as Frank Darabont’s Academy Award-nominated drama The Green Mile.

https://www.tribecafilm.com/filmguide/in-the-soup-2018

IndieCollect’s 4K restoration of In The Soup
premieres April 24 at Tribeca Film Festival!

Still from new restoration of In The Soup
Steve Buscemi and Seymour Cassel

Come celebrate the 25th Anniversary of Alexandre Rockwell’s In The Soup, newly-restored by IndieCollect in collaboration with the film’s distributor, Factory 25.

The dazzling new 4K version screens on Tuesday, April 24, at 7:30pm at the SVA Theatre, followed by a discussion with director Alexandre Rockwell, actors Steve BuscemiJennifer Beals, and Sam Rockwell, and cinematographer Phil Parmet.
Tickets available here.

Still from new restoration of In The Soup
Steve Buscemi and Jennifer Beals

When In The Soup premiered at Sundance in 1992, it won the Grand Jury Prize. The New York Times hailed its “exceptional visual beauty” and “furiously clever…offbeat characters.” Critics across the country showered it with more praise:

  • “Each scene sparkles with unpredictable comic twists!” – Newsweek
  • “Hilarious!”  – TIME
  • “Irresistible!” – Los Angeles Times
  • “Magical!”  – Rolling Stone

Tickets will sell out fast, so please book now.  We look forward to seeing you at the cinema!

Sandra Schulberg & the IndieCollect Team
Steve Blakely, Israel Ehrisman, Kirsten Larvick, Omchand Gee, John Custudio, Oskar Miarka, Zenith Haas, Na’Imah Pope, Audrey Pierson

Ticket: https://www.eventbrite.com/e/in-the-soup-tribeca-film-festival-tickets-44153699905

The small-gage format motion picture camera

East / West Zeiss Ikon

It’s a privilege to know the history of the cinema, my NYU grad school’s primary was Cinema Study, it was not the Tisch School of the Arts that time, was the program of the Graduate School of Arts and Science (GSAS). But I’ve joined and started Plasmatics for the 2nd year of Grad school, and I’ve dropped out. But I have BFA, and my major was the Motion Picture in general, I have extensive knowledge of both side, the scientific side of the motion picture industry, and the entertainment business end. I am a retiree from the motion picture production business, but I am still learning the history of the motion picture science. I just discovered 1950’s East Germany’s Zeiss Ikon history was fascinating and somehow tragic, but those innovations are still alive, and we’re benefiting in this days. I became the collector of the small-gage format motion picture camera, and I love it.

In The Soup

 

Directed by

Alexandre Rockwell

Writing Credits (in alphabetical order)

Sollace Mitchell (as Tim Kissell)
Alexandre Rockwell

Cast (in credits order) verified as complete

Steve Buscemi Steve Buscemi
Seymour Cassel Seymour Cassel
Jennifer Beals Jennifer Beals
Pat Moya Pat Moya
Dang
Will Patton Will Patton
Skippy
Sully Boyar Sully Boyar
Old Man
Steven Randazzo Steven Randazzo
Louis Barfardi
Francesco Messina Francesco Messina
Frank Barfardi
Jim Jarmusch Jim Jarmusch
Monty
Carol Kane Carol Kane
Barbara
Stanley Tucci Stanley Tucci
Gregoire
Rockets Redglare Rockets Redglare
Guy
Elizabeth Bracco Elizabeth Bracco
Debi Mazar Debi Mazar
Sam Rockwell Sam Rockwell
Ruth Maleczech Ruth Maleczech
Mrs. Rollo
David Cantler David Cantler
Joe’s Son
Tessie Hogan Tessie Hogan
Joe’s Ex-Wife
Jaime Sánchez Jaime Sánchez
Uncle Teo
Svetlana Rockwell Svetlana Rockwell
Ukrainian Lady Tenant
Paul Herman Paul Herman
E-Z Rent-A-Car Clerk
Richard Boes Richard Boes
Nietzche
Tony Kitaras Tony Kitaras
Dostoevsky
Keivyn McNeill Grayes Keivyn McNeill Grayes
Cop’s Son
Robinson Youngblood Robinson Youngblood
Cop
Michael J. Anderson Michael J. Anderson
Little Man (as Mike Anderson)
Ingrid Uribe Ingrid Uribe
Angelica’s Niece
Wilson Galarza Wilson Galarza
Angelica’s Nephew
Ramon O'Neill Ramon O’Neill
Angelica’s Nephew
Anibal O. Lleras Anibal O. Lleras
Uncle Teo’s Friend
Rest of cast listed alphabetically:
Steve Axelrod Steve Axelrod
Porn clerk (uncredited)
Chosei Funahara Chosei Funahara
Bar patron (uncredited)

