That's the somewhat unusual name of a feature-length documentary about world-class stone skippers. Here's the trailer:
I love skipping stones. When I see flat water and flat rocks, I can't not do it. They have to change that name though. They were likely going for "Jiro Dreams of Sushi" but really missed the mark. Oh, and they're raising funds on Kickstarter to finish the film.
The zen art of stone skipping meets the competitive nature of mankind in this feature-length documentary. Set in the world of professional stone skipping, this film will examine the competitive nature of mankind. World Records will be tested, rivalries will fester, and a sport will rise from the ashes of obscurity.
A short appreciation of the Steadicam and its inventor, Garrett Brown. (Brown also invented the football SkyCam.) Features footage from Rocky, Return of the Jedi, and The Shining.
The Steadicam was first used in the Best Picture-nominated Woody Guthrie biopic Bound for Glory (1976), debuting with a shot that compounded the Steadicam's innovation: cinematographer Haskell Wexler had Brown start the shot on a fully elevated platform crane which jibbed down, and when it reached the ground, Brown stepped off and walked the camera through the set. This technically audacious and previously impossible shot created considerable interest in how it had been accomplished, and impressed the Academy enough for Wexler to win the Oscar for Best Cinematography that year. It was then used in extensive running and chase scenes on the streets of New York City in Marathon Man (1976), which was actually released two months before Bound for Glory. It landed a notable third credit in Avildsen's Best Picture-winning Rocky (1976), where it was an integral part of the film's Philadelphia street jogging/training sequences and the run up the Art Museum's flight of stairs, as well as the fight scenes (where it can even be plainly seen in operation at the ringside during some wide shots of the final fight). Garrett Brown was the Steadicam operator on all of these.
The Shining (1980) pushed Brown's innovations even further, when director Stanley Kubrick requested that the camera shoot from barely above the floor. This prompted the innovation of a "low mode" bracket to mount the top of a camera to the bottom of an inverted post, which substantially increased the creative angles of the system, which previously could not go much lower than the operator's waist height. This low-mode concept remains the most important extension to the system since its inception.
Automata is a film directed by Gabe Ibáñez in which robots become sentient and...do something. Not sure what...I hope it's not revolt and try to take over the world because zzzz... But this movie looks good so here's hoping.
Jacq Vaucan, an insurance agent of ROC robotics corporation, routinely investigates the case of manipulating a robot. What he discovers will have profound consequences for the future of humanity.
Automata will be available in theaters and VOD on Oct 10. (via devour)
When Alex Belth was 25 years old, he worked with Joel and Ethan Coen on The Big Lebowski, first as a personal assistant and then as an assistant editor. He recently published a short Kindle book about the experience.
The Dudes Abide is the first behind-the-scenes account of the making of a Coen Brothers movie, and offers an intimate, first-hand narrative of the making of The Big Lebowski -- including never-before-revealed details about the making of the film, and insight into the inner workings of the Coen Brothers' genius.
The rise of instant messaging, and even more, the SMS, has added another layer of difficulty; I'm convinced that the reason so many TV characters have iPhones is not just that Hollywood thinks they're cool, but also because the big crisp screen is so darn easy to read. Still, the cut to that little black metal rectangle is a narrative momentum killer. What's a director trying to make a ripping good adventure yarn to do?
The solution is deceptively simple: instead of cutting to the character's screen, Sherlock takes over the viewer's screen.
And just today, a trailer for Jason Reitman's Men, Women & Children, which movie seems to consist entirely of texting and social media interaction:
The Despecialized Edition is the years-long work of a diverse group of people who have taken elements from many different sources and created the ultimate version of the first Star Wars film. It has also been upgraded to display properly on high definition screens, with high-quality sounds and a near perfect image.
The latest Blu-Ray release of the film serves as the skeleton for this edition, but elements of the 2006 bonus DVD that included the unaltered version of the film was also used to remove special effects and edits that were added by Lucas.
The mixtape that Star-Lord carries around in Guardians of the Galaxy is of course available as an actual album (Amazon mp3, iTunes). The album isn't on Rdio, but William Goodman cobbled together a playlist of all the songs:
As Slate notes, the movie merch album isn't totally true to the movie as it includes two songs from Awesome Mix Vol. 2, but I will never complain of Marvin Gaye's or the Jackson 5's inclusion in anything.
Here's the trailer for the third and final movie in Peter Jackson's The Hobbit trilogy:
The Hobbit was initially supposed to be just two films but Jackson decided to split the second film into two. From Wikipedia:
According to Jackson, the third film would contain the Battle of the Five Armies and make extensive use of the appendices that Tolkien wrote to expand the story of Middle-Earth (published in the back of The Return of the King).
The second movie was better than the first so I'm looking forward to this one. But then again, I'm totally in the tank for Jackson's take on Middle Earth (I did the Weta Digital tour when I was in New Zealand) so I would see it even if the first two movies sucked.
So, a few months ago Quentin Tarantino scrapped plans to make what was supposed to be his next film, The Hateful Eight, after the script leaked. Which struck me as weird and petty, but Hollywood in general seems weird and petty to me. Turns out that Tarantino's gonna do the movie after all.
During the Comic-Con panel, one of the audience members point blank asked Tarantino if he'll be making the script as his next feature, following recent word that it could be heating back up again. Tarantino hemmed and hawed for a bit -- before finally committing: "Yeah -- We're going to be doing The Hateful Eight." So there you have it: The Hateful Eight will be the next Quentin Tarantino feature.
The photo at the top is the first official poster for the film.
In this compelling memoir, his first wife, Jane Hawking, relates the inside story of their extraordinary marriage. As Stephen's academic renown soared, his body was collapsing under the assaults of motor neurone disease. Jane's candid account of trying to balance his 24-hour care with the needs of their growing family reveals the inner-strength of the author, while the self-evident character and achievements of her husband make for an incredible tale presented with unflinching honesty.
Sight and Sound polled 340 critics and filmmakers in search of the world's best documentary films. Here are their top 50. From the list, the top five:
A Man with a Movie Camera
Night and Fog
The Thin Blue Line
Unless you went to film school or are a big film nerd, you probably haven't seen (or even heard of) the top choice, A Man with a Movie Camera. Roger Ebert reviewed the film several years ago as part of his Great Movies Collection.
