We have to be very clever about those things. You have to remember that it’s only a few hundred years, if that much, that artists are working with money. Artists never got money. Artists had a patron, either the leader of the state or the duke of Weimar or somewhere, or the church, the pope. Or they had another job. I have another job. I make films. No one tells me what to do. But I make the money in the wine industry. You work another job and get up at five in the morning and write your script.
This idea of Metallica or some rock n’ roll singer being rich, that’s not necessarily going to happen anymore. Because, as we enter into a new age, maybe art will be free. Maybe the students are right. They should be able to download music and movies. I’m going to be shot for saying this. But who said art has to cost money? And therefore, who says artists have to make money?
In the old days, 200 years ago, if you were a composer, the only way you could make money was to travel with the orchestra and be the conductor, because then you’d be paid as a musician. There was no recording. There were no record royalties. So I would say, “Try to disconnect the idea of cinema with the idea of making a living and money.” Because there are ways around it.
Continuing the trend from the last couple years, fewer screeners are leaking online by nomination day than ever. Last year at this time, only 41% of screeners leaked online; this year, that number drops again slightly to 38%.
But if you include retail DVD releases along with screeners, 66% of this year’s nominated films have already leaked online in high quality. This makes sense; if a retail DVD release is already available, there’s no point in leaking the screener. But I think it’s safe to say that industry efforts to watermark screeners and prosecute leaks by members have almost certainly contributed to the decline.
The problem with using 3-D for feature-length films is not so much the technology or its lack of contribution to the storytelling, it’s that human eyes were not designed to focus and converge on images at two different distances. Walter Murch, the legendary sound designer and editor, explains in a note to Roger Ebert:
The biggest problem with 3D, though, is the “convergence/focus” issue. A couple of the other issues — darkness and “smallness” — are at least theoretically solvable. But the deeper problem is that the audience must focus their eyes at the plane of the screen — say it is 80 feet away. This is constant no matter what.
But their eyes must converge at perhaps 10 feet away, then 60 feet, then 120 feet, and so on, depending on what the illusion is. So 3D films require us to focus at one distance and converge at another. And 600 million years of evolution has never presented this problem before. All living things with eyes have always focussed and converged at the same point.
The Other Side of the Wind portrays the last hours of an ageing film director. Welles is said to have told John Huston, who plays the lead role: “It’s about a bastard director… full of himself, who catches people and creates and destroys them. It’s about us, John.”
[This is a hoax. Sorry to get your hopes up/down. thx, @kimberlyp] According to a report at Ain’t It Cool News, Keanu Reeves said that he met with the Wachowskis and that they are working on a “script treatment” for a fourth and fifth Matrix movies that would feature Reeves as Neo.
Says he met the Wachowski’s (no emphasis on the word brothers), for lunch over Christmas and stated that they had completed work on a two picture script treatment that would see him return to the world of the matrix as Neo. Says the brothers have met with Jim Cameron to discuss the pro’s and con’s of 3D and are looking to deliver something which has never been seen again. keanu stated that he still has an obligation to the fans to deliver a movie worthy of the title “The Matrix” and he swears this time that the treatment will truly revolutionise the action genre like the first movie. Wachowski’s are working on a movie called “Cloud Atlas” at the moment, once that concludes they will talk again.
And also, there’s talk of a Bill & Ted 3. Take a few minutes to let all that sink in before continuing with your day.
In addition to sculpture, Richard Serra makes films. This is Serra’s first film from 1968, featuring a hand’s repeated attempts to catch pieces of lead.
Watching just 20 seconds made me surprisingly anxious. (via sippey, i think)
Documentary filmmaker Doug Block popped up on the internet’s radar with the release of Home Page in 1998. In 2005, he released the excellent 51 Birch Street, a film about his family.
51 Birch Street is the first-person account of a family’s unpredictable journey through dramatic life-changing events. Having observed most of his parents’ 54-year marriage, Doug Block believed it to be quite a good one. A few months after his mother’s sudden death from pneumonia, Doug Block’s 83-year old father, Mike, calls him to announce that he’s moving to Florida to live with “Kitty”, his secretary from 40 years before. Always close to his mother and equally distant from his father, Doug and his two older sisters were shocked and suspicious. How long had Kitty been an intimate part of their father’s life, they wondered.
Block’s latest film also deals with his family. The Kids Grow Up is about his relationship with his only daughter Lucy as she prepares to leave for college.
‘Just think,” says Doug Block’s wife, Marjorie, while he trains his camera on her, “when she works all this through in therapy she can take the footage with her. Her therapist won’t have to imagine what you were like.” Block, a documentary-maker, filmed their daughter Lucy’s final year at high school — interspersed with footage of her over the years. His film, The Kids Grow Up, is ostensibly about how a father copes with the prospect of his cherished only child leaving home to go to college. But there is lots more here. It is about his own childhood - “I was a lousy parent in the main,” admits Block’s elderly, ailing father — and about what it means to be a modern dad (friend or father?). It is about the passage of time,and Block’s inability to let go of the past and grow up, as his wife — ever the voice of reason — puts it during one of their filmed interviews.
How does Block get out of accepting that he has become a grandfather when his stepson and his wife have a baby? By insisting on being called Uncle Doug. “Pathetic,” Marjorie says with a smile and a shake of the head.
