"Planet Terror" y "Death Proof", las últimas películas de Robert Rodriguez y Quentin Tarantino respectivamente, fueron estrenadas en EEUU de forma conjunta con el título Grindhouse, en homenaje a los cines que emitían sesiones dobles de películas de explotación (no se me ocurre mejor traducción para "explotation films"), es decir películas de bajo presupuesto y rápida realización sin aspiraciones artísticas y únicamente comerciales. Para incrementar el efecto de imitación y de sesión doble a la antigua usanza, incluyeron, entre otras muchos efectos, una serie de trailers de otras películas, películas que obviamente no existen (todavía...).
Tras el fracaso de la película en EEUU (y tal vez motivado por ello) se decidió estrenar de forma separada ambas películas en el resto del mundo alargando su metraje (al menos el de Death Proof) pero esa medida impidió ver los trailers de películas falsos que homenajeaban otros subgéneros de las películas de explotación. Suerte que hay frikis que los cuelgan en la internete. El texto en inglés que acompaña a cada trailer es del artículo en la Wikipedia de Grindhouse. No lo traduzco, para eso un apaño puede ser Google.
Machete
Rodriguez wrote Machete in 1993 as a full feature for Danny Trejo. "I had cast him in Desperado and I remember thinking, 'Wow, this guy should have his own series of Mexican exploitation movies like Charles Bronson or like Jean-Claude Van Damme.' So I wrote him this idea of a federale from Mexico who gets hired to do hatchet jobs in the U.S. I had heard sometimes FBI or DEA have a really tough job that they don't want to get their own agents killed on, they'll hire an agent from Mexico to come do the job for $25,000. I thought, 'That's Machete. He would come and do a really dangerous job for a lot of money to him but for everyone else over here it's peanuts.' But I never got around to making it." It was later announced that the trailer will be made as a direct-to-DVD feature film.
Werewolf Women of the SS
Rob Zombie's contribution, Werewolf Women of the SS, featured Nicolas Cage as Fu Manchu, Udo Kier as Franz Hess, the commandant of Death Camp 13, and Zombie's wife, Sheri Moon Zombie, and Sybil Danning as SS officers/sisters Eva and Gretchen Krupp (The She-Devils of Belzac), along with wrestlers Andrew Martin and Vladimir Kozlov, and Olja Hrustic, Meriah Nelson, and Lorielle New as the Werewolf Women. According to Zombie, "Basically, I had two ideas. It was either going to be a Nazi movie or a women-in-prison film, and I went with the Nazis. There's all those movies like Ilsa, She Wolf of the SS; Fräulein Devil; and Love Camp 7—I've always found that to be the most bizarre genre." Zombie is also quoted as saying "I was getting very conceptual in my own mind with it. [...] A lot of times these movies would be made like, 'Well, you know, I've got a whole bunch of Nazi uniforms, but I got this Chinese set too. We'll put 'em together!' They start jamming things in there, so I took that approach." The background extras were hired from a local World War II reenactment unit.
Don't
Edgar Wright's contribution, Don't, was produced in the style of a 1970s Britsploitation Hammer horror meets Mondo trailer. The trailer featured appearances from Jason Isaacs, Matthew MacFadyen, singer Katie Melua, Georgina Chapman, Emily Booth, Stuart Wilson, Lucy Punch, Wright regulars Simon Pegg and Nick Frost and a voice-over by Will Arnett. Mark Gatiss, MyAnna Buring, Peter Serafinowicz, Michael Smiley and Nicola Cunningham, among others, made cameo appearances though they eventually went uncredited. To get the necessary 1970s look, Wright used vintage lenses and old-style graphics. During editing, he scratched some of the film with steel wool and dragged it around a parking lot to make it appear neglected by wayward projectionists. According to Wright, "In the '70s, when American International would release European horror films, they'd give them snazzier titles. And the one that inspired me was this Jorge Grau film: In the UK, it's called The Living Dead at Manchester Morgue. In Spain and in Italy, I think it's called Do Not Speak Ill of the Dead. But in the States, it was called Don't Open the Window. I just loved the fact that there isn't a big window scene in the film—it's all based around the spin and the voiceover not really telling you what the hell is going on in the film." On the Charlie Rose talk show, Quentin Tarantino also pointed out another aspect of American advertising of British films in the 1970s that is being referenced—none of the actors have any dialogue in the trailer, as if the trailer was intentionally edited to prevent American viewers from realizing that the film is British.
