Vincent Gallo Day: Vincent Gallo- So Sad Single (2001)- EAC CD Rip (FLAC)

here's the single from the When album. Vincent Gallo Day is now officially over.




Technical Information:

Artist: Vincent Gallo
Album: So Sad Single
Year: 2001

Audio Codec(s): FLAC
Encoding: Lossless
Rip: EAC
Avg. bitrate: 684 kb/s
Sample rate: 44100 Hz
Bits per sample: 16
Channels: 2
File size: 11.1 MB
Length: 0:02:17


Tracklisting:

01. So Sad (2:17)





So Sad Megaupload Link

Vincent Gallo Day: Vincent Gallo- When (2001)- EAC CD Rip (FLAC)

I'm as big a fan of Vincent Gallo's as his films, so we're loading you down today with his music.




From Tim DiGravina at AllMusic:

Vincent Gallo's first full-length album, outside of his various indie film scores, is a remarkably subtle and delicate collection of songs from the usually fiery, iconoclastic auteur. Where the soundtrack to Buffalo 66 raged with prog rock abandon, When never sees Gallo working his acoustic guitars and analog percussion with anything other than graceful restraint. Those who know Gallo mostly as a bizarre, mesmerizing thespian will be surprised to discover that his vocal stylings are as gentle as they are throughout When. The title track and the four other songs with vocal turns find Gallo sounding like a cross between Jimmy Scott, Pale Saint's Ian Masters, and Yo la Tengo's Ira Kaplan. Maintaining a mellow, somewhat creepy and sweetly endearing tone, Gallo sings of brittle love on the lullaby-like "Apple Girl," obsession on the haunting "Honey Bunny," and, somewhat humorously, how life can be "so nice" on "Yes I'm Lonely," a song that wouldn't seem out of place in a 21st century update of Mary Poppins. The five instrumentals that comprise the remainder of the album are primarily minimalist, moody, and jazzy. Gallo frequently conjures a fractured atmosphere of tender, uneasy bliss, strumming every guitar himself and layering each melodic element into an off-kilter look into the slow-burning emotional underbelly of modern existence. Trip-hop shuffles start, stutter, and stop; malevolent buzzing crops up and dissipates; and a guitar ratchets and moans like an electrified Etch-a-Sketch. When is entirely accessible, but it works its charm in dark ways that might be unsettling for some listeners. With its smart, confident arrangements, consistent tone, and fascinating personal themes, the album sees Gallo making a bold, confident, and mature musical step of considerable relevance.




Technical Information:

Artist: Vincent Gallo
Album: When
Year: 2001

Audio Codec(s): FLAC
Encoding: Lossless
Rip: EAC split tracks
Avg. bitrate: 600 kb/s
Sample rate: 44100 Hz
Bits per sample: 16
Channels: 2
File size: 184 MB
Length: 0:42:57


Tracklisting:

01. I Wrote This Song for the Girl Paris Hilton (4:10)
02. When (4:36)
03. My Beautiful White Dog (4:01)
04. Was (3:25)
05. Honey Bunny (4:22)
06. Laura (4:59)
07. Cracks (3:36)
08. Apple Girl (3:14)
09. Yes I'm Lonely (3:51)
10. A Picture of Her (6:44)





When Megaupload Link

Vincent Gallo Day: Various Artists- The Brown Bunny OST (2004)- EAC CD Rip (FLAC)

Yet another Vincent Gallo film OST.




Technical Information:

Artist: Various Artists
Album: The Brown Bunny OST
Year: 2004

Audio Codec(s): FLAC
Encoding: Lossless
Rip: EAC split tracks + .cue
Avg. bitrate: 730 kb/s
Sample rate: 44100 Hz
Bits per sample: 16
Channels: 2
File size: 224 MB
Length: 0:42:30


Tracklisting:

01. Jeff Alexander- Come Wander with Me (2:58)
02. Ted Curson- Tears for Dolphy (8:32)
03. Jackson C. Frank- Milk and Honey (3:39)
04. Gordon Lightfoot- Beautiful (3:25)
05. Matisse/Accardo Quartet- Smooth (3:59)
06. John Frusciante- Forever Away (6:43)
07. John Frusciante- Dying Song (3:46)
08. John Frusciante- Leave All the Days Behind (1:58)
09. John Frusciante- Prostitution Song (3:07)
10. John Frusciante- Falling (4:47)





The Brown Bunny OST Megaupload Link

Vincent Gallo Day: Vincent Gallo- The Brown Bunny (2003)- DVD9 (PAL Format)

Hey...I thought that this film was amazing. One of the saddest films I've ever seen. The Brown Bunny is one of those "I loved it/ I hated it" films, and I realize how much it polarizes people, but I love it. So enjoy...or don't.




