Requested by eric

MY 10 FAVORITE FILMS ABOUT MAKING FILMS

Thanks for the request, @andersun πŸ“½πŸ‘­πŸ‘«πŸ‘―πŸ’ƒπŸ½πŸ’ƒπŸΌπŸ’ƒπŸ»πŸ‘¬πŸ‘―πŸ‘¬πŸ‘»πŸ‘―πŸŽ₯
  1. 1.
    CQ (2002)
    Roman Coppola's homage to the making-of-a-movie movie is my favorite movie, full stop. It also references almost every other title on this list.
  2. 2.
    BOOGIE NIGHTS (1997)
    The delusions of Jack Horner and Dirk Diggler, that they can make something "true, right, and dramatic" with their pornography, that "saves a million marriages" is the delusion of all filmmakers and creative people. We all wish we could have made "Spanish Pantolones."
  3. 3.
    ED WOOD (1993)
    "This is the one I'll be remembered for." Pick almost anyone involved with this movie. That line applies.
  4. 4.
    BEWARE OF A HOLY WHORE (1971)
    The cast and crew of a movie run out of film, and are soon overrun by drama and dysfunction on location. A dark look at the "hurry up and wait" nature of filmmaking, from German master Rainer Werner Fassbinder.
  5. 5.
    ADAPTATION (2002)
    Just edges out BARTON FINK as the definitive movie about screenwriters.
  6. 6.
    DAY FOR NIGHT (1973)
    A goddamned delight.
  7. 7.
    8 1/2 (1963)
    Federico Fellini's story about a creatively blocked movie director is teeming with creativity.
  8. 8.
    CONTEMPT (1963)
    Jean Luc Godard uses a fighting married couple - glamorous movie star Brigitte Bardot and frustrated screenwriter Michel Piccoli - as a metaphor for the uneasy coupling of art and commerce. In the film of the ODYSSEY they're making within the film, Ulysses waits decades for Penelope. Bardot and Piccoli's marriage doesn't last the afternoon.
  9. 9.
    DAY OF THE LOCUST (1975)
    In this gorgeous, melancholy look at the struggle toward the middle in studio-era Hollywood, Donald Sutherland plays "Homer Simpson."
  10. 10.
    THE LAST MOVIE (1971): Dennis Hopper's follow-up to Easy Rider is awful. He plays an American stunt man who stays behind after his movie leaves its Peruvian location, where he exploits a crew of locals to make a non-existent movie with fake wooden-frame cameras.
    There are a lot of interesting ideas here about cinema, American imperialism, and privilege; but Hopper, in the throes of his drug and alcohol problem, chops the film into an unintelligible mess. Yet it's worth a look. Filmmakers are trying to get the story in their head onto the screen. There are great films in Hopper's and his LAST MOVIE character's head, and now they're stuck.