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T H E S E N S AT I O N A L S E Q U E L TO

THE GIRL WITH THE DRAGON TATTOO contents Issue Nine. July/August 2010

FIGHT FIRE WITH FIRE


Features

24
0 4 | Spotlight
Genre Junction:
The Road Movie and
Journeys of Self Discovery

1 4 | Art & Film


Everything is Illuminated:
The Photographs of Eva
and Tony Worobiec

24 | Widescreen
Cities of Hope:
The Cube Cinema's
15 TBC Haiti Kids Kino Project

3 0 | 1000 Words

IN CINEMAS AUGUST 27 Life Fast, Die Young:


Bonnie and Clyde and the
Birth of New Hollywood
THEGIRL.CO.UK
Regulars
0 4 | Reel World
The Straight Story

1 8 | One Sheet
On The Road
‘You're just like your
brother. Ignorant, an 3 4 | On Location
uneducated hillbilly, Route 66, USA
except the only special
thing about you is your 3 8 | Screengem
peculiar ideas about 1970 Dodge Challenger
love-making, which is no 4 2 | Parting Shot

cover image five easy pieces (Courtesy Park Circus / Sony Pictures)
love-making at all.' Soul Glow
Bonnie Parker
4 4 | Competition
Picture This

4 6 | Listings

30 A roundup of this issue's


featured films

The Big Picture ISSN 1759-0922 © 2010 intellect Ltd. Published by Intellect Ltd. The Mill, Parnall Road. Bristol BS16 3JG / www.intellectbooks.com
Editorial office Tel. 0117 9589910 / E: info@thebigpicturemagazine.com Publisher Masoud Yazdani Senior Editor & Design Gabriel Solomons Editor Scott Jordan Harris
Contributors Jez Conolly, Nicholas Page, Emma Simmonds, Daniel Steadman, Scott Jordan Harris, Marko Martin Wilkinson, Tony and Eva Worobiec, Gabriel Solomons
Special thanks to John Letham, Sara Carlsson and all at Park Circus, Jelena Stanovnik, Michael Pierce at Curzon Cinemas and Gabriel Swartland at City Screen
Please send all email enquiries to: info@thebigpicturemagazine.com / www.thebigpicturemagazine.com l The Big Picture magazine is published six times a year

Published by intellect | Produced in partnership with www.parkcircus.com

July/August 2010 3
below
richard farnsworth as alvin straight

reel world
f i l m b e yo n d t h e b o r d e r s o f t h e s c r e e n

when frail 73 year old


Alvin Straight drove his
1966 John Deere riding
mower the 300 miles between
Laurens, Iowa and Mount
Zion, Wisconsin – to visit his he meets along the way, and
estranged and equally ailing is himself touched by the
brother – he can hardly have kindness of strangers. In his
imagined that one of cinema's final role, Richard Farnsworth
most unlikely pairings, The was nominated for Best Actor
Walt Disney Company and at the Oscars for his portrayal
David Lynch, would later of the stubborn and troubled
immortalise his journey on the old man who comes to realise
big screen. News of his trip the importance of family,
spread locally before reaching forgiveness and reconciliation.
the national press and finally Since Alvin passed away, the
Hollywood. Preserve the Straight House
Lynch made Alvin's trip Committee has organised,
the basis for his own take amongst other things, a six-

Telling
on the road movie; chance and-a-half mile lawnmower
encounters, the visual power ride to raise restoration
of the American landscape funds and to honour their
and a journey as much internal town’s most famous son.
Tourists have been spotted

it Straight
as physical are given a genteel,
Alvin dispenses the humorous and poignant spin. visiting Alvin's residence and
Travelling at a top speed of the Internet throws up the
wisdom of his years to 5mph, Alvin dispenses the occasional blog in honour of
trips made along the route he
those he meets along wisdom of his years to those
took. Other riding mower and

the way, and is himself tractor charity fundraising


trips occur around the world,

Alvin Straight’s unusual road trip inspired an touched by the kindness from the UK to New Zealand,
and, whether they were
unusual road movie, which in turn inspired of strangers. inspired by him or not, they
certainly bare the hallmark
many unusual admirers. neil mitchell of Alvin Straight’s now-
climbs aboard his Flymo to investigate. legendary road trip. [tbp]

gofurther [web ] The Preserve the Straight House Committee online: http://tinyurl.com/2umgqsw

4 www.thebigpicturemagazine.com July/August 2010 5


cover
left

feature spotlight karen black and jack nicholson


below
jack nicholson is a long way from home

Y c i n e m a ' s t h e m at i c s t r a n d s

Although we follow
Bobby’s journey ‘back
home’ with the aim of
family reconciliation,
it becomes apparent
just how stuck he is
wherever he is.

Five Easy Pieces (1970)


Dir. Bob Rafelson

Part drama, part probing


character study and part
road movie, Five Easy Pieces
focuses on Bobby Eroica
Dupea (Jack Nicholson) who,
once a promising pianist
from an affluent family of
classical musicians, is now
living a nomadic existence,
wandering from motel to
motel, working as an oil rigger,
with his waitress girlfriend
Rayette Dipesto (Karen Black)
permanently in tow. When he
learns his father is very ill, he
has to return to his previous
life.
The road in Five Easy Pieces
is symbolic of emotional
uncertainty. Although we
follow Bobby’s journey ‘back
home’ with the aim of family
reconciliation, it becomes
apparent just how stuck he
is wherever he is – be it in
his dead-end Californian

Genre
blue collar existence or back
at his wealthy Seattle home.
Bobby may be on the move
but he is caught in a rootless,

Junction
existential drift. The film ends
on an ambiguous note that
leaves Bobby much as we first
found him: lost, homeless and
confused.