From Roger Ebert:

In May of 2003 I walked out of the press screening of Vincent Gallo's "The Brown Bunny" at the Cannes Film Festival and was asked by a camera crew what I thought of the film. I said I thought it was the worst film in the history of the festival. That was hyperbole -- I hadn't seen every film in the history of the festival -- but I was still vibrating from one of the most disastrous screenings I had ever attended.

The audience was loud and scornful in its dislike for the movie; hundreds walked out, and many of those who remained only stayed because they wanted to boo. Imagine, I wrote, a film so unendurably boring that when the hero changes into a clean shirt, there is applause. The panel of critics convened by Screen International, the British trade paper, gave the movie the lowest rating in the history of their annual voting.

But then a funny thing happened. Gallo went back into the editing room and cut 26 minutes of his 118-minute film, or almost a fourth of the running time. And in the process he transformed it. The film's form and purpose now emerge from the miasma of the original cut, and are quietly, sadly, effective. It is said that editing is the soul of the cinema; in the case of "The Brown Bunny," it is its salvation.




Critics who saw the film last autumn at the Venice and Toronto festivals walked in expecting the disaster they'd read about from Cannes. Here is Bill Chambers of Film Freak Central, writing from Toronto: "Ebert catalogued his mainstream biases (unbroken takes: bad; non-classical structure: bad; name actresses being aggressively sexual: bad) ... and then had a bigger delusion of grandeur than 'The Brown Bunny's' Gallo-centric credit assignations: 'I will one day be thin but Vincent Gallo will always be the director of 'The Brown Bunny.' "

Faithful readers will know that I admire long takes, especially by Ozu, that I hunger for non-classical structure, and that I have absolutely nothing against sex in the cinema. In quoting my line about one day being thin, Chambers might in fairness have explained that I was responding to Gallo calling me a "fat pig" -- and, for that matter, since I made that statement I have lost 86 pounds and Gallo is indeed still the director of "The Brown Bunny."

But he is not the director of the same "Brown Bunny" I saw at Cannes, and the film now plays so differently that I suggest the original Cannes cut be included as part of the eventual DVD, so that viewers can see for themselves how 26 minutes of aggressively pointless and empty footage can sink a potentially successful film. To cite but one cut: From Cannes, I wrote, "Imagine a long shot on the Bonneville Salt Flats where he races his motorcycle until it disappears as a speck in the distance, followed by another long shot in which a speck in the distance becomes his motorcycle." In the new version we see the motorcycle disappear, but the second half of the shot has been completely cut. That helps in two ways: (1) It saves the scene from an unintended laugh, and (2) it provides an emotional purpose, since disappearing into the distance is a much different thing from riding away and then riding back again.




The movie stars Gallo as Bud Clay, a professional motorcycle racer who loses a race on the East Coast and then drives his van cross-country. (The race in the original film lasted 270 seconds longer than in the current version, and was all in one shot, of cycles going around and around a track.) Bud is a lonely, inward, needy man, who thinks much about a former lover whose name in American literature has come to embody idealized, inaccessible love: Daisy.

Gallo allows himself to be defenseless and unprotected in front of the camera, and that is a strength. Consider an early scene where he asks a girl behind the counter at a convenience store to join him on the trip to California. When she declines, he says "please" in a pleading tone of voice not one actor in a hundred would have the nerve to imitate. There's another scene not long after that has a sorrowful poetry. In a town somewhere in the middle of America, at a table in a park, a woman (Cheryl Tiegs) sits by herself. Bud Clay parks his van, walks over to her, senses her despair, asks her some questions, and wordlessly hugs and kisses her. She never says a word. After a time he leaves again. There is a kind of communication going on here that is complete and heartbreaking, and needs not one word of explanation, and gets none.

In the original version, there was an endless, pointless sequence of Bud driving through Western states and collecting bug splats on his windshield; the 81/2 minutes Gallo has taken out of that sequence were as exciting as watching paint after it has already dried. Now he arrives sooner in California, and there is the now-famous scene in a motel room involving Daisy (Chloe Sevigny). Yes, it is explicit, and no, it is not gratuitous.




