The film's distributor was responsible for the misnomer. Les membres de gangs ne sont pas humanisés et sont donc représentés comme s'ils étaient des zombies ou des goules car aucun d'entre eux n'a de dialogue, et Carpenter a reconnu l'influence de La Nuit des morts-vivants (1968), de George A. Romero, pour la représentation du gang dans le film[3]. A mes yeux le meilleur Carpenter avec "les aventures de jack burton", "vampires" et "the thing". [3][a 2] The film was acquired by Irwin Yablans. [7][5]:43[6][a 1] The film was shot on 35-mm Panavision in a 2.35:1 anamorphic aspect ratio on Metrocolor film stock,[7][15] and was Carpenter's first experience with Panavision cameras and lenses. Lors de sa sortie aux États-Unis, le 10 novembre 1976, Assaut rencontre un accueil critique mitigé et est un échec commercial. [7] Also, subtle references are made to directors Sergio Leone and Alfred Hitchcock. Jones, Alan (May 1988).

"It's a cinematic ratio. This is because there is an overriding vision, a consistency to Carpenter's work that rewards repeat viewing and presents a single unifying world view.

The film was initially met with mixed reviews and unimpressive box-office returns in the United States, but when the film premiered in the 1977 London Film Festival, it received an ecstatic review by festival director Ken Wlaschin that led to critical acclaim first in Britain and then throughout Europe. "[39] Carpenter has said that the British audiences immediately understood and enjoyed the film's similarities to American Westerns, whereas American audiences were too familiar with the Western genre to fully appreciate the movie at first. In South-Central Los Angeles, a local gang, Street Thunder, steals a cache of assault rifles and pistols. "John Carpenter Surprised by "Precinct" Praise". xXx Reactivated sur 6ter : retour sur les tragiques accidents de cascades dans les films de Vin Diesel, Sailor et Lula a 30 ans : quand Nicolas Cage livrait une interview survoltée pour la promo du film, Bande-annonce Les Croods 2 : le clan préhistorique face à une nouvelle famille.

Afrika Bambaataa a également réalisé une version electro-funk de ce morceau, sur l'album Beware (The Funk Is Everywhere) sorti en 1986. Tout sa grâce aux génies et aux talents du grand John Carpenter qui même pour son premier film réalise qui est juste énorme.

"[9], Carpenter's script makes many allusions to film history and inspirations for this film.

The MPAA, headed by Richard Heffner at the time, threatened to give the film an X rating if the scene were not cut. Carpenter's script, originally titled The Anderson Alamo, was inspired by the Howard Hawks Western film Rio Bravo and the George A. Romero horror film Night of the Living Dead.

The two leads were Austin Stoker, who had appeared previously in Battle for the Planet of the Apes and Sheba, Baby, and Darwin Joston, who had worked primarily in television and was also Carpenter's next-door neighbor. In the end, it did not matter because he said, "It was so dark, no one could see it, thank God!

The two families of the producers formed the CKK Corporation to finance the film.

Murray, Noel; Tobias, Scott (October 27, 2011). Le policier accroche une bonbonne d'acétylène et des fusées au magnésium sur un poteau devant l'entrée à quelques mètres de l'endroit où se trouve le reste du groupe.

Peu après, une poignée de voitures de polices alertées débarquent à temps devant l'ancien commissariat. Peu après son arrivée, le commissariat se retrouve privé de téléphone et d'électricité. [20][21], Carpenter also uses a plaintive electric piano theme when Lt. Bishop first enters the abandoned precinct.

Beyond its use in the film, the score is often cited as an influence on various electronic and hip hop artists with its main title theme being sampled by artists including Afrika Bambaataa, Tricky, Dead Prez, and Bomb the Bass.

[34] Carpenter was delighted by the new praise.

Pour les seconds rôles, Carpenter choisit les acteurs Charles Cyphers et Nancy Kyes, qui travailleront à plusieurs reprises avec lui.