While the road movie is an iconic genre in itself, it Five Easy Pieces is back in UK
is often used as just one ingredient in a potent genre cinemas from 13 August. For
more details see page 46.
cocktail. j e z conolly examines six road movies
that are more than just road movies.
Images Courtesy Park Circus / Sony Pictures

6 www.thebigpicturemagazine.com July/August 2010 7


Kobal (2) spotlight genre junction

Detour ’s opening
credits, looking
backwards down
the highway,
Detour (1945) foreshadow the
Dir. Edgar G. Ulmer film’s fatalistic
sense of
A second-rate pianist, Al
Roberts (Tom Neal), is
entrapment.

hitchhiking in pursuit of
his singer girlfriend, Sue
(Claudia Drake), who has
fled the sleazy club-land of
New York to find fame in
Hollywood. Roberts is picked
up by a man named Haskell
(Edmund McDonald), with a
pill-popping habit and some
nasty scratches on his hand.
Haskell promptly dies at the
wheel, panicking Roberts into
assuming Haskell’s identity
Y Tu Mamá También Y Tu Mamá
También (2001) so as not to be blamed for
the ‘murder’. Soon after, he
uses the premise and Dir. Alfonso Cuarón picks up another hitcher, Vera
(Ann Savage), the femme
formalities of the road Having seen off their girl- fatale who inflicted Haskell’s
scratches and who now tries to
movie love triangle friends, who are travelling in
Europe, two young Mexicans blackmail Roberts. A brilliant

to fuse gritty social – Julio (Gael García Bernal)


and Tenoch (Diego Luna) –
synthesis of film noir and
road movie, Detour’s opening
comment and a coming- are stuck for something to do
for the rest of the summer;
credits, looking backwards
down the highway, foreshadow
of-age sex comedy. they decide on a road trip
to find the mythical beach
the film’s fatalistic sense of
entrapment. Since we cannot
known as ‘Heaven’s Mouth’. see where we are going, these
At a family wedding they pre-narrative shots emphasize
meet Luisa (Maribel Verdú), how the road haunts the
an older woman from Spain, destination in the road movie,
who surprisingly agrees to just as the past in film noir
accompany them on their trip. haunts the future.
The boys compete to seduce
the more experienced Luisa,
whose presence brings out above left
ana LOPEZ MERCADO and friends
both the best and the worst
opposite
in them. They learn things tom neal and ann savage
about each that they never
knew, despite having been best
friends for years, and as their
journey progresses, all three
companions find themselves
confronted with their in-
nermost demons and desires.
Y Tu Mamá También uses the
premise and formalities of the
road movie love triangle to
fuse gritty social comment and
a coming-of-age sex comedy.

8 www.thebigpicturemagazine.com July/August 2010 9


Kobal (2)
spotlight genre junction

The Hitcher (1986) Feux Rouges /


Dir. Robert Harmon Red Lights (2004)
Dir. Cédric Kahn

Ignoring his mother’s advice


not to pick up strangers, Jim Adapted from the novel by
Halsey (C. Thomas How- Georges Simenon, Red Lights
ell) picks up more than he stars Jean-Pierre Darroussin
bargained for when he stops The Hitcher is a as Antoine, an insurance clerk
to give a lift to a psychotic
drifter by the name of Ryder claustrophobic, neo- married to Helene (Carole
Bouquet), a beautiful and suc-
(Rutger Hauer). Nothing can
stop Ryder playing his evil noir, loss-of-innocence, cessful lawyer. On the hottest
day of the year, the bickering
mind games; he usually mur-
ders the drivers with whom homoerotic, paranoid couple decides to take a road
trip across France in order
he hitches lifts but, when Jim
decides to eject him from the western strapped into to pick up their holidaying
children. Already fuelled by al-
car, Ryder engages him in a
deadly game of tit for tat on
the back seat with cohol, Antoine makes frequent
stops to take a nip or two of
the Texas highways.
Both thriller and road movie,
Hitchcock at the wheel. whisky, and eventually returns
to his car to find that Helene
The Hitcher is a claustropho- has decided to go on by train.
bic, neo-noir, loss-of-inno- However, when he rushes to
above
the next stop to try and catch
cence, homoerotic, paranoid
western strapped into the back
JEAN-PIERRE DARROUSSIN
Kahn creates an unnerving her, she cannot be found. An
extraordinary search ensues.
seat with Hitchcock at the
wheel. Hauer’s performance fusion of road movie and Kahn creates an unnerving
emphasizes the isolation of the
road and serves to reinvent
European existential drama... by fusion of road movie and
European existential drama,
the maniac-at-large strand of
chiller by transplanting the
shifting the location of Simenon’s and one that arguably also sets
out to make a point about the
threat into the most confined
of spaces: the passenger seat
novel from the U.S. East Coast to ‘Americanization’ of French
culture by shifting the location
of Halsey’s car. Watch out
for some finger-licking Texan
the North East of France. of Simenon’s novel from the
U.S. East Coast to the North
French fries. East of France.

10 www.thebigpicturemagazine.com July/August 2010 11


spotlight
c i n e m a ' s t h e m at i c s t r a n d s

Road to Singapore

Kobal
(1962)
Dir. Victor Schertzinger

The first in the popular


series of ‘Road to…’ movies –
starring Bing Crosby and Bob
Hope, with Dorothy Lamour
as the love interest – Road To
Singapore featured Bing and
Bob as Josh and Ace, a pair of
pals who run off to Singapore
to escape forced marriages.
The boys are determined
never to bother with women
again until they run into
Lamour, a sarong-wearing
dancer suffering through a
relationship with a bullying
musical partner. Josh and Ace
rescue her and fight with each
The minimal road other for her hand as they try
trip plot provides to elude a wacky variety of
Crosby and Hope pursuers. Besides spoofing the
action adventure and romance
with plenty of genres, the ‘Road to…’ movies
excuses for their are a parody of Hollywood
requisite songs itself, with a sprinkling of
references to other actors
and ad-libbed and the occasional swipe at
gags. Paramount Pictures. Despite
its title, this is a comedy first,
a musical second and a road
movie third. The minimal road
trip plot provides Crosby and
Hope with plenty of excuses
for their requisite songs and
ad-libbed gags. [tbp]

left
DOROTHY LAMOUR, BING CROSBY & BOB HOPE

also see... [web ] Road Movies Media Resource: www.lib.berkeley.edu [book ] The Road Movie Book edited by Steve Cohan and Ina Rae Hark [book ] 100 Road Movies: BFI Screen Guides by Jason Wood

12 www.thebigpicturemagazine.com July/August 2010 13


art&film Neon lit cinemas epitomised the American dream of the
1950s and 1960s - and while much of it is now faded
visual art inspired by film
glamour - photographers Tony and Eva Worobiec still see
it as a celebration of small-town America.
All words and pictures by to n y a n d e va w o r o b i e c

o o

j The Cliftex Cinema The Washita

j
Clifton, Texas Cordell, Oklahoma
'The Cliftex Cinema is apparently 'The Washita is a lovingly-restored
the longest continuously running movie theatre in the small town
cinema (since 1912) in the whole of of Cordell, Oklahoma (population
Texas (if not the U.S). It's amazing, about 2900). In order to ensure
as it is such a small town. When that we had an uninterrupted
we were there it was undergoing external view, the owner stood in
refurbishment, but the owner and the middle of the road and directed
his daughter altered the signing to the minimal passing traffic round
make it look as if it was open, then us. When we eventually finished, ➜
put on the lights for us. This time it we were not allowed to go without
attracted an old guy in a Stetson who taking an enormous bucket of
was passing in his white Cadillac, and popcorn with us.'
we managed to capture him at the
(empty) box office. Unfortunately we
didn't have the presence of mind to
get him to park his Cadillac in front
of the theatre!'

