I absolutely felt that whatever I did that I thought was so brilliant just didn’t work. No one but Billy Friedkin could have persuaded me to take the insane chances I did.
Box and his crew diverted the flow upstream to shore up the depth, while rain machines provided the originally unplanned downpour, to disguise the changing light. https://cinephiliabeyond.org/. Set on the edge of a South American jungle, a desperate four-man team, led by Scheider, must transport a volatile cargo of nitroglycerine over 200 miles of treacherous terrain in order to stop a potentially disastrous oil fire.
How long did you end up shooting for? When the DVD came out, it was a huge hit—same with the Blu-ray.
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The process of resurrection began when a group in Los Angeles called Cinefamily, who regularly run classic screenings, looked into booking Sorcerer again in 2011. Here are three of John Box’s sketches of the trucks from Sorcerer. Knowing this it’s tempting to imagine Lucas creating a very different kind of science-fiction film in 1977, one with some Continental weirdness at its core. I wish there was a William Friedkin commentary on the disc as he always comes across as a smart, funny and entertaining guy to listen to.
But when it was over and I looked at the rough footage I knew it was worth it.”, The most incredible sequence as mentioned earlier is when the trucks traverse a fraying, rotting rope bridge across a river in a torrential downpour.
If Steve McQueen had asked me that today, I would have immediately agreed. When I went to Ecuador, I saw these trucks painted that way, and the drivers all gave their trucks names. Based more on the 1950 George Arnaud novel "The Wages Of Fear" and less on the 1953 Henri-Georges Clouzot film "The Wages Of Fear" (according to the director, that is) "Sorcerer" follows that same, legendary premise from beginning to end, but with a few twists here and there to keep even the. The spectacular Jersey car crash wrote off twelve cars before Friedkin was satisfied, the first delay of many (see also upcoming detail on the nail-biting rope bridge sequence). I just still can't get over the brilliance of the premise here.
We built this bridge, which was hydraulically operated, that looked like a rickety old wooden bridge. Synths were a very new thing then—they were popularised later by Giorgio Moroder, who scored Midnight Express (1978) for Alan Parker. The country the 4 men flee to is just miserable, and probably looks the same now as it did then...just behind the times in so many ways. Anyway, we bought the rights from him for very little money, and we set out to make it in our own way. That a being said, I also have to say that this movie is generally timeless; with the exception of the cars and the music sometimes(still an excellent score by Tangerine Dream...), there is nothing that falls to the side as 'dated'. And when you were shooting it, did you think, ‘This is tough, but the results are really good’? ‘Sorcerer’ is also a name painted on one of the trucks. Glad I did. In the movie, they were old junkers refurbished out of a scrap yard for the job.
We had weather experts and all kinds of meteorologists telling us, “This is impossible! Absolutely our highest recommendation. Requiring two studios—Universal and Paramount—to cover its expanding budget, Sorcerer (1977) was a gruelling masterpiece. But it turned out he didn’t have the rights to it anyway—they were with Arnaud, who hated Clouzot’s film.
It seems in his mind he is finding some sort of redemption, but there is little room for sentiment here. Sold by Mad Media Warehouse and ships from Amazon Fulfillment. Reviewed in the United Kingdom on July 27, 2017. With Sorcerer, I was a lot more riveted.
My fav actor was Bruno Cremer as Victor but everyone was great. It’s demonic, like the face of Pazuzu in The Exorcist. Four unfortunate men from different parts of the globe agree to risk their lives transporting gallons of nitroglycerin across dangerous South American jungle. Mr. Friedkin’s a profit participant, and he’s entitled to know who owns the picture.’ In producing the documents, it turned out that Universal’s position had expired, and Paramount controlled the theatrical.
So he said that under those conditions he couldn’t do the film. But now we’re getting tips of sunlight everywhere, so we had to bring in these rain-making machines. This shopping feature will continue to load items when the Enter key is pressed. The film is simply too depressing to succeed as a mainstream movie. Please enter your birth date to watch this video: You are not allowed to view this material at this time. I've waited 30 years to see this film. When I saw the finished bridge, I believed that if I could film the scene as I conceived it, it would be one of the greatest in film history.”. But when I got Roy Scheider instead of McQueen, neither Mastroianni nor Ventura would take second billing. This was the only version of Sorcerer released outside North America until only a few years ago. After viewing product detail pages, look here to find an easy way to navigate back to pages you are interested in.
We thought it was a great film that perfectly captured this notion of the separate countries of the world either co-operating or dying together. But when we were in the jungle we couldn’t see the footage, there was no way to get the dailies. And we started talking about The Wages of Fear.
Friedkin vividly renders the experience of several men driving trucks loaded with nitro through the South American jungle, yet the characters are basically functional. He hated my film too!
I talked to Steve about the film, and sent him Wally’s script. But Sorcerer lacks the kind of low cunning — the sorcery — that is Friedkin's strong suit. There were no lights except the lights from their electronic instruments. Please try again. William Friedkin considers this to be one of his best films.
