kottke.org posts about movies
George Lucas says he had nothing to do with The Force Awakens and furthermore that the movie was not done the way he would have done it.
"The issue was ultimately, they looked at the stories and they said, 'We want to make something for the fans,'" Lucas said. "People don't actually realize it's actually a soap opera and it's all about family problems -- it's not about spaceships. So they decided they didn't want to use those stories, they decided they were going to do their own thing so I decided, 'fine.... I'll go my way and I let them go their way.'"
Soooooooooooooooo, if Star Wars is a family story, why did you make it about spaceships and special effects?
Perhaps inspired by the long time scale filmmaking of Richard Linklater's Boyhood, John Malkovich and Robert Rodriguez have teamed up to make a movie that won't be released until 2115. Why? As a promotion for luxury brand Louis XIII Cognac, which is also aged 100 years. According to io9, Louis XIII is sending out 1000 tickets to people whose descendants will be able to see a screening of the film 100 years from now.
I wonder how serious they are about this? To what extent have they futureproofed their media? The io9 piece says the movie is "preserved on film stock"...is that and an old movie projector sufficient? Have they consulted with MoMA or Danny Hillis?
For the latest installment of Every Frame a Painting, Tony Zhou examines the artistry and thought silent film master Buster Keaton put into the physical comedy in his movies. I used to watch all sorts of old movies with my dad (Chaplin, Keaton, Laurel & Hardy) and had forgotten how good Keaton was. If you're anything like me in wanting to head down a Keaton rabbit hole, Zhou recommends starting with the first short film he directed and released, One Week.
See also Studs Terkel's 1960 interview with Keaton, a video showing Keaton's use of symmetry and center framing (Wes Anderson, Kubrick), Every Frame a Painting episode on Jackie Chan, and The Ultimate Buster Keaton Collection, a 14-disc Blu-ray box set.
Noma: My Perfect Storm is a feature-length documentary about chef René Redzepi and his Copenhagen restaurant Noma, which is currently ranked #3 in the world.
How did Redzepi manage to revolutionize the entire world of gastronomy, inventing the alphabet and vocabulary that would infuse newfound pedigree to Nordic cuisine and establish a new edible world while radically changing the image of the modern chef? His story has the feel of a classic fairy tale: the ugly duckling transformed into a majestic swan, who now reigns over the realm of modern gourmet cuisine.
The film is out Dec 18 in theaters, on Amazon, iTunes, etc.
Stiller. Wilson. Cruz. Ferrell. Cumberbatch. Wiig. Bieber? If this is even half the goofy fun of the first one, I will be happy.
Someone on Twitter said this is the best piece about the upcoming Star Wars movie, and I think he's right. But it's not so much about Star Wars specifically as it is about how Hollywood studios are trying to build infinite series of movies.
These new movies won't just be sequels. That's not the way the transnational entertainment business works anymore. Forget finite sequences; now it's about infinite series. [...] Everywhere, studio suits are recruiting creatives who can weave characters and story lines into decades-spanning tapestries of prequels, side-quels, TV shows, games, toys, and so on. Brand awareness goes through the roof; audiences get a steady, soothing mainline drip of familiar characters.
Forget the business implications for a moment, though. The shared universe represents something rare in Hollywood: a new idea. It evolved from the narrative techniques not of auteur or blockbuster films but of comic books and TV, and porting that model over isn't easy. It needs different kinds of writers and directors and a different way of looking at the structure of storytelling itself. Marvel prototyped the process; Lucasfilm is trying to industrialize it.
Harry Potter could be a great infinite series, but it'll be interesting to see if Rowling is interested in heading in that direction. Ditto Middle-earth and Tolkien.
The teaser trailer for Pixar's sequel to Finding Nemo is out. I'm excited for this one. Nemo was my favorite Pixar movie for a long while, until Wall-E came out. (via devour)
This is a Japanese trailer for The Force Awakens. It's similar to the most recent trailer released in the US, but it contains a bunch of new footage. Still no Luke. (via @gavinpurcell)
From a 2005 post on Marginal Revolution by Tyler Cowen, an alternate take on the Star Wars movies positing that while the Jedi aren't the bad guys, they are also not to be trusted.
1. The Jedi and Jedi-in-training sell out like crazy. Even the evil Count Dooku was once a Jedi knight.
2. What do the Jedi Council want anyway? The Anakin critique of the Jedi Council rings somewhat true (this is from the new movie, alas I cannot say more, but the argument could be strengthened by citing the relevant detail). Aren't they a kind of out-of-control Supreme Court, not even requiring Senate approval (with or without filibuster), and heavily armed at that? As I understand it, they vote each other into the office, have license to kill, and seek to control galactic affairs. Talk about unaccountable power used toward secret and mysterious ends.
See also Darth Jar Jar and Luke Skywalker, Sith Lord. I also wanted to link to a video I saw within the past year that suggests that instead of a rebel leader, Princess Leia is a petulant child whose father, Vader, is attempting to bring to heel. Ring a bell? The internet is so choked with crackpot theories about Star Wars that it's impossible to search for one in particular. (And now this post is part of the problem.)
Update: Aaah, yes, the Auralnauts. (via @peteashton & @Lemur_Lad)
Details about Shane Carruth's new film have been scarce, but there are a few things to share. First off, here's what The Modern Ocean is about:
The storyline revolves around vengeance and the fierce competition for valuable shipping routes and priceless materials that converge in a spectacular battle on the rolling decks of behemoth cargo ships.
"This epic tale, fraught with danger and intrigue, takes us from the ancient trading houses of Algeria to the darkest depths of the ocean floor."
Carruth expanded on his ideas for the film in an interview with Motherboard a few months ago. He's also got himself some stars for the film: Anne Hathaway, Keanu Reeves, Daniel Radcliffe, and Jeff Goldblum are gonna be in it.
So, let me get this straight. Has Carruth somehow taken the idea of the long zoom, combined it with Marc Levinson's book on shipping containers and supply chain pieces like I, Pencil, What Coke Contains, and How to Make a $1500 Sandwich, and made all that into a high-seas adventure movie starring Keanu Reeves and Anne Hathaway or is that just me reading way too much into what I want the movie to be? (via @von_hutchins)
Have you noticed that non-mainstream films are increasingly being produced/financed/released through Amazon, HBO, and Netflix and not the big studios? The latest example is Spike Lee's new joint, Chi-raq. Set among the gang violence in modern-day Chicago, the film is an adaptation of an ancient Greek play by Aristophanes called Lysistrata.
Originally performed in classical Athens in 411 BC, it is a comic account of one woman's extraordinary mission to end the Peloponnesian War. Lysistrata persuades the women of Greece to withhold sexual privileges from their husbands and lovers as a means of forcing the men to negotiate peace -- a strategy, however, that inflames the battle between the sexes. The play is notable for being an early exposé of sexual relations in a male-dominated society.
Even with all the big names attached -- Lee, Angela Bassett, Jennifer Hudson, Samuel L. Jackson, Wesley Snipes, John Cusack -- I wonder if a movie with a predominantly African-American cast, strong women characters, and based on an Aristophanes play would get greenlit at a major studio these days.
Seven years after his directorial debut with the fantastic Synecdoche, New York comes Charlie Kaufman's second movie as a director, a stop-motion animated film called Anomalisa. The film successfully raised funds on Kickstarter and will be out in select theaters in December.
Pablo Eyre took a number of movie posters featuring photography from their respective movies and replaced the photos with the actual scenes. I imagine this is what movie posters look like in Harry Potter.
(Something must be in the air lately. This video is similar to two other videos I've linked to recently: book covers in motion?and a comparison of movie posters and the scenes that inspired them.)
The Foley Artist a charming short film on how a Foley artist would sound design a day in an ordinary life. Running hands through spaghetti noodles stands in for hair washing, a spray bottle sounds like rustling sheets, that sort of thing.
See also this fascinating short documentary about what a Foley artist does.
Rishi Kaneria examines the use of props in movies, from the sled in Citizen Kane to the oranges in The Godfather to the cardboard box in Se7en. A transcript is available here.
When used like this props become more than just objects. They become symbols. A symbol that represents a friendship. Or a marriage. Science. Or God.
A prop can be a symbol of reality. Or Illusion. Of the future. Or the past.
And the same prop can symbolize childhood in one film...but death in another. But death can also be symbolized like this. In the Godfather, Coppola associates death with something unexpected: oranges. This isn't the kind of thing that's in the foreground of filmmaking. But it's there if you're looking for it.
