Paketti, jonka sisällä on paketti, jonka sisällä on paketti, jonka sisällä on paketti. Jokainen kääritty hienoon paperiin ja sidottu lahjanauhalla, joka on kiharrettu vetämällä se peukalon ja saksien välistä. Sellainen on Grand Budapest Hotel, sillä se on Wes Andersonin elokuva, ja Wes Andersonin elokuvat ovat kaunista piperrystä.
- Amazon UK lopetti ilmaiset postitukset Suomeen –
- Stanley Kubrick answers a question –
- Mark Harris Talks About His Book ”Five Came Back” and the way World War II changed Frank Capra, John Ford, John Huston, George Stevens and William Wyler – Huston was definitely a mixed bag as a person, definitely a very difficult man. But I think four of the five of them knew that the war had changed the country, and would change the way they made movies. And it did change the way they made movies.
And the only one who really imagined that the war was a kind of horrible interruption after which things would go back to the way they were before the war was Capra. And that’s why, I think, “It’s a Wonderful Life” is so infused with nostalgia. It’s this kind of desperate lunge to say ‘can we all just pretend this never happened and go back to the way we were’
- By Moroder: An Interview with Giorgio Moroder on Notebook – And my advantage, if you consider more classical composers like John Williams, who I think is the best, but he doesn’t write songs. But I write songs and the scores. So that’s a little bit of an advantage for me.
- Why preposterous thrillers form a genre all of their own –
- Mega Dan Harmon interview, part 3: ’Rick and Morty’ – Sometimes those are tools. You can break off a little piece of “Die Hard” and use it to open a lid. Sometimes you’re breaking off such a big piece of “Die Hard” and talking about it at so many different points in your story that you realize that you’re really citing “Die Hard” and you really owe it to bring “Die Hard” into the writer’s room and ask questions about “Die Hard” while you’re breaking the story and let “Die Hard” answer your questions. And then when the wardrobe supervisor says, “What should Jeff be wearing?,” maybe you say, “Well, a dirty wife beater, because why not?” And so in their best versions these things are just organic. They just happen because it’s an honest way to do what we always do, which is be incredibly derivative when we’re breaking stories. I don’t mountain climb on the weekends. I don’t go to roller rinks. I watch TV and I watch movies. And I didn’t have real experiences in my childhood. I watched TV and movies.
Wes Andersonin uusin elokuva on nimeltään Grand Budapest Hotel ja se rantautuu teattereihin 11.4.2014. Kirjoitan kritiikin lähempänä ensi-iltaa, mutta sitä odotellessa listaan tässä joukon linkkejä, joiden lukeminen saattaa valaista elokuvaa. Osittainen spoilerivaroitus herkimmille.
The filmmakers also experimented with front-projecting window backgrounds for shots in the Kunstmuseum and in Madame D.’s suite at the Grand Budapest. Color-reversal slides were made from digital stills and reflected off a polarized mirror positioned 45 degrees to the camera-lens axis. Scotchlite backdrops positioned at 90 degrees to the lens axis reflected the slide image back to the camera. “There was a magical quality to the image that we all loved, but if things weren’t lined up exactly, there was a ghosting effect,” recalls Yeoman. “And the projector didn’t throw out much light, which meant we were shooting at a T2!”
These scenes are in the 1:85:1 ratio, which became a standard format for theatrical releases starting in 1953, and so reads easily as “the present” to a moviegoer.
Wes wrote all the newspaper articles himself – not just articles to accompany the main headlines, but the surrounding ones too.
In this movie, there’s a Bergman film called The Silence, with the boy wandering around the hallways, we modeled our hallways on that. If you look at the hotel doors in that film, ours are a carbon copy. There’s a sequence in a Hitchcock movie called Torn Curtain where he comes out of his hotel and he gets on the bus and he goes to the museum; we have a bit of an homage to that sequence when Deputy Kovacs goes from his office to the art museum and he’s being chased by Willem Dafoe’s character.
Elokuvan lehdistökirjasessa horistaan niitä näitä (pdf):
Ralph Fiennes: Speed of delivery is something he really values because this kind of material needs that kind of liveliness.
There were so many descriptions of parts of life, which — as much as we may have read or seen something of them in movies — we didn’t really know about from his time, before reading Zweig’s memoir. In particular I don’t think I ever thought about the moment when it became necessary to have a passport, which is hugely meaningful when you see it through his eyes. You suddenly see this control that comes in.
Elvis Mitchellin haastattelussa Wes Anderson puhuu… noh, kaikesta, mutta myös elokuvasta.