- Fargo-tv-sarjan teaserit – voisiko se olla edes teoriassa hyvä apua en tiedä
- Under the Skin: why did this chilling masterpiece take a decade? –
- Martin Scorsese haastattelussa: ”Tarkkailin gangstereita ikkunan takaa” – ”Kun kuva voi olla epäaito, se yleensä myös on sitä. Minä taas olen vanhanaikainen, gutenbergiläinen.”
Elokuvallisia huomioita maailmalta 8.03.2014 – 10.03.2014
Elokuvallisia huomioita maailmalta 23.02.2014 – 24.02.2014
- Emily Nussbaum: The Shallowness of “True Detective” – Don’t get me wrong: I love a nice bouncy rack. And if a show has something smart to say about sex, bring it on. But, after years of watching “Boardwalk Empire,” “Ray Donovan,” “House of Lies,” and so on, I’ve turned prickly, and tired of trying to be, in the novelist Gillian Flynn’s useful phrase, the Cool Girl: a good sport when something smells like macho nonsense. And, frankly, “True Detective” reeks of the stuff. The series, for all its good looks and its movie-star charisma, isn’t just using dorm-room deep talk as a come-on: it has fallen for its own sales pitch.
- Antti Lindqvist – Enter The Gonzo Dragon – Tämänkertainen merkintä on tosipohjainen kasaritoimintaeepos. Keskiöön nostetaan toimittajan veijarihuumori ja muuan unohdettu kung fu -seikkailu.
Miljöö on vuoden 1982 Cannesin elokuvafestivaali, jossa Lindqvist edusti Katso-lehteä. Matkalla syntyi myös gonzoreportaasi Suomen elokuvakerhojen liiton Projektio-lehteen (3/1982).
- Julia Louis-Dreyfus in the Present Tense – So how about this? If comedy (as opposed to drama) is consumed more like popular music—as a series of moments, often enjoyed with friends, remembered fondly in a greatest-hits kind of way—then Julia Louis-Dreyfus is not the Billy Joel of television comedy, but the Elton John: a national treasure, still trying to surprise us.
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 1.02.2014 – 3.02.2014
- Academy Awards: Best Visual Effects Oscar Winners (Vimeo) –
- In Conversation:SNL’s Lorne Michaels — Vulture – If you look at our balcony at SNL, it is still classified as temporary. It’s scaffolding—scaffolding and some excess seats from Yankee Stadium. No one went, “Whatever you need.” Because broadcast has been in decline my entire professional career.
- Typeset In The Future: 2001: A Space Odyssey –
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.