Produced by

Hank Blumenthal producer
Pascal Caucheteux producer
Chosei Funahara co-executive producer
James Schamus associate producer
Jim Stark producer
Junichi Suzuki co-executive producer
Ryuichi Suzuki executive producer

Music by

Mader

Cinematography by

Phil Parmet

Film Editing by

Dana Congdon

Production Design by

Mark Friedberg

Art Direction by

Ginger Tougas

Costume Design by

Elizabeth Bracco

Makeup Department

Lori Hicks hair stylist / makeup artist

Production Management

Craig Markey production manager

Second Unit Director or Assistant Director

David Alberico assistant director
Marybeth Hagner assistant director
Rob Hallenbake assistant director

Sound Department

George A. Lara foley mixer
Julie Lindner assistant sound editor
Paul P. Soucek additional sound effects
Brian Vancho foley artist
Pawel Wdowczak sound mixer

Camera and Electrical Department

Denise Brassard first assistant camera
David Larue grip
David C. Lawson second assistant camera
Charles Libin additional cinematographer / gaffer
Mark Schwentner best boy
William M. Weberg key grip

Costume and Wardrobe Department

Virginia D. Patton wardrobe supervisor

Editorial Department

Brian Logan apprentice editor

Location Management

Tim Tyler location assistant

Music Department

Peter Gordon music arranger / music producer
Eric Liljestrand music engineer
Mader music arranger
Samantha Rosenfelds music production coordinator

Other crew

George Camarda script supervisor
Alfonso Gomez-Rejon intern
Mickey Cottrell publicist (uncredited)

Thanks

Simon Brook special thanks

 

Institute History 1993 Sundance Film Festival in Tokyo

1992 Sundance Film Festival

Description:  Two veteran actors in American independent film—one from the Cassavetes era (Seymour Cassel), and one from the Jarmusch generation (Steve Buscemi)—come together with zesty abandon in this loopy comic noir. Impoverished would-be film director Adolpho Rollo (Buscemi), surviving on a diet of Dostoyevsky, Nietzsche, and the vitamins his mother keeps sending to his Lower East Side apartment, is down to his last dime. With his criminal landlords pounding on the door (Steve Randazzo and Frank ? in memorable bits as the Bafardi brothers), he desperately places an ad offering his epic five-hundred-page screenplay to the highest bidder. The taker is Joe (Cassel), a small-time hood looking for the perfect dupe to use in his petty scams. Joe convinces Adolpho that he’ll finance his film, but in the meantime, there are cars to steal, break-ins to perpetrate, and stolen goods to fence.

Inevitably this odd couple is drawn to each other. (Opposites do attract, and this could be the nonsexual—albeit kissy—love story of the year.) Adolpho is fascinated by the sheer brio with which Joe enjoys his criminal existence. And Joe likes his naive sidekick well enough to try helping Adolpho romance his beautiful next-door neighbor, Angela (Jennifer Beals). As Joe’s increasingly convoluted dealings accelerate into nightmarish complications, Adolpho begins to realize that this movie is not on Joe’s agenda. Direction con brio, richly hued, black-and-white cinematography and hilarious cameos by Carol Kane and Jim Jarmusch are among the ingredients making this one tasty soup to be in. — Robert Hawk

Screening Details

Section: Dramatic Competition

Film Type: Dramatic Feature

Country: U.S.A. Run Time: 90 min.