But to reveal how it works on a level more complex than the physical would be to undermine the way the scene pays off. The scene, and its dialogue, and a flashback to the Daisy character at a party, work together to illuminate complex things about Bud's sexuality, his guilt, and his feelings about women. Even at Cannes, even after unendurably superfluous footage, that scene worked, and I wrote: "It must be said that [Sevigny] brings a truth and vulnerability to her scene that exists on a level far above the movie it is in." Gallo takes the materials of pornography and repurposes them into a scene about control and need, fantasy and perhaps even madness. That scene is many things, but erotic is not one of them. (A female friend of mine observed that Bud Clay, like many men, has a way of asking a woman questions just when she is least prepared to answer them.)

When movies were cut on Movieolas, there was a saying that they could be "saved on the green machine." Make no mistake: The Cannes version was a bad film, but now Gallo's editing has set free the good film inside. "The Brown Bunny" is still not a complete success -- it is odd and off-putting when it doesn't want to be -- but as a study of loneliness and need, it evokes a tender sadness. I will always be grateful I saw the movie at Cannes; you can't understand where Gallo has arrived unless you know where he started.




Technical Information:

Title: The Brown Bunny
Year: 2003
Country: USA
Director: Vincent Gallo

Source: Retail DVD9
DVD Format: PAL
Container: .iso + mds
Size: 5.52 Gb
Length: 1:29:22
Programs used: ImgBurn

Resolution: 720x576
Aspect Ratio: 16:9
Video: MPEG2 @ ~8600 kb/s
Frame Rate: 25 fps

Audio: English- Dolby AC3 5.1 @ 448 kb/s
Subtitles: English, Italiano, Espanol, Nederlands, Dansk, Suomi, Iw, Hindi, Norsk, Svenska, Turcke.

Menu: Yes
Video: Untouched
DVD Extras: Trailers




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Vincent Gallo Day: Vincent Gallo- Recordings of Music for Film (1983-1998)- EAC CD Rip (FLAC)

More Vincent Gallo muzak from his film soundtracks up to Buffalo '66. Oh...and I apologize for the Speed-O photo. It was L&S's idea, not mine.




From Ian Penman at The Wire:

Note that strictly utile title. Here we find not vanity project Muzak for 'imaginary' films, projected by some vain musclehead Hollyweird jerk-off with more friends than talent, more contacts than kudos, more photo spread profile nous than musical knowledge. There is nothing imaginary about Vincent Gallo. Still, with Gallo it's hard to disentangle myth from mystification, hubris from humour. Is he the borderline homophobe/ultra-conservative who tells a gullible style magazine that his all-time heroes are Yes bassist Chris Squire and ex-No man Richard Nixon? Or is he the earnest psychogeographer of forgotten LA independents who worships Kenneth Anger? Gallo seems to tell gullible - and powerful - interviewers exactly what they don't want to hear, on any given occasion. Which, the way things are right now, is something of a relief. We need new dreamers. And this is an archive of dreams.

[...] If you go to his Website for a peek inside the man's super ego, you'll be warned off sending fan mail - he doesn't need you to tell him he's a genius; he doesn't need you to take precious time away from the daily task of being a genius, of being sui generis. But what you will find is a wish list of old analogue equipment: an obsessive attention to detailed knowledge of... getting it right. Materialising this... sound in his head. And this wish list, it's not just flash axes, Telecaster ghosts haunting some plectrum bore who listened to too much Zappa as a nerdy kid. Gallo is fixated on microphones, cables, synths, recording equipment. Magical tools. Things to capture the aether... just so.

There is also glamour, which some (envious of his batting average?) find off-putting. The opening track on When, "i wrote this song for the girl paris hilton", could be off-putting if you know this 'girl' is something like the US society equivalent of Tara Palmer Tompkinson. But the 'song' - a spacey instrumental - is a little patch of fascination, a sleepwalk pulse; and five of When's tracks are likewise instrumental. Texture is his thing; oblique dreams of lost analogue transcription. Making concrete the indefinable: mood, longing, how you remember how things sounded that time. The key to When is that you can listen to it purely for textures alone, before focusing on any of the diaristic lyrics, delivered in Gallo's uncanny fix on blue afternoon/dark LA croon (Tim Buckley, Chet Baker). Where most macho actors want to be boogie rawk bores, Gallo wants to be something like the male Björk. A comparison I'm sure he would execrate.




However: we shouldn't forget he's an actor - not to mention an accomplished (to say the least) liar or fabulist or mythomane, as anyone who's read his interviews will confirm. But the thing is... it all turns out to be true. He did do 'x'. He was 'y' 20 years before anyone else. He can, he will, he does.