They told me I have two minutes. I’m going to pop this Red Hot [candy, pops in mouth] so I’ll be finished in two minutes [mumbling with candy in mouth]. Why do you give this award? Why? Because you have to throw a party. Because you have to compete with the Golden Globes. [Cheers.] We all asked that question. You’re able to get out tonight, celebrate - without your relatives - you earned, you deserve it.
But why do you give it to Sofia Coppola? Why? Because you want to encourage her, I think. I think that’s the real reason. Look at her. Look at her! She comes from a family, mother and father both very successful, creating entertainments, amusements and thought-provoking work. She wrote a spec script for The Virgin Suicides. The ambition of these young people! Can you believe it? The ambition! She got the job as the director. She directed Lost in Translation in another country in another language, and got a prize for it. [Pause.] God, this is a hot, hot Red Hot. But I’m not going to quit on you people, because I’ve got another half in my pocket. [Pulls out of pocket and puts in mouth.] I got one-and-a-half in my mouth right now. [Mumbling.]
And the whole bit about life and success and freedom derailing careers and creative work is just spot on gold. (thx, david)
PBS is airing a documentary about Jeff Bridges tonight called Jeff Bridges: The Dude Abides. In a short clip from the episode, Bridges visits a The Big Lebowski memorabilia store called The Little Lebowski. Watch the cashier’s mind explode as he recognizes who just walked into his store.
And I love how he calls Joel and Ethan “The Brothers”. (via devour)
A long photo essay on the hallways and corridors of science fiction movies and television.
Alien started the kind of corridor-fetishism in screen sci-fi that Kubrick had failed to start with 2001: A Space Oddyssey, since the latter film was so visionary and expensive that practically no-one could even attempt to imitate it.
Instead Roger Christian got inventive with his lower budget and strip-mined an aircraft graveyard, strewing Alien’s Nostromo with sections and detailing from WWII bombers. This usage of full-sized ‘nurnies’ followed the long-established visual effects practice of cannibalising parts from model kits (most especially WWII tanks and destroyers) in order to provide ready-made detailing without resort to custom-crafting and vacuum-forming every last valve and pipe. By the time the 1980s set in, Alien’s strip-mined tech was practically de rigeur for screen sci-fi…
No, not Reservoir Dogs. It’s called My Best Friend’s Birthday, which he made for $5000 in 1987. Here’s the surviving 36 minutes of footage; the rest was destroyed in a fire.
Some of the ideas and material in this film would be recycled for the Tarantino-penned True Romance screenplay. (via sly oyster)
“Rosebud.” The most famous word in the history of cinema. It explains everything, and nothing. Who, for that matter, actually heard Charles Foster Kane say it before he died? The butler says, late in the film, that he did. But Kane seems to be alone when he dies, and the reflection on the shard of glass from the broken paperweight shows the nurse entering the room. Gossip has it that the screenwriter, Herman Mankiewicz, used “rosebud” as an inside joke, because as a friend of Hearst’s mistress, Marion Davies, he knew “rosebud” was the old man’s pet name for the most intimate part of her anatomy.
Vivian Maier’s photographs were seemingly destined for obscurity, lost among the clutter of the countless objects she’d collected throughout her life. Instead these images have shocked the world of street photography and irrevocably changed the life of the man who brought them to the public eye. This film brings to life the improbable saga of John Maloof’s discovery of Vivian Maier. Along with her documentary films, photographs, odd collections, and accounts from people who knew her, we take you on the journey of ‘Finding Vivian Maier’.
Well, maybe. According to the LA Times, the pair are pitching a film around that Kaufman will write and Jonze will direct.
The pair are pitching a new movie. While the plot is being kept under tight wraps — it’s a pitch, so a script has yet to be written, and Kaufman movies are famously hard to describe in a few sentences anyway — two people familiar with the project said it has been making the rounds to independent financiers in recent weeks.
If it moves forward, the film would reunite the pair in the roles that vaulted them to fame for the first time since “Adaptation” in 2002.
Some gloriously crazy person took clips from 270 films that were out in 2010 and mixed them together into a coherent narrative:
This year’s movies have legitimately transformed my idea of what is creatively possible. To commemorate, I’ve remixed 270 of them into one giant ass video.
The Inception iPhone app takes the music from the movie and remixes it with the sounds around you (office chatter, street noise, etc.).
Inception The App transports Inception The Movie straight into your life. New dreams can be unlocked in many ways, for example by walking, being in a quiet room, while traveling or when the sun shines. You will get realtime musical experiences, featuring new and exclusive music from the Inception soundtrack composed by Hans Zimmer.
Bad: I can hear the people in the office talking, which is the precise thing I’m attempting to prevent by wearing headphones.
Favorite Tumblr of the week: Fake Criterions, featuring mockups of Criterion films that would never get made. For example:
Note: a surprising non-fake Criterion is Michael Bay’s Armageddon. Well, it does feature Steve Buscemi and Oscar winners Billy Bob Thornton and Ben Affleck. (thx, george)
Somehow a Norwegian television station got a bunch of 80s celebrities — people like Norm from Cheers, Tiffany, Malcolm Jamal Warner, Ricki Lake, Eddie the Eagle, Tanya Harding, Dolph Lundgren, Bananarama, Manuel from Fawlty Towers, etc. etc. — to do promotional music videos for an 80s nostalgia show and the results are nothing less than a supertrainwreck. First they did “We Are the World”:
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