- The Protector 2 -traileri – TONY JAA DON'T STOP BELIEVIN'
- How Harold Ramis’s movies have stayed funny for 25 years –
- Amerikkalaisen elokuvajulisteen pikkupräntin anatomia –
Elokuvallisia huomioita maailmalta 24.02.2014
Elokuvallisia huomioita maailmalta 30.08.2013 – 2.09.2013
- Where Do Claire Danes’s Volcanic Performances Come From? –
- What is Al Pacino’s Next Big Move? – As we discuss The Godfather, the mention of Brando gets Pacino excited. “When you see him in A Streetcar Named Desire, somehow he’s bringing a stage performance to the screen. Something you can touch. It’s so exciting to watch! I’ve never seen anything on film by an actor like Marlon Brando in Streetcar on film. It’s like he cuts through the screen! It’s like he burns right through. And yet it’s got this poetry in it. Madness! Madness!”
- Paramount Has a Probem with Blu-Ray Extras – I’m sure this plan looked great from a studio marketing standpoint. “Let’s do something exciting to make our retail partners feel special.” But how about doing something to make your customers feel special?
Elokuvallisia huomioita maailmalta 22.04.2013 – 23.04.2013
Elokuvallisia huomioita maailmalta 31.12.2012 – 1.01.2013
- Gideon Raff, the Israeli Creator of ”Homeland” – Israeli TV series have relatively laughable budgets compared to American shows. Whereas an episode of a hit like “Mad Men” reportedly costs $2.5 million, the average per-episode budget of an Israeli show is about fifty thousand dollars, according to Raff. (“Hatufim” is exceptional in averaging a hundred and eighty thousand dollars an episode.) Both Raff and Telem told me that this financial disadvantage often works in these shows’ favor, since the emphasis gets placed on the quality of writing and dialogue—transferable things—rather than on big-name actors or elaborate set designs. The advantage runs even deeper than that: because of their limited budgets, Raff said, Israeli networks only develop series after reading their entire seasonal arc. This allows the writers more creative freedom to begin with, as they are less prone to ratings-related pressures. As Raff explained, Israeli shows are also forced to shoot “horizontally”—according to location—and not episodically like most American shows. This means that an entire season is edited before its first episode even airs, which creates a greater sense of continuity (and lends shows a feature-film-like quality).
- Les Misérables: Instead of lipsyncing, the leads performed most of their singing live on the set – It's an interesting case of a technique becoming technologically outdated and then returning decades later as a deliberate stylistic device.
- An Interview with film poster designer Brian Bysouth – *droooool*
Elokuvallisia huomioita maailmalta 24.12.2012 – 26.12.2012
- The Campy TV World of Ryan Murphy – what is appealing about Murphy’s shows: his Tourettic impulse to offend, even in the midst of the sweetest love story. Camp originated as a private language, in an era when survival as a gay man meant learning to break codes—of male and female behavior, of normality and status. Murphy has taken this vernacular of the closet, and bent it, hard, toward an era of outness. It’s a mighty queer gambit, and one that aligns Murphy with a subset of gay showrunners whom I’ve rarely seen lumped together in critical conversation, perhaps for fear of risking offense.
- How The Film Class Of 1998 Has Fared – Wrote Sarris, “Throughout the sound era, the forest critic has been singling out the timely films and letting the timeless ones fall by the wayside. Unfortunately, nothing dates faster than timeliness.” He was writing in 1968, but not much has changed.
- NYT: Jerry Seinfeld Intends to Die Standing Up –