From Mapzen's exploration of map projections other than the familiar (and often misleading) Mercator, an Inception-style view of Manhattan (or anywhere you want to point the map to...like Paris or London), inspired by Berg's Here & There project (which I was a fan of, obviously).
From Candice Drouet, a short video with side-by-side comparisons of scenes from movies and the movie posters inspired by them.
In 1977, Herbert Yager interviewed designer and title sequence designer Saul Bass about his approach to designing opening title sequences for films such as North by Northwest, Vertigo, and Psycho.
I began as a graphic designer. As part of my work, I created film symbols for ad campaigns. I happened to be working on the symbols for Otto Preminger's Carmen Jones and The Man With The Golden Arm and at some point, Otto and I just looked at each other and said, "Why not make it move?"
It was as simple as that.
I had felt for some time that audience involvement with a film should begin with its first frame.
Until then, titles had tended to be lists of dull credits, mostly ignored, endured, or used as popcorn time.
There seemed to be a real opportunity to use titles in a new way -- to actually create a climate for the story that was about to unfold.
No where in that excerpt did Bass or the interviewer reference Bass' wife and collaborator Elaine Bass, who worked closely with him on almost all of their film projects. In recent years, there's been a push to recontextualize their working relationship as a partnership. Elaine did start off working as his employee but clearly they worked as true collaborators for much of their careers.
From 2007, a 30-minute documentary on the making of Stanley Kubrick's The Shining. Includes interviews with Jack Nicholson, Steven Spielberg, and Sydney Pollack.
There are a few shots in here that are generic to many movies but many others have the feel of definite homage. See also this list of similarities from a couple of years ago.
The moment when Walt spots Jesse's escaped hostage on the road is very reminiscent of the moment when Butch sees Marcellus. The scene where Walt chooses the weapon to kill someone looks exactly like the scene where Butch wonders what to use as he comes back to rescue Marcellus. In one scene Walt is forced to visit his home and there is a great chance someone is waiting there to kill him. Sounds familiar?
If you haven't heard, today is the day to which Doc, Marty, and Jennifer travel forward in time in Back to the Future II.
Because of this and my love of cultural time travel, I thought I'd take the opportunity to point out that Michael J. Fox (aka Marty McFly) is nearly 8 years older now than Christopher Lloyd was when he played Doc Brown when Back to the Future was released in 1985. That's heavy.
Quentin Tarantino is the type of writer/director who writes roles in movies with specific actors in mind. For Pulp Fiction, he wanted Harvey Keitel to play Winston Wolf, Tim Roth to play Pumpkin, and Ving Rhames to play Marcellus Wallace. But he also wanted Michael Madsen to play Vincent (with Travolta as a strong second choice), John Cusack to play Lance, Matt Dillon to play Butch, and Laurence Fishburne to play Jules. Another possibility for Jules was Eddie Murphy, and Tarantino also specified "No Rappers" for that role. Bruce Willis and Uma Thurman weren't even listed for their respective roles. Gary Oldman, Nicholas Cage, Johnny Depp, and Alec Baldwin were considered for several roles but ultimately didn't appear in the film.
Here's the full list. (via open culture)
Trailer: watched. Tickets: bought. Luke Skywalker: still missing.
Lewis Bond takes a look at the work of master filmmaker Hayao Miyazaki and what sets him apart from other makers of animated movies, including his work's realism and empathy.
With its straightforward plot and action sequences, Mad Max: Fury Road would make a pretty good 8-bit video game. (via devour)
50 unknown facts about Star Wars, many gleaned from How Star Wars Conquered the Universe. I've heard some of these before, but not many...the list doesn't include low-hanging fruit like Harrison Ford's carpentry.
Favorite facts: 1. Early on, Luke Skywalker's nickname was "Wormy". Wormy! 2. The actor who portrayed Vader, David Prowse, spoke his dialogue on set not knowing he would be dubbed over. Because of his West Country accent, the other cast members referred to Prowse as Darth Farmer.
Speaking of Harrison Ford's carpentry, the new biography of Joan Didion has a good story about that time Didion and her husband John Dunne hired Ford to do some construction for them.
Off and on, for over six month, the Dunnes engaged a construction crew to expand the waterside deck, install waxed pine bookshelves, and lay terra-cotta floor tiles. The men tore out prefabricated plywood walls and pulled up "icky green" flooring. Harrison Ford headed the crew. "They were the most sophisticated people I knew," Ford said. "I was the first thing they saw in the morning and the last thing they saw before cocktails."
In Vegas, Dunne wrote, "[W]hat had started as a two-month job ... [stretched] into its sixth month and the construction account was four thousand dollars overdrawn... I fired the contractor. 'Jesus, man, I understand,' he said. He was an out-of-work actor and his crew sniffed a lot of cocaine and when he left he unexpectedly gave me a soul-brother handshake, grabbing my thumb while I was left with an unimportant part of his little finger." The next day, Dunne realized the only thing separating him and his family from the Pacific Ocean was a clear sheet of Pliofilm where the French doors were supposed to go. "I rehired the contractor," he wrote. "'Jesus, man, I understand,' the contractor said."
Much later, when Didion's daughter was ill, Ford did the family a further service.
The following day, Didion flew from Teterboro to Los Angeles on Harrison Ford's private plane, along with her friend Earl McGrath. Ford "happened to be in New York and heard about Q's condition ... and called to offer to take Joan," said Sean Michael. "I find that to be a beautiful thing," he said. "A man you hire to build cabinets, thirty years later is flying you in his private jet to your daughter's hospital bedside."
Jesus, man, I understand.
Update: Some of Ford's comments from the book were taken from Carolyn Kellogg's reporting on an awards festival.
As if to make up for her absence, a parade of stars was in attendance. Harrison Ford, who was prepared to present her the award, spoke somewhat extemporaneously instead. "I just want to tell you all how much her friendship has meant to me," he said. Forty years ago, Didion and her husband, John Gregory Dunne, were "The most sophisticated people I knew."
Then a carpenter, Ford was hired by Didion and Dunne to build their beach house in Malibu. "I was the first thing they saw in the morning and the last thing they saw" -- he paused -- "before cocktails."
Charlie Jane Anders of io9 has a great preview of Pixar's upcoming film, The Good Dinosaur, including some juicy details on how the film was made. Because the film uses many big landscape shots, which would have been impossible to render in a timely fashion using their usual processes, the filmmakers needed to come up with another solution. They ended up using real topographical data and satellite images to render the landscapes.
Enter the U.S. Geographical Survey, which posts incredible amounts of topographical data to its website-including the height above sea level of all of the land features, and lots of satellite images. So Munier and his team tried downloading a lot of the USGS data and putting it into their computer, and then using that to "render" the real-life landscape. And it worked: They were able to take a classic Ansel Adams photograph of the Grand Tetons and duplicate it pretty closely using their computer-generated landscape. And with this data, they could point a digital "camera" anywhere, in a 360-degree rotation, and get an image.
Hail, Caesar! is the name of the Coen brothers' new movie. It stars George Clooney as a movie star (what casting!) who is kidnapped during the shooting of a epic Roman gladiator picture called Hail, Caesar! This one looks fun. And with the exception of The Big Lebowski, the Coen's fun movies are underrated,...I quite enjoyed both Intolerable Cruelty and Burn After Reading.
How many videos can we watch about the films of Stanley Kubrick? If you're anything like me, the answer is never enough. This montage hinting at connections between his films is particularly well done.
Mashups are so ubiquitous and overdone that the bar for actually watching one is pretty high. But this one, no joke, might be the best visual movie mashup I've ever seen. Hell's Club is a tour de force of film editing, seamlessly combining scenes from dozens of different films -- Austin Powers, Cocktail, Star Wars, Terminator, Staying Alive, Boogie Nights -- into one cohesive scene. Give it 30 seconds and you'll watch the whole thing.
HLN (which used to be CNN Headline News) needed someone to talk about Edward Snowden, US government whistleblower. They meant to invite a gentleman named John Hendren, a journalist for Al Jazeera, onto the show but instead invited funnyman Jon Hendren, who goes by the username of @fart on Twitter. Hendren, Jon used the opportunity to defend both Edward Snowden, briefly, and then sexy-but-misunderstood barber Edward Scissorhands.
Well, you know, to say he couldn't harm someone, well, absolutely he could. But I think to cast him out, to make him invalid in society, simply because he has scissors for hands, I mean, that's strange. People didn't get scared until he started sculpting shrubs into dinosaur shapes and whatnot.