Born in 1896 and coming of age during the Russian Revolution, Vertov considered himself a radical artist in a decade where modernism and surrealism were gaining stature in all the arts. He began by editing official newsreels, which he assembled into montages that must have appeared rather surprising to some audiences, and then started making his own films. He would invent an entirely new style. Perhaps he did. "It stands as a stinging indictment of almost every film made between its release in 1929 and the appearance of Godard's 'Breathless' 30 years later," the critic Neil Young wrote, "and Vertov's dazzling picture seems, today, arguably the fresher of the two." Godard is said to have introduced the "jump cut," but Vertov's film is entirely jump cuts.
If you're curious, the film is available on YouTube in its entirety:
Of course, we still don't know how to make a lightsaber. One big problem is confining plasma (if that is even what it is), into some tube. But a bigger problem is the amount of energy required. We can actually calculate this from clues in the movies!
In Episode I, Qui-Gon jabs his lightsaber into a door, and melts part of it. That's just basic physics! To melt something, you have to raise its temperature to the melting point, and you can calculate how much energy that takes using the specific heat capacity of a material.
Just moments ago, Toshio Suzuki, Studio Ghibli producer, announced on the TV show of the MBS Jounetsu Tairiku chain effectively as announced as sources close to the studio, Studio Ghibli will close and production studio anime, leaving himself only as a company that will manage its trademarks. As stated in the program's producer, "the production department of anime will be dismantled," which coincides with the data that we gave in our previous post on this decision had been taken from spring after the poor reception at the box office of Kaguya-hime no Monogatari.
Luckily those reports appear to be overblown and poorly translated. As Kotaku explains, Suzuki's comments were much more speculative in nature:
Suzuki's wording makes it sound like the studio is considering reorganization and regrouping. It could mean that Studio Ghibli decides it won't make anime films anymore. Though it could mean they do keep making anime films. It could mean a lot of things!
Realize that, at the time of writing, no major Japanese newspaper is running this story. Nor did any morning TV shows. Had Studio Ghibli -- a national treasure -- definitively ceased production of films, it would be headline news around the country, as it would be important in both the entertainment and business worlds.
From This Must Be the Place, a lovely short profile of Old Town Music Hall in El Segundo, California. Old Town shows silent films with live musical accompaniment. Includes a brief tour of the inner workings of the theater's wind-powered pipe organ from 1925.
This is a lie, but I got dozens of emails today asking, "Jason, what movie should I watch tonight?" Whoa, slow down everyone, I've got just the thing: Snowpiercer. It's a Korean film from 2013 that's just now trickling into the consciousness of the rest of the world (c.f. this Grantland piece). The film takes place entirely on a train carrying the last remaining humans speeding forever around a frozen Earth (caused by an overenthusiastic response to climate change) and director Bong Joon-ho takes full advantage of this confined and linear setting. Plus, Tilda Swinton as a Terry Gilliam-ified Maggie Thatcher is worth the price of admission alone.
Snowpiercer is out in ~350 theaters in the US, so if you're not in a major metropolitan area, it might be a little hard to catch. But the movie is also available digitally at Amazon and iTunes.
There are 46 reviews (and counting) of The Grand Budapest Hotel on TripAdvisor, which is ranked "#1 of 1 hotels in The Republic of Zubrowka".
As an elderly women I was thoroughly delighted by the attention of the staff! Particularly the concierge, what a thoughtful generous man! Wish I could take him home to service me there! I also loved the food and the chocolate treats from mendls. Tip top!
This is an old piece from McSweeney's, but it's absolute gold and I can't believe I've been missing it all these years. In it, Noam Chomsky and Howard Zinn record a DVD commentary for the first Lord of the Rings movie. So, so good.
Zinn: You've spoken to me before about Mordor's lack of access to the mineral wealth that the Dwarves control.
Chomsky: If we're going to get into the socio-economic reasons why certain structures develop in certain cultures... it's mainly geographical. We have Orcs in Mordor -- trapped, with no mineral resources -- hemmed in by the Ash Mountains, where the "free peoples" of Middle Earth can put a city, like Osgiliath, and effectively keep the border closed.
Zinn: Don't forget the Black Gate. The Black Gate, which, as Tolkien points out, was built by Gondor. And now we jump to the Orcs chopping down the trees in Isengard.
Chomsky: A terrible thing the Orcs do here, isn't it? They destroy nature. But again, what have we seen, time and time again?
Zinn: The Orcs have no resources. They're desperate.
Chomsky: Desperate people driven to do desperate things.
Zinn: Desperate to compete with the economic powerhouses of Rohan and Gondor.
Chomsky: Who really knows their motive? Maybe this is a means to an end. And while that might not be the best philosophy in the world, it makes the race of Man in no way superior. They're going to great lengths to hold onto their power. Two cultures locked in conflict over power, with one culture clearly suffering a great deal. I think sharing power and resources would have been the wisest approach, but Rohan and Gondor have shown no interest in doing so. Sometimes, revolution must be --
Zinn: Mistakes are often --
Chomsky: Blood must be shed. I forget what Thomas Jefferson --
Narrated by Malcolm McDowell and featuring interviews from many collaborators and colleagues, Lost Kubrick is a short documentary on the films that Stanley Kubrick never finished.
Through interviews and abundant archival materials, this documentary examines these "lost" films in depth to discover what drew Kubrick to these projects, the work he did to prepare them for production, and why they ultimately were abandoned. Some of the unfinished project discussed here are "Napoleon", "The Aryan Papers" and also "A.I" (which we know finally made by Steven Spielberg).
The staff and contributors of Dissolve recently listed the 50 greatest summer blockbusters ever. Here's #50-31, #30-11, and the top 10.
Blockbusters have become such an integral part of the way we talk about films that it's hard to believe they haven't always been with us. But while there have always been big movies-lavish productions designed to draw crowds and command repeat business-the blockbuster as we know it has a definite start date: June 20, 1975. That's when Jaws first hit screens in the middle of what was once, in the words of The Financial Times, a "low season" when the "only steady summer dollars came, in the U.S., from drive-in theaters." It's summer, after all; why go to the movies when you could be outside? Jaws changed that. Star Wars cemented that change. And now, the summer-movie season is dominated by the biggest films Hollywood has to offer.
Jaws is the no-surprise #1 but Who Framed Roger Rabbit at #8? Hmm, dunno about that. And leaving Star Wars just off the top 10 is a bold move. My personal top ten would also have included Ghostbusters -- I remember vividly waiting in line in the sweltering heat outside the El Lago theater to see Ghostbusters and just being completely and utterly blown away by it -- and Terminator 2. Oh and Batman. I think I saw that movie half-a-dozen times in the theater and it was just everywhere that summer...the logo, that song by Prince, everything. (via @khoi)
Life Itself, the documentary about Roger Ebert, is now out in theaters. But you can also watch it via various Video On Demand services, including Amazon and iTunes. Here's the trailer to whet yer whistle:
Renowned film director Steven Spielberg will direct the new adaptation with Melissa Mathison, who last worked with Spielberg on ET, writing the script. Frank Marshall will produce the film and Michael Siegel and John Madden are on board as executive producers.