[...] Recordings For... is both harder to access than When (more difficult, diffuse, dozens of moods rather than one, only one vocal track) but it will also be harder to dismiss. He's way ahead of the game - and, here's the thing, has been for years. These recordings represent nearly 20 years of lo-fi hi-ambition work: from his very first short film, If You Feel Froggy, Jump, in 1979, to Buffalo 66 in 1998. There are 29 tracks. An hour plus. This is an archive of real work.

29 tracks and barely a repetition. Capsule summary? Think the Eno of Another Green World, except less sleek, not so coy, sieved through the more recent klang and crust of Indie USA: Sonic Youth, Royal Trux B sides, latterday Fahey. He avoids the obvious: his sense of outsider 'adventure' closer to some lost 1970s Incus release than any Red Hot Chilli Popper. This is an archive of flickers and ghosts and weather probes, each track a different exploration of instrumental tone and texture. He can do Django gliss; he can do feedback ache. He can do Industrial hum. Little dark polaroids of gnomic memory music. Is that portrait completed with a zither? Is that distant beat vaguely Native American? Gallo is like Ry Cooder on a tattered baseball shoe budgetŠ but with Gallo playing all the parts, rather than importing some octogenarian Spanish guitarist, or blowing the budget on a sunnyday field recording. The often ragged, murky, basement taped quality makes for quietly gripping sonic relief - with no unnecessary flash, or undue flourishes, just prickly clips, gnarly cuttings, splices and immersions. (Sometimes the recording hiss is louder than the squeaks, squonks and guitar caresses.) Its aggrieved melancholy is set out with such palette and patience it transmutes into a kind of desperate affirmation. (Fail. Fail better. Love. Love more. Lose. Lose more.) "I Think The Sun Is Coming Out Now": his final word. Maybe, just maybe, he is everything he says he is: desperately sincere.

This is an archive of almost forgotten dreams, with Gallo as his own Harry Smith. This is an archive of surprises. And one of the surprises of the year.




Technical Information:

Artist: Vincent Gallo
Album: Recordings of Music for Film
Year: 1983-1998/2002

Audio Codec(s): FLAC
Encoding: Lossless
Rip: EAC split tracks
Avg. bitrate: 615 kb/s
Sample rate: 44100 Hz
Bits per sample: 16
Channels: 2
File size: 260 MB
Length: 0:59:19


Tracklisting:

From The Way It Is (1983):

01. Her Smell Theme (1:36)
02. The Girl of Her Dreams (2:06)
03. A Brown Lung Hollering (1:40)
04. The Way It Is Waltz (2:32)
05. Glad to Be Unhappy (1:45)
06. Brown Storm Poem (1:10)
07. Good Bye Sadness, Hello Death (1:13)
08. Brown Daisies (2:22)
09. And a Colored Sky Colored Grey (2:03)
10. Fishing for Some Friends (1:01)
11. Six Laughs Once Happy (1:38)
12. Sunny and Cloudy (1:24)
13. No More Papa Mama (1:54)
14. Fatty and Skinny (4:04)
15. Her Smell Theme (reprise) (2:22)

From Buffalo '66 (1998):

16. Lonely Boy (2:02)
17. A Falling Down Billy Brown (2:04)
18. Drowning in Brown (2:21)
19. A Somewhere Place (3:03)
20. A Wet Cleaner (2:59)
21. Sixteen Seconds Happy (1:18)
22. With Smiles & Smiles & Smiles (2:40)
23. A Cold and Grey Summer Day (4:30)

From Downtown '81 (1981):

24. Brown 69 (1:47)
25. Dum Beet (0:24)
26. Me and Her (2:23)

From If You Feel Froggy, Jump (1979):

27. Ass Fucker (1:24)
28. Ass Fucker (reprise) (1:53)
29. I Think the Sun Is Coming Out Now (1:42)





Recordings of Music for Film Megaupload Link

Vincent Gallo Day: Various Artists- Buffalo '66 OST (1999)- EAC CD Rip (FLAC)

Here's the companion OST in lossless.




