William Friedkin (from The Friedkin Connection): “The one sequence left to shoot was the last leg of the journey of the surviving truck, the Lazaro, and I wanted it to be different from the other locations… and John Box found it in a place called the Bisti Badlands in northwestern New Mexico, 35 miles south of the town called Farmington… It was the landscape we chose for the end of the journey, in which Scanlon embraces madness, abandons his truck, and carries the dynamite two miles to the burning oilfield.”
You’ll find a brochure on the Bisti Badlands from the New Mexico Bureau of Land Management, that includes maps in case you want to visit, here.
We all owe a big fat thank you to a couple guys: to Michael Heilemann for recording the Q&A that followed the screening of Sorcerer at the Brooklyn Academy of Music Thursday night, and to Felix Favorite for passing along the link.
My best friend was at the Cruising screening the next night and said it was terrific.
UPDATE (5/13/13): A transcript of the Q&A can be found here. At some point I’ll prepare a downloadable PDF of this.
On Thursday, May 9, Friedkin and that nice 35mm print of Sorcerer will appear at the Aero Theatre at 7:30PM. Cruising (1980) will also be screened.
The next night, it’s The French Connection (1971) and To Live And Die In L.A. (1985).
Warner Bros. and Universal will share the honor of polishing up Sorcerer and putting it back on the road. I could take time to write this up, but you’d probably rather get it from Mr. Friedkin —
Odd that it opens on Friedkin’s birthday, but we’re the ones who get the wish.
Here’s a Croation (I think) lobby card for Sorcerer. It plays, with William Friedkin in attendance, tonight at the BAM in Brooklyn.
On this day in 1953, Henri-Georges Clouzot’s Le Salaire De La Peur (The Wages Of Fear) made its debut at the Cannes Film Festival. It went on to win the Grand Prix.
Thanks to someone at Criterion for putting this bit of trivia on their Twitter thing.
The Inquisitor reported on the digital transfer of Sorcerer and it’s possible appearance at the Venice Film Festival — if the digital material is ready in time.
William Friedkin: “We’re working off the original negative, which is in pretty good shape, but without changing the original concept we have to bring it back in terms of color saturation, sharpness and all the stuff.”