The best part is that anchor Yasmin Vossoughian just keeps on plowing right through her script like they're not talking suddenly about a man with scissors for hands, deftly demonstrating what a farce these TV news "conversations" are. (via nymag)
Kent Jones has directed a documentary on the 1962 meeting where a young François Truffaut interviewed a seasoned Alfred Hitchcock about his films (the output of which was a beloved book). As the narration from the trailer says, "[Truffaut] wanted to free Hitchcock from his reputation as a light entertainer", to which Peter Bogdanovich adds, "it conclusively changed people's opinions about Hitchcock".
In 1962 Hitchcock and Truffaut locked themselves away in Hollywood for a week to excavate the secrets behind the mise-en-scène in cinema. Based on the original recordings of this meeting -- used to produce the mythical book Hitchcock/Truffaut -- this film illustrates the greatest cinema lesson of all time and plummets us into the world of the creator of Psycho, The Birds, and Vertigo. Hitchcock's incredibly modern art is elucidated and explained by today's leading filmmakers: Martin Scorsese, David Fincher, Arnaud Desplechin, Kiyoshi Kurosawa, Wes Anderson, James Gray, Olivier Assayas, Richard Linklater, Peter Bogdanovich and Paul Schrader.
Truffaut's recontextualization of Hitchcock and his work reminds me of the point Matt Daniels recently made about younger generations deciding how work from older artists is remembered in his post about timeless music:
Biggie has three of the Top 10 hip-hop songs between 1986 and 1999. This is a strong signal that future generations will remember Biggie as the referent artist of 80s and 90s hip-hop. And there's No Diggity at the top -- perhaps it's that glorious Dr. Dre verse.
Hip hop heads will lament the omission of Rakim, Public Enemy, or Jay-Z's Reasonable Doubt. It's a depressing reality that exists for every genre and generation: not every artist will be remembered. The incoming generation will control what's relevant from the 90s and carried into the future, independent of quality and commercial success. For rock, that might be Blink-182. For electronica, that might be Sandstorm.
Take Star Wars as another example. I've had conversations recently with other parents whose young kids are really into the series. The way they experience Star Wars is different than my generation. We saw Episodes IV-VI in the theater, on VHS, and on DVD and then saw Episodes I-III in the theater accompanied by various degrees of disappointment and disregard. Elementary school-aged kids today might have watched the prequels first. They read the comics, play the video games, and watch the Clone Wars animated series. To many of them, the hero of the series is Anakin, not Luke.1 And Generation X, as much as we may hate that, there's not a damn thing we can do about it.2 Unless... there is... another... (via subtraction)
Before the Reagans cranked up the War on Drugs in the early 80s due to the massive influx of cocaine from Latin America, advertisements offering all kinds of coke paraphernalia could be found in magazines. The World's Best Ever collected a bunch of ads offering spoons, mirrors, straws, knives, and the like for America's coke sniffers.
I am an episode and a half into Narcos on Netflix. Pretty good (but not great) so far.1 (via adfreak)
Photographer Yann Arthus-Bertrand is known for his aerial photography of the Earth's landscapes, but in his film Human, he blends his trademark overview style with simply shot interviews with people from all over the world.
Humans made its debut earlier this month and is available in its entirety on YouTube in three 90-minute parts; start here with part one. (via in focus, which is featuring several photos from the film)
In an interview with Slashfilm, Mad Max: Fury Road director George Miller stated that "the best version of this movie is black and white" and that the purest version of the film would also be silent (which it very nearly is anyway). Miller wanted to include the B&W version on the Blu-ray, but the studio decided to delay the release of that until a Super Special Ultra Gimme All Your Money Blu-ray Edition can be arranged at some later date. Until then (or, more probably, until Warner's lawyers get around to taking it down), we have this fan-made edit of the film in B&W without dialogue. (via @SebastianNebel)
Update: Well, that was fun while it lasted. Good thing I totally didn't grab a copy to watch later using a Chrome extension. (And before you ask, no I won't.)
In the latest installment of Every Frame a Painting, Tony Zhou talks about the different techniques filmmakers use to make shoot locations like Vancouver (Zhou's hometown) look like New York, India, Chicago, Shanghai, and San Francisco in the finished films.
With California in the midst of a particularly intense multi-year drought and 2015 looking to be the warmest year on record by a wide margin,1 Edward Burtynsky's "Water" series of photographs is especially relevant.
Many of photos in the series are on display in Berkeley through February and are also available in book form.
Update: Burtynsky also collaborated on a documentary about water called Watermark. Here's a trailer:
The film is available to watch on Amazon Instant and iTunes. (via @steveportigal)
Gene Kogan used some neural network software written by Justin Johnson to transfer the style of paintings by 17 artists to a scene from Disney's 1951 animated version of Alice in Wonderland. The artists include Sol Lewitt, Picasso, Munch, Georgia O'Keeffe, and van Gogh.
The effect works amazingly well, like if you took Alice in Wonderland and a MoMA catalog and put them in a blender. (via prosthetic knowledge)
The worlds in many of Quentin Tarantino's movies are connected; here are ten of the biggest connections, including the Vega brothers, Red Apple cigarettes, and Big Kahuna Burger. Tarantino has even said that some of his movies are watchable within others...e.g. the characters in Pulp Fiction could have watched From Dusk Till Dawn in the theater.
Posted here purely for the sake of completeness, here is a supercut of every1 supercut, parody, analysis, and compilation of Wes Anderson and his movies, the whole twee ball of wax.
The aspect ratio of a movie can have a significant effect on how the scenes in the movie are perceived by the viewer. Changing the ratio during a movie (as in Interstellar, The Dark Knight Rises, etc.) can be an effective way to signal a thematic change.
The Nerdwriter takes on Children of Men, specifically what's going in the background of Alfonso Cuarón's film, both in terms of references to other works of art & culture and to things that push the plot along and contribute to the tone and message of the film.
Many years ago, Errol Morris interviewed Donald Trump about Citizen Kane as part of a project called The Movie Movie.
The table getting larger and larger and larger with he and his wife getting further and further apart as he got wealthier and wealthier, perhaps I can understand that.
Trump acquits himself pretty well on Kane and its lessons -- although I would not characterize Kane's fall as "modest" -- and his commentary about the film is probably the first actually interesting thing I have ever heard him say. But I watched all the way to the end and he shoots himself in the foot in the most Trumpian & misogynistic way -- it's actually perfect.
The Movie Movie, according to Morris' web site, was based on the idea of putting modern day figures like Trump and Mikhail Gorbachev into the movies that they most admire. So Trump would star as Kane in Citizen Kane and Gorby would be in Dr. Strangelove as who, Strangelove himself? Man, what a fantastic idea. Joshua Oppenheimer used a variant of this idea to powerful effect in The Act of Killing, a film executive produced by Morris.
Morris himself turned a bit of the original The Movie Movie idea into a 4-minute clip for the 2002 Oscars of people -- some of them famous: Trump, Gorbachev, Tom Brady, Christie Turlington, Keith Richards, Philip Glass, Al Sharpton -- talking about their favorite movies.
The Auralnauts provide an alternate soundtrack and dialogue for Star Wars.
From 2003, a 25-minute documentary (plus a few extras) on how Pixar made Finding Nemo.
How far does Pixar go to get a movie made correctly? Far. For instance, everyone on the Nemo team got certified in scuba diving. (via @drwave)
The Danish Girl is an upcoming film starring Eddie Redmayne as transgender pioneer Lili Elbe, who was one of the first people to undergo gender reassignment surgery. It's based on a novel of the same name which presents a fictionalized account of Elbe's life.
The film may well net Redmayne another Oscar nomination, but I don't know how the transgender community will react. From a quick look on Twitter and the past reception of Oscar-hopeful films dealing with similar issues (see The Imitation Game's portrayal of Alan Turing's sexuality), I'm guessing it may not be so well-received.
The Wolfpack is a documentary that follows the six Angulo brothers, whose father kept them sequestered (along with their sister and mother) inside a four-bedroom apartment on the Lower East Side of Manhattan for fourteen years because he thought the city unsafe, allowing only annual or semi-annual trips outside. The boys' only access to the outside world was through movies, which they recreated in their tiny apartment. The trailer:
With no friends and living on welfare, they feed their curiosity, creativity, and imagination with film, which allows them to escape from their feelings of isolation and loneliness. Everything changes when one of the brothers escapes, and the power dynamics in the house are transformed. The Wolfpack must learn how to integrate into society without disbanding the brotherhood.