14 www.thebigpicturemagazine.com July/August 2010 15


art & film icons of the highway

The Fox
Taft, California
We didn't meet the owners of The
Fox but were nevertheless given
access to photograph it. It's a good
illustration of a small town cinema
which truly comes alive at night once
the illuminations come on. As we
have gradually gone from mainly
medium format cameras to digital
SLRs, we've been able to use zoom
lenses which can take us into the
neon detail on the marquee, as can
be seen with The Fox. Previously for
close-ups we would have to stand
in the middle of a road and risk
being run over or, more truthfully,
be delayed by a curious car-load of
teenagers wondering what on earth
The Rogue Theatre
Grants Pass, Oregon 'There were times when
we were doing. There were times
when we felt as if we were caught up
in a scene from an old movie such as
'At the Rogue Theatre I had to work
around a guy who I assumed to be we were taking pictures
one of the stagehands for the act
American Graffiti! performing that evening – I even
met him in the green room later.
that we felt as if we
Only when we were invited to stay
for the gig later that evening did it
were caught up in a
emerge that he was Joe Bonamassa,
probably the best blues/rock
scene from an old movie
guitarist around! He was incredibly
modest and unassuming.'
like American Graffiti.'

seemore... [book ] Icons of the Highway: A Celebration of Small-town America by Tony and Eva Worobiec

16 www.thebigpicturemagazine.com July/August 2010 17


one sheet
deconstructing film posters

On
The
Road
Ever since celebrated writer Jack Kerouac wrote his most memorable
work, road trips have been commonplace in American movies and
the posters they inspire. nichol as page looks at four very different
examples, courtesy of The Reel Poster Gallery, London.

just like the indomitable automobiles. The road trip has Czechoslovakian artist and
stretch of asphalt known these also become a way to show designer Josef Vyletal (1940–
days as Route 66, American characters leading some kind 1989), and features one of
road movies have been a of personal odyssey, and has the film’s stars, Peter Fonda,
prominent feature of the thus come to represent a basic standing in front of a mirage
country’s cinematic landscape form of escapism to which of images that represent his
for decades now. From stop- many can relate. hazy road-tripping experience.
off diners to vast, wind-swept A renowned painter of surreal
In Dennis Hopper’s Easy Rider
plains, the road movie has imagery (hence the horse-
(1969), it was motorbikes
always been an effective headed man seen in the
rather than cars propelling
way to show off the United poster), Vyletal was forced
the characters across the
States – or, at least, several to add a black cloud here to
country, and two personal
of them – as well as some obscure the U.S. flag on the
odysseys rather than just
of the country’s most iconic back of Fonda’s jacket.
one. This intriguing poster
was created by acclaimed

Easy Rider / Bezstarostna Jizda (1969) Original Czechoslovakian / Art by Josef Vyletal ➜

gofurther... www.reelposter.com [book ] Josef Vyletal: Painter of Death by Rostislav Sarvas

18 www.thebigpicturemagazine.com July/August 2010 19


w h i l e e as t e r n European West, especially where mature
audiences were involved, has
artists were providing their
part of the world with much long been to focus on sex While Eastern
more striking and abstract
movie-related artwork,
appeal. This U.S. one-sheet
for Peter Collinson’s Mini- European artists
poster design in the West
was moving in a different
driven caper movie The
Italian Job (1969), starring were providing their
direction. Here, creativity
gave way to marketing, so
Michael Caine, shows just
how much skin and leather part of the world with
that while posters were still
being drawn and painted by
one can get away with
showing on a single poster. much more striking
human hands, they were more
obviously selling a product.
Soon enough, with the
evolution of computers and
and abstract movie-
This British poster for
Robert Stevenson’s The Love
graphic-editing software, related artwork,
single artists were replaced by
Bug (1968) illustrates the
approach rather well: note the
entire design and marketing poster design in the
clear featuring of all the film’s
characters and, perhaps more
companies, where movie
posters were created by the West was moving in a
importantly, its champion
Volkswagen Beetle. Also note
click of a mouse rather than
the stroke of a paintbrush. different direction.
This U.S. poster for Ridley
the prevailing use of tag-lines. Scott’s Thelma & Louise
Another successful approach (1991) can be attributed (opposite)The Italian Job (1969)
to marketing movies in the to Intralink Film Graphic Original US / Artist unknown
Design. [tbp] (above) The Love Bug (1968)
Original british / Artist unknown

July/August 2010 21
AfricAn / nigeriAn
AmericAn – Hollywood
AmericAn – independent
ArAb
AustrAlAsiAn Directory of
britisH
cAnAdiAn WorlD
cHinese cinema
eAst europeAn
frencH
germAnDirectory of WorlD cinema:
irAniAnaustralia & neW ZealanD
indiAn This ambitious new volume from Intellect offers an in-depth and exciting

itAliAn look at the cinema produced in Australia and New Zealand since the turn of
the twentieth century. Though the two nations share cultural and economic

JApAnese
connections, their film industries remain marked by differences of scale, as
well as levels of government involvement and funding. Through discussion

russiAn
of prominent genres and themes, profiles of directors, and comprehensive
reviews of significant titles, this user-friendly guide explores the diversity and
distinctiveness of films from Australia and New Zealand including Whale Rider,
swedisH The Piano and Wolf Creek.

turkisHVisit the website to find out more about Intellect’s


Thelma & Louise (1991) Original us / artwork by Intralink

spAnisHDirectory
/ portuguese
project and explore the volume for free

soutH AmericAn / brAziliAn


WWW . WorlDcinemaDirectory. org
rest of tHe world (including
The Directory of World Cinema: Japan and Directory of World Cinema:
isrAel, koreA, denmArk,
American Independent are now available. Forthcoming volumes include
Directory of World Cinema: Russia.

