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It’s better than safe…It’s death proof!

January 16, 2012

Trailer: Censored (2011)

Short: I Am A Fat Cat (2010)

Feature: Death Proof (2007)

 

Tuesday, January 17th

Films start at 9pm

Otto’s Shrunken Head

538 East 14st (between Ave A & B)

 

As always, free popcorn and $2 Vehicular Bingo for prizes!

Join us this Tuesday for a special installation of Cine Meccanica, co-hosted by Alex Brook Lynn, director of the award winning short, I Am A Fat Cat and the NY premier of this years trailer for the critically acclaimed Rain Dance Film Festival, Censored.
Ms. Lynn’s shorts will be followed by a screening of Quentin Tarantino’s classic Death Proof (2007).  – Corinna

Well damn, if you ‘aint so sweet, you make sugar taste like salt

Beautiful girls, fast cars, and great music: a recipe for cinema.
Filming the body of a woman is like filming a great car chase. She already has the carriage and can create the curve of a highway with every swaggered step. She is also the driver. Leave it too QT, the
sexploitation revivalist to make a feminist polemic. Tarantino, fills this film with cinematic iconography. From the women, to, the cars, to the man that hunts them down.

Before CGI. Back in the Vanishing Point days, The Dirty Mary Crazy Larry days…

When a John Wayne obsessed stunt driver sets out to victimize sexy women, he gets more than he bargains for with female stunt drivers who drive just as hard and are not afraid to be just as deadly.

You know what happens to motherfuckers that carry knives? They get shot!
I saw Death Proof after I made I am a Fat Cat, but I feel that much of the same sentiment is there. Girls, cars, music.

Not just that. It has to be a 1970 dodge challenger with a 440 engine

The make and model of a car on screen is a great way to wrap a scene in the visual history of the time in which it’s set.  The opening scene in I am a Fat Cat is the film’s prologue, and a quick look into the childhood of the lead character, Annie. I used classic cars to pull the audience into a story and prick a sense of nostalgia. The whole film is set around the curves of the city, the cars of a specific time, and the music. I wanted the entire piece to bend like a road, with every curve, note, and turn.

Do I frighten you, is it my scar?
In Censored, I wanted to impart a sense of old New York, and let the boxed cars of the late seventies and early eighties accentuate the sharp turns around corners. Each of the Heroes are based on iconic New York cinematic caricatures.

Well, what we have here is a case of vehicular homicide
A lot of films can be odes to the history of the genre they represent but few films can tap into what it means to make people feel that they are a part of the moment that makes all movies matter. That pulls them into the past, makes them feel as though they are a part of the present and constantly creating as the frames roll by. Death Proof does this, and I can only hope that Censored and I am a Fat Cat can do similarly using Beautiful girls, fast cars, and great music.

Alex Brook Lynn

What about kinda cute, kinda sexy, kinda funny but not hysterically funny, that you could fuck, did you not understand?

Ms. Lynn on this year’s Raindance trailer: Censored

Wonder if BJ brought the bear with him?

 

On the scenes of the Censored shoot, 2011

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