Lovely illustrated Wes Anderson postcards
Brooklyn-based illustrator and design Mark Dingo made these postcards based on Wes Anderson’s films, one for each movie. (via @timothy_schuler)
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kottke.org posts about movies
The cinematic influences of Beyonce’s Lemonade
From Nelson Carvajal, an examination of the visual influences of Beyonce’s Lemonade visual album, from Pipilotti Rist to Terrence Malick to David Lynch.
The biggest influence present in Lemonade, is that of the great Terrence Malick. Imagery from his films To The Wonder and The Tree of Life (in particular a standout sequence involving a bedroom underwater) definitely inspired a lot of the overall tone of introspection and spiritual reflection that Beyoncé is striving for here. One of Lemonade’s directors, Kahlil Joseph, shot B-roll on Malick’s To The Wonder, so the impressionistic style of filmmaking has obviously carried over.
See also What to read after watching Beyoncé’s ‘Lemonade’.
How to end a movie
Using 12 Angry Men, Psycho, The Godfather, and Gone Girl as examples, this video shows several different ways to end a movie. And so, spoilers.
Snowden
Joseph Gordon-Levitt plays Edward Snowden in this film directed by Oliver Stone. I was not at all curious about seeing this, but after watching the trailer, I may give it a shot. See also Citizenfour (which was excellent).
The World According to Star Wars
In The World According to Star Wars, Cass Sunstein explores the philosophy and life lessons of Star Wars.
In this fun, erudite and often moving book, Cass R. Sunstein explores the lessons of Star Wars as they relate to childhood, fathers, the Dark Side, rebellion, and redemption. As it turns out, Star Wars also has a lot to teach us about constitutional law, economics, and political uprisings.
Update: Sunstein, who is a professor at Harvard Law School, gave the commencement address last year at Penn Law. He starts off, dryly: “Graduates, faculty, family, friends, our topic today is Star Wars.”
(via @EmilyBrenn)
The Founder
The Founder is about the early years of McDonald’s and how Ray Kroc (played by Michael Keaton) came to gain control of the company. The official McDonald’s corporate history glosses over the events of the film in a few sentences:
In 1954, he visited a restaurant in San Bernardino, California that had purchased several Multi-mixers. There he found a small but successful restaurant run by brothers Dick and Mac McDonald, and was stunned by the effectiveness of their operation. They produced a limited menu, concentrating on just a few items-burgers, fries and beverages-which allowed them to focus on quality and quick service.
Kroc pitched his vision of creating McDonald’s restaurants all over the U.S. to the brothers. In 1955, he founded McDonald’s System, Inc., a predecessor of the McDonald’s Corporation, and six years later bought the exclusive rights to the McDonald’s name. By 1958, McDonald’s had sold its 100 millionth hamburger.
Kroc’s Wikipedia entry provides more flavor:
The agreement was a handshake with split agreement between the parties because Kroc insisted that he could not show the royalty to the investors he had lined up to capitalize his purchase. At the closing table, Kroc became annoyed that the brothers would not transfer to him the real estate and rights to the original unit. The brothers had told Kroc that they were giving the operation, property and all, to the founding employees. Kroc closed the transaction, then refused to acknowledge the royalty portion of the agreement because it wasn’t in writing. The McDonald brothers consistently told Kroc that he could make changes to things like the original blueprint (building codes were different in Illinois than in California), but despite Ray’s pleas, the brothers never sent any formal letters which legally allowed the changes in the chain. Kroc also opened a new McDonald’s restaurant near the McDonald’s (now renamed “The Big M” as they had neglected to retain rights to the name) to force it out of business.
See also some early McDonald’s menus.
Pele: Birth of a Legend
Pele: Birth of a Legend is a biopic about the rise of Pele, the Brazilian footballer. It was written and directed by Jeff and Michael Zimbalist, who also directed The Two Escobars, an excellent 30 for 30 film about Colombian drug lord Pablo Escobar and Colombian footballer Andres Escobar. (via @ivanski)
The Birth of a Nation
Written, produced, and directed by Nate Parker, The Birth of a Nation is a film about Nat Turner, the man who led a slave rebellion in Virginia in 1831. The movie won both the Audience Award and Grand Jury Prize at Sundance this year and will be out in theaters in October.
