Movie posters that list all the product placements in the films. (via quips)
Megamovies, TV shows as days-long movies
In a 1999 essay about The Sopranos written after its first season, Vincent Canby suggested that the show was an example of a relatively new form of television, the megamovie.
"Berlin Alexanderplatz," "The Singing Detective" and "The Sopranos" are something more than mini-series. Packed with characters and events of Dickensian dimension and color, their time and place observed with satiric exactitude, each has the kind of cohesive dramatic arc that defines a work complete unto itself. No matter what they are labeled or what they become, they are not open-ended series, or even mini-series.
They are megamovies.
That is, they are films on a scale imagined by the big-thinking, obsessive, fatally unrealistic Erich von Stroheim when, in 1924, he shot "Greed," virtually a page-by-page adaptation of Frank Norris's Zola-esque novel, "McTeague." Stroheim intended it to be an exemplar of cinematic realism.
Megamovies take television seriously as a medium. They have dramatic arcs that last longer than single episodes or seasons. Megamovies often explore themes and ideas relevant to contemporary society -- there's more going on than just the plot -- without resorting to very special episodes. Repeat viewing and close scrutiny is rewarded with a deeper understanding of the material and its themes. They're shot cinematically and utilize good actors. Plot details sprawl out over multiple episodes, with viewers sometimes having to wait weeks to fit what might have seemed a throwaway line into the larger narrative puzzle.
Episodes of these megamovies, Canby argued presciently, are best watched in bunches, so that the parts more easily make the whole in the viewer's mind. For many, bingeing on entire seasons on DVD or downloaded via iTunes has become the preferred way to watch these shows. If stamina and non-televisual responsibilities weren't an issue, it would be preferable to watch these shows in one sitting, as one does with a movie.
Since The Sopranos kick-started things in 1999, the megamovie has become a far more common occurrence on TV. Virginia Heffernan recently stated that the creators of nearly all hour-long dramatic series are aiming to make megamovies. I've collected a few examples of megamovies accompanied by their total running times below. The list is incomplete but represents several of the best-known and -appreciated megamovies out there.
The Sopranos, 81 hours 46 minutes
Lost*, 61 hours 59 minutes
Mad Men*, 18 hours 6 minutes
Six Feet Under 57 hours 45 minutes
Deadwood*, 36 hours
The Wire, 60 hours 45 minutes
The West Wing, 111 hours 56 minutes
For The West Wing, that's 4 days and 16 hours of continous watching. An asterisk marks megamovies that are as-yet incomplete. In the case of Deadwood, it's as if the film projector broke about halfway through the movie, only no one got their money back and eveyone left the theater pissed.
Update: In his review of the third episode of Mad Men this season, Andrew Johnston talks about the two dominant forms of TV drama and how The Sopranos and Mad Men fits in. (thx, stephen)
Hulu has added Starship Troopers to the lineup. (Not available outside the US, sorry.)
Update: Perhaps those outside of the US would like to use something like this to watch movies and TV on Hulu? (thx, stewart)
Anytime is a good time for a well-cut movie trailer mashup: here's The Dark Knight version of the Toy Story 2 trailer. (via buzzfeed)
Slate has more on the restored Godfather films I told you about last week.
Luckily, the Academy of Motion Picture Arts and Sciences had a print of The Godfather that was in perfect condition. (This was the approved master print that Technicolor stored with the academy when the film was complete. It had never been shown in a theater.) So, when Harris & Co. did the digital color correction, they could use this print as a reference. They also worked side by side with Allen Daviau, a brilliant cinematographer who, in turn, consulted by phone with Willis himself. (Harris is a stickler for this sort of thing. When he restored Hitchcock's Vertigo, he asked Jaguar to send him a color chip from the 1957 model of one of its cars -- the same car that Kim Novak drove in the film -- so that he could match the shade of green exactly.)
If you don't want to buy/rent the films, Film Forum in New York is playing the restored films through next Tuesday with other theaters around the country to follow.
Ill-advised movie sequels
Some of these don't seem like such a good idea. (These are actual sequels being written/produced/considered/etc.)
Blade Runner 2
Pirates of the Caribbean 4
Beverly Hills Chihuahua
Cars 2
Toy Story 3
Ghostbusters 3
I Am Legend 2
Donnie Darko 2
Ok, Beverly Hills Chihuahua isn't a sequel but rivals Blade Runner 2 for the worst idea on the list.