Thanksgiving
Eli Roth's contribution is a promo for the slasher opus Thanksgiving. Produced in the style of holiday-based slasher films such as Halloween, Silent Night, Deadly Night, April Fool's Day and My Bloody Valentine, the trailer starred Jeff Rendell as a killer who stalks victims dressed as a pilgrim, Jordan Ladd, Jay Hernandez, and Roth himself as his intended victims, and Michael Biehn as the Sheriff. The design for the titles in Thanksgiving was based on a Mad magazine slasher parody entitled Arbor Day. Select excerpts of the score from Creepshow were used.
According to Roth, "My friend Jeff, who plays the killer pilgrim—we grew up in Massachusetts, we were huge slasher movie fans and every November we were waiting for the Thanksgiving slasher movie. We had the whole movie worked out: A kid who's in love with a turkey and then his father killed it and then he killed his family and went away to a mental institution and came back and took revenge on the town. I called Jeff and said, 'Dude, guess what, we don't have to make the movie, we can just shoot the best parts.'" "Shooting the trailer was so much fun," Roth has stated, "because every shot is a money shot. Every shot is decapitation or nudity. It's so ridiculous, it's absurd. It's just so wrong and sick that it's right."
Roth's fake trailer contained elements that almost earned Grindhouse an NC-17 rating, including a cheerleader simultaneously stripping and bouncing on a trampoline, and three decapitations, one of which occurring as the victim's girlfriend performs fellatio on him. According to Roth, "Instead of seeing it spread out in a feature, watching it all jammed together nonstop makes it more shocking. But we had a great discussion with the ratings board. They got it. Once they saw it with all the bad splices and the distress and scratches they were fine with it."
Hobo With a Shotgun
Some screenings of Grindhouse (mainly in Canada) also featured a fake trailer for a film titled Hobo With A Shotgun. The trailer is the winner of Robert Rodriguez's South by Southwest Grindhouse trailers contest and was created by Dartmouth, Nova Scotia filmmakers Jason Eisener, John Davies, and Rob Cotterill. The general plot is that a vagabond with a 20-gauge shotgun is taking the law into his own hands. In the trailer the main character is seen killing numerous persons ranging from armed robbers, corrupt cops to a pedophilic Santa Claus. The trailer was available in certain selected movie theaters in the United States and Canada. There have been discussions about making the trailer into an actual movie.