P.S. If the name of the movie sounds familiar, it was deliberately given the same name as D.W. Griffith’s 1915 silent film, which dramatized the formation of the Ku Klux Klan. In an interview, Parker said:
When I endeavored to make this film, I did so with the specific intent of exploring America through the context of identity. So much of the racial injustices we endure today in America are symptomatic of a greater sickness - one we have been systematically conditioned to ignore. From sanitized truths about our forefathers to mis-education regarding this country’s dark days of slavery, we have refused to honestly confront the many afflictions of our past. This disease of denial has served as a massive stumbling block on our way to healing from those wounds. Addressing Griffith’s Birth of a Nation is one of the many steps necessary in treating this disease. Griffith’s film relied heavily on racist propaganda to evoke fear and desperation as a tool to solidify white supremacy as the lifeblood of American sustenance. Not only did this film motivate the massive resurgence of the terror group the Ku Klux Klan and the carnage exacted against people of African descent, it served as the foundation of the film industry we know today.
I’ve reclaimed this title and re-purposed it as a tool to challenge racism and white supremacy in America, to inspire a riotous disposition toward any and all injustice in this country (and abroad) and to promote the kind of honest confrontation that will galvanize our society toward healing and sustained systemic change.
(via trailer town)
Amazon now offering monthly Prime subscriptions
Amazon is now offering the ability to subscribe to Prime and Prime Video monthly rather than just yearly. Prime Video is $8.99/mo (Netflix is going up to $9.99/mo soon) and the full Prime offering is $10.99/mo. A year of Prime is still $99.
In Prime Video, Amazon has built a worthy competitor to Netflix. And it actually might be better at this point. The stable of impressive Netflix originals aside (which Amazon is also doing *cough* Transparent *cough* best show in years), Amazon allows you to rent/buy digital movies not available for free streaming1, provides discounts for subscriptions to Showtime and Starz, and (if you opt for the full Prime) offers free shipping on most stuff in the store (as well as other benefits.) I sub to both services, but if I had to make a choice right now, I’d probably stick with Amazon.
What Amazon should do, to really sweeten the deal (if the movie studios would allow such a thing), is offer Prime-only discounts on renting and buying digital movies and shows. So not only would you get a bunch of free streaming movies, you can rent new-to-video movies, and they’re cheaper than at iTunes. That’s something that Netflix can’t offer right now. I wonder if they’ll add a digital video store to their offering to compete?↩
For the Love of Spock
For the Love of Spock is a documentary about Leonard Nimoy and the beloved character he played on Star Trek. Nimoy’s son Adam is the director, the film was funded with the help of Kickstarter, and is playing at the Tribeca Film Festival this weekend (with special guest appearance by Zachary Quinto).
The inadvertent cinematography of police body cameras
Body cameras, dashboard cams, and bystander videos all offer different views of police officers doing their jobs, which underscores the importance of perspective in skewing our perceptions of what’s happening. For instance, body cams can tend to put you in the shoes of the wearer.
These details were not captured by the police body camera, though, revealing another important point: Body cameras prioritize the officer’s point of view.
“When video allows us to look through someone’s eyes, we tend to adopt an interpretation that favors that person,” Professor Stoughton said, explaining a psychological phenomenon known as “camera perspective bias.”
Thanks to Reed for sending me the link and pointing out the connection to how film directors use the camera to tell stories effectively:
The importance of composition in cinematic storytelling and “What a film director really directs is the audience’s attention.” What are these law enforcement surveillance cameras inadvertently directing our attention to?
The making of Zootopia
From Fusion, a 45-minute documentary about the making of Zootopia.
Fusion spent two years with the production team of Disney’s smash hit film. In ‘Imagining Zootopia,’ you will travel with the team to Africa to explore the animals in their natural habitat and find out how the storytellers and animators dealt with the very real themes of prejudice and bias.
