In this interview with The Daily Beast, Ridley Scott reveals that he's currently working on a sequel to Blade Runner.
Funny enough, I started my first meetings on the Blade Runner sequel last week. We have a very good take on it. And we'll definitely be featuring a female protagonist.
Jesse Thorn had me on Bullseye again to talk links. We discussed Benton's ham (see if you can make it past the "we're about to go ham" crack at the beginning) and Senna, one of my favorite films from the past six months.
The person who made Wes Anderson From Above and Tarantino From Below has put together a supercut of distinct sounds from Darren Aronofsky's films.
(via ★interesting)
Taken from the Studio Stories series included on the Blu-ray versions of Toy Story 1 & 2, here's a short story about how Toy Story 2 was almost erased before the film could be rendered for theaters.
Woody's hat disappeared. And then his boots disappeared. And then as we kept checking, he disappeared entirely. Woody's gone.
(via tested)
Update: Over at Quora, Oren Jacob (the guy in the video) explains in more detail what happened.
First, it wasn't multiple terabytes of information. Neither all the rendered frames, nor all the data necessary to render those frames in animation, model, shaders, set, and lighting data files was that size back then.
A week prior to driving across the bridge in a last ditch attempt to recover the show (depicted pretty accurately in the video above) we had restored the film from backups within 48 hours of the /bin/rm -r -f *, run some validation tests, rendered frames, somehow got good pictures back and no errors, and invited the crew back to start working. It took another several days of the entire crew working on that initial restoral to really understand that the restoral was, in fact, incomplete and corrupt. Ack. At that point, we sent everyone home again and had the come-to-Jesus meeting where we all collectively realized that our backup software wasn't dishing up errors properly (a full disk situation was masking them, if my memory serves), our validation software also wasn't dishing up errors properly (that was written very hastily, and without a clean state to start from, was missing several important error conditions), and several other factors were compounding our lack of concrete, verifiable information.
The only prospect then was to roll back about 2 months to the last full backup that we thought might work. In that meeting, Galyn mentioned she might have a copy at her house. So we went home to get that machine, and you can watch the video for how that went...
Taxi Driver reimagineered to portray Travis Bickle as obsessed with Mickey Mouse.
(via waxy)
A group photograph of MGM's stars and starlets under contract, taken for the studio's 20th anniversary in 1943.
The full-size photo is available at Mlkshk or at Wikipedia for stargazing. Here's who's in the photo:
Front Row: James Stewart, Margaret Sullavan, Lucille Ball, Hedy Lamarr, Katharine Hepburn, Louis B Mayer, Greer Garson, Irene Dunne, Susan Peters, Ginny Simms, Lionel Barrymore
Second Row: Harry James, Brian Donlevy, Red Skelton, Mickey Rooney, William Powell, Wallace Beery, Spencer Tracy, Walter Pidgeon, Robert Taylor, Pierre Aumont, Lewis Stone, Gene Kelly, Jackie Jenkins
Third Row: Tommy Dorsey, George Murphy, Jean Rogers, James Craig, Donna Reed, Van Johnson, Fay Bainter, Marsha Hunt, Ruth Hussey, Marjorie Main, Robert Benchley
Fourth Row: Dame May Whitty, Reginald Owen, Keenan Wynn, Diana Lewis, Marilyn Maxwell, Esther Williams, Ann Richards, Marta Linden, Lee Bowman, Richard Carlson, Mary Astor
Fifth Row: Blanche Ring, Sara Haden, Fay Holden, Bert Lahr, Frances Gifford, June Allyson, Richard Whorf, Frances Rafferty, Spring Byington, Connie Gilchrist, Gladys Cooper
Sixth Row:
Ben Blue, Chill Wills, Keye Luke, Barry Nelson, Desi Arnaz, Henry O'Neill, Bob Crosby, Rags Ragland
From twenty years ago, Stephen Hawking reviews the film version of A Brief History of Time.
I have been fortunate in the director of the film, Errol Morris. He is a man of integrity, with a feeling for the issues. It would have been all too easy to have someone who would have concentrated on the more sensational aspects of my private life, and my medical condition, and who would have treated the science in a superficial way. A friend of mine, who has had several television programmes based on his work, was envious of how the scientific ideas came through on the film.
(via @errolmorris)
For Sight & Sound magazine, Roger Ebert came up with his picks for ten best films ever.
"Citizen Kane" speaks for itself. "2001: A Space Odyssey" is likewise a stand-along monument, a great visionary leap, unsurpassed in its vision of man and the universe. It was a statement that came at a time which now looks something like the peak of humanity's technological optimism. Many would choose "Taxi Driver" as Scorsese's greatest film, but I believe "Raging Bull" is his best and most personal, a film he says in some ways saved his life. It is the greatest cinematic expression of the torture of jealousy -- his "Othello."
(via df)
Hyman Strachman is one of the biggest bootleggers of Hollywood movies. He's also 92 years old, a WWII veteran, and gives his movies away to American troops serving overseas.
"Big Hy" -- his handle among many loyal customers -- would almost certainly be cast as Hollywood Enemy No. 1 but for a few details. He is actually Hyman Strachman, a 92-year-old, 5-foot-5 World War II veteran trying to stay busy after the death of his wife. And he has sent every one of his copied DVDs, almost 4,000 boxes of them to date, free to American soldiers in Iraq and Afghanistan.
With the United States military presence in those regions dwindling, Big Hy Strachman will live on in many soldiers' hearts as one of the war's more shadowy heroes.
"It's not the right thing to do, but I did it," Mr. Strachman said, acknowledging that his actions violated copyright law.
From PBS Off Book, a quick look at the thinking behind the opening titles for TV shows and movies, including Zombieland, Mad Men, and Se7en.
See also Art of the Title and A Brief History of Title Design. (via devour)
As Allen Fuqua travels around, he looks for movie locations and attempts to duplicate scenes from them. For instance, here's Allen and a friend reenacting a scene from Drive:
(thx, stephen)
Journalist William Zinsser played a bit part in Stardust Memories, one of Woody Allen's early films. He'd interviewed Allen early in the director's career, ran into him in NYC, and got a call a week later from his assistant.
"Bill, honey?" said a young woman's voice. "This is Sandra from Woody Allen's office. Woody wondered if you'd like to be in his new movie."
That was something new in phone calls. I had never done any acting or dreamed any theatrical dreams. But who didn't want to be in a Woody Allen movie? I knew that he often cast ordinary people in small roles. What small plum did he have for me? I hesitated for a decently modest moment and then told Sandra I'd like to do it.
"Good," she said. "Woody will be very pleased." She said that someone else would be calling me with further details.
(via @coudal)
Remember the Netflix Prize, the $1 million challenge cooked up by Netflix to improve their movie recommendation engine by 10%? Turns out they never implemented the winning algorithm, in part because their movie streaming service changed the game.
One of the reasons our focus in the recommendation algorithms has changed is because Netflix as a whole has changed dramatically in the last few years. Netflix launched an instant streaming service in 2007, one year after the Netflix Prize began. Streaming has not only changed the way our members interact with the service, but also the type of data available to use in our algorithms. For DVDs our goal is to help people fill their queue with titles to receive in the mail over the coming days and weeks; selection is distant in time from viewing, people select carefully because exchanging a DVD for another takes more than a day, and we get no feedback during viewing. For streaming members are looking for something great to watch right now; they can sample a few videos before settling on one, they can consume several in one session, and we can observe viewing statistics such as whether a video was watched fully or only partially.
(via waxy)
The latest installment of the Up Series of documentary films is due out in the UK in May. The films have followed the development of fourteen British children since 1964 with a new film appearing every seven years...the participants are now 56. A few details about the new film are revealed in this interview with one of the participants.
One of the issues that Apted reflects on in 56 Up is the way Britain has changed. "Michael asked us about how education had changed, because people are borrowing money to go to university now," Mr Hitchon said. "In our day, none of us paid for our education. England's also changed a lot. For instance, no one is farming the Dales any more and there are all these multimillion-pound houses. I don't know what England's like any more. I've been away for 30 years."
Apted also revisits the theme of success. "If you're still hanging in there and swinging punches then you're a success," said Mr Hitchon. "Does that apply to me? Sure, why not? I'm working all the time to solve problems that I think are important. I'm hanging in there despite the fact that it doesn't all go the way you hope."
This may be the last film in the series...director Michael Apted will be 78 when the next film is due and he's unwilling to pass it off to someone else to finish. (thx, raynor)
Primer is one of my favorite films of the past ten years and is available on YouTube in its entirety.