They did not mess around when it came to their filmmaking...this is a surprisingly realistic Batman costume made out of cereal boxes and yoga mats:
The Wolfpack won the Grand Jury Prize at Sundance this year, and the brothers made a few videos to thank the festival for their prize. Here are the Clerks and The Usual Suspects thank yous:
They also filmed a scene from one of their favorite movies of 2014, The Grand Budapest Hotel:
The Wolfpack was out in US theaters earlier this summer and is now on Amazon Instant...I think I'm going to watch this tonight. (via @quinto_quarto)
From illustrator @takumitoxin, a wonderful rendering of the events of Mad Max: Fury Road in the style of an ancient Egyptian painting.
Fury Road is out on Blu-ray today (and streaming). This movie was the perfect summer entertainment.
Concussion, starring Will Smith, is about Dr. Bennet Omalu, who discovered the link between football and CTE (Chronic Traumatic Encephalopathy) and will be out in December.
The movie is based on the 2009 GQ article, Game Brain.
Let's say you run a multibillion-dollar football league. And let's say the scientific community -- starting with one young pathologist in Pittsburgh and growing into a chorus of neuroscientists across the country -- comes to you and says concussions are making your players crazy, crazy enough to kill themselves, and here, in these slices of brain tissue, is the proof. Do you join these scientists and try to solve the problem, or do you use your power to discredit them?
Saw someone on Twitter saying that maybe this will be football's The Insider. Let's hope it moves the needle.
Update: From the NY Times, Sony Altered 'Concussion' Film to Prevent N.F.L. Protests, Emails Show.
In dozens of studio emails unearthed by hackers, Sony executives; the director, Peter Landesman; and representatives of Mr. Smith discussed how to avoid antagonizing the N.F.L. by altering the script and marketing the film more as a whistle-blower story, rather than a condemnation of football or the league.
"Will is not anti football (nor is the movie) and isn't planning to be a spokesman for what football should be or shouldn't be but rather is an actor taking on an exciting challenge," Dwight Caines, the president of domestic marketing at Sony Pictures, wrote in an email on Aug. 6, 2014, to three top studio executives about how to position the movie. "We'll develop messaging with the help of N.F.L. consultant to ensure that we are telling a dramatic story and not kicking the hornet's nest."
Skip Lievsay is one of the best sound designers in the business, having won an Oscar for his work on Gravity and worked on such films as Goodfellas, Silence of the Lambs, Do The Right Thing, and all of the Coen brothers' movies. Jordan Kisner recently profiled Lievsay for The Guardian.
It is a central principle of sound editing that people hear what they are conditioned to hear, not what they are actually hearing. The sound of rain in movies? Frying bacon. Car engines revving in a chase scene? It's partly engines, but what gives it that visceral, gut-level grist is lion roars mixed in. To be excellent, a sound editor needs not just a sharp, trained ear, but also a gift for imagining what a sound could do, what someone else might hear.
Everyone knows that The Karate Kid is the story of Daniel LaRusso, an undersized new-kid-in-school who, with the help of a wise mentor and unconventional training in the martial arts, is able to triumph over a gang of bullies picking on him. What this video presupposes is, maybe Daniel is the real bully?
To no one's surprise, Johnny advances to the final round and karma catches up with Daniel when his leg is injured by the boy he wantonly attacked on the soccer field. However, just as Johnny is about to be awarded his trophy, Daniel is granted unnatural strength by the demon sorcerer Miyagi, enabling him to defeat Johnny and win the tournament in an upset.
See also more revisionist history of beloved media: Hermione Granger as the real hero of the Harry Potter books and Tim Carmody's The Iceman List, which is about "classic movie antagonists who were actually pretty much right all along".
I hadn't realized there was so much cussing swearing in Wes Anderson's movies. Here are some damn examples:
Just realized what the world is missing: the "fuck fuck fuck" scene from the first season of The Wire, but done in the style of ("cuss cuss mothercusser") and with the characters from Fantastic Mr. Fox.
This is a guide to the famous Lorne of the Rings trilogy of movies. All your favorite characters are here, from Samsclub Gunjeans to Starman to Flowbee the Haddock to Aerosmith, daughter of Lord Efron to Gumball, son of Groin.
This is one of those that goes from "oh how can this predictable thing actually be funny" to "oh my pants are wet because I peed in them because laughing" very quickly. (via waxy)
Two weeks ago, 99% Invisible broadcast an audio documentary from 1998 about one of the last remaining flophouses on The Bowery in NYC called The Sunshine Hotel. It is an amazing time capsule from a Manhattan that just doesn't exist anymore.
The Sunshine Hotel opened in 1922. Rooms -- or really, cubicles -- were 10 cents a night. The Sunshine, like other flop houses, was always a men-only establishment. In 1998, the hotel had raised it's rates to 10 dollars a night and it was managed by resident Nathan Smith. He sat behind a metal cage at the front desk, answering the phone and doling out toilet paper to residents for 35 cents. Smith had once worked in a bank until he was injured, and then fired. His wife left him and he ended up in the Bowery, and eventually at the Sunshine Hotel.
The interviewees sound like they're characters in a play, not real people. It's so good. There is also a documentary film released in 2001 about The Sunshine Hotel which is available on Amazon Instant; here's a trailer:
John Lasseter, Chief Creative Officer of Pixar, writing in The Onion: I've Got You Dumb Motherfuckers Eating Right Out Of My Hand.
Yes, after the success of our first few movies we had a hunch you'd continue to enjoy the wonderfully designed animation and our smart, lyrical writing, but I didn't think we'd create a horde of drooling morons ready to drop everything just to watch a fucking rat cook dinner. Time and time again, though, there you chumps are, lined up around the block with your stupid little kids, eager to have your stupid little hearts filled with whimsy.
See also Disney's Lasseter: Woody will find love in 'Toy Story 4'.
Drunk Stoned Brilliant Dead is a documentary about National Lampoon coming out this fall. Here's the trailer:
From the 1970s thru the 1990s, there was no hipper, no more outrageous comedy in print than The National Lampoon, the groundbreaking humor magazine that pushed the limits of taste and acceptability -- and then pushed them even harder. Parodying everything from politics, religion, entertainment and the whole of American lifestyle, the Lampoon eventually went on to branch into successful radio shows, record albums, live stage revues and movies, including Animal House and National Lampoon's Vacation. The publication launched the careers of legends like John Belushi, Bill Murray, Chevy Chase, Christopher Guest and Gilda Radner, who went on to gigs at Saturday Night Live and stardom.
Director Douglas Tirola's documentary about the Lampoon, DRUNK STONED BRILLIANT DEAD: THE STORY OF THE NATIONAL LAMPOON, cleverly chronicles its founding by two former Harvard students, its growth, demise and everything in between. Told thru fresh, candid interviews with its key staff, and illustrated with hundreds of outrageous images from the mag itself (along with never-seen interview footage from the magazine's prime), the film gives fans of the Lampoon a unique inside look at what made the magazine tick, who were its key players, and why it was so outrageously successful: a magazine that dared to think what no one was thinking, but wished they had.
Mark Reay is a former model, actor, and fashion photographer who was homeless in NYC for six years. Homme Less is a documentary on Reay; here's a trailer:
So began a period of my life sleeping rough. It was pretty tiring, and I didn't have much luck with the photos, but I stuck it out. I've never let the lack of money stop me having a good time, and I still had (dwindling) savings from my modelling. It was a happy time. At night I would always treat myself to a rotisserie chicken, but I always wanted a chilled rosé with it. So, in the afternoon, I would sneak into a minimarket, get the cheapest one from the shelf and hide it under the frozen peas. Then, at night, I would put on a fresh shirt and go to one of the fancy bars with my wine in my bag. Again, maybe because I had a certain look, no one ever checked my bag. I'd just go in, nick a glass off the counter and drink my wine surrounded my millionaires.
You can get away with anything if you're confident. Oh, and male, white, and good looking.
Here's the teaser trailer for Quentin Tarantino's The Hateful Eight. (This one was certainly not the trailer.)
Update: A second longer trailer is out:
Justin Hall has been sharing his life online for over 20 years at links.net. Justin's Links from the Underground was one of the first sites I found and read regularly, back in the mid 90s. Now Hall has made a documentary about his time online, overshare: the links.net story.
Starting in 1994, my personal web site Justin's Links from the Underground has documented family secrets, romantic relationships, and my experiments with sex and drugs.
overshare: the links.net story is a documentary about fumbling to foster intimacy between strangers online. Through interviews, analysis and graphic animations, I share my motivations, my joys and my sorrows from pioneering personal sharing for the 21st century. In 2004 the New York Times referred to me as "perhaps the founding father of personal weblogging." I hope this documentary reveals that I was a privileged white male with access to technology who worked to invite as many people as possible to join him in co-creating an internet where we have a chance to honestly share of our humanity.