Technical Information:

Artist: Various Artists
Album: Buffalo '66 OST
Year: 1999

Audio Codec(s): FLAC
Encoding: Lossless
Rip: EAC split tracks
Avg. bitrate: 701 kb/s
Sample rate: 44100 Hz
Bits per sample: 16
Channels: 2
File size: 218 MB
Length: 0:43:33


Tracklisting:

01. Vincent Gallo- Lonely Boy (2:02)
02. Vincent Gallo- A Falling Down Billy Brown (2:02)
03. Vincent Gallo Sr.- Fools Rush In (2:54)
04. King Crimson- Moonchild (2:29)
05. Vincent Gallo- Drowning in Brown (2:20)
06. Vincent Gallo- A Somewhere Place (3:22)
07. Vincent Gallo- A Wet Cleaner (3:02)
08. Vincent Gallo- Sixteen Seconds Happy (1:15)
09. Stan Getz- I Remember When (3:00)
10. Vincent Gallo- With Smiles & Smiles & Smiles (2:42)
11. Yes- Heart of the Sunrise (10:36)
12. Yes- Sweetness (4:31)
13. Vincent Gallo- A Cold & Grey Summer Day (3:19)





Buffalo '66 OST Megaupload Link

Vincent Gallo Day: Vincent Gallo- Buffalo '66 (1998)- DVD9 (NTSC Format)

I'm not sure if having someone's freshman film becoming a masterpiece in any way helps an artist later in his or her career. Where's the struggle? It's interesting as a viewer though, because it let's me sit back and watch a prodigy at work. That's why I have an original poster of Buffalo 66 that my dog pissed all over a few years back that I refuse to throw away. Those eye's taught me how to span time, and a little dog piss isn't enough to strip me of that gift. Enjoy this piss-free film, and drive safely on Vincent Gallo Day!




From Scott Tobias at The A.V. Club:

In the Apatow Age, stories of arrested development have become something worse than commonplace, as slobby man-children in their late 20s or 30s are dragged kicking and screaming into the grown-up world of stable relationships and sober responsibilities. But the point where they’re stuck is always the same: their late teens or early college years, when they were old enough to drive, procure drugs and alcohol, and fool around with different women without feeling remotely inclined to anchor themselves to any one in particular. As an audience, we’re invited to laugh at how much they cling to immature habits, but the fantasy of being that age forever, with idle days occupied mostly by cartoons and bong hits, has an undeniable appeal, too. In other words, these men are immature, but they aren’t freaks.

Someone like Billy Brown, the troubled, petulant hero of Vincent Gallo’s directorial debut, Buffalo ’66, is a much more difficult case. As played by Gallo, who also scripted and composed the music, Billy isn’t a man who’s willfully immature and clinging to some carefree time in early adulthood, but someone whose emotional growth was stunted at a much younger age. The first shot of the movie is a photograph of Billy at age 7—the only photograph his monstrous parents have of him, we later discover—and if that doesn’t make his arrested development clear enough, Gallo includes a song with the lyric “All my life I’ve been a lonely boy.” Gallo wants the audience to feel sympathy and pity for Billy, but it’s a credit to the film that he doesn’t make it easy. Much like the infantile beast played by Tom Green in the My Year Of Flops favorite Freddy Got Fingered, Billy behaves in an estranging, not relatable, and often repulsive way. There’s nothing charming about a man acting like a preadolescent boy, but he does have an innocence that makes his bullying and narcissism forgivable. Or at least gives them context.More on narcissism: For many, this is going to be the sticking point with anything Gallo does. Ending your own movie by receiving an actual blowjob from a highly respected actress will give you that reputation, and not unfairly. Even ardent Gallo defenders like myself are left to shake our heads when his name pops up a dozen times during the opening credits for The Brown Bunny, a movie he wrote, directed, produced, edited, shot, and presumably catered like a mama bird. But there’s a difference between unexamined narcissism and the kind in Buffalo ’66, where Gallo plays a character whose loneliness and dysfunction is tied to his inability to empathize with anyone but himself. (A trait that Billy has in common with 7-year-old boys, of course.) It’s fair to walk away from Buffalo ’66 cursing Gallo’s self-regard—and his dubious appeal to Christina Ricci’s character, which I’ll get into later—but his abrasiveness risks losing the audience at many points during the film, and that takes courage.




Even for those with a Gallo allergy, Buffalo ’66 remains a distinctive, thrillingly idiosyncratic piece of filmmaking, balancing a strong evocation of blue-collar life with formal experimentation and inspired, dreamlike flights of fancy. (The trailer alone was one of the best movies of 1998.) The opening sequence is a fine example: Billy gets released from prison after serving five years for someone else’s crime, as part of a deal to relieve his gambling debts. As Billy waits in the cold for the only bus into town—tellingly, no one has come to pick him up—Gallo fills the screen with paint-box images of his time in prison, emphasizing the institutional squalor of the place via footage that looks like washed-out, fluorescent-lit home movies. It’s a creative, economical way to access Billy’s experiences without being burdened by flashbacks.