Set on the edge of a South American jungle, a desperate four-man team, led by Scheider, must transport a volatile cargo of nitroglycerine over 200 miles of treacherous terrain in order to stop a potentially disastrous oil fire. Here’s Steven Spielberg hard at work on Close Encounters of the Third Kind (1977), wearing a Sorcerer t-shirt.
That’s when I knew. I said to Billy, ‘You gotta stop firing these people, ’cause I’m getting tired of going to the airport and saying goodbye to them.’” Roads to nowhere, like modern Nazca lines, punctured the interior, to transport the trucks to their slippery jungle trails.
It had played in arthouses, with subtitles. I myself got malaria.’), how demanding he is as a director (‘Come on! And [Universal boss] Lew Wasserman said, “Absolutely no way.” Then I thought of calling it No Man’s Land, but as you know Harold Pinter wrote a play with that same title. --Jeff Shannon. Long buried and butchered, the director has in recent years championed a Lazarus-like rebirth on Blu-ray, with select hosted screenings to newly appreciative audiences.
Its fascistic logo of a black bird of prey emblazoned on the oil tanks a grim echo of the nominally optimistic political slogan plastered on the walls of this unstable country—“UNIDOS HACIA EL FUTURO” (“United towards the future”). Magic realism,” Friedkin told Deadline. In a bold move, these vignettes are all silent or subtitled until Scanlon’s tale. And then we made a DCP [digital cinema package], and it started getting some theatrical plays. How does it stand up after all the fuss?
Forty years after the release of the masterful Sorcerer, William Friedkin’s blistering remake of The Wages of Fear, about a group of men driving a cargo of explosives across perilous terrain, the director reminisces about how a brutal shoot gave way to an equally brutal critical reception. When the trucks are ready the journey itself proves to be the road to hell. The second adaptation of Georges Arnaud's 1950 French novel Le Salaire de la Peur, it has been widely considered a remake of the first adaptation, the 1953 film The Wages of Fear.
What he came up with hardly looks like something you’d see in a film committed to authenticity and realism, but it’s cool stuff.” —Toby Roan, The Sorcerer Blog, “Probably the oddest thing about the Sorcerer/Druillet connection is that the commercial failure of the film in 1977 has often been laid at the door of Star Wars, the advent of George Lucas’s dismal saga being regarded, with some justification, as the opening of the gate to the barbarian hordes.
Sometimes, in order to disguise the sky, we had to make it rain.
Likewise the explosion of the oil well in the jungle rivals any large scale effect put on screen, workers bodies tossed like rags as ballooning flames threaten to rip the screen apart, multiple cameras placed right in the middle of the action. Newly remastered Blu-ray under the supervision of William Friedkin is available at Amazon, Amazon.uk (40th Anniversary Collector’s Edition) and other online retailers. An absolute must-see, all quibbles aside. There was a great film critic for the Los Angeles Times, Charles Champlin, who had always given my films rave reviews.
People got gangrene. Yes, the second half is a revelation of stress and horror, but even the first act exhibits such a deft narrative hand. The most interesting part of a journey is how the traveller came to the starting point in the first place.
It was so powerful it blew out a window in the mayor’s office across the street.
I asked him to write some music based on our conversation. Photographed by N/A © Film Properties International N.V., Paramount Pictures, Universal Pictures/Warner Bros. Home Entertainment.
Following the blockbuster success of The Exorcist, director William Friedkin had the clout to make any film he wanted, and he nearly ruined his career making Sorcerer, an ill-fated remake of the classic French thriller The Wages of Fear. Scheider was great, but he was not a huge star like McQueen. But he was not a movie star.
For the last leg of the journey, with Scanlon the sole driver left after the ambush, behind the wheel of Lazaro, John Box found an otherworldly location in the Bisti Badlands in New Mexico. So then they started to think that maybe there was life in it. We built it in the Dominican Republic over a rushing river that was about six feet high, and which had never gone down during the months that we were going to shoot. The actual filmed explosion looks stunningly real, debris blowing past stunt people straight towards the camera. We work hard to protect your security and privacy. There’s a very small part for a French woman, but it’s not a part for Ali.” So he said, “All right, make her an executive producer, or an associate producer.” Back then, I was really an arrogant punk. I called the guys I know at Paramount who send out prints to these film societies, and the guy over there said they had no record of it. Locational veracity was paramount to Friedkin’s existential tale of suspense.
This review is for the blu Ray version currently on sale at U.K. Amazon store, fully restored in 16:9. I just hung in there with them, and then Paramount changed its position, and now they’re 100 percent behind it.”. Except for "Speed," of course. Friedkin saw a grim irony in documenting first world oppression of a virtual slave state via the studio boot on locals’ necks, gleefully sticking two fingers up at Paramount by ripping a picture of the Gulf and Western board out of a calendar and framing it on the wall of the Oil company’s office to represent their distant, unfeeling owners.
Green talks about writing the feature film The Wild Bunch, and directing the documentary feature The Hellstrom Chronicle.
Clearly a director who, like Kubrick and Reggio, thinks the music is an intrinsic part of such a film.
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