The movie is available in various formats, including as a digital download with extra footage from VHX for $11.99.
From Back to the Future's DeLorean to Dr. Who's Tardis, here's a listing of sci-fi vehicles ranked from slowest to fastest.
In the ongoing struggle of Star Wars vs. Star Trek, Wars is the clear winner in the speed category: the Millennium Falcon is thousands of times faster than the Enterprise. Also, I didn't know the Death Star was so fast!
Are computer generated special effects ruining movies? Freddie Wong says no; CG is so good these days that we only notice it when it's bad and in bad movies.
My biggest concern with CG is with unrealistic camera movements, e.g. like when the camera is following Spider-Man swooping all over NYC. I can't not notice it and it almost always takes me out of the experience, which is the opposite of what I want. (via @tonyszhou)
Last year, Taschen came out with a limited edition book on The Making of Stanley Kubrick's '2001: A Space Odyssey'. Only a couple thousand were made and one of them is selling on Amazon for $1750. This year, they're releasing a regular edition for a much more reasonable $47. (via @michaelbierut)
Using images found on the internet through Google's visually similar images feature, NASA, U.S. Geological Survey, and various mapping services, Kelli Anderson recreated part of the Eames' iconic Powers of Ten as a flipbook. Watch a video here:
Or play around with a virtual flipbook at Anderson's site. This could not possibly be anymore in my wheelhouse. Here's the nitty gritty on how she made it happen.
The inspiration for making discontinuous-bits-of-culture into something continuous goes back to 2011. Some of my friends camped out on a sidewalk to see Christian Marclay's The Clock. Like a loser with a deadline, I missed out-only catching it years later at MoMA. In the day-long film, Marclay recreates each minute of the 24-hour day using clips from films featuring the current time-on a clock or watch. It runs in perfect synchronization with the audience's day (so: while a museum crowd slumps sleepily in their chairs at 6am, starlets hit snooze on the clocks onscreen.)
There's a documentary on Steve Jobs coming out called Steve Jobs: The Man in the Machine. The director is Alex Gibney, who directed the excellent Going Clear (about Scientology), We Steal Secrets (about Wikileaks), and Enron: The Smartest Guys in the Room. The trailer:
From Aaron Reese at Hopes&Fears, a piece on sci-fi movie sound effects. It's chock full of interesting tidbits, like where King Kong's chest-beating sound came from:
Initial attempts hitting a fixed kettle drum with paddled-drumsticks didn't work, with Spivak saying the sound wasn't "fleshy" enough. An experiment beating the floor failed as well. So Spivak decided to beat one of his assistant's chests with drumsticks instead, saying "If wood will not take the place of flesh, then let's use flesh." Sure enough, this was the sound used for production.
The stabbing noise in Psycho is a knife plunging into a melon:
In a recording studio, prop man [Bob] Bone auditioned the melons for Hitchcock, who sat listening with his eyes closed. When the table was littered with shredded fruit, Hitchcock opened his eyes, and intoned simply: "Casaba."
And my favorite, from Terminator 2:
In Robert Patrick's T-1000 prison break scene, the robot phases through the cell bars with a slurpy metallic sound. Oscar-winning sound designer Gary Rydstrom revealed the effect was achieved by a simple solution from the sound of dog food being slowly sucked out of the can.
See also a short video tribute to the sounds of Star Wars.
Casper Christensen cut together footage from dozens of movie car chases into one big coherent chase. Well, as coherent as you can get when you're dealing with car chases.
There's some fun and clever editing in here...I particularly enjoyed the stitching together of Indiana Jones and Axel Foley. And I loved the brief clip of C'était un rendez-vous, which if you haven't seen it, is a quick and thrilling watch.
In Pitchfork, Susan Shepard writes about how Magic Mike XXL uses strip club music to full advantage.
MMXXL functions more like a musical in that it uses the dance sequences deliberately to advance the plot; Mike doesn't talk about wanting to get the band back together, he dances about it when "Pony" comes on in his workshop. Big Dick Richie finds the heart of his stripper character dancing to "I Want It That Way". Malik challenges Mike to "Sex You". And ultimately, they all find out something about themselves when they create new routines to new songs for the finale. It could transition seamlessly to the stage. They're even already acting out the lyrics, which are for the most part of "this is what I want to do to you" tradition of R&B.
The film gets at the heart of strip club culture with its scenes at Domina, the exclusive club run by Mike's former lover and working partner, Rome. All the best strip club ideas come from black clubs, specifically those in the South. Every good innovation in strip club dancing, music, and costume styles started in Atlanta or Houston or Miami clubs. The way the Florida dancers feel when they walk in and see Augustus, Andre, and Malik outdance and outperform them is exactly what it feels like to walk into Magic City from the Cheetah. Here is the future, here is how far behind it you are with your fireman routines and Kiss songs.
Having never been to a strip club in my entire life (WHAT?!! I know! I know!), I had no idea that Nine Inch Nails' Closer was a strip club staple.
My very first stage performance was to the Revolting Cocks' version of "Do Ya Think I'm Sexy" and Nine Inch Nails' "Closer", about a month after it had come out. It is one of those songs strippers fight over performing to because it's that good and gets such a crowd response. "Closer" might as well be strip club furniture.
But it makes sense. Closer is one of the catchiest pop songs ever made. Shortly after it came out, I remember going to an on-campus party at which a friend of mine was DJing. He was playing mostly dance music -- some club, some top 40ish, and some electronica -- but threw on Closer for the benefit of a friend of ours who was a big industrial and NIN fan. Everyone loved it and got out onto the dance floor: the jocks, the ravers, the sorority girls, the physics club geeks. Our friend wasn't too happy about it though. Somehow, Nine Inch Nails now belonged to everyone. Cultural appropriation is a biiii....
If you are a fan of Raiders of the Lost Ark -- and who isn't? -- then this is your holy grail: a feature-length commentary on the movie by Jamie Benning that includes seemingly every tidbit related to the film, including deleted scenes, audio commentary from the cast and crew, behind the scenes video, and much more. An incredible resource in understanding the film.
Benning has also done similarly excellent commentaries for Jaws, Star Wars, Empire Strikes Back, and Return of the Jedi. (via @drwave)
Every day, a program written by Julien Deswaef selects a war-related news item from the NY Times, formats it in the style of the infamous Star Wars opening crawl (complete with John Williams' score), and posts the results to YouTube.
Published yesterday, the crawl for Episode XXVII was taken from a NY Times article about an Obama speech about the Iranian nuclear deal.
Here's how the project was made and if you'd like to try it yourself, grab the source code. (via prosthetic knowledge)
Ok, so narrowing down all of the beautifully shot movies in the world to a list of just 10 is absurd, but to their credit, the gang at Cinefix manage to mention more than 50 or 60 movies in their top 10 review. If you've only seen even a few of these, you're doing well.
Manhattan, Citizen Kane, The Fall, 2001, Hero, The Tree of Life. Damn.
Hold onto your butts, gang... I just found out, via Pixar's Michael B. Johnson, that the 3D file manager that Lex uses in Jurassic Park -- "It's a Unix system, I know this" -- was a real thing. FSN (File System Navigator) was a demo tool for Silicon Graphics' IRIX operating system that you could download from their web site.
P.S. In that same thread, Johnson shares that his office was the inspiration for Dennis Nedry's work area.
For the first time since 2005, Pixar didn't release a movie last year but are doubling up this year with Inside Out and The Good Dinosaur. Here's the trailer for The Good Dinosaur, which looks like much more of a just-for-kids movie than Inside Out.
Man at Arms is a YouTube show in which real-life weapons from movies and TV shows are recreated. Recently they made the Bride's Hattori Hanzo sword from Kill Bill. They started from scratch by building a furnace from before the Edo period (before 1603) to smelt the iron ore.
I know zero about swords, but it looks like these guys really did their homework in making as close to a traditional katana blade as they could. (via devour)
A compilation of some of the world special effects ever to make it to the big screen. Some of these are almost too bad to believe.
Taking inspiration from the opening sequence of Contact, lightyear.fm is a musical journey away from the Earth. As you get farther out (say, 10 light years away, just past star Ross 154 in the constellation of Sagittarius), you hear music that was broadcast on the radio at that time (Gold Digger by Kanye West).
Radio broadcasts leave Earth at the speed of light. Scroll away from Earth and hear how far the biggest hits of the past have travelled. The farther away you get, the longer the waves take to travel there -- and the older the music you'll hear.
