Terry Gilliam
163 connections found
Filmography
Brazil 1985 
Twelve Monkeys 1995 
Fear and Loathing in Las Vegas 1998 
The Fisher King 1991 
Time Bandits 1981 
The Zero Theorem 2013 
Jabberwocky 1977 
Tideland 2005 
The Adventures of Baron Munchausen 1988 
The Imaginarium of Doctor Parnassus 2009 
The Brothers Grimm 2005 
The Crimson Permanent Assurance 1983 View:
Connections, in both directions
These influences include, but are not limited to: Moebius; David Lynch’s Dune; entry-level critiques of capitalism; the 1980 Flash Gordon movie; Brazil, which gets both a dialogue reference (“27b-stroke-6”) and a Terry Gilliam cameo; spiritual transmigration; personal transformation; transhumanism.
Whether they are borrowing from “Star Wars” in creating a series of nutty looking characters or goofing with a wink and a nod on “Hitchhiker’s Guide” or even “Brazil,” the meaning of it all is hallow and comes off as a pale imitator.
Fans will notice a sequence echoing Terry Gilliam's “Brazil” that doesn't seem to fit.
It deliberately recalls Brazil , the brilliant dark comedy that Terry Gilliam famously had to smuggle out of Universal 30 years ago and screen for critics himself to prevent the studio from mutilating it.
I was strongly reminded of Brazil - an intentional allusion made concrete when the final bureaucrat on Jupiter's odyssey is played by none other than Terry Gilliam.
It's filmed as an homage to Terry Gilliam's Brazil and Gilliam himself has a cameo at the climax of this scene.
The Double (2014)
Directed by Richard Ayoade
influenced by Brazil (1985), Time Bandits (1981)
Visuals Themes
It does, however, often recall the bizarre surrealism of David Lynch or Terry Gilliam’s “Brazil,” and even overtly references Alfred Hitchcock’s “Rear Window” and David Fincher’s “Fight Club.”
The film's most direct touchstone, however, is clearly Terry Gilliam's Brazil , a film which backs its exquisite design and inventive conception with a devastating humanism.
The Double is similarly rooted in pop culture’s past: Though the film adapts a Dostoyevsky novella, it seems equally rooted in the grim, post-industrial dystopias of George Orwell’s 1984 and particularly Terry Gilliam’s Brazil, which it resembles in tone, theme, and look—and pretty much every way one film can resemble another, including matching its finely tuned, Monty Python-esque sense of absurdity.
While both deal in doubles and woman-troubles, Ayoade's singular vision more prominently brings to mind Gilliam's "Brazil," with its themes of dilapidated identity, and the bleakly gorgeous, almost handmade quality to the artful production design.
Suggested by a Dostoevsky novella, but set in an entirely created world in which only the language makes any reference to the place moviegoers will reenter once they exit the theater, and paying homage to the likes of " Brazil ," Orson Welles ’ "The Trial," and "Eraserhead" within its first five minutes, "The Double" insists upon its bona fides with a will and makes you like it.
Richard Ayoade is the writer and director of this oddball film which is based on the 1846 Dostoevsky novella The Double and brings to mind Terry Gilliam's Brazil and Orson Wells' adaptation of Franz Kafka's The Trial .
Snowpiercer (2013)
Directed by Bong Joon Ho
influenced by Brazil (1985), Time Bandits (1981), Fear and Loathing in Las Vegas (1998)
Visuals Themes
The latter is so named in an affectionate nod to an overt inspiration, Terry Gilliam, who conjured memorable sci-fi grotesqueries in Brazil and 12 Monkeys; the same courtesy could have plausibly been extended to Jeunet and Caro or Lang, whose similarly visionary futuristic pictures of spoilt humanity certainly influenced this one.
While Bong's movies are typically anchored in a greater degree of credibility than his contemporaries Kim Jee-woon and Park Chan-wook (the latter is a producer here), "Snowpiercer" reflects the expressive aspects found in all of their works as well as many others, with its dystopian elements echoing countless precedents — from "Brazil" (there's even a newly developed character slyly named Gilliam) to "Mad Max" and "The Matrix," as well as the mother of them all, George Orwell's "1984."
If the name "Gilliam" set off a little tremor of excitement when you heard it that is no accident because, with its combination of startling visuals, a head-spinning storyline and oddball characters that don't always conform to their presumed parameters, "Snowpiercer" is a film definitely in the vein of the works of the great Terry Gilliam , especially his 1985 landmark " Brazil " (which, funnily enough, also had a distributor that was originally unwilling to release it without massive cuts).