I can't find any direct evidence, but the way the news is being reported, this seems like it'll be a live-action film and not a Tintin 3-D motion capture affair.
2014 is the first year without a Pixar film since 2005's gap between The Incredibles and Cars. The company has two films planned for 2015 and one of them will hopefully do something about one of my long-standingpetpeeves about their movies: the lack of strong women characters. Inside Out takes place inside the brain of a teenaged girl, with her emotions as the main characters.
The film's real protagonist is Joy (voiced by an effervescent Amy Poehler), one of five emotions who steer Riley through life via a control center in her mind that's akin to the bridge from the Starship Enterprise. Joy and her cohorts -- including Fear (Bill Hader), Disgust (Mindy Kaling), Anger (Lewis Black), and Sadness (Phyllis Smith) -- all work together to keep Riley emotionally balanced, and for the first 11 years of her life, the primary influencer is Joy, as evidenced by Riley's sunny demeanor.
But as adolescence sets in, Joy finds her lead role usurped. Suddenly, Sadness wants to pipe in at inappropriate times -- coaxing Riley to cry during her first day at a new school, for instance -- and as the two emotions jostle for control, both of them fall into the deepest reaches of Riley's mind and have to work their way back. Meanwhile, left to their own devices, Fear, Disgust, and Anger collude to transform Riley into a moody preteen.
Back in the 1970s (and probably particularly in NYC), movies stayed in theaters a lot longer than they do now. There was no home video market then...you either saw the movie in the theater or you missed it. This is a list of some of the movies available for viewing in theaters that weekend in NYC:
The Sugarland Express
The Great Gatsby
The Sting, Papillon, and The Exorcist had been out since late 1973, The Great Gatsby since March, and The Sugarland Express (Spielberg's directoral debut) and The Conversation since April. Only Parallax View and Chinatown had just opened. Interestingly, the year's top-grossing film, Blazing Saddles, which opened in February, didn't appear anywhere on the movie listing pages of the Times that week.
Billy, Don't Be A Hero - Bo Donaldson And The Heywoods
You Make Me Feel Brand New - The Stylistics
Sundown - Gordon Lightfoot
The Streak - Ray Stevens
Be Thankful For What You Got - William DeVaughn
Band On The Run - Paul McCartney & Wings
If You Love Me (let Me Know) - Olivia Newton-John
Dancing Machine - Jackson 5
Hollywood Swinging - Kool & The Gang
The Entertainer - Marvin Hamlisch/The Sting
And on TV that weekend, a number of classic shows, all reruns except for 60 Minutes:
Sanford and Son
The Odd Couple
All in the Family
Mary Tyler Moore
BTW, the entire copy of the Sunday Times was fascinating to page through. The ads for cigarettes, hand-held calculators, and color televisions, real estate listings, job openings, book listings, the NY Times Magazine, car ads, etc.
The Reflex - Duran Duran
Time After Time - Cyndi Lauper
Let's Hear It for the Boy - Deniece Williams
Dancing in the Dark - Bruce Springsteen
Self Control - Laura Branigan
The Heart of Rock & Roll - Huey Lewis
Jump - The Pointer Sisters
When Doves Cry - Prince
Eyes Without a Face - Billy Idol
Borderline - Madonna
On TV that weekend were mostly reruns and movies...networks only showed reruns in the summer back then. The shows airing included:
The Dukes of Hazzard
The Tonight Show Starring Johnny Carson
Late Night with David Letterman
Johnson will take over the core film franchise, and he'll get started quickly and this will be his preoccupation for quite awhile. Technically, he'll write that second treatment but the intention on both sides is that he direct the two installments.
First Abrams and now this...Disney seems to be doing a much better job shepherding the Star Wars franchise than Lucas did. (via df)
The five men whose convictions in the brutal 1989 beating and rape of a female jogger in Central Park were later overturned have agreed to a settlement of about $40 million from New York City to resolve a bitterly fought civil rights lawsuit over their arrests and imprisonment in the sensational crime.
The agreement, reached between the city's Law Department and the five plaintiffs, would bring to an end an extraordinary legal battle over a crime that came to symbolize a sense of lawlessness in New York, amid reports of "wilding" youths and a marauding "wolf pack" that set its sights on a 28-year-old investment banker who ran in the park many evenings after work.
Great short film about how ILM's groundbreaking visual effects came to be used in Jurassic Park.
When Spielberg originally conceived the movie, he was going to use stop-motion dinosaurs. ILM was tasked with providing motion blur to make them look more realistic. But in their spare time, a few engineers made a fully digital T. Rex skeleton and when the producers saw it, they flipped out and scrapped the stop-motion entirely. Fun story.
Fabien Riggall, founder of Secret Cinema which has presented more than 40 immersive cinema screening events, said: "We shall play heavily on the innocent dream-like world of 1955 and the nostalgic pre-mobile phone world of 1985. We want the audiences to forget their current world and take an adventure."
The recreation will include a DeLorean "time machine" to shuttle audience members between 1985 and 1955 sections of the town, and an "Enchantment Under the Sea" afterparty. Tickets cost £53.50, or about $90 US.
It's fascinating to watch the Back to the Future movies now not for their nostalgic depiction of the 1950s or jokey guesses at life in 2015, all hoverboards and flying cars, but as a vital document of the 1980s. After all, next year, we'll be as far removed from 1985 as the filmmakers were from 1955. The first film especially fixes that time's preoccupations and possibilities in amber.
Yesterday I posted a video looking at the influence of Akira Kurosawa on Star Wars. Well, Michael Heilemann has posted an amazing feature-length exploration of Star Wars and the films that influenced it.
It's not Heilemann talking about anything...it's a sort of meta-Star Wars comprised of dozens of elements from other films that influenced Lucas in making it. For instance, here's the opening crawl from Forbidden Planet (1956):
Heilemann also includes a crawl from a 1936 Flash Gordan serial. For more, check out Kitbashed, particularly the extensive ebook on Star Wars sources.
This video looks at the influence of Akira Kurosawa and his films (especially The Hidden Fortress) on George Lucas and Star Wars.
How are Samurai films and a car crash responsible for Star Wars? How did World War II affect the global film industry in the 20th century? Why are Jedi called Jedi?? Give us 8 minutes, and we'll explain it all...