Actress Kristin Scott Thomas made an interesting observation the other day while discussing foreign language films:
"People will now go to films with subtitles, you know," she added. "They're not afraid of them. It's one of the upsides of text-messaging and e-mail." She smiled. "Maybe the only good thing to come of it."
The abundance of scrolling tickers on CNN, ESPN, and CNBC may be even more of a contributing factor...if in fact people are more willing to see films with subtitles. (via ben and alice)
In preparation for a panel at the New Yorker Festival, Ben Greenman put together a list of the five scariest movies of all time. I've never seen a horror movie (unless Blair Witch Project counts) so Silence of the Lambs would be my top pick.
A list of actors who deserve better careers. Quentin Tarantino should do a film starring all of these actors and raise their boats like he did with John Travolta.
Five noted photographers choose films they've been influenced by. Blue Velvet appears on more than one list.
Gizmodo recently paid a visit to the headquarters of the Criterion Collection as they begin the process of releasing all their movies in HD on Blu-ray.
But with that huge uptick in resolution for the consumer, Criterion is faced with a lot of problems that they didn't have when their masters were converted to standard definition for DVD. After all, they're often dealing with old films, created before there was fancy low-grain filmstock and digital processing. And with the technology they have today, how much restoration and processing is too much?
Really, the mission of Criterion is "trying to replicate the original experience of seeing that movie when it was first released," according to Phillips. While they certainly have the ability to process old films until they look like they were shot on a DV cam, that's not the goal.
It's difficult to know if Blu-ray will actually take off as a format, given the competition from other methods of obtaining HD media (iTunes store, HD cable, etc.). It might become a niche option like the Criterion Collection itself but a welcome one all the same. We watched The Darjeeling Limited the other night on the Starz HD channel on Time Warner Cable. It was 1080p but compressed enough that if you're paying attention, you can see artifacts, especially with fast motion. But the worst part is that Starz didn't bother to show the film in its original aspect ratio, which, with Wes Anderson movies, is more than half of the point! They chopped off the sides to fit a 2.39:1 film into 16:9. So for fans of films that deserve to be seen as the director intended, Criterion on Blu-ray might be the only option.
Roger Ebert recently got a question asking why he didn't review Disaster Movie.
Q. Yo dude, u missed out on "Disaster Movie," a hardcore laugh-ur-@zz-off movie! Y U not review this movie!? It was funny as #ell! Prolly the funniest movie of the summer! U never review these, wat up wit dat?
- S.J. Stanczak, ChicagoA. Hey, bro, I wuz buzier than $#i+, @d they never shoed it b4 hand. I peeped in the IMDb and saw it zoomed to #1 as the low$ie$t flic of all time, wit @ lame-@zz UZer Rating of 1.3. U liked it? Wat up wit dat?
Totally pwned. He's not completely fluent, but Ebert should write all of his reviews in l33tspeak.
The three Godfather films have been restored, remastered, retouched, unscratched, and cleaned for release on Blu-ray and DVD.
By all accounts, the original negatives of the first two films were so torn up and dirty that they could no longer be run through standard film laboratory printing equipment, and so the only option became a digital, rather than a photochemical, restoration.
The final product, which the studio is calling "The Godfather: The Coppola Restoration," combines bits and pieces of film recovered from innumerable sources, scanned at high resolution and then retouched frame by frame to remove dirt and scratches. The color was brought back to its original values by comparing it with first-generation release prints and by extensive consultation with Gordon Willis, who shot all three films, and Allen Daviau, a cinematographer ("E.T.") who is also a leading historian of photographic technology.
The article goes on to say that the Blu-ray version is like a "pristine 35-millimeter print projected in perfect focus" in your living room. Must get Blu-ray player. Amazon has the Blu-ray version for a whopping 50% off the retail price...it's almost the same price as the DVD version.
Update: The author of the Times piece has two before-and-after stills from the first film on his blog. Wow.
Question of the week over at the Onion AV Club: what movie have you rewatched the most times? My short list: Star Wars, Ocean's 11, The Day After Tomorrow, Bill & Ted's Excellent Adventure. I've also seen Zoolander a fair number of times but not as many as the others.