You can see the film’s nods to “Brazil” and other similar, less mobile dystopias — the secret of the food supply for the back-of-the-train passengers evokes “The Matrix,” while the need for the young to serve the state touches on everything from “Logan’s Run” to the tale of Minos of Crete.
Bong’s cluttered, gadgety mise-en-scène is reminiscent of Terry Gilliam’s cult film Brazil, particularly once the proles break through into the forward cars—one is an aquarium, another is a greenhouse; there’s also a kindergarten, and a finally the inevitable orgiastic disco.
Their hero is Curtis (Chris Evans), a forthright and determined type who puts thought into action, and consults his elder leader, Gilliam, who’s surely named after Terry Gilliam, whose work in “Brazil” is one of Joon-ho’s references, and who’s played by John Hurt, forever linked to philosophical dystopia for starring in “1984.”
Sorry to Bother You (2018)
Directed by Boots Riley
influenced by Brazil (1985), Time Bandits (1981), Fear and Loathing in Las Vegas (1998)
Themes Visuals
Riley’s film is a welcome hand grenade of subversive power that often reminded me of another incendiary film, Terry Gilliam’s classic Brazil.
The film, Riley’s feature directorial debut, premiered at the Sundance Film Festival this January and has, since then, inspired comparisons to movies like Office Space and Brazil by way of Marxism and Afrofuturism.
He is infatuated with Gilliam (a background paperwork attack echoes Sam Lowry's nightmare in Brazil), and also takes bits from aughts surrealism like Being John Malkovitch and Be Kind Rewind.
But I found myself also reminded of Terry Gilliam's Brazil , and then – just trust me on this – the stop-motion of Ray Harryhausen, as Riley takes his story into Island of Dr Moreau territory.
If I had to sell you “Sorry to Bother You,” the corporate satire/horror film from writer and director Boots Riley, I would say it’s like if “Brazil” starred the lead in Ralph Ellison’s Invisible Man.
Most easily (if reductively) summed up as Brazil for the woke generation, Sorry to Bother You mixes biting socio-political satire and excellent performances from a varied cast with outlandish imagery and imaginative direction.
Nineteen Eighty-Four (1984)
Directed by Michael Radford
influenced The Zero Theorem (2013), Brazil (1985)
Plot Visuals Themes
The plot, vaguely reminiscent of Orwell's 1984, centers on Sam Lawry, a small cog working at the Ministry of Information.
It’s 1984 filtered through Gilliam’s Rube Goldberg, junk-shop vision of the world.
With its echoes of "1984" and "Fahrenheit 451," the screenplay by Pat Rushin, a writer and English professor at the University of Central Florida, hits many of the same dystopian notes as Gilliam's "Brazil."
Screenwriter Richard Pushin was reportedly inspired by the book of Ecclesiastes, but the plot seems equally influenced by "Waiting for Godot," "1984" and the collected works of Franz Kafka (the latter two sources shaped Gilliam's " Brazil " as well).
There are satirical digs at consumption and globalisation, but the aesthetic is techno-whirligig junk shop – indoors and outdoors – with a touch of 1984 and a hint of funfair.
Escrito pelo estreante Pat Rushin, o roteiro se passa num futuro não especificado que, embora tomado por cores intensas e personagens que exibem vitalidade, não é muito diferente das distopias vistas em Os 12 Macacos, THX 1138 e 1984 .
Mortal Engines (2018)
Directed by Christian Rivers
influenced by The Crimson Permanent Assurance (1983)
Visuals Themes
Even Monty Python fans will have trouble watching Mortal Engines without thinking of The Meaning of Life and Terry Gilliam’s brilliant short film The Crimson Permanent Assurance , which features a building traversing a post-apocalyptic wasteland (though with sails, not wheels).
Never mind that the whole concept of the movie is like someone decided to take Terry Gilliam’s “The Crimson Permanent Assurance” way more seriously than it was ever intended.
A partial list of lenders would include The Terminator, Snowpiercer, Frankenstein, The Road Warrior, Howl’s Moving Castle, Star Wars (and every WWII dogfight epic that inspired it), Brazil (and other Gilliamesque romps, notably his Meaning of Life short “The Crimson Permanent Assurance”) and every third Roger Dean painting/album cover.
