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Mission Statement: Fantasticsmag is a web-glog dedicated to style, culture, fashion and the fabulous personalities that make it happen. Glog? Yeah. All the best parts of a glossy magazine with the immediacy of a blog… and no annoying pile on your coffee table
“…the kind of conspiracy-minded mystery almost no one seems capable of creating anymore …pure, nasty fun. I watched it twice. It was even better the second time.” —Stephen Holden, NY Times
Tell No One director Guillame Canet (left, holding steadi…excuse me, a mojocam) shooting chase sequence with Francois Cluzet (right).
“…It’s not that Tell No One, which involves murder, thugs, cops, gangstas, shootings, chases and the like, lacks thrills and intrigue. But it doesn’t brandish the cloddish brute machismo that you have to accept with if you’re going to watch a thriller made in this country.
American crime pics are about their stories and characters, sure, but they’re also about topping the last successful thriller in terms of visceral impact or stylistic panache. Their producers don’t want 15 year-old kids telling each other, “The shoot-out scene in that movie last month was a lot cooler.”
Tell No One is aimed at viewers who’ve had a year or two of college, read a book occasionally and have made it past the grand old age of 25. It plays its own game and sets its own standards. A little quieter, a lot smarter and much more riveting than…now I’m trying to think of a recent American murder-mystery I’ve really liked. It’s been a while.” —Jeffrey Wells, Hollywood Elsewhere
Re “…a little matter of the physical aspect of the kissing scene in Notorious. The actors, of course, hated doing it. They felt dreadfully uncomfortable in the manner of how they had to cling to each other. And I said, I don’t care how you feel, I already know how it’s going to look like on the screen.
“I conceived the scene in terms of a desire on the participants not to break the romantic mood. To normally break apart, it’s possible that the moment would be lost. But there were things to be done, movements to be made with the telephone and the door, where it was still essential for them not to break the embrace. And I felt that the camera, representing the public, should be permitted as a third part, to join in the embrace. I was giving the public the great privilege of embracing Cary Grant and Ingrid Bergman together. It was a kind of temporary ménage a trois.
“The aspect of not wanting to break the mood…the idea was given to me when I was in a train coming from Boulogne to Paris and the train was going rather slowly,” Hitchcock says. “It was a Sunday afternoon and there was a big factory and there was a large red brick wall, and against the wall was standing a young man with his girl. The girl had her arm linked through his, but he was urinating against the wall. But she never let go of his arm. She was looking down at what he was doing, then she looked around the countryside and then back again, and I thought this was true love really functioning, and that was the actual inspiration for the scene in Notorious.” — Hitchcock/Truffaut