22 www.thebigpicturemagazine.com finlAnd, norwAy And icelAnd,


widescreen j This photo was taken at
our very first screening. After
film in a wider context
the fund raising, getting the kit
together and the long journey it
was really exciting for everyone
in the team to realise that the

o
idea we’d come up with in the
UK actually worked in Haiti. The
crowd here are watching Cheik
Doucouré’s Le Ballon D’Or a
film from Guinea made in 1995
about a village boy who wants to
become the best football player
in Africa. Each night before the
main feature film we’d also play
several international children’s
short films.

n 12 January the Haiti


earthquake killed 250,000
people, and overnight left a
million people homeless. A struggling with heavy luggage
week later there was a meeting that included a projector,
held at the Cube Cinema in a laptop, a generator and
Bristol, a radical volunteer a portable sound system.
run cinema and arts space, to The small but incredibly
discuss what we could do to focused Haiti Kids Kino
offer solidarity to the Haitian team had raised the money
people. for the project by putting on
Rather than donate to a fundraising films and gigs
faceless NGO we wanted to at the Cube, and calling for
take some direct action. Out of donations from the cinema’s
the meeting came the concept members and friends.
of the Haiti Kids Kino Project Our first show in Haiti was
– a mobile outdoor children’s on a Friday night in a camp
cinema that would travel around on some wasteland in Cité
camps, tent cities, schools Soleil, the most notorious
and hospitals providing fun, neighbourhood of Port-au-
entertainment and feeding Prince, with an audience of k The longer we stayed the
children’s imaginations, plus about 300 children and adults. more friends the Kids Kino
offering temporary childcare for The reaction was more than made and the more the cinema
parents and carers – at least for we could have hoped for with expanded. This is Stanley and

Cities
a few evenings.
There would also be
the audience singing and
clapping along to the theme
Luxon of the great Haitian
comedy troupe Les Rescapés
From the
Six months after the devastating children’s video workshops tune of Aardman Animation’s doing a performance for kids beginning
earthquake that tore the country to where kids in Haiti and the Shaun the Sheep, and cheering and parents before one of our
shows at a camp in Delmas
we wanted

of Hope
UK could make and exchange and roaring with laughter at
pieces, marko wilkinson reflects on messages and ‘video post- Le Ballon d’Or, a feature film
33. The company’s motto “Les the project
Rescapés ont tout perdu, sauf
a film initiative set up by Bristol's Cube cards’ – videos about their from Guinea about a village leur humour!” (“The Rescapés to be defined
lives and environments. From boy who wants to become the
Cinema that sought to bring a glimmer the beginning we wanted the best footballer in Africa.
have lost everything, except their
sense of humour”) is literally true
specifically
of hope to Haiti's displaced children. project to be defined specifi- We’d brought with us since the earthquake – Stanley as a cultural
cally as a cultural exchange
Words and Pictures by Marko Wilkinson rather than an aid project.
a collection of the best
international children’s shorts
and Luxon are living in tents in
another camp not far from this
exchange rather
Six weeks later I was and feature films we could one. Les Rescapés have made than an aid
stepping off a bus in Port-
au-Prince with fellow Cube
assemble. Within the team
we had the programming
several short films which we
screened many times. project.
volunteer David Fitzsimons, experience of Kari Nygård
who runs the Cube Nanoplex
children’s cinema, and outside
help came from several guest
curators, including film
critic Mark Cousins, whose

24 www.thebigpicturemagazine.com July/August 2010 25


widescreen hait kids kino project

brilliant The First Movie was


inspirational to the project.
Although there are virtually
no children’s films in Kreyol
(the Haitian language),
Kreyol shares a lot of words
with French so the children
could understand our French
language versions of The
Jungle Book, My Neighbour
Totoro,Wallace and Gromit,
Disney’s Robin Hood and the
Kirikou films.
One exception which
became a firm audience
favourite was Ti Sentaniz, a k This is a children’s video
Kreyol language animation workshop we ran in Leogane,
based on a monologue by the town that was closest to the
epicenter of the earthquake.
Haitian poet Maurice Sixto
We’ve just watched footage on
about a little orphan girl the laptop that the kids had shot
working as an unpaid domestic the previous afternoon and Klina,
servant, a situation that a in the purple top, is making a j When it wasn’t practical to
quarter of a million Haitian drawing of what she wanted to do structured children’s video
children are currently in. video that day ( a motorbike and workshops, where children
During the next 40 days a house). Before we left the UK could make their own films, we
we travelled around Port-au- we did workshops with Bristol would interview children in the
children getting them to film afternoon, edit them quickly
Prince in our hired pick-up
j Kids around the pick up truck messages for Haiti which we then on the laptop, then play them
truck with team members,
at a camp on the grounds of projected at our screenings. between the films that night.
l’Athlétique in Cité Soleil.
18-year-old translator, Jhon, Here Euskine is saying hi to his
Although Cité Soleil is a neighbour- and our driver, Sergo. In all, the mum and friends in the audience.
hood with a bad reputation and we Kids Kino did 22 screenings in Because of mobile phone
were constantly warned about it, we eleven locations to an audience a film like The Red Balloon technology children are already
never encountered problems there that totalled about 5600 people. can cause in children (and familiar with video capturing and
and the audiences were definitely We regularly saw people adults) in a situation where it caused a lot of excitement and
amongst the most fun and apprecia- living in brutally harsh the cinematic experience is a hilarity in the audience to see
tive we had. In fact in six weeks of conditions, but what struck rare treat makes you realise people they knew projected on
screenings all over Port au Prince we us was the incredible strength what a beautiful and powerful the big screen.
didn’t have one piece of equipment and kindness of ordinary medium film still is.
go missing. L’Athlétique d’Haiti is a Haitians. Because there is so Our last screenings before
sports club set up by Haitian activist
little functioning infrastructure returning to the UK were four
Boby Duval to give sports training,
in Haiti, people have had nights at a big camp called
education and nutrition to young
people in the area. to create a society built on Tapis Vert back in Cité Soleil. k Setting up would often
mutual help and support Unlike the smaller camps become a spectator event in
between friends, neighbours we’d visited there wasn’t an its own right. After watching us
Kids dancing k
do it once, the children would
Very quickly we noticed what a
powerful reaction any music in
and extended family – and the
disaster only seems to have
obviously established tight-knit
community in place – instead have the process memorised
and help out the next day. We
To see the delight a film
the films got from our audience.
Incidental and end credit music
made these bonds stronger.
This isn’t the story that gets
there were a lot of displaced
people from different
stayed at this camp, Tapis Vert like The Red Balloon can
would have the whole crowd clapping
and singing along. Youssou N’dour’s
We regularly saw told by the international media,
which often appears to only
neighbourhoods who didn’t
know each other. Over the four
in Cité Soleil, for four nights and
it turned into a mini-festival. On cause in children (and
the Sunday afternoon the kids’
theme to Kirikou et la Sorcière was
a particular favourite. Out of this
people living in be interested in sensationalist
stories of violence and tragedy.
days we stayed we could feel
a sense of social celebration
disco transformed into a full on
rave when a local teenager got us
adults) in a situation where
the idea for the children’s disco
evolved and soon became a regular brutally harsh Several of the members of
the project including myself
build around the cinema – until
it started to feel like a festival.
to play his cd of Haitian hip hop
over the soundsystem. the cinematic experience
feature before the evening’s films.
In fact the whole Kids Kino rapidly conditions, but what are filmmakers and artists,
and there was a real curiosity
During the afternoon we
would put on a kids disco and is a rare treat makes you
expanded to become a bigger social
experience including music and
dancing, live comedy performances
struck us was the amongst us to investigate
if film could have a real
record interviews with children
that we would play as part
realise what a beautiful and
by Les Rescapés and video interviews
with the audience.
incredible strength beneficial effect on people’s
lives. Living in a media
of the evening’s programme
of films. It dawned on us
powerful medium film still is.
and kindness of saturated environment like
the UK its easy to feel that
that something exciting was
starting to happen that we
ordinary Haitians. video, TV and film are having
a deadening, atomizing effect
hadn’t expected – around the
Kids Kino a new community The Haiti Kids Kino Project is returning to Port-au-Prince in the autumn with two new teams. If
on our existence rather than was getting to know itself and you would like to donate or find out more information there is a website at tinyurl.com/38paax4
enriching it. To see the delight celebrating itself. [tbp]