Using Edgar Wright as a positive example, Tony Zhou laments the lack of good visual comedy in American comedies and provides examples from Wright's films (Hot Fuzz, Shaun of the Dead, etc.) to show how it's done properly.
If you missed it in the theater (like us), The Lego Movie is available to buy on Amazon right now. I mean, you could wait until mid-June for the DVD/Blu-ray, but one of your kids' friends is going to see it this way and come to school and lord it over your kid that he saw THE LEGO MOVIE AT HOME and then your kid is going to feel bad and why would you want that so you should just buck up and watch it already so your kid can have the cool cred at school for once and parlay that into greater social & academic success and then she'll get into Harvard and have a fantastic life. What I'm saying is, watch The Lego Movie now and your child will become President basically. Why wouldn't you want that? Are you history's greatest monster? Ok, I'm calling child services...
This fall, the Wordless Music Orchestra will once again collaborate with Jonny Greenwood for the U.S. premiere of There Will Be Blood Live: a full screening and live film score to Paul Thomas Anderson's 2007 masterpiece, which will be projected onto a massive 50' movie screen at the historic and absurdly beautiful United Palace Theatre: the second-largest movie screen in all of New York City.
For these shows, the film's original score -- comprising music by Jonny Greenwood, Arvo Part, and Brahms -- will be conducted by Ryan McAdams, and performed by 50+ members of the Wordless Music Orchestra, including Jonny Greenwood, who will play the ondes martenot part in both performances of his own film score.
June 22: Coming to America, Habana Outpost
July 9: Jurassic Park, Museum of Jewish Heritage
July 30: The Princess Bride, Riverside Park
July 31: The Hunt for Red October, flight deck of the Intrepid
August 6: The Big Lebowski, McCarren Park
August 8: Groundhog Day, Hudson River Park at Pier 46
Someone should make an iCal/Google Calendar calendar of these screenings.
So, this showed up on Vimeo last night and will likely be pulled soon (so hit that "download" button while you can), but here's the deal. In 2012, actor Topher Grace showed an edit he'd done of episodes I-III of Star Wars to a bunch of friends, trimming the 7 hours of prequels down into 85 action-packed minutes of pure story. This Vimeo edit is longer (2:45) and is "based on the structure conceived by actor Topher Grace", which you can read about here.
Grace's version of the film(s) centers on Anakin's training and friendship with Obi-Wan, and his relationship with Queen Amidala (Natalie Portman). Gone are Trade Federation blockades, the Gungan city, the whole Padmé handmaiden storyline, the explanation of midichlorians, the galactic senate and the boring politics, Anakin's origins (a backstory which never really needed to be seen in the first place), the droid army's attack on Naboo, and Jar Jar Binks (Ahmed Best) appears only briefly for only one line of dialogue, used as a set-up to introduce us to the Queen.
Richard Linklater (Dazed and Confused, Before Sunrise) took 12 years to make his new movie, Boyhood. The star of Boyhood, Ellar Coltrane, was seven years old when filming started, and Linklater returned to the story every year for a few days of shooting to construct a movie about a boy growing from a first-grader to an adult and his changing relationship with his parents.
It's been suggested that perhaps Johannes Vermeer painted his exacting masterpieces with the help of mirrors and lenses. Tim Jenison learned of these suggestions and started to study the problem.
He was in no rush. His R&D period lasted five years. He went to the Rijksmuseum in Amsterdam. "Looking at their Vermeers," he says, "I had an epiphany" -- the first of several. "The photographic tone is what jumped out at me. Why was Vermeer so realistic? Because he got the values right," meaning the color values. "Vermeer got it right in ways that the eye couldn't see. It looked to me like Vermeer was painting in a way that was impossible. I jumped into studying art."
A recent documentary called Tim's Vermeer (directed by Penn & Teller's Teller) follows Jenison's quest to construct a contraption that allows someone to paint as Vermeer did. Here's a trailer:
Not sure you can find the movie in theaters anymore, but it should be out on DVD/download soon.
Time Out polled more than 100 experts to find the 100 best animated movies. Here's the top 10 (minus the top pick...you'll have to click through for that):
10. Fantastic Mr. Fox
9. The Nightmare Before Christmas
8. Snow White and the Seven Dwarfs
7. The Iron Giant
5. The Incredibles
4. Toy Story
3. My Neighbor Totoro
2. Spirited Away
I'm delighted to see Fantastic Mr Fox on the list...it's an underrated effort by Wes Anderson that will continue to grow in esteem as the years pass. No Wall-E in the top 10 though? I don't know about that. It clocks in at #36, behind Chicken Run (the least of Aardman's efforts in my mind) and Up, which is maybe my least favorite Pixar film. (via @garymross)
If you have children in your home, you have likely seen the movie Frozen and heard the song Let It Go like 50 billionty times. The movie did great in the US, coming in as the 19th biggest movie ever, but it's done amazingly well overseas: #8 on the alltime list with a $1.1 billion gross.
Today I learned that Hasbro released a toy based on the talking teddy bear in Kubrick/Spielberg's A.I. W? T? F? And of course it's super creepy:
Noel Murray has the whole story, along with an appreciation of the movie and Spielberg's direction of it.
A.I. in particular still strikes me as a masterpiece. I thought it might be back in 2001; now I'm certain of it. But it isn't any easier to watch in 2014 than it was before my first child was born. Like a lot of Spielberg's films -- even the earlier crowd-pleasers -- A.I. is a pointed critique of human selfishness, and our tendency to assert our will and make bold, world-changing moves, with only passing regard for the long-term consequences. Spielberg carries this theme of misguided self-absorption to child-rearing, implying that parents program their kids to be cute love machines, unable to cope with the harshness of the real world. He also questions whether humankind is nothing but flesh-based technology, which emerged from the primordial ooze (represented in the opening shot of A.I. by a roiling ocean), and has been trained over millennia to respond to stimuli in socially appropriate ways. A.I. blurs the lines between human and mecha frequently, from an early shot of Monica that makes her look exactly like one of Professor Hobby's creations, to the way Martin walks, thanks to mechanical legs.
Errol Morris's latest documentary on Donald Rumsfeld, The Unknown Known, just came out in theaters. But it's also available right now to rent/buy on Amazon and iTunes. Here's a trailer if you need convincing.