Directed by Ice-T, Something From Nothing: The Art of Rap is a documentary about the birth and evolution of rap and hip hop music.
Ice-T takes us on an intimate journey into the heart and soul of hip-hop with the legends of rap music. This performance documentary goes beyond the stardom and the bling to explore what goes on inside the minds, and erupts from the lips, of the grandmasters of rap. Recognized as the godfather of Gangsta rap, Ice-T is granted unparalleled access to the personal lives of the masters of this artform that he credits for saving his life. Interspersed with the performers' insightful, touching, and often funny revelations are classic raps, freestyle rhymes, and never before heard a cappellas straight from the mouths of the creators. What emerges is a better understanding of, and a tribute to, an original American art form that brought poetry to a new generation.
(via @gavinpurcell)
Alive Inside is a documentary that follows social worker Dan Cohen as he discovers that music can "awaken" people suffering from degenerative memory loss (Alzheimer's, etc.). Here's a clip in which a man goes from a near-coma state to talking about his favorite songs after listening to music for awhile on headphones.
(via ★swissmiss)
A collection of scenes featuring movie stars before they were stars...like Nicolas Cage in Fast Times at Ridgemont High and Renee Zellweger in Dazed and Confused.
They missed one of my favorites...James Earl Jones as Lieutenant Zogg in Dr. Strangelove. (via devour)
This is expertly done...a panoramic time lapse view out the rear window in Rear Window, stitched together from scenes in the film.
More information on how it was made. (via ★interesting)
OK, Internet, shut it down. We've had enough for the day. I recognize this news will be relevant and interesting to only a small percent of the Kottke population, but to those people, it is extremely and earthshatteringly relevant. Personally, my ears started ringing while reading the headline. Michael K Williams, best known for his role as Omar on The Wire, will play Ol' Dirty Bastard in an upcoming movie.
Titled Dirty White Boy, the film focuses on the offbeat friendship between the Wu-Tang Clan co-founder and Jarred Weisfeld, a 22-year-old VH1 production assistant who through a lot of hustle (and the occasional lie) talked his way into becoming the rapper's manager when Jones was serving a three-year stint in prison in the early 2000s.
(via @mikenizza)
According to Peter Sciretta at Slashfilm, Topher Grace has made an 85-minute cut of Star Wars episodes I, II, and III where Jar Jar appears only briefly, midichlorians are not mentioned, and Jake Lloyd is not seen or heard from.
Whats most shocking is that with only 85 minutes of footage, Topher was able to completely tell the main narrative of Anakin Skywalker's road from Jedi to the Sith. While I know the missing pieces and could even fill in the blanks in my head as the film raced past, none of those points were really needed. Whats better is that the character motivations are even more clear and identifiable, a real character arc not bogged down by podraces, galactic senates, Jar Jar Binks, politics or most of the needless parts of the Star Wars prequels. It not only clarifies the story, but makes the film a lot more action-packed.
Sadly, it was a one-time screening for friends. (via ★interesting links)
The Art of the Title has an interview with David Fincher, creative director Tim Miller, and designer Neil Kellerhouse about the opening title sequence of The Girl with the Dragon Tattoo.
We were exploring things like, 'How shiny should the skin be? How visceral and uncomfortable can we make it? How abstract can we get? Is that a flower? Is it a vagina?' -- that sort of thing.
During David's visits to the studio we would brace for impact, because he has a reputation for being incredibly picky. The first time I met him, I asked one of his friends, 'How picky is David?' And he said, 'You've heard of pixel fuckers? Well David breaks each pixel down to its separate RGB components and fucks them one at a time.' So there was some fear every time we would send something in, but 99% of the time we were just told to keep going.
(via @capndesign)
Fast Company recently interviewed Martin Scorsese and jotted down all 85 movies he mentioned.
The Player: "In the years before this movie, the age of the director who had a free hand came to an end. And yet Altman kept experimenting with different kinds of actor, different approaches to narrative, different equipment, until finally he hit it with this movie, which took him off onto a whole other level."
I caught most of Indiana Jones and the Last Crusade (which might be my favorite Indy movie...I know, the blasphemy!) on TV the other night and was surprised to see how much the movie zeppelin's interior resembles the interior of the Hindenburg.
They did their homework, I guess. Also of note regarding the Hindenburg: the ship was originally designed to use helium but was retooled to use extremely flammable hydrogen when the US banned exports of then-rare helium to Germany.
Despite the danger of using flammable hydrogen, no alternative gases that could provide sufficient lift could be produced in adequate quantities. One beneficial side effect of employing hydrogen was that more passenger cabins could be added. The Germans' long history of flying hydrogen-filled passenger airships without a single injury or fatality engendered a widely held belief they had mastered the safe use of hydrogen. The Hindenburg's first season performance appeared to demonstrate this.
(thx, @katiealender & someone else whose name I misplaced)
Over at the Centives economic blog, they figured out how much it would cost to build the Death Star in 2012 dollars. Spoiler: A lot. It would cost a lot.
We began by looking at how big the Death Star is. The first one is reported to be 140km in diameter and it sure looks like it's made of steel. But how much steel? We decided to model the Death Star as having a similar density in steel as a modern warship. After all, they're both essentially floating weapons platforms so that seems reasonable.
(via marginalrevolution)
Travis Pitts outlines the six rules of modern movie poster design. Here are three examples:
Best viewed large for easy reading of fine print.
This is so perfectly in the kottke.org wheelhouse that I can't even tell if it's any good or not: a mashup of Jay-Z and Kanye's Niggas in Paris and Woody Allen's Midnight in Paris.
(via ★davidfg)
From MUBI notebook, a selection of great movies posters from 2011, including Chris Ware's lovely one for Uncle Boonmee.
(via dooce)
Wyatt Hodgson took Koyaanisqatsi and sped it up 1552% so you can watch the whole movie in about five minutes.
Reggio uses time lapse in the film to great effect -- you notice different things at different playback speeds -- and Hodgson's clever use of the same technique reveals the overall structure of the film much more than watching it in realtime...but the emotion of the film is completely removed. (via the candler blog)
BLDGBLOG is running a distributed film festival called Breaking Out and Breaking In that will explore the architecture of escapes and break-ins in movies.
Breaking Out and Breaking In is an exploration of the use and misuse of space in escapes and heists, where architecture is the obstacle between you and what you're looking for.
Watch the films at home-or anywhere you may be-and then come back to discuss the films here on BLDGBLOG. It's a "distributed" film fest; there is no central venue, just a curated list of films and a list of days on which to watch them. There's no set time, no geographic exclusion, and no limit to the food breaks or repeated scenes you might require. And it all leads up to a public discussion at Studio-X NYC on Tuesday, April 24.
The overall idea is to discuss breaking out and breaking in as spatial scenarios that operate as mirror images of one another, each process with its own tools, techniques, and unique forms of unexpected architectural expertise.
It started on Friday, but there's still plenty of time and opportunity to join in.
Monty Python member Terry Jones is set to direct a sci-fi comedy that will feature other Python members "voicing key roles". Gilliam, Cleese, and Palin have all signed on and they're working on getting Eric Idle.
Members of Monty Python's Flying Circus are reteaming for "Absolutely Anything," a sci-fi farce combining CGI and live action, with Terry Jones to direct and Mike Medavoy to produce.
Plans are for filming to begin in the U.K. this spring, with the Pythons voicing key roles as a a group of aliens who endow an earthling with the power to do "absolutely anything" to see what a mess he'll make of things -- which is precisely what happens. There's also a talking dog named Dennis who seems to understand more about the mayhem that ensues than anyone else does. Robin Williams will voice the character.
"It's not a Monty Python picture, but it certainly has that sensibility," Jones told Variety.
(via ★vuokko)
Posters for Oscar nominated movies that maybe tell the truth of each movie a bit more than the conventional posters. For instance, Iron Lady becomes Total Bitch, Tree of Life becomes Wuh?, and The Girl with the Dragon Tattoo becomes All the Rape, No Subtitles.
(via ★vuokko)
If recent movies like The Hangover, Drive, Inception, and Rushmore had been made in an earlier era, who would have starred in and directed these premakes? How about Dean Martin, Jack Lemmon, and Jerry Lewis in The Hangover?
Or Inception directed by Fritz Lang?
(thx, al)
Type designer Matthew Butterick sent a letter to director Brad Bird about the use of Verdana in captions and subtitles in the latest Mission Impossible movie.