The idea of the Seven Dwarves here owes more than a little to Terry Gilliam’s Time Bandits (1981), but the concept of them passing themselves off as giants with the aid of accordion stilts is an amusing notion—and one that plays even better than it sounds.
And as a movie, eye candy specialist Tarsem Singh Dhandwar borrows from “Zorro,” “Time Bandits” and his own “The Cell” and “The Fall.”
Forget Sneezy and Dopey - think Terry Gilliam's Time Bandits .
Mirror Mirror is essentially a live-action Snow White and the Seven Dwarves crossed with Time Bandits .
Stardust (2007)
Directed by Matthew Vaughn
influenced by Time Bandits (1981), The Adventures of Baron Munchausen (1988), Brazil (1985), The Brothers Grimm (2005)
Visuals Themes
The film I was most reminded of, I think, was Terry Gilliam's Time Bandits , all starts and stops without any particular elegance.
But then again, Gilliam's "Time Bandits," which Stardust pays homage to, was also exhaustingly imaginative.
Think of "The Princess Bride" on an even bigger scale or "Shrek" in live action or Terry Gilliam's "Time Bandits" or "The Brothers Grimm" with similar laughs.
Ambitious and entertaining, this twisted fairy tale is like The Princess Bride meets Time Bandits with its quirky humour and unashamedly romantic plot.
If I had to compare Stardust to something, it would be Terry Gilliam’s The Adventures of Baron Munchausen (1988).
It’s dazzling to look at, but in the end Stardust evokes other movies — Brazil and The Princess Bride, to name two — without offering their indelible magic.
Okja (2017)
Directed by Bong Joon Ho
influenced by Brazil (1985), Fear and Loathing in Las Vegas (1998)
Themes Characters
Weaving together an animal-rights message as well as cautionary warnings about corporate greed, the movie becomes an awkward hybrid blending old-fashioned movies like "Babe" or "The Black Stallion" with the surrealism of Terry Gilliam's "Brazil."
There are also visual and thematic nods to cartoonist turned director Terry Gilliam , who made films that were childlike and sometimes childish but never strictly for kids—in particular the 1985 anti-fascist fable " Brazil ," which appears to have inspired the derring-do of ALF's membership, chivalrous rebels who evade police by diving off bridges.
There are a couple of weak links with some over-enthusiastic performances (especially with Jake Gyllenhaal who appears to be doing an impression of Johnny Depp in Fear and Loathing in Las Vegas) but mostly Bong Joon-ho’s film keeps up a rowdy momentum throughout.
The Fall (2006)
Directed by Tarsem Singh
influenced by The Adventures of Baron Munchausen (1988), Tideland (2005)
Themes Visuals
For a movie with such audacious, lush, and inventive images (and, yes, production backstory), the story and themes of The Fall bring to mind a whole lot of other audacious, inventive films, including several by Terry Gilliam (particularly The Adventures of Baron Munchausen and the little-seen, mostly-reviled Tideland ), and even a couple of recent ones about the transformative power of storytelling and mythmaking ( Be Kind Rewind and Son of Rambow ).
So The Fall encourages thematic comparisons with del Toro 's Pan's Labyrinth and especially Terry Gilliam 's The Adventures of Baron Munchausen and Tideland .
For a more interesting failure along near-identical lines, check out The Adventures of Baron Munchausen , which, even with a young Sarah Polley, at least has energy and lucidity.
While "The Fall" might not be everyone's cup of tea due to the eccentric way it blends epic fantasy with brooding reality, the scope of Tarsem's imagination and vision and the delightful pairing of Pace and Untaru creates an eclectic fantasy tale unlike anything we've since Terry Gilliam's "The Adventures of Baron Munchausen."
So The Fall encourages thematic comparisons with del Toro 's Pan's Labyrinth and especially Terry Gilliam 's The Adventures of Baron Munchausen and Tideland .
For a movie with such audacious, lush, and inventive images (and, yes, production backstory), the story and themes of The Fall bring to mind a whole lot of other audacious, inventive films, including several by Terry Gilliam (particularly The Adventures of Baron Munchausen and the little-seen, mostly-reviled Tideland ), and even a couple of recent ones about the transformative power of storytelling and mythmaking ( Be Kind Rewind and Son of Rambow ).
The Map of Tiny Perfect Things (2021)
Directed by Ian Samuels
influenced by Time Bandits (1981)
Plot
It’s all formulaic from point A to B. Even with the movie’s constant pop-culture references ranging from Groundhog Day (yes, they even mentioned the title of the film) to Star Wars, Time Bandits and even Pokémon Detective Pikachu (which happens to star Kathryn Netwon as well), The Map of Tiny Perfect Things is pretty much a forgettable one that I wish I could get out of the time loop (the movie) fast.