Holy cow, Aardman is making a Shaun the Sheep Movie! Here's a teaser trailer:
The movie will be out in March 2015 and the plot centers on the sheep going to the big city to retrieve the Farmer. As I wrote last year, Shaun the Sheep is wonderful family entertainment. I wonder how the lack of dialogue will translate to the feature length format? (thx, greg)
Coming into the 1960s, a new generation of star directors began to redefine the trailer - among them was the legendary Alfred Hitchcock. Instead of showing scenes from the movie, Hitchcock, who had become quite well known to audiences from his "Alfred Hitchcock Presents" TV series, cashed in on his celebrity... taking audiences on a tour using his gallows humor style in this trailer for 1960's Pscyho.
The reemergence of Cubism in film and commercial art in the 1960s was not lost on another emerging filmmaker - Stanley Kubrick. Having experimented with fragmented cutting styles in the trailer to 1962's Lolita, Kubrick comes back strong in 1964's "Dr. Strangelove" with a trailer that I consider one of the most bold and brazen pieces of movie advertising ever made.
Now showing at IFC Center in NYC: Finding Vivian Maier. Maier is the Chicago street photographer whose extensive and impressive body of work was recently discovered at an auction. John Maloof bought Maier's work, started posting it to a blog several years ago, did a Kickstarter (one of the first I backed) to fund a documentary about Maier and her photos, and now the film is showing in theaters around the US and Canada.
When I first met Donald Rumsfeld in his offices in Washington, D.C., one of the things I said to him was that if we could provide an answer to the American public about why we went to war in Iraq, we would be rendering an important service. He agreed. Unfortunately, after having spent 33 hours over the course of a year interviewing Mr. Rumsfeld, I fear I know less about the origins of the Iraq war than when I started. A question presents itself: How could that be? How could I know less rather than more? Was he hiding something? Or was there really little more than met the eye?
The Unknown Known has been referred to as a sequel of sorts to The Fog of War, but from this it seems more like its opposite. Morris got some substantive and honest answers to important questions from McNamara, whereas it sounds like he got bupkiss from Rumsfeld.
The Grand Budapest Hotel is Wes Anderson's most design-y film, and that's really saying something. Typography is present in almost every frame; at times, it was almost oppressive. Creative Review interviewed designer Annie Atkins, who was responsible for the film's graphic design elements.
Oh my goodness, so many signs in the 1960s hotel lobby! I have to give credit to Liliana for this work, as she took care of nearly all of these. She had three sign-writers from Berlin painting non-stop for a week to get them all done in time for our first day of shoot, as that set was first up. Wes and Adam had seen so many examples of quite officious signage in what had been communist East Germany -- don't do this, don't do that, do this but only like that! The signs really added to the claustrophobic feeling of that set, and Wes had asked for them all to be black with simple white hand-painted lettering -- based on the style of the old sign at Yorckstrasse subway station in Berlin.
Creativity, Inc. is a book for managers who want to lead their employees to new heights, a manual for anyone who strives for originality, and the first-ever, all-access trip into the nerve center of Pixar Animation -- into the meetings, postmortems, and "Braintrust" sessions where some of the most successful films in history are made. It is, at heart, a book about how to build a creative culture -- but it is also, as Pixar co-founder and president Ed Catmull writes, "an expression of the ideas that I believe make the best in us possible."
For nearly twenty years, Pixar has dominated the world of animation, producing such beloved films as the Toy Story trilogy, Monsters, Inc., Finding Nemo, The Incredibles, Up, and WALL-E, which have gone on to set box-office records and garner thirty Academy Awards. The joyousness of the storytelling, the inventive plots, the emotional authenticity: In some ways, Pixar movies are an object lesson in what creativity really is. Here, in this book, Catmull reveals the ideals and techniques that have made Pixar so widely admired -- and so profitable.
Catmull was a founder of Pixar and while he never got the press Jobs and Lasseter did, he was instrumental in the company's success and is currently president of both Disney and Pixar's animation studios. Fast Company has an excerpt of the book.
Candor could not be more crucial to our creative process. Why? Because early on, all of our movies suck. That's a blunt assessment, I know, but I choose that phrasing because saying it in a softer way fails to convey how bad the first versions really are. I'm not trying to be modest or self-effacing. Pixar films are not good at first, and our job is to make them so -- to go, as I say, "from suck to not-suck."
Think about how easy it would be for a movie about talking toys to feel derivative, sappy, or overtly merchandise driven. Think about how off-putting a movie about rats preparing food could be, or how risky it must've seemed to start WALL-E with 39 dialogue-free minutes. We dare to attempt these stories, but we don't get them right on the first pass. This is as it should be. Creativity has to start somewhere, and we are true believers in the power of bracing, candid feedback and the iterative process -- reworking, reworking, and reworking again, until a flawed story finds its through line or a hollow character finds its soul.
Last year (spoilers!), CERN confirmed the discovery of the Higgs boson. Physicist-turned-filmmaker Mark Levinson has made a film about the search for the so-called God Particle. Particle Fever follows a group of scientists through the process of discovery and the construction of the mega-machine that discovered the Higgs, the Large Hadron Collider. Here's a trailer:
I had just started a job as The Wall Street Journal's national affairs reporter. My wife, Cornelia, a former journalist, was home with him -- a new story every day, a new horror. He could barely use a sippy cup, though he'd long ago graduated to a big-boy cup. He wove about like someone walking with his eyes shut. "It doesn't make sense," I'd say at night. "You don't grow backward." Had he been injured somehow when he was out of our sight, banged his head, swallowed something poisonous? It was like searching for clues to a kidnapping.
After visits to several doctors, we first heard the word "autism." Later, it would be fine-tuned to "regressive autism," now affecting roughly a third of children with the disorder. Unlike the kids born with it, this group seems typical until somewhere between 18 and 36 months -- then they vanish. Some never get their speech back. Families stop watching those early videos, their child waving to the camera. Too painful. That child's gone.
But a tenuous connection remained between Owen and his pre-autistic self: Disney movies. And through them, Owen slowly learns how to communicate with the outside world again.
So we join him upstairs, all of us, on a cold and rainy Saturday afternoon in November 1994. Owen is already on the bed, oblivious to our arrival, murmuring gibberish.... "Juicervose, juicervose." It is something we've been hearing for the past few weeks. Cornelia thinks maybe he wants more juice; but no, he refuses the sippy cup. "The Little Mermaid" is playing as we settle in, propping up pillows. We've all seen it at least a dozen times, but it's at one of the best parts: where Ursula the sea witch, an acerbic diva, sings her song of villainy, "Poor Unfortunate Souls," to the selfish mermaid, Ariel, setting up the part in which Ursula will turn Ariel into a human, allowing her to seek out the handsome prince, in exchange for her voice.
