- Post-Empire Strikes Back – DISCUSSED: Sodomania, A Bug’s Life, A Fictional Work of Fiction, Super-Subtle Intertextuality, Twitter, Picking Fights with Dead Guys, Fifty Shades of Grey, Movies Made by Committee, Ellisian Perversion, The Unsung Swordsman of the Year, Listless Southern California Girls, Striking a Pose and Holding It So the Terror Doesn’t Show, Batwing Lashes
- David Bordwell on formalism: ”motivation gives the audience a reason to accept a formal option” – More broadly, motivation gives the audience a reason to accept a formal option. One of my favorite examples comes in Citizen Kane. Having decided to tell Kane’s story in flashbacks more or less chronologically, Herman Mankiewicz and Orson Welles confronted a problem in their frame story. After Kane’s death a reporter would naturally turn to his surviving second wife before contacting friends or associates. But if Susan recounted her memories of Kane before the other witnesses did, her episodes would come from late in his life and throw off the chronology. Therefore the script makes Susan too drunk and angry to talk to the reporter Thompson when he calls. He must proceed to the Thatcher library, where he’ll learn about Kane’s earliest years. Later, when Susan is more sober, she recounts her flashback in its proper, chronological place.
- Bill Murray’s reddit AMA in a slightly more readable format –
Elokuvallisia huomioita maailmalta 15.03.2014 – 22.03.2014
Elokuvallisia huomioita maailmalta 11.03.2014 – 12.03.2014
Elokuvallisia huomioita maailmalta 24.11.2013 – 25.11.2013
Elokuvallisia huomioita maailmalta 14.11.2013 – 16.11.2013
- Robert Redford’s Restless Solitude –
- How To Write An Awesome Movie, According To Some Of Hollywood’s Best Writers –
- Gravity in American Cinematographer – "The camerawork serves … I don’t want to say it serves the story, because I have my problems with that. For me, the story is like the cinematography, the sound, the acting and the color. They are tools for cinema, and what you have to serve is cinema, not story.”
- George Clooney’s Rules for Living – Being Clooney, he does not only write to Brad Pitt, however. He also writes as Brad Pitt. A few years ago, he even had some stationery made up with Brad Pitt’s letterhead. Then he found a book about acting and accents and sent it to Meryl Streep, with an accompanying note. It said, “Dear Meryl, this book really helped me with my accent for Troy. I hope it helps you too.” He signed it “Brad Pitt.” Then he sent another letter to Don Cheadle on “Pitt’s” stationery. As long as Cheadle has been acting, he has dreamt of playing Miles Davis. So the letter informed Cheadle that Pitt’s production company had acquired the rights to Davis’s life story. The letter said that Pitt wanted him to star in it. As Charlie Parker.
- Who Really Created The ’Inception’ BRAAAM? – Hans Zimmer on yrittänyt viedä kunnian kokonaan
- David Suchet: Poirot and me –
- Prada presents ”CASTELLO CAVALCANTI” by Wes Anderson –
Elokuvallisia huomioita maailmalta 4.08.2013 – 5.08.2013
- Damon Lindelof on Blockbuster Screenwriting – “Once you spend more than $100 million on a movie, you have to save the world,” explains Lindelof.
- What It Was Like to Make The Canyons with Lindsay Lohan, a Producer’s Tale – The reality I experienced as producer of The Canyons was different than the emphasis of the New York Times article, which isn’t to say that events or facts relayed in the piece were untrue.
- Alfonso Cuarón, International Man – Returning home allowed Cuarón to concentrate on one of Mexico’s peculiar contributions to cinematic technique, the plano secuencia—a long, traveling master shot, designed with complex camera moves, that effectively prevents the use of close-ups, inserts, and other forms of coverage. Cuarón calls them “one-shot deals,” and they figure heavily in Y Tu Mamá. “A close-up separates a character from its environment,” says Cuarón, “but in this film, character and environment are equally important; one is a product of the other. That’s why I opted to do one-shot deals all the time.”