26 www.thebigpicturemagazine.com July/August 2010 27


reel world
been carefully woven into
a marketing mythology.
His death presented his
f i l m b e yo n d t h e b o r d e r s o f t h e s c r e e n publishers, Norstedts, and their
international partners with both
‘We know that [foul play] is

Stranger
a challenge and an opportunity;
with no author to interview,
not the case, but it adds to
to present at book shop
readings or market through
the drama and mystery of

than
media appearances, Norstedts
invested over a million Swedish
Larsson's father and brother, who he was and what he did:
Gabrielsson is trying to change
crowns in promoting advance
copies, building a detailed
the law in Sweden so that the juggernaut that is now

Fiction:
website about Larsson and
the book series, and working
unmarried partners can pursue
an inheritance in court. the Millennium trilogy.’
With the success of the
with advertising companies Swedish-made films – Niels
to maintain the focus of the

Stieg
Arden Oplev’s Swedish version
launch on word of mouth, of Dragon Tattoo ranked as the
ensuring that the question world’s second biggest earning
marks over the author’s independent film of 2009 just
death were allowed to linger,

Larsson
behind Slumdog Millionaire
and thereby provide readers – and heavy hints that David
with the sense that clues to Fincher is set to convert at least
Larsson’s fate may be traceable the first novel into an English
in the text. Bloggers were the

and the
language movie, possibly
first to pick up on this and starring Daniel Craig, Larsson's
consequently the reputation estate is set fair to get a whole
of the series rose rapidly. lot bigger. It remains to be seen
Exposure became more

Millennium
whether a U.S. film version
prominent, enough to make The can retain the ingredients that
Girl With The Dragon Tattoo the have made the home grown
first novel by a Swedish writer films stand out for international
to debut at number four on The audiences. They possess an

Trilogy
New York Times bestseller’s list. unfiltered characteristic,
The interest has not lessened bringing viewers starkly and
in the time since the books often brutally to the centre of
were first published. Barely a the story in ways that most
week passes still without some Hollywood thrillers fail to. They
new sales record being broken are also especially faithful to
Have reports of the cult writer's death been somewhere in the world. The the original texts on which they
greatly exaggerated? jez conolly gets in close. film versions have gone on to have been based. The careful
win awards and smash box viral word of mouth campaign
All Images Courtesy Picselect and Momentum Pictures office records around Europe. that has jumped from print to
When Larsson died, he left film has tapped into Larsson’s
behind the two sequels to The devoted fan following,
Girl With The Dragon Tattoo, converting the readership into
It cannot be denied that a was rumoured.
plus an unfinished manuscript viewers very successfully. The
good deal of the interest that Larsson’s sixty-a-day
for another on his laptop. He rapid release of parts two and
surrounds the internationally cigarette habit was almost
did not, however, leave behind three in cinemas will surely
successful ‘Millennium Trilogy’ certainly the cause of his death
a will, which means that under keep this momentum going.
of books by Stieg Larsson, but, as can often be the case,
Swedish law, Larsson's long- What of the incomplete
as well as the current film there was little public appetite (top) NOOMI RAPACE as Lisbeth Salander circumstances surrounding
term partner, Eva Gabrielsson, fourth instalment? Will it see
adaptations, is due to the for medical assessments when a (above) MICHAEL NYQVIST as Mikael Blomkvist his death,’ says publicist Paul
has no recourse to Larsson’s the light of day? Can we expect
premature death of the author suitably clandestine plot against Bogaards, referring to the
now-substantial estate. While a film version? Larsson’s blood
and the subsequent conspiracy his life could be entertained. conspiracy theories that have
the money sits in the hands of relatives, who currently own
theories that have arisen. The fact that the narrative of circulated since Larsson passed
Practically unknown outside his novels deals in part with the the rights, reportedly don't away. ‘We know that [foul play]
of Sweden prior to the book risks taken by an investigative want to see it published, and is not the case, but it adds
releases, Larsson was widely journalist in his attempt to Gabrielsson won't comment. to the drama and mystery of
admired in his homeland for uncover corruption at the heart She plans to commit her who he was and what he did:
his stance against extremist of the country’s orthodoxy opinions on this and many the juggernaut that is now the
groups and as a result received only served to intensify the other things to a memoir she's Millennium trilogy.’ [tbp]
many death threats. When he belief that the consequences writing about her experiences.
died in 2004 at the age of 50, of Larsson’s own journalistic When this book comes out, it The Girl who Played with Fire is
many speculated that what was research had led to his will only add to the fascination in UK cinemas from 14 August.
deemed a massive heart attack premature demise. with Larsson. ‘People still
was, in truth, murder. Poisoning Larsson’s own story has whisper about the mysterious