¡Si me llamaras, sí, si me llamaras! Lo dejaría todo, todo lo tiraría: los precios, los catálogos, el azul del océano en los mapas, los días y sus noches, los telegramas viejos y un amor. Tú, que no eres mi amor, ¡si me llamaras! Y aún espero tu voz: telescopios abajo, desde la estrella, por espejos, por túneles, por los años bisiestos puede venir. No sé por dónde. Desde el prodigio, siempre. Porque si tú me llamas -¡si me llamaras, sí, si me llamaras!- será desde un milagro, incógnito, sin verlo. Nunca desde los labios que te beso, nunca desde a voz que dice: "No te vayas." Pedro Salinas La voz a tí debida, 1933 Pedro Salinas fue uno de esos autores del 27 al que en el instituto no presté, en un primer momento, demasiada atención. Eran todos importantes, sí pero Aleixandre era premio Nobel, Alberti era mucho más conocido... al final Salinas (como aún hoy me pasa con Cernuda) perdía protagonismo y se convertía en bulto de ese grupo de poetas que reivindicaban a Góngora. Unos
Entrevista al creador de "La Hora Chanante" en Rockdelux (244, Octubre 2006) JOAQUÍN REYES (`LA HORA CHANANTE') "El humor en la música está muy mal visto" "Me llamo Joaquín Reyes. Nací en Albacete en 1974. En todo lo que he hecho he usado siempre el humor. En Cuenca, en la universidad, tenía el Grupo Ácaro con Enrique Borrajeros (fue teclista de Mercromina y ha hecho la sintonía y muchas músicas de 'La Hora Chanante', el programa de televisión que dirige Joaquín Reyes y que se puede ver cada domingo en Paramount Comedy). Había profesores de Bellas Artes que nos veían como unos payasos. No creo que pudiera hacer algo totalmente en serio, pero en 'La Hora Chanante' tenemos más pretensiones que en otros programas, digamos del tipo 'Agitación+Iva'. Nos gusta incluir influencias cinematográficas, musicales, artísticas... Este año tengo el proyecto de una novela gráfica sobre cómo se hace el programa. Me apetece muchísimo. Podría renunc
No había pensado publicar nada sobre la muerte de Ángel González, me ha movido a ello leer a una gran fotologuera. No se trataba de una idea descartada sino de que, creo, la muerte de Ángel González no es tal. No puede morir porque le sigo leyendo, que es, casi, todo lo vivo que le he conocido. Pero sobre todo, y más allá de esa retórica idiota, creo que no me planteé siquiera homenaje alguno porque Ángel es, como Pedro Salinas (más aún que Salinas), la prolongación más alta de mi pensamiento. En él se materializaron hace ya 50 años, ideas que aún hoy, yo no hubiese sabido expresar con la precisión en forma y fondo que Ángel González puso en sus poemas. Su muerte es por ello algo íntimo, no familiar pero sí privado, pues era un compañero mudo que me conocía y me acompañaba. Este es el texto que escribí hace poco menos de tres años, sobre la visita de Ángel González a Bilbao: El pasado martes 28 de junio Ángel González participó en Bilbao en la presentación del último número de la revi
"Planet Terror" y "Death Proof", las últimas películas de Robert Rodriguez y Quentin Tarantino respectivamente, fueron estrenadas en EEUU de forma conjunta con el título Grindhouse, en homenaje a los cines que emitían sesiones dobles de películas de explotación (no se me ocurre mejor traducción para "explotation films"), es decir películas de bajo presupuesto y rápida realización sin aspiraciones artísticas y únicamente comerciales. Para incrementar el efecto de imitación y de sesión doble a la antigua usanza, incluyeron, entre otras muchos efectos, una serie de trailers de otras películas, películas que obviamente no existen (todavía...).
Tras el fracaso de la película en EEUU (y tal vez motivado por ello) se decidió estrenar de forma separada ambas películas en el resto del mundo alargando su metraje (al menos el de Death Proof) pero esa medida impidió ver los trailers de películas falsos que homenajeaban otros subgéneros de las películas de explotación. Suerte que hay frikis que los cuelgan en la internete. El texto en inglés que acompaña a cada trailer es del artículo en la Wikipedia de Grindhouse. No lo traduzco, para eso un apaño puede ser Google.
Machete
Rodriguez wrote Machete in 1993 as a full feature for Danny Trejo. "I had cast him in Desperado and I remember thinking, 'Wow, this guy should have his own series of Mexican exploitation movies like Charles Bronson or like Jean-Claude Van Damme.' So I wrote him this idea of a federale from Mexico who gets hired to do hatchet jobs in the U.S. I had heard sometimes FBI or DEA have a really tough job that they don't want to get their own agents killed on, they'll hire an agent from Mexico to come do the job for $25,000. I thought, 'That's Machete. He would come and do a really dangerous job for a lot of money to him but for everyone else over here it's peanuts.' But I never got around to making it." It was later announced that the trailer will be made as a direct-to-DVD feature film.
