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performed most of their singing live on the set – It's an interesting case of a technique becoming technologically outdated and then returning decades later as a deliberate stylistic device.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 –
Elokuvallisia huomioita maailmalta 3.09.2012 – 5.09.2012
Elokuvallisia huomioita maailmalta 17.06.2012 – 20.06.2012
- The Front Row: Kenneth Lonergan Discusses “Margaret” : –
- Kenneth Lonergan’s Thwarted Masterpiece – NYT Mag – Beyond the matter of who breached what agreements, though, the question that has loomed over the film is what happened to Lonergan. How did the guy who wrote and directed “You Can Count On Me” — and who, moreover, has been arguably the most important American playwright of the last 20 years — get so lost in the forest of his own film? And if the process was as acrimonious as it is said to have been, what did that do to him, personally and creatively? How does an artist recover from that? Does he recover at all?
- Blade Runner Aquarelle Edition, Part 1 (Teaser) – YouTube – This animation is made of 3285 aquarelle paintings and form the very beginning of my paraphrase on the motion picture Blade Runner (1982) by Ridley Scott.
- Emily Nussbaum found Sorkin’s The Newsroom lacking – The second episode is more obviously stuffed with piety and syrup, although there’s one amusing segment, when McAvoy mocks some right-wing idiots. After that, “The Newsroom” gets so bad so quickly that I found my jaw dropping. The third episode is lousy (and devolves into lectures that are chopped into montages). The fourth episode is the worst. There are six to go.
- Brian De Palma talks – BRIAN DE PALMA: Look, the hard thing—I’m sure you’ve experienced this, too—is that once you have a project, you think about how you’re going to photograph the scene until you actually do it. I have always felt that the camera view is just as important as what’s in front of the camera. Consequently, I’m obsessed with how I’m shooting the scene. When you’re making a movie, you think about it all the time—you’re dreaming about it, you wake up with ideas in the middle of the night—until you actually go there and shoot it. You have these ideas that are banging around in your head, but once you objectify them and lock them into a photograph or cinema sequence, then they get away from you. They’re objectified; they no longer haunt you.