I found this via Khoi Vinh, who writes:
A lot of careful thought went into how to render the emotional truth behind experiencing racism, and the documentary takes a detailed look at the filmmakers grappling with that. However, it also betrays one of the unfortunate truths of the production; the movie is commendably bold about addressing prejudice, but it’s evident from watching the documentary that of the five-hundred plus people who contributed to the film, hardly any were non-white, and even fewer were African-American.
For a criticism of Zootopia’s racial allegory, read Devin Faraci’s A Muddled Mess of Racial Messaging… And Cute Animals.
Charles Dickens, Star Wars, and the genre of serialization
In a new video, Even Puschak talks about the rise of the serialization genre, from Dickens to Flash Gordon to General Hospital to Star Wars. Now that our entertainment is increasingly serialized, he argues that audiences have a unique opportunity to shape what we watch. (Case in point: the increased importance of non-white and non-male characters in The Force Awakens and Rogue One.)
Further reading: Wired’s You Won’t Live to See the Final Star Wars Movie, which I’ve thought about almost every week since I read it.
Everywhere, studio suits are recruiting creatives who can weave characters and story lines into decades-spanning tapestries of prequels, side-quels, TV shows, games, toys, and so on. Brand awareness goes through the roof; audiences get a steady, soothing mainline drip of familiar characters.
Forget the business implications for a moment, though. The shared universe represents something rare in Hollywood: a new idea. It evolved from the narrative techniques not of auteur or blockbuster films but of comic books and TV, and porting that model over isn’t easy. It needs different kinds of writers and directors and a different way of looking at the structure of storytelling itself. Marvel prototyped the process; Lucasfilm is trying to industrialize it.
And Puschak recommends Consuming Pleasures by Jennifer Hayward.
Ranging from installment novels, mysteries, and detective fiction of the 1800s to the television and movie series, comics, and advertisements of the twentieth century, serials are loosely linked by what may be called “family resemblances.” These traits include intertwined subplots, diverse casts of characters, dramatic plot reversals, suspense, an such narrative devices as long-lost family members and evil twins. Hayward chooses four texts to represent the evolution of serial fiction as a genre and to analyze the peculiar draw that serials have upon their audiences: Dickens’s novel Our Mutual Friend, Milton Canif’s comic strip Terry and the Pirates, and the soap operas All My Children and One Life to Live. Hayward argues that serial audiences have developed active strategies of consumption, such as collaborative reading and attempts to shape the production process. In this way fans have forced serial producers to acknowledge the power of the audience.
All this makes me realize that I’ve often thought of kottke.org as a serial. The “family resemblances” amongst all my posts might be difficult to see sometimes, but it’s there most of the time. In my mind, at least.
An Honest Liar
A few days ago, I watched An Honest Liar, a documentary about the magician and charlatan-debunker The Amazing Randi. I had forgotten that in the 70s and 80s in America, belief in psychics like Uri Geller, faith healers like Peter Popoff, extraterrestrial abductions, and the like was not all that far from the mainstream. Such events and people were covered in newspapers, on the evening news, and featured on talk shows, including The Tonight Show with Johnny Carson.
The media is awash in pieces attempting to explain the success of the Presidential campaign of Donald Trump. Many are puzzled…how could this happen in America!? After watching Randi debunking hoaxes, I’m no longer surprised at Trump’s success. Maria Konnikova, author of a recent book on scams and cons, wrote about Trump and con artists for the New Yorker.
A line, thin but perceptible, divides even egregious liars from confidence men. People deceive one another for all sorts of reasons: they might lie to stay out of trouble, for example, or to make themselves seem more interesting, or to urge a business deal toward its consummation. David Maurer, a linguist turned historian of the con, said, “If confidence men operate outside the law, it must be remembered that they are not much further outside than many of our pillars of society who go under names less sinister.” Still, there is a meaningful difference between an ordinary liar and a con artist. A grifter takes advantage of a person’s confidence for his own specific ends — ends that are often unknowable to the victim and unrelated to the business at hand. He willfully deceives a mark into handing over his trust under false pretenses. He has a plan. What ultimately sets con artists apart is their intent. To figure out if someone is a con artist, one needs to ask two questions. First, is their deception knowing, malicious, and directed, ultimately, toward their own personal gain? Second, is the con a means to an end unrelated to the substance of the scheme itself?