This is the coolest.
They showed this 3 minute 30 second behind the scenes video of Star Wars: The Force Awakens at Comic-Con yesterday.
Fans at San Diego Comic-Con's Hall H were treated to a special look behind the scenes of Star Wars:The Force Awakens by director J.J. Abrams, producer and Lucasfilm President Kathleen Kennedy and writer Lawrence Kasdan. The filmmakers were joined on stage by cast members Daisy Ridley, John Boyega, Adam Driver, Oscar Isaac, Domhnall Gleeson, Gwendoline Christie, Mark Hamill, Carrie Fisher and Harrison Ford to the surprise and delight of fans.
At the end of the Hall H presentation, the entire Hall H audience of more than 6,000 fans were all invited to continue the celebration and join cast and filmmakers at a surprise Star Wars Fan Concert. The San Diego Symphony performed the classic Star Wars music from John Williams at the Embarcadero Marina Park South.
I have zero interest in Comic-Con, but that would have been pretty cool to see.
Psychologists Dacher Keltner and Paul Ekman served as scientific consultants during the production of Pixar's Inside Out. Keltner studies the origins of human emotion and Ekman pioneered research of microexpressions. In this NY Times piece, they discuss the science behind the movie.
Those quibbles aside, however, the movie's portrayal of sadness successfully dramatizes two central insights from the science of emotion.
First, emotions organize -- rather than disrupt -- rational thinking. Traditionally, in the history of Western thought, the prevailing view has been that emotions are enemies of rationality and disruptive of cooperative social relations.
Second, emotions organize -- rather than disrupt -- our social lives. Studies have found, for example, that emotions structure (not just color) such disparate social interactions as attachment between parents and children, sibling conflicts, flirtations between young courters and negotiations between rivals.
I've thought about Inside Out every day since I saw it. Pixar clearly did their homework on the emotional stuff and it paid off.
The opening scenes from dozens of movies, including 2001, There Will Be Blood, Lost in Translation, Seven Samurai, and Star Wars.
On his YouTube channel, Dylan Marron is cutting down films to only include dialogue spoken by persons of color. Under those conditions, Moonrise Kingdom is 10 seconds long. Her is about 40 seconds. Noah is 0 seconds.
The Iron Giant has been remastered and burnished with a pair of extra scenes for a re-release in US theaters scheduled for the end of September.
Warner Bros. and Fathom Events are teaming up to bring The Iron Giant back to life. The beloved 1999 animated film is being remastered and augmented with new footage, and it's coming to select American theatres as what the studio's calling the "Signature Edition" on September 30th. There'll also be an encore presentation in select theatres a few days later on October 4th.
The movie earned a respectable $23 million at the box office and critical acclaim, but failed to recoup its $70 million production budget. After reading a bunch of positive reviews, including one from my cinematic divining rod Roger Ebert, I was one of the brave few souls to see The Iron Giant in the theater. Hope to catch it again in September. (via @anildash)
Bummer, film site The Dissolve has shut down. They burned bright for a short time.
For the past two years-well, two years this Friday -- it's been our pleasure to put up this site, a site founded on and driven by a love for movies, alongside a company with passion and talent for creating thoughtful, important work. Sadly, because of the various challenges inherent in launching a freestanding website in a crowded publishing environment, financial and otherwise, today is the last day we will be doing that. We've had this opportunity thanks to Pitchfork, which has been incredibly supportive of our vision. We couldn't have asked for a better partner.
I've linked to a few of their things over the past few months, and the quality was always high. Tony Zhou has collected a few of his favorite pieces from the site.
Color palettes derived from Wes Anderson movies.
Disney is proceeding at full steam in delivering more Star Wars to your eyeballs. Today they announced that Christopher Miller and Phil Lord, the duo behind The Lego Movie, will direct a movie about a young Han Solo.
The screenplay is written by Lawrence Kasdan and Jon Kasdan. The story focuses on how young Han Solo became the smuggler, thief, and scoundrel whom Luke Skywalker and Obi-Wan Kenobi first encountered in the cantina at Mos Eisley.
Release date is May 2018. As Princess Leia once said, "Disney, I hope you know what you're doing."
Books loom large in Wes Anderson's movies. Several of his films open with opening books and Fantastic Mr. Fox is based on an actual book. Here's a nicely edited selection of bookish moments from Anderson's films.
In the work of Wes Anderson, books and art in general have a strong connection with memory. The Royal Tenenbaums (2001) begins with a homonymous book, as does Fantastic Mr. Fox (2009). The Grand Budapest Hotel (2014) begins and ends with a book. Moonrise Kingdom (2012) ends with a painting of a place which no longer exists. These movies have a clear message: books preserve stories, for they exist within them and live on through them.
Saul Bass designed the opening sequences for dozens of films, including North by Northwest, Psycho, West Side Story, and Goodfellas. Here's a look at some of his best work:
(via art of the title)
I Am Chris Farley is a feature length documentary on the comedian and movie star. Here's a trailer:
The film is out in theaters on July 31 and will be available as a digital download in August. (via buzzfeed)
Update: I caught I Am Chris Farley the other day on Spike TV and it was great. Worth seeking out. (FYI, it's on Amazon Instant.) Ian Crouch has a review of the movie for the New Yorker.
A new documentary, "I Am Chris Farley," which d'ebuts Monday night on Spike TV, frames the sketch as an unqualified triumph, the moment when Farley became a national star. But in the book "The Chris Farley Show," a rich and illuminating oral history compiled, in 2008, by Tanner Colby and Farley's older brother, Tom, it is the source of controversy among those who were there. Jim Downey, who wrote the sketch, insisted that Farley's dancing ability elevated it, so that the audience was celebrating his audacious performance rather than merely mocking his appearance. People were laughing with Farley, not at him-that distinction being one of the essential tensions of Farley's career. Bob Odenkirk, though, who was a writer on the show, recalled the entire thing as "weak bullshit," and said that Farley "never should have done it." Chris Rock, a cast member at the time, viewed it as a dangerous turning point for Farley. "That was a weird moment in Chris's life," he said. "As funny as that sketch was, and as many accolades as he got for it, it's one of the things that killed him. It really is. Something happened right then."
"Success through failure, calm through embracing anxiety..." This book sounds perfect for me. The Antidote: Happiness for People Who Can't Stand Positive Thinking by Oliver Burkeman.
Self-help books don't seem to work. Few of the many advantages of modern life seem capable of lifting our collective mood. Wealth -- even if you can get it -- doesn't necessarily lead to happiness. Romance, family life, and work often bring as much stress as joy. We can't even agree on what "happiness" means. So are we engaged in a futile pursuit? Or are we just going about it the wrong way?
Looking both east and west, in bulletins from the past and from far afield, Oliver Burkeman introduces us to an unusual group of people who share a single, surprising way of thinking about life. Whether experimental psychologists, terrorism experts, Buddhists, hardheaded business consultants, Greek philosophers, or modern-day gurus, they argue that in our personal lives, and in society at large, it's our constant effort to be happy that is making us miserable. And that there is an alternative path to happiness and success that involves embracing failure, pessimism, insecurity, and uncertainty -- the very things we spend our lives trying to avoid. Thought-provoking, counterintuitive, and ultimately uplifting, The Antidote is the intelligent person's guide to understanding the much-misunderstood idea of happiness.
I learned about the book from Tyler Cowen, who notes:
[Burkeman] is one of the best non-fiction essay writers, and he remains oddly underrated in the United States. It is no mistake to simply buy his books sight unseen. I think of this book as "happiness for grumps."
Given Cowen's recent review of Inside Out, I wonder if [slight spoilers ahoy!] he noticed the similarity of Joy's a-ha moment w/r/t to Sadness at the end of the film to the book's "alternative path to happiness and success that involves embracing failure, pessimism, insecurity, and uncertainty". Mmmm, zeitgeisty!
Inside the Making of Dr. Strangelove is a 45-minute behind-the-scenes documentary about Stanley Kubrick's kooky masterpiece (and one of my two favorite movies).1
And speaking of Kubrick, director Marc Forster is making a trilogy of films based on Kubrick's script for The Downslope, a movie about the Civil War. *tents fingers* Interesting...
Brown Bunny, Cannibal Holocaust, The 120 Days of Sodom, and The Last Temptation of Christ... they are among the most controversial movies of all time.
Perhaps a little NSFW. (via devour)
TheTake identifies products and places in movies so you can purchase or visit. For instance, there are dozens of products listed from Jurassic World...you can even play the trailer and product matches will pop up. (via @pieratt)
Tim Grierson and Will Leitch did a pretty good job in this list of All 15 Pixar Movies, Ranked From Worst to Best.