28 www.thebigpicturemagazine.com July/August 2010 29


no film made in the second
half of the twentieth century
proved as pronounced a
turning point for American
movies as 1967’s Bonnie and
Clyde. Many of those people
Bonnie and Clyde brought important to the project
(Warren Beatty, Robert
unprecedented sex, violence and Towne, Faye Dunaway, Gene
vitality to the screen, and became Hackman, Dede Allen, etc.)
would later make many of
the catalyst for Hollywood’s Second the most radical and effective
Golden Age. s c o t t j o r da n h a r r i s films of the New Hollywood
era (Reds, The Godfather,
hops up on its running board. Chinatown, Network, The
French Connection, Dog Day
Afternoon) But, monumental
as those specific films are, they
are far less significant than the
impact Bonnie and Clyde had
upon U.S. cinema in general.
As with practically all
moments that changed
film – or, indeed, anything
– forever, Bonnie and Clyde

die
could perhaps have been

live
predicted. The sexual and
social liberation of the 1960s,
paired with souring of
American optimism brought
about by the mounting horror
of the Vietnam War, meant
that the mood for such a

fast young
movie had been spreading for
several years. Equally, while
Bonnie and Clyde’s style –
most obviously its rapid and
abrupt editing – may have
appeared entirely original
to audiences un-versed in
international cinema, it was
appropriated from the French
1000 words Bonnie and Clyde and the Birth New Wave and marked an
almost inevitable importation
m o m e n t s t h at c h a n g e d c i n e m a f o r e v e r
of New Hollywood of some of the movement’s
values. (The influence of
Francois Truffaut and Jean-
Luc Godard, and particularly
of the latter’s A bout de soufflé,
is evident from quite literally
the film’s first seconds to quite
literally its last).
But, while the elements of
Bonnie and Clyde were already
floating in the cinematic
atmosphere, it took a special
crew of filmmakers to combine
them into an urgent and
entertaining masterpiece that
sparked vast and irreversible ➜
change in American film.
Bonnie and Clyde took an
obviously European style and
left paired it with an unmistakably
faye dunnaway and warren beatty American story; it took
as the titular anti-heroes
advantage of receding prudery
above
the end of the road
and presented an unpleasant

30 www.thebigpicturemagazine.com July/August 2010 31


left
1000 words bonnie and clyde the getaway
below left
William Holden in the wild bunch

portrait of societal decay. The decade that brought Best


result was a work that did not Picture wins for explicitly
seem ahead of its time, but adult-themed films – like The
UP
ROLL UP, ROLL
absolutely of its time: it made Godfather Parts I and II, One
the films with which it shared Flew Over the Cuckoo’s Nest

SUMMER
cinemas seem listless and and The Deer Hunter – that
suddenly outdated. simply would not have been her bed with undisguised
Bonnie and Clyde’s most made pre-Bonnie and Clyde. frustration) was fully released
obvious departure from filmic This is not to imply that in hardcore classics like 1972’s
norms was the insistence of the film only inspired change Deep Throat and Behind the IN THE

CINEMRA
its director, Arthur Penn, by bringing about major Green Door and 1973’s The
upon defying the convention studio features that were Devil in Miss Jones.
that an image of a gun being suddenly gritty and newly What makes Bonnie and
fired and its bullet hitting its grubby: its anti-establishment Clyde an important film now,
human target be separated by sensibility inspired films far rather than simply a film that
a cut. (Think of the classic
shootout in westerns. Typically,
softer than it; Butch Cassidy
and the Sundance Kid being
was important then, is that it
remains utterly untarnished.
LD WO
SEE THEAEVIN
a gunslinger draws and fires in the best example. Nor was its Bonnie and Clyde is one of G THE CITY
one shot; there is then a cut,
and the victim of the shooting
impact felt only at the top of
American movies. That same
the greatest triumphs of WITHOUT L
American moviemaking, a
GREAT FILMS
is seen clutching the injured anti-establishment sensibility, film vivid and thrilling and
area and collapsing). In Bonnie combined with the film’s funny and frightening and
avoided by the eyes of the Image courtesy leclisse.wordpress.com
and Clyde, we see characters
– including Faye Dunaway’s
audience.
pioneering representation
of violence, created the
entirely unforgettable. It is a TICKET DEALS
COLD BEER
The ‘Bonnie and Clyde cliché to write of a film ‘that
beautiful and fragile Bonnie – conditions for the explosion still feels fresh’ decades after
effect’ altered not only the
shot onscreen as we would see of exploitation pictures in the
ICE CREAMS
films Hollywood was willing it was made (and, in this
them shot in life; the impact, 1970s, and for Blaxploitation case, decades after it opened
to make, but also those it was
on them and us, un-cushioned
by any editorial sleight of
willing to honour as its best Bonnie and Clyde’s most in particular. (The influence
of Penn’s picture on the most
pathways down which other
films went far further than it MARVELLOUS
!
work. Although Clyde did
scissors. Producer-star Warren
Beatty’s original idea that
not win its year’s Academy obvious departure from influential of Blaxploitation
films, Sweet Sweetback’s
did) but sometimes clichés
TRE
are unavoidable. No matter
OW FILM THEA
the film be shot in black and
white would have robbed it
Award for Best Picture,
it was heavily nominated filmic norms was the Badassss Song, is obvious and
unrelenting).
how often we watch it, or how
aware we are of its influence,
ALL AT GLASG
.UK BOX OF FICE 0141 332 65
35
WWW.GFT.ORG
of its colour both literally and
figuratively. Here, for once,
at the ceremony. (From
ten nominations for nine insistence of its director, Furthermore, the film’s
overt expressions of sexuality
Bonnie and Clyde still shocks
us with the excitement of the
was blood that was red and
profuse, that was not hidden
awards, it won twice; Estelle
Parsons took Best Supporting Arthur Penn, upon defying (a key subplot follows
Bonnie’s attempts to cure
undiscovered.