She doesn’t express an opinion on whether Trump is a con artist — it’s difficult to tell without knowing his intent — but it’s clear that like Uri Geller and Peter Popoff, Trump is adept at making people believe what he is saying without a lot of hard evidence. Like The Amazing Randi said in the movie: “no matter how smart or well educated you are, you can be deceived.” Hopefully, like Geller, Popoff, and UFOs eventually did, the idea of Trump as a viable candidate for President will soon disappear back into the fringes of American discourse.
Koyaanisqatsi Trailer Recreated Using Stock Footage
Koyannistocksi is a shot-by-shot remake of the trailer for Godfrey Reggio’s Koyaanisqatsi using only stock footage.
A testament to Reggio’s influence on contemporary motion photography, and the appropriation of his aesthetic by others for commercial means.
(via @waxpancake)
First draft of Boogie Nights script rejected
When P.T. Anderson submitted the first draft of his script for Boogie Nights, the studio didn’t think too much of it.
Boogie Nights is one of my favorite films. I’m glad Anderson stuck with it.
Rogue One: A Star Wars Story
The trailer for the first “Star Wars Story” has dropped.1 Rogue One is about how the Rebellion stole the plans for the Death Star before the events of A New Hope. Don’t read the comments on YouTube…there’s whining about how the protagonist is a woman and the cast is diverse. :(
“A Star Wars Story”…that’s a bit of a hamfisted name. Regardless, there are two other “Story” films planned so far that focus on Han Solo (pre-Hope) and Boba Fett (pre-Empire).↩
An honest trailer for The Force Awakens
They go hard on the rhymes with A New Hope angle. I LOL’d when they called JJ Abrams “diet Spielberg”.
BB-8 will watch Star Wars with you
Star Wars: The Force Awakens is now out on Blu-ray and digital download. If you have Sphero’s BB-8 toy, you can have BB-8 watch the movie with you and react to what’s going on on-screen. Here’s BB-8 reacting to seeing the Millennium Falcon for the first time in the movie:
That’s pretty cute. But I kinda wish it worked for any Star Wars movie. Or any movie period…like a Mystery Science Theater 3000 just with BB-8 reactions. (via nerdist)
Top 100 pre-kill one-liners
Not sure if you’ve noticed this, but actors in movies like to say cool things before they kill people. Here are 100 of those one-liners, from “say hello to my little friend” to “happy trails, Hans” to “dodge this”.
Documentary on chess champion Magnus Carlsen
Using behind-the-scenes footage shot over the past decade, Magnus is a feature-length documentary about reigning world chess champion Magnus Carlsen.
From a young age Magnus Carlsen had aspirations of becoming a champion chess player. While many players seek out an intensely rigid environment to hone their skills, Magnus’ brilliance shines brightest when surrounded by his loving and supportive family. Through an extensive amount of archival footage and home movies, director Benjamin Ree reveals this young man’s unusual and rapid trajectory to the pinnacle of the chess world. This film allows the audience to not only peek inside this isolated community but also witness the maturation of a modern genius.
Dr. Strangelove joins the Criterion Collection
The Criterion Collection is coming out with a Blu-ray version of Stanley Kubrick’s Dr. Strangelove, Or: How I Learned to Stop Worrying and Love the Bomb. Features include a restored 4K digital transfer and a bunch of interviews and short documentaries about the film. Strangelove is one of my top two favorite films of all time. (via df)
Visual evidence that The Force Awakens is an homage to Star Wars
One of the things that a number of people commented on after seeing The Force Awakens (including me) was that the movie seemed to be a remix or an homage to the original Star Wars.