When the song is over, Owen lifts the remote. Hits rewind.
"Come on, Owen, just let it play!" Walt moans. But Owen goes back just 20 seconds or so, to the song's next-to-last stanza, with Ursula shouting:
Go ahead -- make your choice!
I'm a very busy woman, and I haven't got all day.
It won't cost much, just your voice!
He does it again. Stop. Rewind. Play. And one more time. On the fourth pass, Cornelia whispers, "It's not 'juice.' " I barely hear her. "What?" "It's not 'juice.' It's 'just' ... 'just your voice'!"
I grab Owen by the shoulders. "Just your voice! Is that what you're saying?!"
He looks right at me, our first real eye contact in a year. "Juicervose! Juicervose! Juicervose!"
Walt starts to shout, "Owen's talking again!" A mermaid lost her voice in a moment of transformation. So did this silent boy. "Juicervose! Juicervose! Juicervose!" Owen keeps saying it, watching us shout and cheer. And then we're up, all of us, bouncing on the bed. Owen, too, singing it over and over -- "Juicervose!" -- as Cornelia, tears beginning to fall, whispers softly, "Thank God, he's in there."
This is the best thing I've read in a month, so so heartbreaking and amazing. Just pre-ordered the book...can't wait to read the full version.
If you're having Downton Abbey withdrawals, may I suggest Robert Altman's Gosford Park? Written by Downton creator Julian Fellowes, it's a proto-Downton of sorts: lots of upstairs/downstairs with a dash of mystery. And the cast! Clive Owen, Emily Watson, Stephen Fry, Kristin Scott Thomas, Michael Gambon, Derek Jacobi, Kelly Macdonald, Helen Mirren, Ryan Phillippe...and Maggie Smith plays a witty countess.
You find it at the bottom of movie posters and often at the end of movie trailers. In an Op-Art piece from last year, Ben Schott explains how the billing block is carefully constructed with information from contracts and legal agreements.
The content, order and format of the billing block are governed by two things: personal service contracts with cast and crew, and industrywide agreements with professional guilds -- notably the Directors Guild of America (D.G.A.) and the Writers Guild of America (W.G.A.). Thus, while some elements of the billing block remain consistent, others depend of the type of film and on individual negotiations. That said, there has been a marked inflation in billing block credits. An "Ocean's 11" poster from 1960 credited just three noncast individuals; the 2001 remake poster credited, coincidentally, 11.
In a lovely short film, Ilinca Calugareanu explores the world of 1980s black market VHS movies in Communist Romania and finds the woman who did all the dubbed dialogue.
All the dialogue on these movies was dubbed into Romanian in a husky, high-pitched woman's voice. Throughout my childhood, these films provided a glimpse into the forbidden West, resplendent with blue jeans, Coke and skyscrapers. As Hollywood movies became ubiquitous through the black market, this voice became one of the most recognizable in Romania. Yet no one knew who she was.
I would place some of the elements in Jonze's depiction at around 2020, give or take a couple of years, such as the diffident and insulting videogame character he interacts with, and the pin-sized cameras that one can place like a freckle on one's face. Other elements seem more like 2014, such as the flat-panel displays, notebooks and mobile devices.
Samantha herself I would place at 2029, when the leap to human-level AI would be reasonably believable. There are some incongruities, however. As I mentioned, a lot of the dramatic tension is provided by the fact that Theodore's love interest does not have a body. But this is an unrealistic notion. It would be technically trivial in the future to provide her a virtual visual presence to match her virtual auditory presence, using, lens-mounted displays, for example, that display images onto Theodore's retinas.
According to Jonze in interviews, Kurzweil's work on the singularity was a definite influence on the movie.
ps. The links to Amazon include my affiliates code...proceeds from purchases made through those links will be matched by me and will be donated to the Labyrinth Theater Company, which Hoffman co-founded and where he served as creative director for many years.
In an interview with an Australian radio station, Arcade Fire's Win Butler said that the music on the Her movie soundtrack will see an official release in some form. Here's what Butler said about it:
We're just slow as a band. The music will get out there, it's just, like, a question of if we want to sell it to people or give to people or record other songs or whatever. There are many pieces on the soundtrack that are kind of based on actual songs that we've never really recorded. Yeah, there's a song called Milk and Honey and a song called Dimensions that are, like, lost great Arcade Fire songs. They are actually just things that, like, fit the world of the movie and then we kind of wrote them to the film.
That's good news! Here's the whole interview (they start talking about Her at 15:40):
According to Spike Jonze, there might not be an official release of the soundtrack for Her (performed by Arcade Fire), but the whole thing is somehow currently on the internet for your listening pleasure:
Update: Win Butler of Arcade Fire now says the Her soundtrack will be released in some form eventually.
Because the film is a period piece, The Godfather actually presents a fascinating record of what 1940s-era New York City locations still existed in the early-1970s. Sadly, many of them are now gone. What still remains? Let's take a closer look.
Ludwig: Our biggest cost was getting film. Film comes in 1,000-foot loads and 400-foot loads. On a big movie, they'll throw away the end of the film, like the last hundred feet or so.
Liman: We shot most of the movie with these 100-foot short ends. It's a minute of film. Which also meant the actors could get through 60 seconds of a scene and I'd have to call reload.
Wurmfeld: I cultivated a lot of relationships with the people around town selling short ends.
LaLoggia: I called this place in L.A. that does recycled, re-canned short ends and I just begged for the cheapest price we could get. (Many of the short ends came from the movie Twister.)
Liman: The problem with shooting on short ends, though, is that it takes four minutes to reload a conventional camera. I thought to myself: We'll never get through the movie if we shoot a minute, spend four minutes reloading, shoot a minute, spend four minutes reloading. You'll never get any kind of rhythm going. So I decided I would shoot the movie with this documentary 35-millimeter film camera that was not designed to shoot dialogue because it sounds like a sewing machine.
Ludwig: The camera was much louder than a regular camera that you'd use for a feature film. But it's easy to load and very compact. I think it was developed so Godard could have a camera that would fit into his bicycle basket.
Liman: To absorb the sound, I would take my down jacket and put it over the camera and then take the two arms and tie them together underneath the lens. And then my comforter would just get wrapped around the whole thing once. Jon would describe it like he was acting in front of a big, fluffy snowball. But I really think that as insane as that setup was, it created a really safe environment for the actors. Vince really did some extraordinary things, like the scene where he's supposed to be drunk and he jumps up on the table. You know, he had to do that in front of a lot of people and I feel like they looked at me and they were like, Doug is clearly not being self-conscious.