Second, it's not stylistically suitable. Verdana is a built-in font on nearly every Windows and Mac computer. It's used on zillions of web pages. It's ubiquitous. Therefore, the person who uses Verdana suggests to readers "I couldn't be bothered to pick anything better." It's also well-known as the corporate font of IKEA -- probably not the association you're going for.
(via ★aaronsw)
Well, from making blockbuster movies anyway. And that's only one of the interesting tidbits in this long NY Times profile of Lucas
Lucas has decided to devote the rest of his life to what cineastes in the 1970s used to call personal films. They'll be small in scope, esoteric in subject and screened mostly in art houses. They'll be like the experimental movies Lucas made in the 1960s, around the time he was at U.S.C. film school, when he recorded clouds moving over the desert and made a movie based on an E. E. Cummings poem. During that period, Lucas assumed he would spend his career on the fringes. Then "Star Wars" happened -- and though Lucas often mused about it, he never committed himself to the uncommercial world until now.
Sitting in a sun-drenched office, his voice boyish, Lucas talked about himself as if he were a character in one of his movies. He's at the end of an epic saga; he's embracing a new destiny ("Make the art films, George"); he's battling former acolytes who have become his sworn enemies; and George Lucas is -- no kidding -- in love. Before he takes his digital camera with him into obscurity, though, Lucas has one last mission. He wants to prove that with "Red Tails," he can still make the kind of movie everyone in the world will want to see.
This article, about how gender is manipulated in South Asia, is very difficult to read.
It's a girl, a film being released this year, documents the practice of killing unwanted baby girls in South Asia. The trailer's most chilling scene is one with an Indian woman who, unable to contain her laughter, confesses to having killed eight infant daughters.
The statistics are sickening. The UN reports approximately 200 million girls in the world today are 'missing'. India and China are said to eliminate more female infants than the number of girls born in the US each year. Lianyungang in China has the worst infant gender ratio on record with 163 boys born for every 100 girls. Taiwan, South Korea and Pakistan are also countries in which unwanted female babies are aborted, killed or abandoned.
Here's more information on the mentioned film. (via @cshirky)
Stanley Kubrick's meticulousness about his movies extended right on down to how they were marketed. When A Clockwork Orange came out in the US, he spent weeks crunching theater ticket grosses to figure out which theaters the film should play in.
Clockwork would be shown in standard cinemas as a quality platform release, which meant there were many options per city. I knew that Don Rugoff's Cinema 1, the most prestigious cinema in New York, had to be the New York theater, but how to be sure that the film would be booked into the best cinema in Indianapolis or Cleveland or Atlanta? To choose the right theater in each city, we needed to know which cinema sold the most tickets to the most interesting pictures. But while a studio would know what its own films grossed, detailed box-office figures of competitive films were closely held secrets. There was no comparative information, and that is exactly what Stanley wanted.
Influenced by Kubrick's system, Variety released their first nation box office rankings chart a few months later. (via df)
Quentin Tarantino released a list of his favorite films of last year. His number one choice? Midnight in Paris. Here's his top five...click through for his other choices:
1. Midnight In Paris
2. Rise Of The Planet Of The Apes
3. Moneyball
4. The Skin I Live In
5. X-Men: First Class
(via moviefone)
We interrupt this internet to bring you the very first trailer for Wes Anderson's new movie, Moonrise Kingdom.
Set on an island off the coast of New England in the summer of 1965, MOONRISE KINGDOM tells the story of two twelve-year-olds who fall in love, make a secret pact, and run away together into the wilderness. As various authorities try to hunt them down, a violent storm is brewing off-shore -- and the peaceful island community is turned upside down in more ways than anyone can handle.
It's Wes Andersonmas, y'all!
The sound and picture are poor, but the entirety of Errol Morris' A Brief History of Time is available on YouTube.
Featuring music from Philip Glass, the film is a documentary about Stephen Hawking and his ideas about the universe. Morris recently stated on Twitter:
Yes. I plan to re-release [A Brief History of Time]. (It was never properly color corrected and is one of my best films.)
The film is difficult, if not impossible, to find on DVD and isn't available on Netflix, Amazon Instant Video, or iTunes. And as far as I can tell, the soundtrack was never released either.
Thanks to Gothamist, you can watch the entirety of Jacob Krupnick's Girl Walk // All Day online. GWAD is a feature-length music video set to Girl Talk's All Day.
In a piece for Vanity Fair, Kurt Andersen argues that for the first time in recent history, American pop culture (fashion, art, music, design, entertainment) hasn't changed dramatically in the past 20 years.
Since 1992, as the technological miracles and wonders have propagated and the political economy has transformed, the world has become radically and profoundly new. (And then there's the miraculous drop in violent crime in the United States, by half.) Here is what's odd: during these same 20 years, the appearance of the world (computers, TVs, telephones, and music players aside) has changed hardly at all, less than it did during any 20-year period for at least a century. The past is a foreign country, but the recent past -- the 00s, the 90s, even a lot of the 80s -- looks almost identical to the present. This is the First Great Paradox of Contemporary Cultural History.
Think about it. Picture it. Rewind any other 20-year chunk of 20th-century time. There's no chance you would mistake a photograph or movie of Americans or an American city from 1972-giant sideburns, collars, and bell-bottoms, leisure suits and cigarettes, AMC Javelins and Matadors and Gremlins alongside Dodge Demons, Swingers, Plymouth Dusters, and Scamps-with images from 1992. Time-travel back another 20 years, before rock 'n' roll and the Pill and Vietnam, when both sexes wore hats and cars were big and bulbous with late-moderne fenders and fins-again, unmistakably different, 1952 from 1972. You can keep doing it and see that the characteristic surfaces and sounds of each historical moment are absolutely distinct from those of 20 years earlier or later: the clothes, the hair, the cars, the advertising -- all of it. It's even true of the 19th century: practically no respectable American man wore a beard before the 1850s, for instance, but beards were almost obligatory in the 1870s, and then disappeared again by 1900. The modern sensibility has been defined by brief stylistic shelf lives, our minds trained to register the recent past as old-fashioned.
Kevin Kelly argues that Spielberg's Tintin movie passes beyond the uncanny valley into the "plains of hyperreality".
One of the great charms of the Tin Tin movie (besides its solid story, and uplifting sensibility) is the incredible degree of detail, texture, lighting, and drama that infuses every scene. Because the whole movie is synthetic, every scene can be composed perfectly, lit perfectly, arranged perfectly, and captured perfectly. There is a painterly perfection that the original Tin Tin comics had that this movie captures. This means that the stupendous detail found in say TinTin's room, or in a back alley, or on the ship's deck can be highlighted beyond what it could in reality. You SEE EVERYTHING. When TinTin's motorcycle is chasing the bad guy and begins to fall apart, nothing is obscured. Every realistic mechanical part is illuminated realistically. This technique gives a heightened sense of reality because every corner of the entire scene is heightened realistically, which cannot happen in real life, yet you only see real-looking things. This trick lends the movie a hyperreality. Its artificial world looks realer than real.
The uncanny valley issue has been less noticeable lately, but what really snaps me out of being immersed in movies lately is the Impossible Camera™. In 100% CGI shots, when cameras move quickly with sharp changes in direction over long distances, something that actual cameras can't do, it snaps me right out of the action because it's so obviously fake. For instance, any scene in the Tobey Maguire Spider-Man movies where Spidey is flying through Manhattan. Fay, fay, fake.
David Fincher explains why he chose to make each of his films.
The Social Network (2010): "You don't get scripts like that every day. You don't get a studio coming to you saying, 'We just fucking love this script. Let's make it into a movie.' So often people are mitigating against the disaster or trying to cover the downside and saying, 'Well, OK, look, the script is great, but...' ['Can you make something out of it?'] Yeah.
I have given Fincher shit about the films he's chosen to make but it turns out that he's better at spotting good material than I am. Go figure. (via @khoi)
Roger Ebert takes a crack at explaining why fewer and fewer people are going to see movies in theaters.
The message I get is that Americans love the movies as much as ever. It's the theaters that are losing their charm. Proof: theaters thrive that police their audiences, show a variety of titles and emphasize value-added features. The rest of the industry can't depend forever on blockbusters to bail it out.
This and the maximizing shareholder value thing seem to be related.
Apple's got the exclusive first trailer for The Hobbit. I am irrationally excited about this movie!
Update: And here's a YouTube embed...I'm sure this won't last too long though.
