- Meet Mark Woollen, the Arthouse Trailer Editor — Vulture –
- Jacques Tati: Composing in Sound and Image – The fact that he always shot his films without sound and composed his soundtracks separately made it easier for him to use images and sounds interactively, employing sound in part as a way of guiding how we look at his images, by stimulating and directing our imaginations. This means that any discussion of Tati’s mise-en-scène has to cope with the reality that he effectively directed each of his films twice—once when he shot them and then once again when he composed and recorded their soundtracks.
- NYT Mag on Christopher Nolan –
Elokuvallisia huomioita maailmalta 31.10.2014 – 10.11.2014
Elokuvallisia huomioita maailmalta 25.05.2014 – 1.06.2014
- Damon Lindelof Promises You His New Show Won’t End Like ‘Lost’ – In part, Lindelof may be a victim of a situation he didn’t create but helped nurture: He became, with “Lost,” a celebrity show runner, a species that was previously very rare in television. A show runner — basically the person, usually a writer, in charge of a program’s creative management and direction — of Darlton’s generation never hoped to be known to the public, except perhaps by way of a post-credits vanity card for a production company. But with the advent of the Internet, fans could not only lionize (or heckle) show runners but interact with them as well, peppering them with questions and even influencing the outcomes of plot lines.
- Paul W.S. Anderson on the Art of Movie Mayhem – I think with all action — fight scenes, explosions — you need to show the impact. When there’s a big explosion, it doesn’t really have a visceral impact on the audience if it’s just flinging people through the air. They know that’s just stunts. But if you fly people through the air and they then they hit something, it’s a lot better. And then if they hit something really hard — like, you know, a brick wall — it’s even better. And if they hit a kind of rough edge on that brick wall, then you’re getting to the good stuff. And then if what they hit breaks, then that’s the best.
- Giger Flashback – Seeing the news, last Tuesday morning, that H.R. Giger died triggered a flashback. Back in 1995, I was coordinator for a creature effects studio in a nondescript corner of Sun Valley, when the phone rang. A whispering voice, reminiscent of Peter Lorre, asked to speak with my boss, Steve Johnson. “
Elokuvallisia huomioita maailmalta 7.02.2014 – 8.02.2014
- Downtown Los Angeles in film: ugly past, glorious future –
- Jay Leno’s Last ’Tonight Show’ and Lasting Legacy: Saving a Tear For the Third Act – He loved his monologue. He was absolutely a pushover with his guests. He had zero right angles. His safety guaranteed A-list stars, many who were wary of Letterman. Even when confronted with a situation where his disdain for contentious interviewing could have hurt him the most — e.g., having Hugh Grant on post-hooker incident — Leno hit it out of the park. It was his signature moment.
- Deep Inside Baz Luhrmann’s Creative Chaos (NYT Magazine) – Last fall, I proposed to Luhrmann that he give me a sense of what his life is like in the in-between time — the months of rebooting and reassessing, navel-gazing and nail-biting, that follow the birth of one film and precede the conception of another.
- The ’90s is a difficult era to accomplish on film in costumes –
Elokuvallisia huomioita maailmalta 31.01.2014 – 1.02.2014
- Michael Keaton – "I mean, I had no concept of stopping play. It just didn't occur to anyone."
- What do you look for in great cinematography? – Let’s watch two clips each from the five nominees for this year’s Oscar for Best Cinematography. The soundtrack will be removed from the clips. Instead, we’ll have some commentary (posted below). But you might want to watch the clips with no sound at all. See what great cinematography means to you.
- The Post-Hope Politics of ‘House of Cards’ – But perhaps the most telling detail he shared with me is that he writes the 150-character plot summaries that accompany each episode of “House of Cards” on Netflix. Not just the episodes — the summaries of the episodes. Before the first season of the show, which was released on Feb. 1 last year, Netflix sent him the summaries they wrote in house, which Willimon then rewrote. Now he writes all of them as a matter of course, a job that would normally be done by someone on the Netflix metadata team. “It just seemed easier,” he says.