Julkinen sana -ohjelmassa kuultiin tiukkaa asiaa Maikkarin väistyvältä ohjelmajohtajalta. Jorma Sairasen haastattelu avaa aika hyvin mainostelevision toimintaa, muun muassa sarjojen ja elokuvien hintaa ja menestystä kanavan kannalta.
Elokuvallisia huomioita maailmalta 9.08.2013
- Werner Herzog did a PSA for AT&T –
- Call Him Money: Eddie Murphy Opens Up (Rolling Stone, 1989) – I was gonna direct Coming to America myself, but I knew that Landis had just done three fucked-up pictures in a row and that his career was hanging by a thread after the Twilight Zone trial. I figured the guy was nice to me when I, did Trading Places, so I'd give him a shot. I'm a popular actor in this town, and to have a guy who was as fucked as he was get a job with me gave him some renewed credibility. I was going out of my way to help this guy, and he fucked me over. Now he's got a hit picture on his résumé, a movie that made over $200 million, as opposed to him coming off a couple of fucked-up movies – which is where I'd rather see him be right now. Eeeh-eeh-eeh.
- Osa HD-kanavista näkyy ilmaiseksi 13.8.–1.9.2013 – ei C Moren kanavia huom obs
Elokuvallisia huomioita maailmalta 5.08.2013 – 7.08.2013
- Matti Rämön R&A-juttu käy läpi festarin synnyn (2007) –
- Alexis Petridis: Alan Partridge’s music taste is surprisingly great – Also a Spotify playlist: http://open.spotify.com/user/feelinglistless/playlist/6jPexRjiVqeTLQiJ6mIv8y
- Malcolm Tucker IS Dr Who! (YouTube) –
Elokuvallisia huomioita maailmalta 4.08.2013
- Noah Baumbach on Jules & Jim – “It’s like the filmmaker is excited to show her to you in the way Jules and Jim are excited to see her. You’d get a different feeling off it if he showed it to you in one take. He doesn’t do this all the time. He does let scenes play out, too. But he is able to make all these disparate elements feel part of the same movie,” he adds of the frenetic camera pans and cuts, freeze-frames and square irises Truffaut uses. “[The filmmaking] is so committed in every possible way that he can cut to stock footage of Paris in a different aspect ratio, and because we’ve already seen the slides that Albert showed them, it still feels like the same language.”
- Elliott Gould on throwing his lunch at Robert Altman and Saturday Night Live’s Five-Timers Club – By the way, that scene… later on, Sylvester Stallone said to me that he was there that day. He was an extra. And he said to me, “I don’t admit that I was an extra in many pictures, but I admit that I was an extra in M*A*S*H.” I thought that was sort of touching. But I told Bob Altman, and he said, “No! I do not accept that! I do not accept that Sylvester Stallone was an extra in my movie!” [Laughs.] God, Robert Altman… You’ll bring me to tears. I mean, he was like my father. I just loved him, and there was so much other work, more work that we talked about and would’ve loved to have done together.
- Sitcom director Mark Cendrowski – Four-camera directing requires the director to cut the show while taping. Because the live studio audience is often watching the action on monitors, an initial sloppy video feed can dilute their response.
Elokuvallisia huomioita maailmalta 24.07.2013
- RoboCop Archive – YouTube –
- UK & US Pilot Scripts –
- Blood on the screen: Violence, movies and Me – Anyway, violence, the movies, lies. The movies do not tell you that (1) most of the time it's over before you know it happened, (2) that both victim and perp go into a visually uninteresting altered state, a sort of adrenalized dizziness—and if you’re young, a certain uselessness, (3) that muscle cramps and pain and other symptoms just get worse, not better, and that with injury comes swelling and infection, (4) that the strongest men weep, and (5) that nobody ever completely recovers from even the smallest violent act against another human.