(thx, david)
Starting today and continuing for the next four weeks, IFC Center in NYC is showing a "comprehensive retrospective" of films (Princess Mononoke, Spirited Away, My Neighbor Totoro) made by Studio Ghibli. Most of the films are new 35mm prints and some will be screened in dubbed and subtitled Japanese versions.
Oh, and IFC is also doing midnight showings of Raiders of the Lost Ark this month.
Daniel Craig, star of the two most recent Bond films, in an interview with Time Out London:
Q: It seems that the script is sometimes an after-thought on huge productions.
A: 'Yes and you swear that you'll never get involved with shit like that, and it happens. On "Quantum", we were fucked. We had the bare bones of a script and then there was a writers' strike and there was nothing we could do. We couldn't employ a writer to finish it. I say to myself, "Never again", but who knows? There was me trying to rewrite scenes - and a writer I am not.'
Q: You had to rewrite scenes yourself?
A: 'Me and the director [Marc Forster] were the ones allowed to do it. The rules were that you couldn't employ anyone as a writer, but the actor and director could work on scenes together. We were stuffed. We got away with it, but only just. It was never meant to be as much of a sequel as it was, but it ended up being a sequel, starting where the last one finished.'
I wonder how many other movies that happened with? io9 and Screenrant speculated on this very question after the strike ended. (via df)
I can't imagine this is going to be up for much longer, so grab it while you can: Pulp Fiction presented in chronological order.
(via ★interesting)
Speaking of the Eames, the recent documentry on the pair is going to be on American Masters on PBS.
American Masters presents the first film made about America's most important and influential designers, Charles and Ray Eames, since their deaths in 1978 and 1988, respectively -- and the only film that explores the link between their artistic collaboration and sometimes tortured marriage. Jason Cohn and Bill Jersey's definitive documentary delves into the private world the Eameses created in their Renaissance-style, Venice Beach, California studio, where design history was born. Narrated by James Franco, Charles & Ray Eames: The Architect and the Painter premieres nationally Monday, December 19 from 10-11:30 p.m. (ET/PT) on PBS (check local listings) as the 25th anniversary season finale of American Masters.
In a recent appearance on Charlie Rose, John Lasseter revealed the rough premise of an upcoming-but-untitled Pixar film:
Pete Docter, from Monsters, Inc. and Up, is doing a new film that takes place inside of a girl's mind and it is about her emotions as characters, and that is unlike anything you've ever seen.
With Brave and now this, it looks like Pixar is finally taking their lack of female lead characters seriously.
Trent Reznor's and Atticus Ross' soundtrack for The Girl with the Dragon Tattoo is in the can and will be released in one week. For now, you can pre-order the soundtrack or download a free six-song sampler. Reznor and Ross won an Oscar for their The Social Network soundtrack.
Girl Walk // All Day is a feature-length dance music video set in NYC...the soundtrack is Girl Talk's All Day. Kickstarter is hosting a premiere for the film (+ dance party) on December 8 at the Brooklyn Masonic Temple...and it's free (you just need to RSVP). Here's the trailer:
This is Arnold Schwarzenegger doing the DVD commentary for Total Recall. Instead of adding any context to the film, he simply describes exactly what was happening in each scene.
I have three guesses as to what's going on here:
1. It's a fake from a really good impersonator.
2. Arnold is dumb and he's unaware of how dumb he is.
3. But my money's on this one: Arnold was contractually obligated to do the DVD commentary but when it came to it, he didn't really want to. So he torpedoed the whole thing and had some fun in the meantime. (via stellar)
A trailer for Wes Anderson's Fantastic Mr. Fox using dialogue from Quentin Tarantino's Inglourious Basterds.
(via biancolo)
It's called Into the Abyss and it opens today. Trailer is here:
There's an interview with Herzog about the film on the Tribeca Film Festival site and Ebert gave it four stars.
Collections of Stanley Kubrick's movies are on sale at Amazon today only: on DVD for $31.50 and on Blu-ray for $63...both collections are 58% off retail.
SPARTACUS (1960) The genre-defining epic tale of a bold gladiator (Kirk Douglas) who leads a triumphant Roman slave revolt.
LOLITA (1962) Academic Humbert Humbert (James Mason) is obsessed with a blithe teen (Sue Lyon) in a dark comedy from Vladimir Nabokov's novel.
DR. STRANGELOVE (1964) "Accidental" nuclear apocalypse, anyone? Peter Sellers heads the cast of one of the most blazingly hilarious movies of all time.
2001: A SPACE ODYSSEY (1968) "The most awesome, beautiful and mentally stimulating science-fiction film of all time" (Danny Peary, Guide for the Film Fanatic).
A CLOCKWORK ORANGE: 40th Anniversary Edition (2-Discs) (1971) Future world neo-punk Malcolm McDowell becomes the guinea pig for a government cure of his tendency toward "the old ultraviolence."
BARRY LYNDON (1975) The visually spellbinding tale of an 18th-century Irish rogue's (Ryan O'Neal) climb to wealth and privilege.
THE SHINING (1980) In a macabre masterpiece adapted from Stephen King's novel, Jack Nicholson falls prey to forces haunting a snowbound mountain resort.
FULL METAL JACKET (1987) Marine recruits endure basic training under a leather-lunged D.I., then plunge into the hell of Vietnam.
EYES WIDE SHUT (1999) A wife's admission of unfulfilled longing plunges a Manhattan doctor into a bizarre erotic odyssey. Tom Cruise and Nicole Kidman star.
Bill Cunningham New York, the documentary on street fashion photographer Bill Cunningham, is available to watch on Hulu for free. (US-only probably.)
Saw Koyaanisqatsi last night (with great seats), accompanied by the New York Philharmonic and the Philip Glass Ensemble...Glass played one of the emsemble's two keyboards. It was really fantastic.
KOYAANISQATSI, [Godfrey] Reggio's debut as a film director and producer, is the first film of the QATSI trilogy. The title is a Hopi Indian word meaning "life out of balance." Created between 1975 and 1982, the film is an apocalyptic vision of the collision of two different worlds -- urban life and technology versus the environment. The musical score was composed by Philip Glass.
The entire film is available on both YouTube and Hulu.
Riffing off of a short observation I sent him, John Gruber speculates about what an Apple TV ecosystem might look like.
Why not the same thing [as Newsstand] for TV channels? We're seeing the beginnings of this, with iPhone and iPad apps like HBO Go, Watch ESPN, and the aforementioned Bloomberg TV+. Letting each TV network do their own app allows them the flexibility that writing software provides. News networks can combine their written and video news into an integrated layout. Networks with contractual obligations to cable operators, like HBO and ESPN, can write code that requires users to log in to verify their status as an eligible subscriber.
This smells right to me...it's a very Apple-y way of approaching the TV/movie problem. Rather than fight with the studios and networks over content sold through the iTunes Store (where the studios control the licensing rights), just provide a platform (iPhone + iPad + iTV + App Store) controlled by Apple and if the studios/networks want to reach those customers, they need to provide an app...with Apple taking a 30% cut of the App *and* content sales.
Eames: The Architect and the Painter, a documentary on the husband and wife design duo, will be out in theaters in mid-November.
The husband-and-wife team of Charles and Ray Eames are widely regarded as America's most important designers. Perhaps best remembered for their mid-century plywood and fiberglass furniture, the Eames Office also created a mind-bending variety of other products, from splints for wounded military during World War II, to photography, interiors, multi-media exhibits, graphics, games, films and toys. But their personal lives and influence on significant events in American life -- from the development of modernism, to the rise of the computer age -- has been less widely understood. Narrated by James Franco, Eames: The Architect and the Painter is the first film dedicated to these creative geniuses and their work.
The DVD is already available for pre-order on Amazon. (via @aaroncoleman0)
The Secret World of Arrietty, the latest film from Studio Ghibli (Ponyo, Princess Mononoke, Howl's Moving Castle), came out in Japan last year and will be in US theaters in February 2012. Here's the English trailer:
The screenplay was adapted from Mary Norton's The Borrowers. (thx, david)
Apparently so. It's called Hugo:
I was going to make a joke about how this is Scorsese's first movie without Leonardo DiCaprio in like 20 years, but it's actually his first DiCaprio-free film in 12 years. (via stellar)
Everyone knows that William Shakespeare wrote Shakespeare's plays. What Roland Emmerich's new film presupposes is...maybe he didn't?
