Have you ever wondered what are the films that inspire the next generation of visionary filmmakers? As part of our monthly IONCINEPHILE profile (June 2011), we ask the filmmaker the incredibly arduous task of identifying their top ten list of all-time favorite films. This month we asked Anthony Burns, the filmmaker behind the Sundance selected Skateland to share his list with us. Enjoy!
Annie Hall – Woody Allen (1977)
”I named my dog after Woody Allen because of this film. It’s Allen at his pessimistic, rambling best all within the backdrop of a gripping romantic love story. “
Audition – Takashi Miike (2000)
”The perfect social commentary about the way women are at times unfairly treated, although Takashi Miike will not admit that was its intended purpose. A roller coaster that never goes down, only up, building and building until a seemingly innocent melodrama turns into an insane thriller. And like Haneke, Miike relies on his actors and words to tell story. Not coverage. Not editing. This film, much like many of Miike’s films, is a powerhouse.”
The Big Lebowski – Coen Bros. (1998)
”I can watch this movie every day. And it barely has a plot. Dialogue and acting rule in one of the best comedies ever made.”
Bladerunner – Ridley Scott (1982)
”The best hard-boiled film noir detective story ever told. The score is hypnotizing. The antagonists prance around like sexy, demonic angels. The ending is anything but Hollywood. And all is set within a sadistic, futuristic society that continually challenges the viewer with its complex, albeit at times convoluted, narrative.”
Eyes Wide Shut – Stanley Kubrick (1999)
”Kubrick’s vision is completely disconnected from anything I will ever know. The whole story seems like a fantastic dream. Much like Alice in Wonderland, it’s built on imagery and not much else. And that’s why, along with the bizarre piano accompanying it, I cannot stop watching. ”
Fear and Loathing in Las Vegas – Terry Gilliam (1998)
”One of the most quotable films ever made with 2 of the best actors of my generation. And a very honest adaptation about the American dream however skewed it may be in eyes of Hunter S Thompson and Terry Gilliam.
Funny Games – Michel Haneke (1997)
”A voyeuristic deconstruction of the genre. Michael Haneke redefines suspense and gives a good name to torture porn (w/out on screen violence). Haneke chooses, like a hidden camera, not to cut so the audience’s eyes aren’t allowed to leave the horror in front of them. But it is not arrogant, only fuel for the horror that few filmmakers could or will ever obtain.”
High Tension – Alexandre Aja (2005)
”With little dialogue needed and used for that matter this wonderfully shot cat and mouse horror-thriller taught me with a few dollars you could scare the hell of someone. Or should I say rip their jugular out. Or should I say, have a hot French blonde, rip your jugular out. And the ending is awesome, even when you know it. In fact, it maybe even better when you know it. ”
Predator – John McTiernan (1987)
”Best action movie ever. And deserves top ten recognition. “
Pulp Fiction – Quentin Tarantino (1994)
”“I’m on the motherfucker” and dialogue just like it changed the thought process of every literary scholar in the world. It champions gruesomeness and the bad guys and it’s easy to digest. In fact, you can’t stop watching even though it runs 2 ½ hours. And its creation generated the coolest rating description: contains almost everything you could possibly take offense to, including profanity, brutality, murder, nudity and male rape.”
Bonus Selection:
Glengarry Glen Ross – James Foley (1992)