Sundance Film Festival Awards

Grand Jury Prize Dramatic

Special Jury Prize for Acting

Music: Mader

Actor: Jennifer Beals, Steve Buscemi, Seymour Cassel, Frank Messina, Will Patton, Steve Randazzo,

Producer: Jim Stark, Hank Blumenthal,

Editor: Dana Congdon

Executive Producer: Chosei Funahara, Ryuichi Suzuki, Junichi Suzuki

Screenwriter: Tim Kissel, Alexandre Rockwell,

Cinematographer: Phil Parmet Director, Alexandre Rockwell

I’m all right my friend

Directed by

Ryû Murakami

Writing Credits

Ryû Murakami (based on the novel by)
Ryû Murakami (screenplay)

Cast (in credits order)

Peter Fonda Peter Fonda
Gonzy Traumerai
Leona Hirota Leona Hirota
Mimimi (as Reona Hirota)
Rest of cast listed alphabetically:
Kumi Aochi Kumi Aochi
Reiko
Jiro Dan Jiro Dan
Man in White
Chosei Funahara Chosei Funahara
Punk
Shunsuke Kariya Shunsuke Kariya
Man in white
Naoko Ken Naoko Ken
Sales woman
Ittoku Kishibe Ittoku Kishibe
Man in white
Masao Komatsu Masao Komatsu
Crying man
Jinpachi Nezu Jinpachi Nezu
Doctor
Yoshiyuki Noo Yoshiyuki Noo
Monika
Enjo Sanyutei Enjo Sanyutei
Disc jockey
Yukihiro Takahashi Yukihiro Takahashi
Prison guard
Tetsuya Takeda Tetsuya Takeda
Nurse
Tamori Tamori
Hoho-Keiji
Hiroyuki Watanabe Hiroyuki Watanabe
Hachi
Richard G. Wright Richard G. Wright
Julius

Produced by

Kiichi Ichikawa producer
Hidenori Taga producer

Music by

Ryuichi Sakamoto (as Ryûichi Sakamoto)

Cinematography by

Kôzô Okazaki

Film Editing by

Sachiko Yamaji

Art Direction by

Osamu Yamaguchi

Production Management

Katsuhiko Aoki unit production manager

Sound Department

Hideo Nishizaki sound recordist

Visual Effects by

William Mesa visual effects supervisor

Camera and Electrical Department

Kazuo Shimomura lighting technician

Music Department

Kazuhiko Kato music supervisor / musical director
Takao Kisugi composer: stock music
Keisuke Kuwata composer: stock music
Chris Mosdell lyrics
Ryû Murakami lyrics
Ryuichi Sakamoto composer: stock music (as Ryûichi Sakamoto)
Nobuyuki Shimizu composer: stock music
Masayoshi Takanaka composer: stock music
Kazumi Yasui lyrics

Other crew

Roichi Nakajima assistant to director
J.F. Oya production coordinator

Club 57 at Museum Modern Art New York (POSTED ON NOVEMBER 21, 2017)

Club 57 at Museum Modern Art New York

For a beginning, I just spit out all Plasmatics stuff, it’s my duty to confess everything. Also, right now, there is an exhibition at Museum Modern Art New York, they are showing late 1970 to early 1980’s New York Downtown Art scene, Club 57. Here is the link: https://www.nytimes.com/2017/10/26/arts/design/club-57-museum-of-modern-art.html?mtrref=www.facebook.com&gwh=84AA8EC3BA847374B432B80879597796&gwt=pay

However, Club 57’s origins had little to do with art. The Holy Cross Polish National Catholic Church had charged Stanley Strychacki, who had arrived in the neighborhood from Poland in 1972, with raising additional parish revenue from their cavernous Gramercy Park wedding hall, Irving Plaza, as well as from the church’s barely used basement bar, which Mr. Strychacki named the East Village Students Club. But Mr. Strychacki quickly grew bored of catering to either the polka crowd or New York University students. Instead, he found himself drawn toward the punk and garage rock bands springing up nearby.