Professors of Shakespeare -- and I was one once upon a time -- are blissfully unaware of the impending disaster that this film means for their professional lives. Thanks to "Anonymous," undergraduates will be confidently asserting that Shakespeare wasn't Shakespeare for the next 10 years at least, and profs will have to waste countless hours explaining the obvious. "Anonymous" subscribes to the Oxfordian theory of authorship, the contention that Edward de Vere, the 17th earl of Oxford, wrote Shakespeare's plays. Among Shakespeare scholars, the idea has roughly the same currency as the faked moon landing does among astronauts.
From artist Lim Heng Swee. Grab a print at Etsy while you can.
Fun fact: Tom Hanks does the voice for Woody in the movies but in most other media, he's voiced by Tom's younger brother Jim Hanks.
You've never seen a literally slack jaw until you've seen a four-year-old watching Empire Strikes Back for the first time and learning that Darth Vader is Luke's father.
Being Elmo is a documentary about the puppeteer who performs Sesame Street's Elmo. It looks fantastic.
(via unlikely words)
(via ★interesting)
Qwikster will rent you DVDs and Netflix will rent you streaming movies. Two separate sites/companies, no interop, you have to sub to both separately, etc. Here's the explanation from Netflix CEO Reed Hastings. This seems amazingly dumb at first blush. (ps. Qwikster?!!)
Update: This is an excellent level-headed analysis of the deal from Dan Frommer.
Netflix's holy grail is to get each person, not each household, to have a separate streaming subscription, the way everyone also has a separate Facebook account. Separating a per-household service like DVD rentals-by-mail helps simplify that eventual transition.
Bill Cunningham New York, a documentary film about the unassuming king of street fashion photography, is out on DVD today.
"We all get dressed for Bill," says Vogue editor Anna Wintour. The Bill in question is 80+ New York Times photographer Bill Cunningham. For decades, this Schwinn-riding cultural anthropologist has been obsessively and inventively chronicling fashion trends he spots emerging from Manhattan sidewalks and high society charity soirees for his beloved Style section columns On The Street and Evening Hours.
Cunningham's enormous body of work is more reliable than any catwalk as an expression of time, place and individual flair. The range of people he snaps uptown fixtures like Wintour, Brooke Astor, Tom Wolfe and Annette de la Renta (who appear in the film out of their love for Bill), downtown eccentrics and everyone in between reveals a delirious and delicious romp through New York. But rarely has anyone embodied contradictions as happily and harmoniously as Bill, who lived a monk-like existence in the same Carnegie Hall studio at for fifty years, never eats in restaurants and gets around solely on bike number 29 (28 having been stolen).
It got great reviews...currently 98% on Rotten Tomatoes.
Current TV has compiled a list of the fifty contemporary documentaries that you must see before you die. Lots of familiar names on the list...here are my personal favorites:
The Kid Stays in the Picture
When We Were Kings
Dogtown and Z-Boys
Man on Wire
Capturing the Friedmans
Touching the Void
The Fog of War
Grizzly Man
The Thin Blue Line
Hoop Dreams
The New York Philharmonic, joined by Philip Glass himself, will perform the score for Koyaanisqatsi while the film is projected on a screen above the stage.
Lose yourself in Philip Glass's powerful music for the 1982 Godfrey Reggio film Koyaanisqatsi: A Life Out Of Balance, performed live by the Philharmonic and the Philip Glass Ensemble, as the landmark film is projected on a huge screen above the Avery Fisher Hall stage.
There will be two performances, Nov 2 and Nov 3 at 7:30pm at Avery Fisher Hall. There are still tons of great seats available, but get 'em while you can. Excited!
This chart shows former and future superheroes by movie. That is, George Clooney played Batman, so Out of Sight gets a Batman, along with another Batman for Micheal Keaton, and a Nick Fury for Sam Jackson. Lots of movies have 4 superheroes, though none on this chart have 5. Click through, you'll understand. If you want to see how they all fit together, he's made that chart, too. Raynor, you may raymember, also made the Harry Potter wizards in other movies chart.
HBO recently released a documentary about real-life superheroes. The trailer is below. It reminded me of the fascinating Rolling Stone article about Master Legend, but I can't find it on their site because Rolling Stone doesn't believe the internet needs to see old articles.
Incidentally, I found not 1, but 3 networks for real-life superheroes.
1, 2 3. But also, hipster superheroes. Hulk is only smashing ironically. And here's a list of all the superheroes. All of them.
Lastly, I'd be remiss not to mention Petsaresuperhero.es, a project I put together with a friend. You know your pet's a superhero, now you can show the world.
Using facial recognition in realtime via a webcam, this system lets you control the face of another person...like, say, John Malkovich.
Given a photo of person A, we seek a photo of person B with similar pose and expression. Solving this problem enables a form of puppetry, in which one person appears to control the face of another. When deployed on a webcam-equipped computer, our approach enables a user to control another person's face in real-time. This image-retrieval inspired approach employs a fully-automated pipeline of face analysis techniques, and is extremely general-we can puppet anyone directly from their photo collection or videos in which they appear. We show several examples using images and videos of celebrities from the Internet.
A 33-minute documentary made by a then-17-year-old Vivian Kubrick (Stanley's daughter) about the making of The Shining is available in its entirety on Google Video. From Wikipedia:
It has some candid interviews and very private moments caught on set such as arguments with cast and director, moments of a no-nonsense Kubrick directing his actors, Scatman Crothers being overwhelmed with emotion during his interview, Shelley Duvall collapsing through mental exhaustion on set and a very playful Jack Nicholson enjoying playing up to the behind the scenes camera.
Fauxgo is a site that collects fictional logos from movies and TV shows.
Harrison Ford has made credited appearances in 40 movies...to celebrate, the National Post had illustrator Chip Zdarsky draw portraits of Ford from each of his films.
(via @moleitau)
Here's a four-minute teaser trailer for In Time, a sci-fi action thriller directed by Andrew Niccol (Gattaca) and starring Justin Timberlake and Amanda Seyfried.
In the late 21st century, time has replaced money as the unit of currency. At 25 years old, aging stops and each person is given one more year to live. Unless you replenish your clock, you die.
Nice to see someone taking the attention economy literally. (thx, david)
A documentary about El Bulli offers "a rare inside look at some of the world's most innovative and exciting cooking".
(thx, aaron)
From Sady Doyle, an alternate history of the Harry Potter series if Rowling would have written the books from the perspective of Hermione Granger.
So, before she goes away for good, let us sing the praises of Hermione. A generation could not have asked for a better role model. Looking back over the series -- from Hermione Granger and the Philosopher's Stone through to Hermione Granger and the Deathly Hallows -- the startling thing about it is how original it is. It's what inspires your respect for Rowling: She could only have written the Hermione Granger by refusing to take the easy way out.
For starters, she gave us a female lead. As difficult as it is to imagine, Rowling was pressured to revise her initial drafts to make the lead wizard male. "More universal," they said. "Nobody's going to follow a female character for 4,000 pages," they said. "Girls don't buy books," they said, "and boys won't buy books about them." But Rowling proved them wrong. She was even asked to hide her own gender, and to publish her books under a pen name, so that children wouldn't run screaming at the thought of reading something by a lady. But Joanne Rowling never bowed to the forces of crass commercialism. She will forever be "Joanne Rowling," and the Hermione Granger series will always be Hermione's show.
The Onion's A.V. Club takes a field trip to see the Harlem house where the exteriors (and many of the interiors) were shot for The Royal Tenenbaums.
(via devour)
A collection of final frames from well-known movies...see if you can guess them all.
If you're headed out to see the final Potter movie this weekend, here's a recap of the previous seven films in just seven minutes:
Joyce McKinney, the subject of Errol Morris' documentary film called Tabloid, has been popping up at screenings of the film around the country, seemingly on her own dime, to conduct Q&A sessions of her own.
"I sat till the audience started to leave and waited for the precise moment, and then jumped up and yelled, 'I'm Joyce McKinney!'" she said, with considerable glee. "They went crazy."
There are also reports of some reviewers receiving anonymous legal threats.
I wasn't going to watch all twenty-five minutes of this day-in-the-life feature about Pixar's John Lasseter, but I got sucked in after the first two minutes for some reason and couldn't stop. The main takeaway is that Lasseter is a relentlessly upbeat, absurdly rich, hugging, cheeseball train freak.
Watching it, I found it almost impossible to reconcile his cheeseball personality with the kind of movies that Pixar makes, except to note that the Pixar films he's been involved with in a directorial or story capacity (Toy Storys 1-3, Cars 1-2) are the studio's syrupiest (and Randy Newmanest). (via devour)
It's fictional but based on a This American Life story about a man whose cryogenics business goes wrong.