Assault on Precinct 13". Bitomsky, Hartmut; Hofmann, Felix (February 2, 1979). The film is recognized by American Film Institute in these lists: Assault on Precinct 13 is now considered by many to be one of the greatest and most underrated action films of the 1970s, as well as one of the best, if not the best, films in John Carpenter's career. Just a powder keg of a premise (lifted in part from Howard Hawks's Rio Bravo), in which a quasiterrorist group's killing spree culminates in the action described in the title. A lot of its eerie power comes from the kind of unexplained, almost supernatural events one expects to find in a horror movie but not in a melodrama of this sort … If the movie is really about anything at all, it's about methods of urban warfare and defense. The production manager fumed that we were exploiting people to pay for processing— and it was true. La nuit tombée, un homme, Lawson, entre alors affolé au Central 13 : il est poursuivi par le gang dont il a tué un membre pour venger sa petite fille sauvagement assassinée alors qu'elle allait acheter une glace à un marchand ambulant, lui aussi abattu de sang-froid. The gang then storms the building and rushes the survivors, who protect themselves with a large, durable sign.

[22] Bishop is heard whistling the tune of this particular theme at the beginning and end of the film, making the electric piano theme "a non-diegetic realization of a diegetic source. The answer, of course, was 'Sure!' Assault on Precinct 13 (1976) cast and crew credits, including actors, actresses, directors, writers and more. And yet it is kind of an action film in a way."

Film indépendant, Assaut est le second long métrage du réalisateur, inspiré notamment de Rio Bravo pour son scénario.

[34] The film broke one house record in the UK and was named one of the best films of the year by critics and moviegoers. Suivant les conseils de son producteur, John Carpenter a coupé la scène dans la copie donnée à la MPAA afin d'être classé R (interdit aux moins de 17 ans), mais le film est distribué avec la scène gardée intacte[3],[15],[13]. [5]:168[30], The most infamous scene in the movie occurs when a gang member casually shoots a little girl (Kathy) standing near an ice-cream truck, with her death being shown in graphic, bloody detail. Dixon, Wheeler Winston (August 24, 2010). In the film, synthesizers and drum machines represent the city and the gang.

"You wouldn't really call it an action film," claims Pegg, "because it was pre- the evolution of that kind of film. [26], Carpenter edited the film using the pseudonym John T. Chance, the name of John Wayne's character in Rio Bravo; his frequent collaborator Debra Hill served as assistant editor. Par la suite, il a obtenu le statut de film culte et a été réévalué comme étant l'un des meilleurs films d'action de son époque et de la carrière de Carpenter. La première scène où des membres du gang sont abattus par la police, a été tournée à l'université de Californie du Sud (USC), où les acteurs eux-mêmes membres de l'USC, avaient, selon le réalisateur, beaucoup de plaisir à trouver des façons de jouer leur mort en répandant du sang sur eux-mêmes[10]. [14] "Carpenter at Cannes wiped us off the face of the earth with Precinct 13" replied director George A. Romero, who was at the festival with his film Martin.

... c'est UNE clope abrutis !!!

Special features for this set include new interviews with actress Nancy Loomis Kyes and art director/sound effects designer Tommy Lee Wallace, and from previous editions, audio commentary from John Carpenter and Austin Stoker, theatrical trailer, and radio spots. [14], The film was released in Germany on September 3, 1979, under the title Assault – Anschlag bei Nacht, or Assault–Attack at Night. Il est pourchassé par des tireurs qui prennent d'assaut le poste de police.

[14][34] Whitney Wiliams of Variety wrote, "Some exciting action in the second half packs enough interest to keep this entry alive for the violence market... John Carpenter's direction of his screenplay, after a pokey opening half, is responsible for the realistic movement.

"[Carpenter] asked if I could cut sound effects.

Production Gallery [DVD].

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As the prisoners are put into cells, the telephone lines go dead, and when Starker prepares to put the prisoners back on the bus, the gang opens fire on the precinct, using weapons fitted with silencers.

It fulfills all Carpenter's ambitions for gripping the audience emotionally and never letting go. Face à la supériorité numérique des assiégeants, Bishop demande à Leigh de faire sortir Wilson et Wells de leurs cellules, qui vont aider le policier et la secrétaire à repousser les assaillants qui tentent d'entrer par les fenêtres, en les tuant avec les seules armes disponibles : deux fusils et deux revolvers.