With The Force Awakens, JJ Abrams did the same thing, but instead of pulling from Flash Gordon and Kurosawa like Lucas did, he pulled from what he grew up with as a kid and in film school…Star Wars and Spielberg. In a way, The Force Awakens is a reboot of the original 1977 Star Wars, similar plot and all. And even if it isn’t a true reboot, it sure does rhyme.
Although some of the comparisons are a stretch, this video does a nice job highlighting the visual similarities of the two movies.
Related: Kenji Lopez-Alt took off his food nerd hat for a second and donned his Star Wars nerd hat with this piece at Medium: Rey is a Palpatine.
Wii music turns Koyaanisqatsi jaunty
Koyaanisqatsi isn’t quite as haunting if you replace Philip Glass with the music from the Wii Shop Channel. pic.twitter.com/PkN9X4ucMZ
— Andy Kelly (@ultrabrilliant) March 22, 2016
In this clip from Koyaanisqatsi, Andy Kelly replaced Philip Glass’ score with music from the Wii Shop Channel. As he notes, the movie doesn’t seem quite as haunting now. (via @daveg)
Trailer for The Lego Batman Movie
People seem to like this, but I don’t know…I’ve got a bad feeling about it. Batman in The Lego Movie was cool and all, but is it enough to hang an entire film around? Not that this question isn’t totally moot…in 10 years, every movie will feature Lego superheroes.
Update: And now there’s a second trailer? Already?
At this rate, we’ll be able to cut the whole movie together by the time it comes out next year, just from the trailers.
Update: The first full trailer is out and, sure, I’ll go see this with the kids when it opens.
(via Trailer Town which also has a few other Lego Batman trailers, so why don’t you go watch them there because Trailer Town is soooo coooool. Oh, oh, you’re leaving? You know what? Fine, go. That’s right go. If you like F’ING TRAILER TOWN SO MUCH, JUST FUC — [sorry, Jason has been invited into the cooldown room for awhile])
20 movies scenes before and after CGI
A quickfire look at scenes from 20 movies (Gravity, The Revenant, Planet of the Apes) that were done with the help of green screens and computer animation. What, no Carol?!
Scientists warn of dramatic climate shift much sooner than expected
A new paper by climate scientists, including ex-NASA scientist James Hansen, warns that our climate could dramatically change within decades, not centuries.
Virtually all climate scientists agree with Dr. Hansen and his co-authors that society is not moving fast enough to reduce emissions of greenhouse gases, posing grave risks. The basic claim of the paper is that by burning fossil fuels at a prodigious pace and pouring heat-trapping gases into the atmosphere, humanity is about to provoke an abrupt climate shift.
Non-linear systems, man. Gradually, then all at once.
Update: Slate’s Eric Holthaus has more on the paper and its potential implications.
In addition to the risk of “several meters” of sea level rise this century, which Hansen calls the most important finding, the final version of Hansen’s paper gives new emphasis to the possibility that the ocean’s heat circulation system may be in the process of shutting down. The circulation shutdown would precede the rapid increase in global sea levels. If the shutdown happens, simultaneous cooling of the waters near Greenland and Antarctica and warming in the tropics and midlatitudes could spawn frequent strong storms on the order of Hurricane Sandy or worse.
If that sounds a lot like the plot of The Day After Tomorrow to you, you’re not alone.
Hansen also released a 15-minute video about the paper:
The Phantom Menace Anti-Cheese Edit
This is a fan edit of Star Wars: The Phantom Menace with all of the crappy bits removed and several other scenes reworked. Among the changes:
- Jar Jar is now a useful character instead of an annoying tag-along
- Queen Amidala’s voice is pitch-shifted back to her normal pitch
- Midichlorian references removed
- Anakin is edited to be a more deliberate hero instead of an accidental one
Pro tip: the best Star Wars prequel is still Triumph The Insult Comic Dog interviewing people standing in line for Attack of the Clones.
Dire Straits’ Walk of Life Improves Every Movie
It is the assertion of The Walk of Life Project that the Dire Straits song Walk of Life is the perfect thing to play at the end of movies. I have watched more than a dozen of these and they are all great, but I picked Lost in Translation, There Will Be Blood, and Terminator 2 to embed here.
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