Favreau: There was never enough time and never enough film.
Liman: Every day we'd panic because I was shooting more film than I thought I was gonna shoot and we didn't have enough film and we didn't have any money.
LaLoggia: I used to hide film in the trunk of my car because Doug could not help himself. He just wanted to shoot, shoot, shoot, so we would lie to him and say that we were out of film.
Whenever we needed money, we'd rob the airport. To us, it was better than Citibank.
So said Ray Liotta as Henry Hill in GoodFellas. Now, more than twenty-five years after the Lufthansa heist that was fictionalized in Martin Scorsese's movie, the FBI has arrested five mobsters in connection with that crime and a list of other jobs that "reads like a greatest hits collection of the Mafia: armored truck heists, murder, attempted murder, extortion and bookmaking."
Well lookie here, a restored full-length version of Stanley Kubrick's very first film, 1953's Fear and Desire, has popped up on YouTube:
Kubrick famously disliked his first film. From a 1994 episode of All Things Considered:
D'Arcy: But Stanley Kubrick hates the film and to keep it off the screen he threatened Film Forum with copyright violations, even though Fear and Desire is in the public domain. Through a Warner Brothers' publicist, Kubrick called his first feature 'a bumbling amateur film exercise'.
Goldstein: Kubrick had Warner Brothers send a letter out to all the press in town saying that the picture was boring and pretentious and of course, that only drew more attention to it. So it now, now it really is a must see, because now it's the picture Kubrick wants to suppress. So that makes it even sexier as a box office attraction. So I think he's increased our attendance four-fold.
Basketball fanatics Steve James, Frederick Marx, and Peter Gilbert originally set out to make Hoop Dreams as a half-hour doc for PBS that would focus on the culture surrounding streetball. But as quickly as they got on the blacktop, they left it. The dreams of their subjects, Arthur Agee and William Gates, were too grand for just the playground, and instantly, the filmmakers were immersed in the young men's lives, showcasing both the good and bad.
Twenty years after the film premiered at Sundance and was awarded the festival's Audience Award, it's grown into an iconic work. Its snub in the Best Documentary category at the 67th Academy Awards in 1995 led to changes in the voting process. NBA players treat the movie as their own life story. It's been added to the Library Of Congress' National Film Registry. And when looking back on the film's 15th anniversary, Roger Ebert declared it "the great American documentary."
Currently out in theaters is The Secret Life of Walter Mitty, starring Ben Stiller and Kristen Wiig. The film is based on a short story of the same name by James Thurber, first published in the New Yorker in 1939 and available to read for free on their website.
"We're going through!" The Commander's voice was like thin ice breaking. He wore his full-dress uniform, with the heavily braided white cap pulled down rakishly over one cold gray eye. "We can't make it, sir. It's spoiling for a hurricane, if you ask me." "I'm not asking you, Lieutenant Berg," said the Commander. "Throw on the power lights! Rev her up to 8,500! We're going through!" The pounding of the cylinders increased: ta-pocketa-pocketa-pocketa-pocketa-pocketa. The Commander stared at the ice forming on the pilot window. He walked over and twisted a row of complicated dials. "Switch on No. 8 auxiliary!" he shouted. "Switch on No. 8 auxiliary!" repeated Lieutenant Berg. "Full strength in No. 3 turret!" shouted the Commander. "Full strength in No. 3 turret!" The crew, bending to their various tasks in the huge, hurtling eight-engined Navy hydroplane, looked at each other and grinned. "The Old Man'll get us through," they said to one another. "The Old Man ain't afraid of Hell!" ...
12 O'Clock Boys is a documentary about an Baltimore dirt-bike gang.
Pug, a wisecracking 13 year old living on a dangerous Westside block, has one goal in mind: to join The Twelve O'Clock Boys; the notorious urban dirt-bike gang of Baltimore. Converging from all parts of the inner city, they invade the streets and clash with police, who are forbidden to chase the bikes for fear of endangering the public. When Pug's older brother dies suddenly, he looks to the pack for mentorship, spurred by their dangerous lifestyle.
Story finds Lipsky accompanying Wallace across the country on a book tour promoting "Infinite Jest," just as Wallace starts to become famous. Along the way, jealousy and competition bubbles up between the two writers as they discuss women, depression and the pros and cons of fame.
Reaction from the DFW fan club abut Segel playing DFW has been tepid, to say the least.
Using a black & white workprint of The Dark Crystal that Jim Henson and Frank Oz wanted to release, YouTube user scoodidabop made a full-length director's cut of the film. It's a bit rough in spots, but the original vision is all there.
In a masterfully edited video, David Ehrlich presents his 25 favorite films of 2013.
Fantastic. This video makes me want to stop what I'm doing and watch movies for a week. It's a good year for it apparently...both Tyler Cowen and Bruce Handy argue that 2013 is an exceptional year for movies. I'm still fond of 1999... (via @brillhart)
But one of the most unusual things about Katniss isn't the way she defies typical gender roles for heroines, but the way Peeta, her arena partner and one of her two love interests, defies typical Hollywood versions of gender roles for boyfriends.
Consider the evidence: Peeta's family runs a bakery. He can literally bake a cherry pie, as the old song says.
He is physically tough, but markedly less so than she is. He's got a good firm spine, but he lacks her disconnected approach to killing. Over and over, she finds herself screaming "PEETA!", not calling for help but going to help, and then running, because he's gone and done some damn fool thing like gotten himself electrocuted.
Forcing Katniss to choose is forcing Katniss into monogamy, and as I suggested above, into doing gender to complement her partner. Victoria Robinson points out in her article, "My Baby Just Cares for Me," that monogamy compels women to invest too much time, energy, and resources into an individual man and limits their autonomy and relationships with others. What Robinson doesn't talk about is how it also limits women's range of how they might do gender in relationship to others.
It also limits men's range of doing gender in relationships. Wouldn't it be nice if Peeta and Gale never felt the pressure to be something they are not? Imagine how Peeta's and Gale's masculinities would have to be reconfigured to accommodate and accept each other?
Maybe this is why the end of Catching Fire (minor spoilers!) -- Katniss as the cliched irrational hysterical woman who can't be trusted with information -- felt so out of place compared to her gender fluidity throughout the rest of the movie.
Right now, the brothers are plainly excited about what they're writing, which they proudly explain, is set in ancient Rome. It's the allure of the unexpected, all over again.
"It's like: Would you ever do a sandal movie?" laughs Joel. "It's big," says Ethan, grinning. "We're interested in the big questions. And we don't (expletive) around with subtext. This one especially."