Lire ses 890 critiques, Suivre son activité En plus les méchants ont l'air d'être des zombis de The Walking Dead, ils passent par les fenêtres alors qu'ils se font tous tirer dessus et tuer comme des m.... mais non ils continuent.

"[7] The gang members are not humanized and are instead represented as though they were zombies or ghouls—they are given almost no dialogue, and their movements are stylized, with a slow, deliberate, relentless quality.

The film's distributor was responsible for the misnomer. Les membres de gangs ne sont pas humanisés et sont donc représentés comme s'ils étaient des zombies ou des goules car aucun d'entre eux n'a de dialogue, et Carpenter a reconnu l'influence de La Nuit des morts-vivants (1968), de George A. Romero, pour la représentation du gang dans le film[3]. A mes yeux le meilleur Carpenter avec "les aventures de jack burton", "vampires" et "the thing". [3][a 2] The film was acquired by Irwin Yablans. [7][5]:43[6][a 1] The film was shot on 35-mm Panavision in a 2.35:1 anamorphic aspect ratio on Metrocolor film stock,[7][15] and was Carpenter's first experience with Panavision cameras and lenses. Lors de sa sortie aux États-Unis, le 10 novembre 1976, Assaut rencontre un accueil critique mitigé et est un échec commercial. [7] Also, subtle references are made to directors Sergio Leone and Alfred Hitchcock. Jones, Alan (May 1988).

"It's a cinematic ratio. This is because there is an overriding vision, a consistency to Carpenter's work that rewards repeat viewing and presents a single unifying world view.

The film was initially met with mixed reviews and unimpressive box-office returns in the United States, but when the film premiered in the 1977 London Film Festival, it received an ecstatic review by festival director Ken Wlaschin that led to critical acclaim first in Britain and then throughout Europe. "[39] Carpenter has said that the British audiences immediately understood and enjoyed the film's similarities to American Westerns, whereas American audiences were too familiar with the Western genre to fully appreciate the movie at first. In South-Central Los Angeles, a local gang, Street Thunder, steals a cache of assault rifles and pistols. "John Carpenter Surprised by "Precinct" Praise". xXx Reactivated sur 6ter : retour sur les tragiques accidents de cascades dans les films de Vin Diesel, Sailor et Lula a 30 ans : quand Nicolas Cage livrait une interview survoltée pour la promo du film, Bande-annonce Les Croods 2 : le clan préhistorique face à une nouvelle famille.

Afrika Bambaataa a également réalisé une version electro-funk de ce morceau, sur l'album Beware (The Funk Is Everywhere) sorti en 1986. Tout sa grâce aux génies et aux talents du grand John Carpenter qui même pour son premier film réalise qui est juste énorme.

"[9], Carpenter's script makes many allusions to film history and inspirations for this film.

The MPAA, headed by Richard Heffner at the time, threatened to give the film an X rating if the scene were not cut. Carpenter's script, originally titled The Anderson Alamo, was inspired by the Howard Hawks Western film Rio Bravo and the George A. Romero horror film Night of the Living Dead.

The two leads were Austin Stoker, who had appeared previously in Battle for the Planet of the Apes and Sheba, Baby, and Darwin Joston, who had worked primarily in television and was also Carpenter's next-door neighbor. In the end, it did not matter because he said, "It was so dark, no one could see it, thank God!

The two families of the producers formed the CKK Corporation to finance the film.

Murray, Noel; Tobias, Scott (October 27, 2011). Le policier accroche une bonbonne d'acétylène et des fusées au magnésium sur un poteau devant l'entrée à quelques mètres de l'endroit où se trouve le reste du groupe.

Peu après, une poignée de voitures de polices alertées débarquent à temps devant l'ancien commissariat. Peu après son arrivée, le commissariat se retrouve privé de téléphone et d'électricité. [20][21], Carpenter also uses a plaintive electric piano theme when Lt. Bishop first enters the abandoned precinct.

Beyond its use in the film, the score is often cited as an influence on various electronic and hip hop artists with its main title theme being sampled by artists including Afrika Bambaataa, Tricky, Dead Prez, and Bomb the Bass.

