Bristol band Beak> list their top 10 favourite films on the Criterion Collection
Beak, the Bristol-born electronic out-rock band formed by Portishead‘s Geoff Barrow, have turned their attention to cinema by selecting a list of their favourite films.
The band, which includes Billy Fuller and Moon Gangs’ very own Will Young, sat down with the Criterion Collection to run through some of their most-loved pictures which are shown in Criterion’s archives.
The band have decided to delve deep into some of cinema’s most iconic films and, with an instant nod of the head to musical history, Will Young picked out Susan Seidelman’s 1982 picture Smithereens to kick things off. “I have no idea if this is anything near an accurate representation of the New York punk scene at the time, because I wasn’t there,” he told Criterion. “But when I saw this as a teenager I certainly thought that it was, and that I was getting a glimpse of something really special.”
Following suit, Barrow also decided to pick out a film which had significant sentimental value to him when he picked out 1957 film 12 Angry Men – by Sidney Lumet. “It’s the first grown-up film I ever saw that didn’t have guns or spaceships in it,” he said. “I was ten and watched it in a caravan park in Exmouth.”
With the likes of David Cronenberg, Ingmar Bergman and Nicolas Roeg all included, enjoy Beak’s list below and get the selection added to your watching list.
Beak>’s Top 10 films on the Criterion Collection:
Smithereens – Susan Seidelman, 1982.
Stalker – Andrei Tarkovsky, 1979.
Videodrome – David Cronenberg, 1983.
Fanny and Alexander: Theatrical Version – Ingmar Bergman, 1982.
A Taste of Honey – Tony Richardson, 1961.
Don’t Look Now – Nicolas Roeg, 1973.
Time Bandits – Terry Gilliam, 1981.
Watership Down – Martin Rosen, 1978.
12 Angry Men – Sidney Lumet, 1957.
The Long Good Friday – John Mackenzie, 1980.
Don’t Look Now by Nicolas Roeg was Billy Fuller’s contribution to the list, the bass player explaining: “Donald Sutherland and Julie Christie both look amazing in this film. It’s also a brilliant document of Venice in the early ’70s. It’s a stunning-looking film. And interestingly, Geoff’s father-in-law was the main cameraman,” he said.
“The scene at the top of the bell tower in St. Mark’s Square, where Donald Sutherland’s legs are dangling—they’re Geoff’s father-in-law’s legs! I don’t think Donald fancied the climb?!! It’s also the best horror ending ever, without a doubt.”