(She’s never seen 1981’s Time Bandits !) Allen and Newton make for charismatic guides in The Map of Tiny Perfect Things , and both convince in their tenuous balance between curiosity and ennui as they show genuine joy at life’s smaller moments while still feeling lost in the big picture.
His biggest concern is showing the girl he likes his favorite movie ( Time Bandits , for those who are interested) and trying out new haircuts.
If you like this, try: “Time Bandits” (it is as great as Mark says it is), and other time-loop classics like “Groundhog Day,” “The Edge of Tomorrow,” and “Palm Springs.”
But Saint-Exupéry’s story is both overextended and crowded out by the final third here, where the girl actually flies the aviator’s old plane into a gloomily all-adult planet of drone-workers (it’s reminiscent of Terry Gilliam’s Brazil), rescuing the little prince from grown-up drudgery and recalling him to his former child-self and his beloved rose, awaiting him on Asteroid B-612.
The ideas in the main story sometime play out as satire, cut from the same cloth as Brazil (dir.
Ian Holm plays Napoleon for the second time (he had previously portrayed the character in a 1974 mini-series called "Napoleon in Love", and would eventually reprise the part in 2001's The Emperor's New Clothes).
Suspiria (1977)
Directed by Dario Argento
influenced The Brothers Grimm (2005), Brazil (1985)
Visuals Themes
In short, this is one of the best looking films of all time, right up there with such classics as Peter Greenaway's "The Cook, the Thief, His Wife, and Her Lover" and Terry Gilliam's "Brazil."
Dario Argento virtually dramatized Little Red Riding Hood in his nasty slasher Suspiria Most are more subtle than that with these themes and intimations; a possible hypothesis for the adult adoration with horror is indeed associating them with the tales from childhood.
Hector and the Search for Happiness (2014)
Directed by Peter Chelsom
influenced by Brazil (1985)
Visuals
This all feels like an homage to Gilliam’s “Brazil,” though “Zero Theorem” also has shadows of “12 Monkeys” and other films in the onetime Monty Python animator’s cinematic carnival.
…from Time Bandits, an otherwise fine parallel), she wishes to run away from the “wild life” -- in this case the Circus…
Yet even in its most overtly chilling moments (a third-act descent into hell recalls a memorably hallucinogenic sequence from Terry Gilliam’s Brazil ), Vivarium keeps its tongue placed firmly in its cheek, reminding me somewhat of the absurdist, smiling tone of Jocelyn DeBoer and Dawn Luebbe’s recent picket-fence parody Greener Grass .
He’s brought audiences an all-ages adventure full of hope and wonder, flavored with the attitude of movies like Monster Squad, Labyrinth, and even the kid-friendly cult classic Time Bandits.
There are times when “The Kid Who Would Be King” happily recalls Terry Gilliam’s “Time Bandits,” and director Cornish provides at least one absolutely thrilling moment you will surely want to share with your kids.
The Hobbit: The Desolation of Smaug (2013)
Directed by Peter Jackson
influenced by Time Bandits (1981), Brazil (1985), Twelve Monkeys (1995)
Visuals Characters
If the first Hobbit felt a lot like Terry Gilliam's Time Bandits , this one feels perhaps more like Gilliam's Twelve Monkeys , albeit with more slapstick and other physical humor akin to Brazil .
The dwarves remain a squabbling, loudmouthed, ridiculous bunch, distinguished from each other largely by their silly hats and sillier facial hair, and not much more competent or distinguished than the band of little people in Time Bandits .
If the first Hobbit felt a lot like Terry Gilliam's Time Bandits , this one feels perhaps more like Gilliam's Twelve Monkeys , albeit with more slapstick and other physical humor akin to Brazil .
If the first Hobbit felt a lot like Terry Gilliam's Time Bandits , this one feels perhaps more like Gilliam's Twelve Monkeys , albeit with more slapstick and other physical humor akin to Brazil .
In fact, in terms of production design, this neo-modernist piece looks like it could have been inspired by oddball filmmaker Terry Gilliam ("Time Bandits," "Brazil"), while its content (which includes murder, rape, sex and cannibalism) recalls the work of Peter Greenaway ("The Cook, the Thief, His Wife and Her Lover").