We went back-and-forth on the top two here, but we ultimately had to go with [Wall-E], the most original and ambitious of all the Pixar movies. The first half-hour, which basically tells the story of the destruction of the planet and the devolution of the human race without a single line of dialogue, is total perfection: It's almost Kubrickian in its attention to detail and perspective, though it never feels cold or ungenerous.
Piece-of-shit Cars 2 is rightly parked at the bottom of the heap, Wall-E is obviously #1, and they correctly acknowledged Up as overrated. I would have rated the original Toy Story lower and Ratatouille higher, but overall: well done.
Actual zookeepers taking photos of themselves doing Chris Pratt's Jurassic World velociraptor taming move is a thing. Here's the original:
And the imitators:
Found them here and here. If you find others, send them along!
Update: Laurel sent this one in from the California Academy of Sciences:
Update: Several more zookeepers being awesome via @ohmygoat1, @susiethefivetoedsloth, @parrotman_jon, and @kati_speer.
Update: Ok, a few more via @MrDABailey, The Minnesota Zoo, The Georgia Aquarium, and Reddit.
Update: One last photo brings this meme to a fitting close. This is Chris Pratt himself, taming some children during a recent visit to a local children's hospital.
Update: Ok, ok, one more and then that's it, America needs to move on. Here's the Dinosaur Curator of the Smithsonian's National Museum of Natural History taming some actual dinosaurs, long-dead though they may be:
All six films1 from the Star Wars series played at the same time, superimposed on top of each other.
Watch this while you can...I imagine it'll get taken down in a few hours/days.
Derelict is a feature-length black & white film that splices about an hour of Alien and 90 minutes of Prometheus together into a single narrative.
'Derelict' is an editing project for academic purposes. 'Prometheus' wasn't exactly an Alien prequel, but this treats it as such by intercutting the events of Alien with Prometheus in a dual narrative structure. The goal was to assemble the material to emphasize the strengths of Prometheus as well as its ties to Alien.
The Program is an upcoming film about the rise and fall of Lance Armstrong directed by Stephen Frears (The Queen, High Fidelity). It's based on David Walsh's book, Seven Deadly Sins: My Pursuit of Lance Armstrong.
Amy is a documentary film about the life and career of singer Amy Winehouse. The director is Asif Kapadia, who also directed the excellent Senna, one of my favorite documentaries from the past few years. Here's the trailer:
The film studio behind the movie, A24, has been making some interesting films: Ex Machina, Bling Ring, Obvious Child, A Most Violent Year, The End of the Tour, Spring Breakers, Under the Skin, etc.
As a kid, Michael M collected a notebook full of information related to Jurassic Park, as if he worked in the computing department of InGen, the company that built the park.
The dossier is fairly thick and contains numerous completely made-up documents like dinosaur tooth records, DNA diagrams, and correspondence between myself, my imaginary colleagues and some of my friends from school whom I'd somehow managed to rope into my delusions.
Broadly, the dossier consists of the impossibly dull minutiae of park admin leading up to the events of the movie. I essentially gave myself a boring office job in my spare time outside of school. If nothing else, it's a fascinating insight into the mind of the type of pubescent idiot who never had a sun tan.
Love this. I definitely did stuff like this when I was a kid, but not nearly as elaborate. (via @robinsloan)
Filmmaker John Walter is making a film called The Earth Moves about Einstein on the Beach, the 1976 opera composed Philip Glass and directed by Robert Wilson. Walter and his team are soliciting funds to complete the film on Kickstarter.
In 2011, the original creators of Einstein on the Beach brought the opera to life again for what will most likely be its last presentation in their lifetime. Einstein on the Beach is an opera like no other. Telling its story requires a documentary like no other.
We completed shooting and editing The Earth Moves and we are all working very hard to finish the film for upcoming film festivals this fall. Now we need your support to fulfill the costs of color correction, media licensing, and sound mixing. Time is of the essence and every contribution helps our mission to complete this film.
Any additional support beyond the goal will go towards expanding the distribution of the film through educational markets and independent theaters nationally.
Steven Spielberg is directing Tom Hanks in Bridge of Spies, a movie about the negotiation to release U-2 pilot Francis Gary Powers from Soviet custody. Here's the trailer:
The script was punched up by none other than the Coen brothers.
I have not read the book it's based on, but the movie version of The Martian, starring Matt Damon and directed by Ridley Scott, looks quite promising:
I am going to have to science the shit out of this.
Apollo 13 with a touch of Interstellar...I can do that.
Update: A second trailer has been released:
And I have since read the book, which was good. But it will make a better movie.
This is an interesting theory about the Harry Potter series: the whole thing is about a mentally ill young boy (Harry) who is institutionalized by his parents (the Dursleys) in a mental institution (Hogwarts) and the contents of the books are Harry's fantasy.
In the Harry Potter series, his parents are famous wizards, who were famous in all the world for their unparalleled love for the boy Harry, which set the whole series in motion, killing them and leaving the boy a scarred orphan. (This is a fantasy, crafted as the direct opposite of the way in which children usually end up scarred -- through abuse and neglect.)
If we interpret the story as Harry's fantasy, then the Dursleys are Harry's real parents, and the Potters are imaginary. The Durselys either can't cope with the increasingly-delusional boy living with them, or perhaps they are merely abusive, and it's the abuse that's making him delusional. In any event, the parent-figures constantly mistreat him, favor the brother, and inflict endless cruelty and humiliation on him. One day, Harry snaps, and Dudley (who is really Harry's brother) is severely injured, in a way requiring repeated hospital treatments. (In the delusion, Harry imagines that a pig's tail is magically grown from Dudley's buttocks.) As a result of this incident, Harry is taken away to a "special school."
Tony Zhou of Every Frame a Painting looks at the use of production design in movies. Specifically chairs. Chairs can tell you something about the world the film is set in, the characters who use them, or a specific situation.
Gen X was never supposed to get older. But a pair of recent essays by Tim Carmody and Choire Sicha show that the
second third Greatest Generation is not immune to pivoting one's emotional startup when midlife approaches. In The Iceman List, Carmody reevaluates 80s movie heroes and finds the more traditionally Reagan-esque characters might have had a point.
But today, in the 2010s, Top Gun is a treat. It's as clean and shiny as a new dime. The cliches that later action films overloaded with world-building and backstory here present themselves unadorned, in all their purity. Cruise is just so charming, brimming with so much energy, it doesn't matter that he doesn't really know how to act yet. A bunch of Navy aviators singing Righteous Brothers in the bar looks like fun. Now that pilots, airmen, and aviators can serve in the US military openly without anyone asking who they sleep with, it's super that Iceman and Slider might be gay. And guess what?
Maverick is kind of a jerk. Iceman is totally right about him. In fact, Iceman is right about almost everything. We didn't notice this in the 1980s because everything about how the film is constructed tells us to sympathize with Maverick and hate Iceman's guts.
My God, we've become Ed Rooney. We are eating it. (Well, Ferris was a dick.) Sicha started smoking as a teenager in the 80s but after quitting recently, desires to "make a senior citizen's arrest" of his younger smoldering self, the Iceman to the Tom Cruise of his youth.
It's like KonMari, except easy, because the only things you throw out are your cigarettes and your entire sense of self.
My friend Emily said she was happy for me, but wistful, too. The last smoker quitting seemed like another kind of gentrification. Now I'm gone, too, along with the gas stations and all the stores that aren't 7-Eleven. But the emotional rent was just too high.
Quitting smoking is the khakis of existence. Quitting smoking is the Chipotle on St. Marks Place. I am totally not cool. I may as well be someone's stupid Brooklyn dad. My hair is its natural color. Most days I'm just wearing whatever. I do yoga endlessly. What am I now?
I can feel this gentrification of the self coming in my life. As someone who watched TV and used the internet 23 hours out of every day for the past 30 years, I'm wary of how much screen time my kids get. All that TV in my youth probably wasn't a good idea and the internet these days isn't what it used to be, right? In a talk at XOXO last year, Hank Green said:
You have no obligation to your former self. He is dumber than you and doesn't exist.
Ok! Pivot I will. Get off my lawn, younger self!
From The Flintstones to Band of Outsiders to Miller's Crossing, here's a look at some of the films referenced in Quentin Tarantino's movies.
The Tribe is set at a Ukrainian high school for the deaf. The film employs no subtitles or voiceovers; all communication is sign language and non-verbal acting. Here's the trailer...somewhat paradoxically, you'll want to use headphones or turn the sound up.
