Tag: bowie

0047: Solaris (2002), The Man Who Fell to Earth, Arrival

0047: Solaris (2002), The Man Who Fell to Earth, Arrival

0047: Solaris (2002), The Man Who Fell to Earth, Arrival

This week we rank the three films chosen by Native director Daniel Fitzsimmons, and we’ve got a bit of everything- depressing space station suicide drama, linguistics and angry army men in a field, and ’70s insanity with Bowie. Have three films for us to watch?

This week we rank the three films chosen by Native director Daniel Fitzsimmons, and we’ve got a bit of everything- depressing space station suicide drama, linguistics and angry army men in a field, and ’70s insanity with Bowie.

Have three films for us to watch? get in touch at sciencefictionratingsystem@gmail.com or @sfratingsystem on twitter and let us know!

Show Notes:

Native trailer

Abbot & Costello’s Baseball Sketch

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0046: Guestlist I – Daniel Fitzsimmons

0046: Guestlist I – Daniel Fitzsimmons

0046: Guestlist I – Daniel Fitzsimmons

In a first for the podcast director of new indie sci-fi Native Daniel Fitzsimmons sends us three films to watch and rank. Join us in watching the trailers from the links below (make sure you watch Man Who Fell to Earth trailer, its incredible).

In a first for the podcast director of new indie sci-fi Native Daniel Fitzsimmons sends us three films to watch and rank. Join us in watching the trailers from the links below (make sure you watch Man Who Fell to Earth trailer, its incredible).

Here’s what Daniel has to say about each film:

SOLARIS (2002)

Although I am a fan of the original Tarkovsky adaptation of Stanislaw Lem’s novel, and on Native I wanted to emulate its use of the abstract to join my characters in their own heads, I have gone for the 2002 version. The 1972 version is as much a mood as a movie, and I love that. But I believe Soderbergh said that he wanted to stay closer to Lem’s novel, and I think that’s why I prefer it. For a modern science-fiction movie to focus on characters rather than effects, to cut at a considered pace that becomes hypnotic, and to embrace the claustrophobia of the space craft is commendably brave. Grief, obsession, and the unreliability of memory are themes that run through a lot of what I do. The canvas the actors are given in Solaris allows them to fully explore these themes and communicate honest human vulnerability. The effect is powerful.
THE MAN WHO FELL TO EARTH
In any list of favourites, I think a Nicolas Roeg film should be somewhere near the top. On the last day of filming Native, I was running through a scene with Ellie when the subject of David Bowie and The Man Who Fell To Earth came up. I found out she’d never seen it so bought her the DVD the very next day! In some ways, I was inspired to write Native by imagining Newton’s journey to where he ends up at the start of the movie. Newton is a fascinating character, with a simple need but buffeted by human manipulation and even the film’s own sense of time. The way he is seduced, and ultimately imprisoned, by Earth’s vices and the whims of an uncaring capitalist structure is brought to bear in a magical way. I don’t think I’ve ever seen anything quite like it.
ARRIVAL
I saw Arrival after Native was completed, but its existence and subsequent success gives me heart that such ambitious and poetic sci-fi has a place in mainstream cinema. I think Denis Villeneuve is the best storyteller directing movies today, and Amy Adams is wonderful and heartbreaking. I love the simplicity of the design of the film, I love the story’s dissection of language and time, and I love the delicacy with which the film reveals its truth.

The trailers:

Arrival

Solaris

The Man Who Fell to Earth

Native

GIVE US 5 STARS ON ITUNES!!

See the list at sciencefictionratingsystem.com!

Like us on Facebook facebook.com/sfratingsystem !

Follow us on twitter @sfratingsystem and instagram @sciencefictionratingsystem!

Get in touch at sciencefictionratingsystem@gmail.com!