by the self-censorship of the


filmmaker, and could not be
Actress and Burnett Guffey
Best Cinematography). Its
the convention that an image Clyde of impotence; a key
scene shows oral sex) were
So many of the movie’s
merits are summed up in
influence on the ideas of Oscar
voters, however, is evidenced
of a gun being fired and crucial in leading to the
its last minutes. Bonnie and
Clyde’s final, horrendously SUMMER SUNDAYS
adjustment in attitudes that
not by the Academy Awards
it won, but by the shift in the
its bullet hitting its human briefly moved pornography
violent and intensely sexual
sequence was the reference
What better way to cool off
Film Season:
in the sunshine than with
after a lazy Sunday
an arthouse classic

Rithy Pahn
kinds of films that won in
subsequent years.
target be separated by a cut. into the American mainstream.
The sexual frustration that
point for James Caan’s classic
death scene in The Godfather,
at the GFT? So sit back, rel
best films of the past 30 yea
ax and enjoy the
A couple of years before
gives Bonnie and Clyde much and the inspiration for the rs back on the big
screen, as chosen by GFT
Bonnie and Clyde, the fluffy
of its charge (and is practically aesthetic that quickly created ’s Facebook and
its first concern: the opening Twitter friends. With favour
family musicals My Fair The Wild Bunch and went onto ites such as
scene shows a naked Bonnie Amelie, Trainspotting, All
influence all screen violence About My Mother and
Lady and The Sound of Music
had back-to-back wins for
lying alone and thumping thereafter. Subsequently, 13 to 29 June 2010
Three Colours: Blue there
really is no excuse
Best Picture. A couple of it remains one of the most for not joining us!
years after it, the top Oscar important scenes in cinema: a
went to Midnight Cowboy, a perfectly appropriate climax
to one of the most important FRIENDS AND FAMILY
tragic X-rated drama about TICKET DEAL
a penniless male prostitute films in the world. [tbp] We’re offe
Supported byrin g any Fransaise
Alliance 4 ticketsdefor Glasgow and
£20 for every
and his crippled companion. screening in our Summer
Culturesfrance. Sundays programme.
What’s more, this began a All tickets must be bought
in one transaction
either online or at box offi
ce. Enjoy!
GLASGOW FILM THEATRE
BOX OFFICE 0141 332 6535
go further... [book] Read Easy Riders, Raging Bulls: How the Sex, Drugs and Rock ‘n’ Roll Generation Changed Hollywood by Peter Biskind BUY
Glasgow FilmTICKETS
Theatre (known as GFT) is aWWW.GFT.ORG.UK
ONLINE charity registered in Scotland, No SCO05932

32 www.thebigpicturemagazine.com
opposite
alberto closas
below
on location
t h e p l a c e s t h at m a k e t h e m o v i e s
Lucia Bosé

route
66
Cutting straight through the heart of America,
Route 66 is a man-made wonder that has become
synonymous with the idea of travel and triumph.
n i c h o l as pag e takes a brief road trip down this
lengthy memory lane.

The Grapes Before becoming the backdrop for many a memorable road trip,
of Wrath (1940) Route 66 was the main path for poor Dust Bowl migrants in the ➜
1930s. Director John Ford highlights this in The Grapes of Wrath
Dir. John Ford
(1940), which was adapted from John Steinbeck's Pulitzer Prize-
USA, 128 minutes
winning novel of the same name. The film stars Henry Fonda as
Starring Henry Fonda, Jane
Tom Joad, an ex-convict and head of a desperate Oklahoma family,
Darwell, John Carradine
who lose their farm during the Great Depression and are forced to
move across America to California in order to find work.

34 www.thebigpicturemagazine.com July/August 2010 35


Pee-wee's Big
on location Two-Lane Blacktop
clockwise from below
two lane blacktop
Adventure (1985) kalifornia (1971)
pee wee's big adventure
Dir. Tim Burton t h e p l a c e s t h at m a k e t h e m o v i e s Dir. Monte Hellman
USA, 90 minutes USA, 102 minutes
Starring Paul Reubens, Starring James Taylor, Warren
Elizabeth Daily, Mark Holton Oates, Dennis Wilson

Despite not being a commercial success when first released,


director Monte Hellman’s road movie Two-Lane Blacktop
(1971) is these days considered a cult classic. Featuring a
gruelling race across the southwest between a ’55 Chevy and
a ’70 GTO, the film stars James Taylor and Dennis Wilson
as an unnamed driver and mechanic. After pitting their grey
Chevy against many unworthy opponents, they meet Warren
Oates’ GTO and set off on a race towards Washington with
the winner set to take home both cars.

Marking the debut of acclaimed director Tim Burton, Pee-wee’s


Big Adventure (1985) sees actor Paul Reubens reprise his popular
stand-up character of odd man-child Pee-wee, whose tranquil
yet bizarre home life is interrupted when his prize red bicycle is
stolen. After initially suspecting that a particularly mean neighbour
is the thief, Pee-wee then turns to a psychic to help him. From
here, he sets off on a trip across America in search of his lost bike,
encountering many equally strange and wonderful characters.

Kalifornia (1993)
Dir. Dominic Sena
USA, 117 minutes
Starring Brad Pitt, David
Duchovny, Juliette Lewis

Music-video director Dominic Sena’s debut film, Kalifornia


(1993), features Michelle Forbes and David Duchovny as a
photographer-writer couple who plan to road trip their way
across the USA to California, creating a book about known
serial killer sites in the progress. In order to share on travel
expenses, they invite along another couple played by Brad Pitt
and Juliette Lewis. What starts as an amicable journey soon
turns into a nightmare, as the young researchers begin to realise
just how close they are to their serial killer topic.
go further... [film ] Cars (John Lasseter, 2006) [book ] Route 66: An American Bad Dream (Stefan Kluge, 2004) [film ] The Blues Brothers (John Landis, 1980)

36 www.thebigpicturemagazine.com July/August 2010 37


screengem
e vo c at i v e o b j e c t s o n s c r e e n

the Casually chosen by a producer returning a t h e d o d ge challenger

Dodge
1970 favour, this four-wheeled mean machine was
is the kind of car that
unmistakeably evokes its
the souped-up star of a 70s classic beloved by era. Although Richard C.
Sarafian’s nihilistic 1971
B-movie enthusiasts and pertrolheads alike. road movie has no shortage
da n i e l s t e a d m a n slides behind the wheel.

