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Take It Out in Trade: The Outtakes is a american film of genre Drama directed by Ed Wood released in USA on 1 january 1995 with Ed Wood
Take It Out in Trade: The Outtakes (1995)
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Add to a movie listReleased in USA 1 january 1995
Directed by Ed Wood
OriginUSA
Themes Films about films, Films about sexuality, Films about pornography, Documentary films about business, Documentary films about the film industry, Documentary films about films
Rating58%
Take It Out in Trade: The Outtakes is a compilation film of bloopers, alternate takes, behind-the-scenes footage, and deleted scenes from the 1970 soft-core pornographic film, Take It Out in Trade, directed by Edward D. Wood, Jr. The footage is completely silent with an instrumental musical score.
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Suggestions of similar film to Take It Out in Trade: The Outtakes
There are 6 films with the same actors, 10 films with the same director, 94408 with the same cinematographic genres (including 126 with exactly the same 3 genres than Take It Out in Trade: The Outtakes), 8271 films with the same themes (including 1 films with the same 6 themes than Take It Out in Trade: The Outtakes), to have finally 70 suggestions of similar films.If you liked Take It Out in Trade: The Outtakes, you will probably like those similar films :
Take It Out in Trade (1970)
, 1h20Directed by Ed Wood
Origin USA
Genres Comedy
Themes Films about sexuality, Erotic films, Sexploitation films
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Rating39%
Glen or Glenda (1953)
, 1h5Directed by Ed Wood
Origin USA
Genres Drama, Comedy, Documentary, Horror
Themes Films about sexuality, Erotic films, Sexploitation films, LGBT-related films, Transgender in film, Documentaire sur l'homosexualité, LGBT-related films, LGBT-related film, Cross-dressing in film
Actors Ed Wood, Dolores Fuller, Timothy Farrell, Bela Lugosi, Lyle Talbot, Daniel Davis
Rating42%
The film begins with a narrator, called The Scientist, making cryptic comments about humanity. He first comments that humanity's constant search for the unknown, results in startling things coming to light. But most of these "new" discoveries are actually quite old, to which he refers to as "the signs of the ages". Later, the scene turns to the streets of a city, with the narrator commenting that each human has his/her own thoughts, ideas, and personality. He makes further comments on human life, while sounds accompany some comments. The cries of a newborn baby are followed by the sirens of an ambulance. One is a sign that a new life has begun, the other that a life has ended.
, 51minutesDirected by Ed Wood
Origin USA
Genres Comedy, Horror, Pornographic
Themes Films about sexuality, Erotic films, Sexploitation films, LGBT-related films, LGBT-related films, LGBT-related film, Lesbian-related films
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Before the credits, the film opens to an image seen through a prism. It depicts a group of naked, writhing bodies in the process of group sex. The prism replicates the image, so several versions are seen in a single frame. The credits are followed by a scene opening in a suburban area of California. A car is seen driving around, the passengers presumably looking for something. They stop before an old mansion, then the camera shifts to the image of door knocker depicting a lion's head. The young couple knocks first, then enters through the unlocked door. They bicker over the decision to enter unannounced. The young man then jokes about the creepy location, saying that "Any minute, I expect Bela Lugosi as Dracula" to appear.
The Sinister Urge (1960)
, 1h11Directed by Ed Wood
Origin USA
Genres Drama, Thriller, Crime
Themes Films about music and musicians, Serial killer films, Musical films
Actors Kenne Duncan, Duke Moore, Harvey B. Dunn, Joan Fontaine, Reed Howes, Ed Wood
Rating26%
The film revolves around a series of murders of young women. The opening scene features an unnamed blonde woman (Betty Boatner) running along a mountain road, wearing only her undergarments. She is clearly scared for her life. She enters a city park and manages to reach a telephone booth. Her attempt to escape her assailant ends in failure, when the man also reaches the booth. He quickly kills her and leaves her corpse next to a lake. The corpse is soon discovered by visitors of the park. The scene shifts to a police station, where Police Lieutenant Matt Carson (Kenne Duncan) receives a phone report on the latest murder. He instructs subordinate Officer Kline (Fred Mason) to gather information from the witnesses who called in the discovery of the body. Then he summons his associate Sergeant Randy Stone (Duke Moore) and they head out towards the crime scene. They take note of the youthful appearance of the victim and suspect a connection to the "smut picture racket".
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Actors Gregory Walcott, Tom Keene, Tor Johnson, Duke Moore, Dudley Manlove, Bunny Breckinridge
Rating39%
At the funeral of an Old Man's wife, mourners are gathered by an open grave, among them her husband (Bela Lugosi). Overhead, an airliner is heading towards Burbank, California. The pilot Jeff Trent (Gregory Walcott) and his co-pilot Danny (David De Mering) are blinded by a bright light and loud sound. They look outside and see a flying saucer. The pilots follow the saucer's flight until it lands at the graveyard, where the funeral's gravediggers are killed by a female zombie (Maila Nurmi).
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Origin USA
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Rating35%
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Genres Drama, Comedy, Documentary, Historical, Romance
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Rating66%
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, 1h25Directed by Jonathan Demme
Origin USA
Genres Drama, Comedy, Comedy-drama, Documentary
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Rating75%
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Rating73%
Lars von Trier prétend que le court-métrage Det perfekte menneske de Jørgen Leth sorti en 1967 est son film préféré. Dans le but de lui rendre hommage, mais d'une manière perverse, à la fois manipulatrice et créatrice, il propose à l'auteur du film original, son compatriote Jørgen Leth, de détruire et de reconstruire autrement ce court-métrage. Il défie Leth d'en tourner cinq remakes. Pour chaque projet, il lui impose de nouvelles « obstructions », consignes, restrictions, interdictions plus ou moins arbitraires, l'obligeant à repenser l'histoire, l'esthétique et les personnages de son film. Il s'ensuit à chaque épreuve un feed back entre les deux hommes où Lars von Trier, dans une sorte de position de « directeur de conscience », à la limite de l'humiliation, semble prendre à cœur de déconstruire et détruire ce que Jørgen Leth a réalisé.
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