The film, as previously reported, is an adaptation of a 2008 report on Bob Nelson, a self-styled cryogenics pioneer. Mr. Morris claims the film, not listed on IMDB, will be written by Zach Helm, writer of the aptly titled Will Ferrell vehicle Stranger Than Fiction. This American Life previously spawned the kids'-movie adaptation Unaccompanied Minors, but Mr. Morris's pedigree -- and unique interests-promise to make this a bit more highbrow, and simultaneously more intriguingly tabloid-y.
Star Wars: The Blueprints is a $500 limited edition book that contains photographs and illustrations about how the Star Wars movies wre created.
Star Wars: The Blueprints brings together, for the first time, the original blueprints created for the filming of the Star Wars Saga. Drawn from deep within the Lucasfilm Archives and combined with exhaustive and insightful commentary from best-selling author J. W. Rinzler, the collection maps in precise, vivid, and intricate detail the very genesis of the most enduring and beloved story ever to appear onscreen.
Star Wars: The Blueprints gives voice to the groundbreaking and brilliant engineers, designers, and artists that have, in film after film, created the most imaginative and iconic locales in the history of cinema. Melding science and art, these drawings giving birth to fantastic new worlds, ships, and creatures.
Most importantly, Blueprints shows how in bringing this extraordinary epic to life, the world of special effects as we know it was born. For the first time, here you will see the initial concepts behind such iconic Star Wars scenes as the Rebel blockade runner hallways, the bridge of General Grievous s flagship, the interior of the fastest hunk of junk in the Galaxy, and Jabba the Hutt's palace. Never before seen craftsmanship and artistry is evident whether floating on the Death Star, escaping on a speeder bike, or exploring the Tatooine Homestead.
And hey, Amazon's got it for only $450.
Basically, Arrested Development is a sitcom version of The Godfather. Michael = Michael, G.O.B. = Sonny, and Fredo = Buster.
Fredo Corleone is the second oldest son of Don Vito Corleone, but is unfit to run the family business. His stupidity, lack of confidence, and otherwise child-like behavior prevent him from being taken seriously by any member of the family. Despite his attempts at success, integration into the family usually comes to no avail. He is often humored by deciding family members (Michael), and given menial business tasks (i.e. casinos, whorehouses) for the family.
Buster Bluth is the youngest son of George, Sr., and is unfit to run the family business. His stupidity, lack of confidence, and otherwise child-like behavior prevent him from being taken seriously by any member of the family. Despite his attempts at success, integration into the family business usually comes to no avail. He is often humored by deciding family members (his mother), and given menial tasks (i.e. learning cartography) to distract him.
(via mlkshk, sorta)
Epic comic version of all eight of the Happy Potter movies by Lucy Knisley.
Knisley is also offering large format images of the comic for personal use...for a limited time only.
The SnorriCam is the chest-mounted camera that directors like Darren Aronofsky have used to great effect. You can see a bit of Aronofsky's use of the SnorriCam in these clips from Requiem for a Dream. (Note: that second clip is a bit graphic.)
Today's service journalism: here's a simple one-page list of outdoor movie screenings in NYC this summer. The lineup includes Rosemary's Baby, Airplane!, and Spiderman. (thx, matthew)
In this profile of Chris Evans (aka Captain America) for GQ, Edith Zimmerman catches a movie actor on the rise testing the boundaries of his soon-to-be mega-fame.
Since we're both single and roughly the same age, it was hard for me not to treat our interview as a sort of date. Surprisingly, Chris did the same, asking all about me, my family, my job, my most recent relationship. And from ten minutes into that first interview, when he reached across the table to punctuate a joke by putting his hand on top of mine, Chris kept up frequent hand holding and lower-back touching, palm kissing and knee squeezing. He's an attractive movie star, no complaints. I also didn't know how much I was supposed to respond; when I did, it sometimes felt a little like hitting on the bartender or misconstruing the bartender's professional fliirting for something more. I wanted to think it was genuine, or that part of it was, because I liked him right away.
Is this the part of a celebrity profile where I go into how blue the star's eyes are? Because they are very blue.
(via @choire)
A bunch of theaters in NYC (and around the US I would assume) are showing the extended edition of Fellowship of the Ring at 7pm tonight.
The event will include a personal introduction from director Peter Jackson captured from the set of his current film and "Lord of the Rings" prequel "The Hobbit," immediately followed by the feature presentation.
The same thing will happen with Two Towers on June 21 and Return of the King on June 28. Can't believe Fellowship came out 10 years ago already.
From very small array, an infographic look at which movie genres have done well at the box office and at awards time. Dramas have all but vanished from the box office chart in recent years. (thx, jon)
It's a documentary about Joyce McKinney and the so-called Mormon sex in chains case.
Here it is on Apple Trailers in case the YouTube one gets yanked.
Taking ratings data from Rotten Tomatoes, Slate made a neat little toy called the Hollywood Career-O-Matic that tracks the movie ratings of actors and directors since 1985.
Most Improved: Josh Brolin, Dakota Fanning, and Ken Loach. If the average Hollywood career is a slow decline into mediocrity, an actor or director whose films actually improve deserves special recognition. Among actors with at least 20 films in the Rotten Tomatoes database since 1985, Brolin has seen the greatest increase in average rating from the first half of his career to the second half -- an improvement of 28.4 percentage points. Despite Brolin's early appearance in The Goonies (63 percent), the first half of his career was marred by abominations like The Mod Squad (4 percent), and Hollow Man (27 percent). His later transition into gems like No Country for Old Men (95 percent), Milk (94 percent), and True Grit (96 percent) is a tale of redemption that not even Wall Street: Money Never Sleeps (54 percent) could derail. The most improved actress is Fanning, with a 20.1-point increase from such duds as I Am Sam (34 percent) to critical darlings like Coraline (89 percent). Among directors, the award goes to Ken Loach, the British filmmaker whose reviews went from great in the first half of his career (80 percent) to stunning in the second half (88.1 percent).
For actors it would be interesting to see a similar analysis of box office gross and especially a weighted analysis that takes both critical acclaim and box office gross into account...the RT ratings for many actors are all over the place as they bounce from crappy big gross/paycheck blockbusters to lower grossing/paying critical darlings.
A great collection of behind-the-scenes shots from famous movies. Here's Kubrick and Sellers on the set of Dr. Strangelove:
(via df)
Not from The Onion, folks. Turns out that the reclusive and celebrated director really likes the movie Zoolander.
He is also said to be such a fan of Zoolander, the 2001 send-up of the fashion world, that colleagues say he watches it regularly and likes to quote it. Ben Stiller, the star of the film, once dressed up in character and recorded him a special birthday video message.
Larsson? Fincher? Reznor? Rooney Mara's brief NSFW nipple flash? What's not to like?
I was skeptical about this (and The Social Network) but lesson learned: never doubt David Fincher.
Last month, Steven Soderbergh's list of what he's been watching and reading told us that the director watched Raiders of the Lost Ark in black & white three times in one week, presumably to emphasize the film's structure and cinematography. Flavorwire's Jason Bailey wondered what other films might be better in black & white and compiled a list of ten, with video examples and commentary of each. Included are Raiders, Fargo, and A Christmas Story.
Vic Armstrong just published a memoir about his career as a Hollywood stuntman; the LA Times has an excerpt. Armstrong worked as Harrison Ford's double on all three Indiana Jones films...and no wonder, they look amazingly similar:
The next day we shot the fight around the plane. Harrison and Roach squared up to each other and Harrison threw a punch. "That's great. Moving on," said Steven. Now as a stunt co-ordinator my job is to make sure that, on film, those punches look like they've connected. I was standing looking right over the lens of the camera and in my opinion it was a miss. Now I was stuck between a rock and a hard place because Steven had called it good, but I thought I'd better say something. "Excuse me sir, that was actually a miss." He went, "Oh, you again." I said, "Yeah, sorry, it was a miss." Steven paused briefly. "Well, I thought it was a hit." I said, "No, I was actually looking over the lens and it was a miss, I think." Finally Steven said, "OK, we'll do it again." After that take was completed Steven, sarcastically almost, turned to me and said, "How was that?" I went, "That was good. That was a hit." And we carried on and created a great fight routine. Three days later we were all watching dailies when the shot that I'd said was a miss came on screen. Steven had printed it. The old heart started to go, but sure enough it was a miss and Steven, who was right in front of me, turned round and said, "Good call Vic." I couldn't do much wrong after that, it was great.
