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Person

Tim Lucas

  • Commentary
Appearances
3
Quotes
9
Mentioned in
20
Films
0

In commentary

In their words

  1. “Sergio Leone was a master raconteur, and it was in this film, made in the wake of the immense European commercial success of Per un pugno di dollari, A Fistful of Dollars, that he could first afford to indulge himself as a storyteller. For this film, the budget jumped from $200,000 to $600,000.” [1:59] For a Few Dollars More (1965)
  2. “The melody is a key to Indio's broken mind. It takes him back to the cherished secret place where he first became the man he is.” [27:21] For a Few Dollars More (1965)
  3. “If anything is obvious about this wonderful film, it's that Leone understood what Lee Van Cleef could be on screen. Leone invested him with poise, dignity, and mystery. He made him seem both warm and dangerous.” [1:42:05] For a Few Dollars More (1965)
  4. “A melange of animation, high contrast photography, double exposures, optical overlays, oil effects, coffee grounds filmed against white paper and negative, strange fonts and stark polarities of color tinting in black and white. They don't represent the film so much as evoke a fever dream of it. Therefore, it embodies a great complement to the picture we're about to see because it tells us we're sure to want to watch it again.” [0:07] The Good, the Bad and the Ugly (1966)
  5. “This bridge is presented as a great irony of war. This location built to bring two communities together has become the focal point of incessant confrontation and bloodshed between the two opposing encampments.” [2:01:13] The Good, the Bad and the Ugly (1966)
  6. “Morricone has said that these were demo recordings, in other words, rougher than what was subsequently more fully orchestrated and re-recorded. However, only one of the cues heard in the film has always been released on soundtrack recordings at the exact same length, namely, The Ecstasy of Gold. Given this inflexibility of its running time, there is every reason to believe that this cue was complete at the time of filming, and that the film itself was edited to the track.” [2:28:32] The Good, the Bad and the Ugly (1966)
  7. “In 1983, the notion of a character who lived only on television, who was known by a patently absurd name, seemed the most outrageous black comedy. But hasn't this come to pass? Professor O'Blivion says that someday we'll all have special names. In 1981, even in 1983, this idea seemed preposterous. But when I first came online in 1985, AOL required me to adopt a screen name. It encouraged anonymity, which, as I soon learned, also encouraged frankness or hostility, depending on one's personality.” [11:11] Videodrome (1983)
  8. “We later learn that she has also died on Videodrome, which communicates the idea that Videodrome may not be snuff TV so much as what William Burroughs called death TV. These are ghosts, and Max can see and hear them because his own cancer has taken him at least halfway to where these dead souls reside. What we're seeing here, essentially, is an hallucinatory metaphor for a masturbatory experience, which the array of joysticks atop Max's teleranger seems to underline.” [36:39] Videodrome (1983)
  9. “So the film was greenlit before there was a script, and Cronenberg had to jump right into the saddle before he'd had a chance to fully unwind from Scanners and its promotional tour. Michael Lennick, who became one of my closest friends, once showed me a stack of multicolored script pages from this project, and it literally rose from the floor to just under my knee. Even the script in hand when I arrived on the set was substantially different to the one that got filmed.” [55:56] Videodrome (1983)

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