Challenger
of period detail – jive-talking
soul brothers; killer folk/
funk soundtrack; almighty
Woodstock hangover –
nothing locates us more
firmly in the swinging
Seventies than the muscular
cool of the Challenger.
Vanishing Point (1971) The 1970 model’s cult status
was achieved largely by
accident when Fox executive
Richard Zanuck decided
to repay years of cut-price
Chrysler rentals by making
his next picture a pretty
straightforward commercial
for the company, with the
latest Dodge as the focal
point. As with any great sell,
the reveal is slow. Minutes
of run-time elapse, deep in
the Nevada dusk, before the
object hurtling across the
lonesome highways takes
shape. As night becomes
day, a police chopper
descends on a speeding
suspect. As it closes in,
filmmaker and viewer unite
in leering at the automobile:
the characteristic white
body; the sleek, compact
frame; the thunderous,
stirring engine roar.
Mysteriously watched by
pirate DJ Super Soul –
who describes it as a ‘soul
machine’ – the Challenger
mirrors the unknowable cool
of its driver, Kowalski (Barry
Newman). Here, the road
isn’t a cheap metaphor or a
romantic escape: it’s a bleak
and heartless reality. After
loss, dishonour and injustice,
Kowalski’s journey is an
affront to everything and
a solution to nothing. Like
its driver, the Challenger
intrigues without ostentation
and inspires without
explanation. [tbp]

kobal

seemore Bullitt (Peter Yates, 1968) / The Blues Brothers (John Landis, 1980) / Death Proof (Tarantino, 2007)

38 www.thebigpicturemagazine.com July/August 2010 39


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soul
curiosity-fuelled folly
has driven narratives
throughout the history of
cinema. The gaga-noir Kiss
Me Deadly (Aldrich, 1955)
draws explicitly from, and
alludes to, the mythical story
of the unfortunate Pandora.
Despite repeated warnings,
glow
Cinema has repeatedly re-imagined the myth of
Pandora’s Box in the form of an ominous glow emanating
the villainous Gabrielle
(Gaby Rodgers) is unable
from a case or trunk. e m m a s i m m o n d s lifts the lid.
to resist the impulse to open
the valuable, glowing case of
which she has seized charge – interpretations of what they
with explosive consequences. may be. Amongst the most
In one of its many moments interesting theories posited
of meta-magnificence, Pulp is that the briefcase contains
Fiction (Tarantino, 1994) crime overlord Marcellus
affectionately appropriates Wallace’s soul – a possibility
Kiss Me Deadly’s illuminated perhaps suggested by the
case, reinventing it as its own plaster across the back of his
‘MacGuffin’. Leaving aside the neck, placed as if a terribly
gun battle that accompanies neat extraction has taken place.
its retrieval, the case’s contents Ten years earlier, the
are reworked as something deliciously deranged, sci-fi
undoubtedly more benign oddity Repo Man (Cox, 1984)
and yet utterly mysterious, placed its glowing matter
encouraging multiple inside the boot of a Chevy
Malibu driven by a maniacal
scientist pursued by psychotic
government agents, UFO
nuts and uber-competitive
repo men. All that remains
of the first curious customer
to witness the lethal, possibly
extraterrestrial, cargo are his
boots left smoking on the
highway. [tbp]

Despite repeated warnings,


the villainous Gabrielle (Gaby
Rodgers) is unable to resist
the impulse to open the
valuable, glowing case...
clockwise from left
kiss me deadly / pulp fiction / repo man

42 www.thebigpicturemagazine.com July/August 2010 43


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44 www.thebigpicturemagazine.com visit: www.thebigpicturemagazine.com July/August 2010 45


Backpages

Film Index Back in Cinemas


So you’ve read about the films, now go watch ‘em! Putting the movies back where they belong...

The Girl who Played with Fire (2010)


Dir. Daniel Alfredson
The Straight Story (1999)
Dir. David Lynch
This edition of The Big Picture has been
g see page 4/5 g see page 28/29 produced in partnership with Park Circus,
Five Easy Pieces (1970) Bonnie and Clyde (1967) who are committed to bringing classic
Dir. Bob Rafelson Dir. Arthur Penn
g see page 6/7 g see page 30/31
films back to the big screen.
Y Tu Mamá También (2001) The Wild Bunch (1969)
Dir. Alfonso Cuarón Dir. Sam Peckinpah
g see page 8 g see page 32 coming coming coming
Detour (1945) The Grapes of Wrath (1940) soon soon soon
Edgar G. Ulmer Dir. John Ford
g see page 9 g see page 34

The Hitcher (1986) Pee-Wee's Big Adventure (1985) Director Bob Rafelson's seminal portrait of
Dir. Robert Harmon Dir. Tim Burton
g see page 10 g see page 36
a disaffected America, Five Easy Pieces,
Feux Rouges (2004) Kalifornia (1993) will be back in cinemas this summer.
Dir. Cédric Kahn Dir. Dominic Sena
g see page 11 g see page 36 With career-defining performances
Road to Singapore (1940) Two Lane Blacktop (1971) from its cast members Jack Nicholson
Dir. Victor Schertzinger Dir. Monte Hellman
g see page 12/13 g see page 37
and Karen Black, and an impressive
Easy Rider (1969) Vanishing Point (1971) soundtrack including Tammy Wynette's
Dir. Dennis Hopper
g see page 19
Dir. Richard C. Sarafian
g see page 38/39
hit 'Stand By Your Man', this cult classic
The Italian Job (1969) Kiss Me Deadly (1955)
was originally released in 1970 to huge
Dir. Peter Collinson Dir. Robert Aldrich critical acclaim.
g see page 20 g see page 42

The Love Bug (1968) Pulp Fiction (1994) In celebration of its 40th Anniversary,
Dir. Robert Stevenson
g see page 21
Dir. Quentin Tarantino
g see page 43
Five Easy Pieces has been extensively
Thelma and Louise (1991) Repo Man (1984)
restored by Sony Pictures and will
Dirs. Ridley Scott Dir. Alex Cox re-released from 13 August at BFI
g see page 22 g see page 43
Southbank, Filmhouse Edinburgh, Irish
Film Institute and selected cinemas.

More details of cinema screenings of these


the and other classic movies from the Park Circus
big picture catalogue can be accessed via:
issue 10 www.backincinemas.com
available
15 september
2010 thebigpicture disclaimer
The views and opinions of all texts, including
editorial and regular columns, are those of the
authors and do not necessarily represent or
reflect those of the editors or publishers.

46 www.thebigpicturemagazine.com

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