(via ★robinsloan)
Theory: Robert Zemeckis intentionally made Back to the Future not as a contemporary film set in the present but as a period piece set in 1985.
Back To The Future is both undeniably timeless (its place in pop culture is beyond question) and incredibly dated (it's very much a product of its time). Interestingly, it's a period piece made in 1985 that depicts 1985 as an era as distant-seeming as its version of 1955. Of course, when Back To The Future was first released, 1985 just looked like "now." It's entirely possible that director Robert Zemeckis and co-writer Bob Gale referenced Ronald Reagan and Eddie Van Halen and dressed Fox's Marty McFly up in a denim jacket and Calvin Klein underwear because they wanted Back To The Future to exist in the same universe as The Breakfast Club, Girls Just Want To Have Fun, and other teen films from 1985. But I'm going to give them way more credit than they probably deserve. I think Zemeckis and Gale knew all the timely accoutrements signifying "the present" in Back To The Future would inevitably look like 1985 within just a couple of years; in fact, they were banking on it. Zemeckis and Gale were trying to create an archetypical representation of 1985 just like they did for 1955, with its soda fountains, social repression, and subjugated black people. In this way, Back To The Future only gets better the further we get from the '80s. Everything that defines Marty McFly-how he walks, talks, acts, and dresses-acts as instantly recognizable shorthand for the year he comes from.
(via ★joanne)
Following on from the Kill Bill section of episode 2 of Everything is a Remix, this video contains what feels like an exhaustive look at the movies that Tarantino referenced in Kill Bill.
(via @kbandersen)
Produced by Peter Jackson and directed by Steven Spielberg, it looks like an all-CGI adventure. I got sort of a Polar Express vibe from the trailer though, which is not encouraging.
(via ★fchimero)
In this version, Tracy Flick tries to buy a car from Mr McAllister.
I bought a box of old VHS tapes at the Farmers Market in Wilmington, DE for $5 on Mothers Day. I had no idea that this working print was included in the box when I purchased it.
(via @kombuchakamp)
Hint: it's not about the Python MVC framework...Django Unchained is Tarantino's spaghetti western.
According to Indiewire, Waltz's character "joins up with former slave Django to save his wife from an evil plantation owner." According to Deadline, Django will reunite Tarantino with Pulp Fiction producer Stacey Sher, and the movie will begin production as soon as this summer or fall.
Christoph Waltz, who was excellent in Inglourious Basterds, and perhaps Will Smith, who was excellent in the Parents Just Don't Understand video, will star.
The Lion King movie recut into a five-minute summary of all five seasons of The Wire.
I almost didn't post this because it dogs on the underrated season 2. (via ★vuokko)
For those of you who are still confused about what happened to whom and in whose mind, here's a 1-minute silent explanation of Inception using only the OS X Finder.
(via stellar)
It's the 70th anniversary of Orson Welles's masterpiece Citizen Kane:
Audacity and genius his trademark, and with a third medium to conquer and transform, Welles didn't think small. With the Mercury players in tow, he enlisted veteran satirist and screenwriter Herman Mankiewicz. Together they crafted a story that began with the death of an enigmatic protagonist, and explored his life through flashbacks told from multiple points of view. As questions are answered, questions are raised. The script ultimately compares a man's life to a jigsaw puzzle missing pieces, and thus impossible to solve. The writers very loosely based the title character of Charles Foster Kane on William Randolph Hearst, thus incurring the newspaper titan's wrath. Welles, Mercury, RKO, and the studio heads endured journalistic scandalmongering, and the film eventually earned a blacklist. Welles would later remark, "If Hearst isn't rightfully careful, I'm going to make a film that's really based on his life."
By coincidence, as related by Welles in his autobiography, he once found himself alone in an elevator with Hearst. It was the night of Citizen Kane's San Francisco premiere, and Welles invited him to the opening. "He didn't answer. And as he was getting off at his floor, I said, 'Charles Foster Kane would have accepted.'"
Everybody talks about the movie's formal innovations, but I wish the content would get more love. As A.O. Scott says, "Citizen Kane shows Welles to be a master of genre. It's a newspaper comedy, a domestic melodrama, a gothic romance, and a historical epic." Pauline Kael said Kane was "more fun than any great movie I can think of."
Citizen Kane is The Beatles of movies, not just because of its universal influence and acclaim, or because it really does live up to the historical hype, but because on top of its arty aspirations, what it really wants to do is entertain the hell out of you.
Also, if you're watching it carefully, the movie's self-reflexiveness hides and reveals a devastating history of media. You've got CFK, accidental heir to a fortune based on "oil wells, gold mines, shipping, and real estate," who trades it all for a communications empire: newspapers, radio stations, paper mills, opera houses, and grocery stores, only to be pushed to the margins after a failed political run in favor of the next generation: magazines and movies, the trade of the newsreel producers who try to track down the labyrinthine origin of "Rosebud."
The whole movie's about trying to invent something from nothing, about pretenses to real value, and how that whole house of cards tumbles apart. Eventually you've just got a giant room, where you can't tell the art from the jigsaw puzzles, the childhood heirlooms from the tchotchke snowglobes. Everything propping up value disintegrates. (That's what Kane figures out at the end, by the way, not that he misses his sled or his mom.)
As Borges wrote, it's a metaphysical detective story that leads us to a labyrinth with no center. All that's left is paper, just kindling for the fire.
After yesterday's post on Ghostbusters ("Don't cross the streams"), I got hit with a few follow-ups worth following up:
I particularly like Simmons's note about college basketball (maybe even more relevant today):
College hoops meant something in '84. You stayed home on Monday nights to watch the Big East. You knew the players because they had been around for years. And since guys stuck around, you could follow Ewing and Georgetown, Hakeem and Phi Slamma Jamma, Mullin and St. John's, Pearl and Syracuse, MJ at UNC . . . these were like pro teams on a smaller scale. I'm telling you, a Georgetown-St. John's game in the middle of February was an event. These moments aren't even possibilities anymore. They're gone.
My favorite document of 1984 (sports or otherwise) is undoubtedly Sparky Anderson's Bless You Boys, his running diary/memoir of the Detroit Tigers' amazing season that year. It's about baseball, but so many other things -- life, death, perspective. I wrote about it last year for The Idler when Sparky Anderson passed away.
One last "what if?" note from Simmons:
Rolling Stone was offered the chance to buy MTV, and Sports Illustrated was offered the chance to buy ESPN. Both magazines decided against it.
Talk about crossing the streams.
Rick Moranis wasn't supposed to be in Ghostbusters:
John Candy was the first choice for the part of Sigourney Weaver's dweeby neighbor Louis. Candy was interested, but he wanted his character to speak with a German accent and own several large dogs.
Neither were Ernie Hudson or Bill Murray. Dan Aykroyd wrote Peter Venkman for John Belushi, then rewrote it for Murray after Belushi died. I can't even imagine how that would have worked.
(Actually, I don't know if I can easily substitute any other actor for Bill Murray in any of his roles. That might be an imaginative blind spot for me.)
Likewise Paul Reubens (pre-Pee Wee Herman) was originally slated to play the demonic Gozer, as a straight-laced architect in a business suit.
As for Ernie Hudson's Winston:
Eddie Murphy was offered the part of Winston Zeddemore, which was intended to be a much larger character at the time. The plan was for Zeddemore to have been hired as a Ghostbuster much earlier in the movie, and in the scene at the hotel, he would have been the one covered in green slime by the ghost Slimer, instead of Bill Murray.
Murphy's reaction to getting slimed would have been priceless, but going for the lead in Beverly Hills Cop rather than teaming up with Aykroyd again was a great call. It probably all worked out for the best.
In fact, between Ghostbusters, Beverly Hills Cop, and Sixteen Candles, you could make a case that 1984 was the biggest/most important year in modern cinematic comedy. Even Police Academy, Gremlins, Splash, and Romancing the Stone were huge that year, even though I don't like those movies so much.
Freaks and Geeks creator and Bridesmaids director Paul Feig talks about his collaborator Judd Apatow's audience-driven approach to editing movies:
Judd actually has this whole thing they do with side-by-side screenings at two theaters right next door to each other and do a "P" version, which is a polished version, which is the one we think is close to what we want to have be our final cut. And then another one called the "E" version, the extended version, which is the dumping ground for everything we think might work, or we wanted to try, or we're just curious if it's gonna work. And out of all of those screenings, you'll always get about five or 10 new things that you didn't think were ever gonna work that go through the roof and you plug 'em into the polished one...