From these austere beginnings, the early scenes in Buffalo ’66 concern Billy’s frustrated attempts to use the bathroom, looking a lot like a little kid who covers his bladder with one hand and tugs on his mother’s shirt with the other. His search leads him to a dance studio, where he meets Layla, played by Christina Ricci at her most angelic. Billy kidnaps her and forces her to pose as his wife, so he can introduce her to his parents and support the illusion that he’s a successful, happy man. Sooner than you can say “Stockholm Syndrome”—sooner than that, even—Layla warms to her abductor and takes to the role with great enthusiasm, charming Billy’s lecherous father (Ben Gazzara) and his boorish, oblivious, Bills-obsessed mother (Anjelica Huston). Layla goes on and on about how handsome and sweet their son is, asks to see old baby pictures, and spins tall tales about Billy’s success with the CIA. (“Even the president is so proud of him!” she exclaims.)




Here, Gallo asks the audience to take a great leap of faith. Layla’s willingness to go along with the plan, even though she’s been kidnapped and verbally abused, is something of a mystery, unless you believe Gallo’s charisma approaches superhuman. On one level, she’s the classic Manic Pixie Dream Girl, a beautiful sprite who’s been put on Earth for the sole purpose of salving Billy’s wounded soul. And at times, Gallo seems to acknowledge the MPDG issue by launching into sequences of pure fantasy, like a beautiful scene where she tap-dances in a bowling alley. But really, Gallo is counting on Layla to recognize what we see in him—that behind this petulant, bullying, erratic stray dog of a man is a disarmingly innocent child who never grew up. The line I quoted in the epigram, which comes shortly after Billy kidnaps her, is something no adult would say, and any physical threat he might have imposed on her instantly evaporates. And the more she puts the pieces of his life together—that visit with his parents clarifies a lot, as does an encounter with the woman (Rosanna Arquette) he was infatuated with in grade school—the more their relationship makes sense, at least in the innocent romantic fantasy at the movie’s heart. (Paul Thomas Anderson basically made the same romance four years later with Punch-Drunk Love, but with Adam Sandler as the angry man-child and Emily Watson as the gentle, patient woman who gets him.)




Buffalo ’66 takes place over the course of a single day and night, at the end of which Billy intends to kill Scott Woods, a former Bills place-kicker who botched the game-winning field goal that cost Billy the bet that ultimately landed him in jail. (The Browns take their football seriously. In one scene, Billy’s mother reacts so strongly to taped footage of the kick, it’s as if it were happening live.) The sequence where Billy confronts Woods at a strip club is the film’s most celebrated, and for good reason: The use of Yes’ prog-rock epic “Heart Of The Sunrise” is shockingly incongruous, yet perfectly in keeping with the film’s man-out-of-time spirit, and the frozen tableaux has been aped as recently as The Other Guys. But equally good are the snippy exchanges between Billy and Layla, which are laced with enough humor to make his abusiveness seem like bizarro-world rom-com banter:

Between this and The Brown Bunny, Gallo’s romantic ballads of lonely, bruised men may fairly open him up to charges of self-pity and narcissism, but they’re also undeniably personal and unabashed in how much they reveal about their maker. As a writer and a stylist, Gallo doesn’t follow any conventional indie template: the song choices, the gorgeously bleak ’70s-style photography, the John Cassavetes-like intensity of the melodrama—all evoke an era far removed from contemporary life. The characters in Buffalo ’66 all seem of a different time and place, or perhaps they’re just stuck in the same working-class, wood-paneled universe they’ve known their entire lives. For Billy to break that pattern of despair and failure and find someone willing to “span time” with him is a sweet miracle that Buffalo ’66 works hard to earn.




Technical Information:

Title: Buffalo '66
Year: 1998
Country: USA
Director: Vincent Gallo

Source: Retail DVD9
DVD Format: NTSC
Container: .iso + mds
Size: 6.64 Gb
Length: 1:50:27
Programs used: ImgBurn

Resolution: 720x480
Aspect Ratio: 16:9
Video: MPEG2 @ ~6800 kb/s
Frame Rate: 29.97 fps

Audio: English- Dolby AC3 @ 192 kb/s
Subtitles: English

Menu: Yes
Video: Untouched
DVD Extras: Production Notes, Cast and Filmmakers, Trailer




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