[34] Carpenter was delighted by the new praise.

Pour les seconds rôles, Carpenter choisit les acteurs Charles Cyphers et Nancy Kyes, qui travailleront à plusieurs reprises avec lui.

Assault on Precinct 13". Bitomsky, Hartmut; Hofmann, Felix (February 2, 1979). The film is recognized by American Film Institute in these lists: Assault on Precinct 13 is now considered by many to be one of the greatest and most underrated action films of the 1970s, as well as one of the best, if not the best, films in John Carpenter's career. Just a powder keg of a premise (lifted in part from Howard Hawks's Rio Bravo), in which a quasiterrorist group's killing spree culminates in the action described in the title. A lot of its eerie power comes from the kind of unexplained, almost supernatural events one expects to find in a horror movie but not in a melodrama of this sort … If the movie is really about anything at all, it's about methods of urban warfare and defense. The production manager fumed that we were exploiting people to pay for processing— and it was true. La nuit tombée, un homme, Lawson, entre alors affolé au Central 13 : il est poursuivi par le gang dont il a tué un membre pour venger sa petite fille sauvagement assassinée alors qu'elle allait acheter une glace à un marchand ambulant, lui aussi abattu de sang-froid. The gang then storms the building and rushes the survivors, who protect themselves with a large, durable sign.

[22] Bishop is heard whistling the tune of this particular theme at the beginning and end of the film, making the electric piano theme "a non-diegetic realization of a diegetic source. The answer, of course, was 'Sure!' Assault on Precinct 13 (1976) cast and crew credits, including actors, actresses, directors, writers and more. And yet it is kind of an action film in a way."

Film indépendant, Assaut est le second long métrage du réalisateur, inspiré notamment de Rio Bravo pour son scénario.

[34] The film broke one house record in the UK and was named one of the best films of the year by critics and moviegoers. Suivant les conseils de son producteur, John Carpenter a coupé la scène dans la copie donnée à la MPAA afin d'être classé R (interdit aux moins de 17 ans), mais le film est distribué avec la scène gardée intacte[3],[15],[13]. [5]:168[30], The most infamous scene in the movie occurs when a gang member casually shoots a little girl (Kathy) standing near an ice-cream truck, with her death being shown in graphic, bloody detail. Dixon, Wheeler Winston (August 24, 2010). In the film, synthesizers and drum machines represent the city and the gang.

"You wouldn't really call it an action film," claims Pegg, "because it was pre- the evolution of that kind of film. [26], Carpenter edited the film using the pseudonym John T. Chance, the name of John Wayne's character in Rio Bravo; his frequent collaborator Debra Hill served as assistant editor. Par la suite, il a obtenu le statut de film culte et a été réévalué comme étant l'un des meilleurs films d'action de son époque et de la carrière de Carpenter. La première scène où des membres du gang sont abattus par la police, a été tournée à l'université de Californie du Sud (USC), où les acteurs eux-mêmes membres de l'USC, avaient, selon le réalisateur, beaucoup de plaisir à trouver des façons de jouer leur mort en répandant du sang sur eux-mêmes[10]. [14] "Carpenter at Cannes wiped us off the face of the earth with Precinct 13" replied director George A. Romero, who was at the festival with his film Martin.

... c'est UNE clope abrutis !!!

Special features for this set include new interviews with actress Nancy Loomis Kyes and art director/sound effects designer Tommy Lee Wallace, and from previous editions, audio commentary from John Carpenter and Austin Stoker, theatrical trailer, and radio spots. [14], The film was released in Germany on September 3, 1979, under the title Assault – Anschlag bei Nacht, or Assault–Attack at Night. Il est pourchassé par des tireurs qui prennent d'assaut le poste de police.

[14][34] Whitney Wiliams of Variety wrote, "Some exciting action in the second half packs enough interest to keep this entry alive for the violence market... John Carpenter's direction of his screenplay, after a pokey opening half, is responsible for the realistic movement.

"[Carpenter] asked if I could cut sound effects.

Production Gallery [DVD].

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