We'll always keep in a couple of jokes, just for ourselves. Then you go, "Okay, if it doesn't work, whatever. This is kinda for us." But none of us are brave enough to wait that long to see if it works because you want to have something that you know is clicking with an audience.
A lot of filmmakers will hate hearing that. To them, that feels very hacky, But the audience are the ones that are going to come and pay the money and they're the ones who are going tell their friends if it's good or not. I didn't get in the business, and Judd didn't get in the business, to make stuff that nobody sees. I've made a career making stuff that nobody sees, so anything that I can do to help make something that people are going to enjoy and want to see over and over again, then I'm there.
Feig also has an interesting take on the continued love for Freaks and Geeks: in 2000, when the show was cancelled, cancellation for a single show was pretty much total death. If there weren't enough episodes for syndication, it would only linger on through word of mouth and the occasional samizdat VHS tape.
[Feig:] The British model, which I've always thought was great, is that you do a TV show and then they sell it. Then you can buy it at the video stores forever, so it never went away. But American TV used to be if you had a show and it got cancelled, then it never existed.
DVDs changed the culture. It's not really a "cult hit" in the same way if you can just Netflix the entire run. Now, single-season shows like Freaks and Geeks can be sold and rewatched and lent out, and play out for their fans over and over again like long, favorite movies. And they don't need their A/V teacher to have a copy of the film reel to do it.
Kenneth Branagh seemed like an odd fit to direct Thor, but he makes a solid case here about the affinities between Shakespeare, comics, and our love of all things larger-than-life:
We've just seen about two billion people watch a royal family at work, you know? And so I would say that it is Shakespearean, but it's also global, I suppose. That we're interested in what goes on in the corridors of power whether it's the White House or whether it's Buckingham Palace. And so Shakespeare was interested in the lives of the medieval royal families, but he also raided the Roman myths and the Greek myths for the same purpose. And I think Stan Lee went to the myths that Shakespeare hadn't used. You know, [they both] recognized that they contain briefly told, very condensed stories that I think are very universal in their application.
I think the connection, if there is one, is that the stakes are high. So in something like Henry IV or Henry V, where the young prince is a reckless man who falls into bad company: could that prince be the king? [In Thor], our flawed hero who must earn the right to be king, but I think what's key is the stakes. There it's Europe and England in power and here it's the universe. It's when that family has problems everybody else is affected, so if Thor throws a fit and is yelling at his father and is banished, suddenly the worlds are unstable. And what it means is if the actors take those stakes seriously it is passionate and it is, you know, very intense. And I suppose that kind of a observation of ordinary human - although they're gods - frailties in people in positions of power is an obsession of great storytellers including Shakespeare and including the Marvel universe.
Thor's story -- especially early on -- really is a lot like Prince Hal's, now that I think of it. Guy's even got his own Falstaff: dude is named Volstagg, which now seems almost too on-the nose.
Finally, have you seen Branagh's Henry V?
Guy knows how to make old-school battle cinematically work.
The Paris Review's John Jeremiah Sullivan interviews filmmaker Werner Herzog and archeologist Jan Simek about cave paintings in the south of France (subject of Herzog's new 3-D documentary) and middle Tennessee (Simek's area of expertise):
SULLIVANOn the subject of the lighting in this film, Dr. Simek, you made an observation, which is that the light tends to be in motion ...JAN SIMEKThe light never rests. Every time he changes the picture, it goes through a light sweep. The film is clearly concerned with how the moving light causes the images themselves to change. This is not inaccurate at all. The original impression that this artwork made was in some ways dictated by how it got lit by the people who made it, with torchlight.HERZOGWhat we did was very simple: we walked with the light, so that the source of light would make the shadows move slightly, like curtains of darkness rising. Or, for example, a fade-out would be done by just physically removing the light. So it was never a purely technical thing; it was always something human, as if somebody with torchlight were just leaving or coming in.
When you try to imagine how these images looked for Paleolithic people, in the flickering shadows, the animals must have been moving, must have had a strange life in them.
I was also struck by Herzog's reaction to Sullivan's observation that Cave of Forgotten Dreams largely departs from the heroic-discovery mode common to movies about cave explorers:
I'm suspicious of that notion of adventure. It belongs to earlier centuries, and somehow fizzled away with, let's say, the exploration of the North and South Poles, which was only a media ego trip, unhealthy and unwise, on the part of some individuals. The Polar explorations were a huge mistake of the human race, an indication that the twentieth century was a mistake in its entirety. They are one of the indicators.
While researching a story I wrote not too long ago about spaceflight and radio communications, I was surprised at how central the polar expeditions were to that story:
In 1929, Richard E. Byrd made history -- not for reaching the South Pole, but for bringing on his Antarctic expedition 24 radio transmitters, 31 receivers, five radio engineers, three airplanes and an aerial camera. Unlike Ernest Shackleton's trans-Antarctic expedition, who 15 years earlier spent 17 months fighting for their lives after being trapped in the polar ice, Byrd's team was able to stay in constant communication with each other and with the outside world. It was the beginning of modern technology-aided exploration, and arguably the model for human spaceflight.
Also, I think Werner Herzog may be the only living human being who is still allowed to say things like "the twentieth century was a mistake in its entirety" in semi-casual conversation. The rest of us lack the prerequisite voice, record of achievements, and enormous balls.
Stanley Kubrick's unfinished Napoleon project was supposed to be (in Kubrick's words) "the greatest film ever made." At the meticulous-yet-epic scale Kubrick imagined it -- think 30,000 real troops (from Romanian and Lithuanian Cold-War-armies) in authentic costume on location as extras for the battle scenes -- it was unfilmable.
So instead of the film, we have Kubrick's gigantic preproduction archive of notes and drawings and photographs, which (on top of the complete screenplay and drafts for the movie) is one of the largest scholarship-grade Napoleonic archives in the world.
Two years ago, Taschen put out a ten-volume de luxe edition of this material that cost $1500, which was by all accounts definitely awesome, but so expensive and unwieldy I don't think even Kubrick superfan John Gruber bought it.
Now there's a one-volume, 1100-page edition that lists at $70 but is running for $44 at Amazon. Brainiac's Josh Rothman breaks it down:
The book, in a deliberate echo of the film, is rough around the edges. Rather than providing a seamless, synthesized account of Kubrick's vision, the editor, Alison Castle, has focused on the raw materials: the photographs, clippings, letters, and notes that Kubrick kept in binders and a huge, library-style card catalog. There are interviews with Kubrick, and a complete draft of the screenplay, with many marked-up pages from earlier drafts. Here and there you'll find introductory essays by Kubrick experts, or a historian's response to Kubrick's screenplay -- but the emphasis is on the small gestures, as in the collection of underlined passages and marginal notes that Castle compiles from Kubrick's personal library of books about the emperor. A special 'key card' included with the book gives you access to a huge online library of images.
While I was wondering how/if we'd remember Kubrick differently if the Napoleon movie had come together, I came across this snappy transition from Kubrick's Wikipedia page:
After 2001, Kubrick initially attempted to make a film about the life of Napoleon Bonaparte. When financing fell through, Kubrick went looking for a project that he could film quickly on a small budget. He eventually settled on A Clockwork Orange (1971).
If there was a Star Wars version of Coachella, some of the bands playing at the festival would be called Kessel Run DMC, Guided by Millions of Voices That Suddenly Cried Out in Terror and Were Suddenly Silenced, and C-3PO Speedwagon.
Starting April 29, the IFC Center in NYC will start showing Werner Herzog's Cave of Forgotten Dreams in 3-D. A refresher on the film:
The visionary director of Grizzly Man leads us on an unforgettable journey 32,000 years back in time to explore the earliest known images made by human hands. Discovered in 1994, France's Chauvet caves contain the rarest of the world's historic treasures, restricted to only a handful of researchers. Granted once-in-a-lifetime access and filming in 3D, Herzog captures the beauty of a truly awe-inspiring place, while musing in his inimitable fashion about its original inhabitants, the birth of art and the curious people surrounding the caves today.
Herzog first heard of the Chauvet caves from this Judith Thurman piece in the New Yorker.
Stanley Kubrick's first feature-length film was called Fear and Desire and copies of it are hard to come by these days -- very few prints exist and it is unavailable on DVD or even VHS. But there's a copy available on Google Video, billed as "the most uncut print" available.
(via ★joanne)
Update: The film is available on DVD at Elusive DVD. (via @unknownpenguin)
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