Though their movies usually revel in the absurdity of life's predicaments, Ethan promises this film has answers: "It's not like our piddly 'A Serious Man.'" Chimes Joel: "That was a cop-out. We just totally chickened out on that one."
LIFE ITSELF, the first ever feature-length documentary on the life of Roger Ebert, covers the prolific critic's life journey from his days at the University of Illinois, to his move to Chicago where he became the first film critic ever to win the Pulitzer Prize, then to television where he and Gene Siskel became iconic stars, and finally to what Roger referred to as "his third act"; how he overcame disabilities wrought by cancer to became a major voice on the internet and through social media.
Director Steve James (HOOP DREAMS) has conducted interviews with over two dozen people, including lifelong friends, professional colleagues, the first ever interview with Gene Siskel's wife, and filmmakers Errol Morris, Werner Herzog, Ramin Bahrani, Gregory Nava, Ava DuVernay, and Martin Scorsese, who is one of the executive producers along with Steven Zaillian.
[Mild spoilers] During the production of Gravity, Jonas Cuaron (co-writer of the screenplay and Alfonso Cuaron's son) shot a short film that shows the other side of the conversation that Sandra Bullock's character had while in the Soyuz capsule. In the film, an Inuit fisherman struggles to communicate with the distressed voice on the other end of his radio.
The short was filmed "guerrilla style" on location on a budget of about $100,000 -- most of which went toward the 10-person crew's travel costs -- and Cuaron completed it in time to meld the dialogue into Gravity's final sound mix. The result is a seamless conversation between Aningaaq and Ryan, stranded 200 miles above him, the twin stories of isolated human survival providing thematic cohesion. Still, Jonas says he was careful "to make it a piece that could stand on its own." Should both get Oscar noms, an interesting dynamic would emerge: Two films potentially could win for representing different sides of one conversation, to say nothing of having come from father and son.
Darren Aronofsky (Requiem for a Dream, The Wrestler, Black Swan) has made a movie called Noah, about Noah's ark. It stars Russell Crowe, Jennifer Connelly, Emma Watson, and Anthony Hopkins. Here's the trailer:
He has other houses. He has one, famously, on Lake Como, in Italy, and he has built another in Cabo. In this, he is not so much of a throwback-after all, Leonardo DiCaprio has a house in Cabo. Indeed, Clooney and DiCaprio once ran into each other in Cabo and struck up a conversation based on their common interest in basketball. They each have ongoing games, and their ongoing games have attained a celebrity of their own. Clooney suggested they might play someday. DiCaprio said sure, but felt compelled to add, "You know, we're pretty serious."
They played at a neighborhood court. "You know, I can play," Clooney says in his living room. "I'm not great, by any means, but I played high school basketball, and I know I can play. I also know that you don't talk shit unless you can play. And the thing about playing Leo is you have all these guys talking shit. We get there, and there's this guy, Danny A I think his name is. Danny A is this club kid from New York. And he comes up to me and says, 'We played once at Chelsea Piers. I kicked your ass.' I said, 'I've only played at Chelsea Piers once in my life and ran the table. So if we played, you didn't kick anybody's ass.' And so then we're watching them warm up, and they're doing this weave around the court, and one of the guys I play with says, 'You know we're going to kill these guys, right?' Because they can't play at all. We're all like fifty years old, and we beat them three straight: 11-0, 11-0, 11-0. And the discrepancy between their game and how they talked about their game made me think of how important it is to have someone in your life to tell you what's what. I'm not sure if Leo has someone like that."
Pupils at Hogwarts have access to a reasonably wide range of esoteric qualifications, suited to its key demographic. As an independent school, it does not have to follow the National Curriculum closely; however, it is disappointing to note that basic requirements such as English, Mathematics and Religious Education are all lacking or entirely missing from the school's syllabus. This has had adverse effects on all students, many of whom have never even been taught basic KS1 or 2 literacy. A few students have attended state or independent primary schools, and these students typically perform very well in contrast to their peers.
The majority of students appear to be under-performing, with most pupils struggling in all their lessons, most of which appear to be set at too challenging a level. One particular class, which seemed to be based on A-Level chemistry, proved too difficult for even the most proficient students. Only one pupil managed to complete the lesson objectives, mainly thanks to his use of an annotated text book.
Some Hollywood people are making a Lego movie called The Lego Movie. Batman's in it and the plot is from The Matrix. I can't decide if it looks horrible or amazing.
An ordinary guy named Emmet (Chris Pratt) is mistaken as being the Master Builder, the one who can save the Lego universe. With the aid of an old mystic named Vitruvius (Morgan Freeman), a tough young lady named Wyldstyle (Elizabeth Banks), and Batman (Will Arnett), Emmet will fight to defeat the evil tyrant Lord Business (Will Ferrell) who is bent on destroying the Lego universe by gluing it together.
The Wikipedia page notes The Lego Movie Video Game will be released in conjunction with the movie. Which, if you're following along, is a video game based on a movie based on stacking toys & figures containing characters based on other movies that are based on comic books. I can't wait for The Lego Movie Videogame Comic Book Movie that comes out in 2019.
Nestled in the midst of Matt Zoller Seitz's video essay on Wes Anderson's The Life Aquatic with Steve Zissou is this bombshell: the movie contains a Star Wars reference no one seems to have noticed. Seitz synced the scenes for us:
There have to be others, right? Many of Anderson's films end with all of the characters gathered together like at the medals ceremony in Episode IV...someone even synced up the end of the movie with the closing credits music from Zissou and it works really well:
Vsevolod Pudovkin was a Soviet film director who developed influential theories of film editing. In this 12-minute video, Evan Richards uses clips from films like 2001, Lawrence of Arabia, and The Godfather to illustrate Pudovkin's editing techniques.
The most instructive book on film aesthetics I came across was Pudovkin's Film Technique, which simply explained that editing was the aspect of film art form which was completely unique, and which separated it from all other art forms. The ability to show a simple action like a man cutting wheat from a number of angles in a brief moment, to be able to see it in a special way not possible except through film -- that this is what it was all about. This is obvious, of course, but it's so important it cannot be too strongly stressed. Pudovkin gives many clear examples of how good film editing enhances a scene, and I would recommend his book to anyone seriously interested in film technique.
There are few perfect movies. This is one of them.
The book and video essays came about because Anderson saw Seitz's earlier video essay series, The Substance of Style, an examination of Anderson's stylistic influences. Great resource for fans of Anderson and film.