Winner of multiple 2014 Cannes Film Festival Awards (including the coveted Critics' Week Grand Prix), Myroslav Slaboshpytskiy's The Tribe is an undeniably original and intense feature debut set in the insular world of a Ukrainian high school for the deaf. The Tribe unfolds through the non-verbal acting and sign language from a cast of deaf, non-professional actors -- with no need for subtitles or voice over -- resulting in a unique, never-before-experienced cinematic event that engages the audience on a new sensory level.
If you take Wes Anderson's The Grand Budapest Hotel and mix in elements of Stanley Kubrick's The Shining, the result is pretty good.
I saw Mad Max: Fury Road yesterday (enjoyed it) but have a few questions.
1. With gasoline in such short supply, I'm surprised the various groups in the movie didn't take more advantage of solar power to generate energy for electric vehicles and such. Sunshine is obviously abundant in post-apocalyptic Australia and from the looks of what was scavenged from before the nuclear war and the ingenuity on display in getting what they found to function, they should have been able to find even rudimentary solar cells and get them to work.
2. Speaking of energy scarcity, I wonder if the troop-pumping-up and opponent-intimidating function of the flamethrowing guitar player was worth all of the fuel spewed out of the end of his instrument and energy consumed by the incredible number of speakers on his rig.
3. The roads in the movie were in remarkable shape, aside from the swampland. Who was responsible for their upkeep? Even dirt roads need maintenance or they develop potholes and washboarding. And for what reason were they kept in such good condition outside of the Citadel/Gas Town/Bullet Farm area? Aside from Furiosa's Rig, the chase party, and two smallish motorcycle gangs, I saw no other vehicular traffic on the roads...and who would have been semi-regularly traveling out past the canyon anyway? To where? For what?
4. What was the political and economic arrangement between the Citadel, Gas Town, and the Bullet Farm? Did the Citadel trade their water and crops for gas and bullets? Or was Immortan Joe, as the defender of the lone source of abundant fresh water in the region, the defacto leader of all three groups? The People Eater and Bullet Farmer certainly came a'running when Joe needed help retrieving his wives. There were obviously other sources of water in the region -- how else did the biker gangs survive? -- so you'd think that Gas Town and the Bullet Farm could have teamed up to squeeze Joe into giving them a better deal or even overthrowing him. Point is, there seemed to be a surprising lack of political friction between the three groups, which seems odd in an environment of scarcity.
5. Surely land was plentiful enough that large solar stills could have generated enough fresh water for people to live on without having to rely on the Citadel for it.
Update: Reddit has a go at answering some of these questions. (via @pavel_lishin)
Turns out, if you take Junkie XL's soundtrack to Mad Max: Fury Road and pair it with a train chase scene from Buster Keaton's silent film masterpiece The General, it works pretty well.
"The more people think you're really great, the bigger the fear of being a fraud is." That's the most resonant line for me from the first trailer for The End of the Tour, the story of a five-day interview between reporter David Lipsky and David Foster Wallace that takes place in 1996, just after Infinite Jest came out.
The movie is based on a book Lipsky published called Although Of Course You End Up Becoming Yourself, which I read and thought was great.1 Jesse Eisenberg plays Lipsky and Jason Segel does as much justice to Wallace as one could hope for, I think. I am cautiously optimistic that this movie might actually be decent or even good. (via @jcormier)
Dior and I is a fashion documentary about the first haute couture collection designed by Christian Dior's new artistic director. But from the looks of the trailer, you don't have to know or care about the fashion industry to get something out of watching a group of people accomplish something creative, difficult, and political under extreme time constraints.
The film is playing at select theaters around the US and should be available next month for streaming and digital download. (via russell davies)
A cleverly constructed mashup of all the major Hollywood studio intros -- MGM's roaring lion, Disney's castle, Paramount's flying stars, Miramax's skyline -- into one mega-intro.
Star Wars was a film that literally couldn't be made; the technology required to bring the movie's universe to visual life simply didn't exist.
So George Lucas did what any enterprising young director who was destined to change the movie business would do. He invented a company to invent the technology. Wired's Alex French and Howie Kahn take you inside the magic factory with the untold story of ILM.
In The Plot Against Trains, Adam Gopnik muses about how infrastructure in America has become dilapidated in part because we (or at least much of we) believe little good can come from the government.
What an ideology does is give you reasons not to pursue your own apparent rational interest -- and this cuts both ways, including both wealthy people in New York who, out of social conviction, vote for politicians who are more likely to raise their taxes, and poor people in the South who vote for those devoted to cutting taxes on incomes they can never hope to earn. There is no such thing as false consciousness. There are simply beliefs that make us sacrifice one piece of self-evident interest for some other, larger principle.
What we have, uniquely in America, is a political class, and an entire political party, devoted to the idea that any money spent on public goods is money misplaced, not because the state goods might not be good but because they would distract us from the larger principle that no ultimate good can be found in the state. Ride a fast train to Washington today and you'll start thinking about national health insurance tomorrow.
The ideology of individual autonomy is, for good or ill, so powerful that it demands cars where trains would save lives, just as it places assault weapons in private hands, despite the toll they take in human lives. Trains have to be resisted, even if it means more pollution and massive inefficiency and falling ever further behind in the amenities of life -- what Olmsted called our "commonplace civilization."
The way he brings it back to trains at the end is lovely:
A train is a small society, headed somewhere more or less on time, more or less together, more or less sharing the same window, with a common view and a singular destination.
Well, except when you're on that Snowpiercer train. Although in the end (spoiler!), Curtis brought the train's segregated society back to "a common view and a singular destination" by crashing it and killing (almost) everyone on it. Hopefully America isn't headed toward the same end.
I have been doing a poor job keeping up with my Steve Jobs-related media. I haven't had a chance to pick up the new Becoming Steve Jobs book yet. And I had no idea that the Aaron Sorkin-penned biopic was still in the works, much less that Michael Fassbender is playing Jobs and Danny Boyle is directing. Here's the trailer:
The trailer debuted during last night's series finale of Mad Men, which was possibly the most appropriate venue for it. [Slight spoilers...] Draper always had a Jobs-esque sheen to him, although the final scene showed us that, yes, Don Draper actually would like to sell sugar water for the rest of his life.
Update: A proper trailer has dropped. I don't know how much we'll learn about the actual Steve Jobs from the movie, but it looks like it might be good.
Update: Another trailer. This is looking like a strong film.
Beyond Clueless is a full-length documentary movie about teen movies made between the release of Clueless in 1995 and Mean Girls in 2004. A trailer:
The film was financed in part through Kickstarter.
Beyond Clueless will be the first major study -- in any medium -- of the teen movie revolution that occurred in the ten years that separated the releases of Clueless in 1995 and Mean Girls in 2004. Part historical account, part close textual analysis, part audiovisual mood piece and part head-over-heels love letter to the teen genre, the film will examine more than two hundred films released during this decade-long idyll, in terms of their characters, themes and what they had to say for themselves.
According to the Art of the Title, who did an interview with the filmmakers about the opening title sequence, the is constructed entirely of clips from other movies.
What if all those American teen movies from the '90s and early 2000s took place in the same universe? What if Crash Override and Cher Horowitz and Laura Palmer all went to the same high school? In the cleverly cut opening to director Charlie Lyne's essay film Beyond Clueless, their worlds are brought together in one long hallway of jeers and sneers, smug smiles, and adolescent longing.
Made entirely of clips, Beyond Clueless does with editing for film what the album Endtroducing... did with sampling for music. Shepherded by the voice of Fairuza Balk, the film is a bricolage of footage meticulously collected from over 200 films, weaving together an era of cliques and hierarchies, baggy pants and chokers, beepers and laptops, with a dash of apple pie and occultism.
Watch all the way to the end for some sounds that didn't make it into the movies.
From an alternate universe in 1985, a Star Wars crossover with Star Trek that never happened in which Lord Vader has the Genesis Device.
Paging JJ Abrams. Mr. Abrams to the white courtesy phone please. (via @khoi)
The other day, I made a reference to a trailer for a TV series being "a little too trailery for my taste". What I meant was that it too much like every other trailer (in that genre) and didn't show enough of the character of the particular show being advertised. Action movie trailers are perhaps the worse offenders in this regard, as this meta-trailer shows:
Build up to silence, then BAM!
Like I was saying, too trailery. (via devour)
Black Mass stars Johnny Depp as Whitey Bulger, real-life Boston mobster and FBI informant. The trailer is damn good and I'm hoping the rest of the movie lives up to it.