- Whatever else a kiss may be, it is for filmmakers above all a formal challenge –
- VFX for 20,000 Leagues Under the Sea with Fleischer and Ellenshaw –
- On the realities of writing TV comedy – But the upbeat attitude could also reflect a less positive trend in the industry: The growing need for content even as competition from low-budget reality TV forces networks to cut corners on writing staffs. These pressures, combined with an influx of aspiring writers willing to work for next-to-nothing, have resulted in an increasing reliance on freelancers, non-union employees, and other precariously employed writers. I was one of them. At the Onion News Network, I earned $50 for each idea accepted. On an extremely good week they might have bought three ideas, but very often it was zero. Still, I was thrilled to just be connected to the Onion. I could have subsisted on the fumes of this enthusiasm alone.
Elokuvallisia huomioita maailmalta 25.12.2014 – 29.12.2014
Elokuvallisia huomioita maailmalta 13.11.2014 – 24.11.2014
- Paul Schrader has some advice about screenwriting –
- Jacques Tati: Things Fall Together – "It’s funny however many times he does it, but it’s humor that raises a smile, not a belly laugh (though with a sympathetic crowd, all those smiles can generate some volume). There isn’t really a joke there in the sense of a setup and payoff."
- Jeff Daniels on The Newsroom, Dumb and Dumber To — Vulture –
- What Fame Looks Like for Benedict Cumberbatch –
- The Eternal Chump: Everything’s Coming Up Milhouse –
- Kuka jaksaa odottaa että huono tv-sarja kehittyy, kun vaihtoehtona on valtavat määrät jo valmiiks loistavia sarjoja? –
Elokuvallisia huomioita maailmalta 15.03.2014 – 22.03.2014
- 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 11.03.2014 – 12.03.2014