In Tron, the hacker was not supposed to be snooping around on a network; he was supposed to kill a process. So we went with posix kill and also had him pipe ps into grep. I also ended up using emacs eshell to make the terminal more l33t. The team was delighted to see my emacs performance — splitting the editor into nested panes and running different modes. I was tickled that I got emacs into a block buster movie.
Not quite sure how these are done — it looks like each vertical slice is representative of the colors in a given frame from the film — but these moviebarcodes provide a good sense of a movie’s tone and color. This one is…any guesses?
This sense of a private/public self is reinforced in nearly every scene, with the presence of a video camera (during the depositions), laptops and monitors, or other frames within frames (screens, windows, doorways, stairways, hallways) through which we can see other people going about their lives, doing whatever they’re doing. (The extras and bit players had a lot of work in this movie.)
And then there’s the guy in the white shirt who sits there behind the Winkelvii’s lawyer. He turns out to be the videographer, and he gets one big moment when the attorneys call “lunch” and he leaps up to turn off the camera and the monitor. We’re always reminded that what we’re seeing is being documented. Even the documentation is being documented: the affidavits that have already been filed, the e-mails and texts that were sent, the blog entries, the Harvard Crimson articles entered into evidence… Whenever Mark tries to claim he doesn’t remember what he may or may not have said to Erica or the Winkelvii (Armie Hammer), there’s always something there to remind him — often in words he typed and electronically transmitted himself.
This is the “guy in the white shirt” shot:
I only saw this movie for the first time about three weeks ago, but it’s stuck in my brain…I keep coming back to it. As Emerson notes (or at least strongly hints at), the story might be specifically about Facebook, but the rest of the film is more generally about the connection and alienation of being online, of being human in a hyperconnected age. Same kind of thing Caterina was getting at in her Fear of Missing Out essay, I think.
Here’s an infographic that shows feature films with four or more Harry Potter wizards in them.
i was watching sense & sensibility in the back of my neighbour’s minivan while on a stakeout the other night and realized that professors snape, trelawney, and umbridge had each somehow apparated into the cast. my neighbour (who is a former hogwarts alumna) pointed out that cornelius fudge and madam pomfrey were also in it. was this a record for the most harry potter wizards in a non-harry potter film?
Close but nine Potter wizards is the record…can you guess which movie before clicking through?
This is the text of a note that was stuck on the cans when the reels of film for “The Man With the Golden Arm” arrived at US movie theatres in 1955. Until then the credits were referred to as ‘popcorn time.’ Audiences resented them and projectionists only pulled back the curtains to reveal the screen once they’d finished. Saul Bass’ powerful title sequence for “The Man With the Golden Arm” changed the way directors and designers would treat the opening titles.
This site presents you with famous objects from movies and asks you to identify them. If you’re a pop culture junkie, this is your crack. (via @sippey)
Totally depressing article about how Hollywood movies suck worse than ever and “the potential death of the great American art form”.
For the studios, a good new idea has become just too scary a road to travel. Inception, they will tell you, is an exceptional movie. And movies that need to be exceptional to succeed are bad business. “The scab you’re picking at is called execution,” says legendary producer Scott Rudin (The Social Network, True Grit). “Studios are hardwired not to bet on execution, and the terrible thing is, they’re right. Because in terms of execution, most movies disappoint.”
With that in mind, let’s look ahead to what’s on the menu for this year: four adaptations of comic books. One prequel to an adaptation of a comic book. One sequel to a sequel to a movie based on a toy. One sequel to a sequel to a sequel to a movie based on an amusement-park ride. One prequel to a remake. Two sequels to cartoons. One sequel to a comedy. An adaptation of a children’s book. An adaptation of a Saturday-morning cartoon. One sequel with a 4 in the title. Two sequels with a 5 in the title. One sequel that, if it were inclined to use numbers, would have to have a 7 1/2 in the title.
@jkottke @daveg I will pay you guys for an Oxford debate about the Hangover’s merits, or lack thereof.
And Michael Sippey went there and posted a video of an animated David and an animated me having a debate about The Hangover:
I thought you were a pop culture aesthete.
No, I’m from the Midwest.
You live in Manhattan.
But I grew up eating hot dogs.
But you write about expensive conceptual restaurants and post pictures of contemporary art like that thing at the Museum of Modern Art in New York where the woman sat at the table all summer.
For six months of the year, heralded chef Ferran Adrià and his team of experts concoct new dishes for the 30 course menu of the world famous El Bulli Restaurant. Here we watch their behind-the-scenes process, an artistic laboratory of tasting, smelling, designing and carefully recording each new idea, then selecting their top choices.
queuenoodle is a Twitter account that will tell you when movies expire from Netflix Watch Instantly so you can, uh, watch them. Brought you by Twitter’s media pastamaker, Robin Sloan.
Speaking of Scientology, P.T. Anderson is working on two movies: 1) a film people are calling The Master about a religious movement similar to Scientology, and 2) an adaptation of Thomas Pynchon’s Inherent Vice.
Last December, this blog was the first to report that Anderson had written a treatment of Pynchon’s seventh novel, and was considering doing a screenplay. Now insiders confirm to Vulture that Anderson has, in fact, obtained the blessing of Pynchon and — in frequent consultation with the eremite novelist himself — has not only written a first draft, but is more than halfway done with a second.
In CASINO ROYALE, James Bond is the Bond girl. Look at the way they even show him emerging from the ocean like Ursula Andress. Sexual torture, too, if less creepy-glam than being stripped and painted gold. Vesper Lynd is Bond: never not in control, never without a plan, seducing to further her goals. She has to die so Bond can become her.
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)
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