The trailer for Synecdoche, New York, the first film directed by Charlie Kaufman, who wrote Being John Malkovich, Adaptation, and Eternal Sunshine of the Spotless Mind. A.O. Scott liked it at Cannes. The film will be out in limited release (NY & LA?) on Oct 24. Say sih-NECK-duh-kee...kinda like Schenectady. (via crazymonk)
Update: I removed the embedded video...I didn't know it came with all that extra cruft around it.
Update: The video is back, YouTube-style.
As someone who gets quite a lot of shit for his movie ratings, I quite enjoyed Roger Ebert's explanation of how he decides how many stars to give a film and why his ratings are usually higher than those of other critics. I give this bit 4 out of 4 stars:
In the early days of my career I said I rated a movie according to its "generic expectations," whatever that meant. It might translate like this: "The star ratings are relative, not absolute. If a director is clearly trying to make a particular kind of movie, and his audiences are looking for a particular kind of movie, part of my job is judging how close he came to achieving his purpose." Of course that doesn't necessarily mean I'd give four stars to the best possible chainsaw movie. In my mind, four stars and, for that matter, one star, are absolute, not relative. They move outside "generic expectations" and triumph or fail on their own.
His "I like to write as if I'm on an empty sea" line is happily filed away, to be used as liberally as possible.
Dignan's 75-year plan from the movie Bottle Rocket.
E. Develop outside interests
a. Travel
b. Art
c. Science
(thx, tommy)
@ the movies
Gone Baby Gone
Ben Affleck's status as a lightweight is hereby permanently suspended. This is a serious movie by a serious, thoughtful director. The film also fits into a theme that's been developing around these parts lately related to switched identities: Switched at Birth, The Ghost of Bobby Dunbar, and Don Draper.
In 1972, Robert Frank followed The Rolling Stones on their tour of North America and made a film called Cocksucker Blues. The title referenced a song written by the band as a fuck-you to their outgoing record label. The film was never released but bootleg copies exist...and a copy has inevitably found it's way onto YouTube in nine parts (93 minutes total).
Part one, part two, part three, part four, part five, part six, part seven, part eight, and part nine.
The quality is not very good but for hardcore Stones and music fans, it's probably worth a look if you haven't seen it. NSFW.
Short film: Blow Job by Andy Warhol. Mostly SFW...it's just the face of the recipient. Here's some info on the film.
When Andy Warhol decided to shoot Blow Job, he rang Charles Rydell and asked him to star in it, telling him that "all he'd have to do was lie back and then about five different boys would come in and keep on blowing him until he came," but that the film would only show his face.
Charles agreed, but when he didn't show up for the following Sunday afternoon shoot, Andy reached him at Jerome Hill's suite at the Algonquin and screamed into the phone "Charles! Where are you?" Charles responded: "What do you mean, where am I? You know where I am - you called me," and Andy the said "We've got the camera ready and the five boys are all here, everything's set up!" Charles's shocked reply was: "Are you crazy? I thought you were kidding. I'd never do that!"
Roger Ebert talks about how to read a movie.
This all began for me in about 1969, when I started teaching a film class in the University of Chicago's Fine Arts program. I knew a Chicago film critic, teacher and booker named John West, who lived in a wondrous apartment filled with film prints, projectors, books, posters and stills. "You know how football coaches use a stop-action 16mm projector to study game films?" he asked me. "You can use that approach to study films. Just pause the film and think about what you see. You ought to try it with your film class."
I did. The results were beyond my imagination. I wasn't the teacher and my students weren't the audience, we were all in this together. The ground rules: Anybody could call out "stop!" and discuss what we were looking at, or whatever had just occurred to them.
This article also contains the most information-rich paragraph I've ever read online...it's like an entire film class in 12 lines. Fascinating stuff. One of the points is that, generally, the right side of the screen is more positive. In a later comment, Ebert adds:
In all the years with Siskel and on all the incarnations of the show, I always quietly made sure I was seated on the right. When Roeper came aboard, the producers insisted I "belonged" in "Gene's seat." Sentiment won over visual strategy. Did I really think it made a difference? Yes, I really did.
Also, he should do this online...post film stills and let people leave comments, discuss, etc.
Who would have thought ten years ago that Hollywood's biggest action stars would be Tobey Mcguire (Spider-Man), Matt Damon (Bourne), Elijah Wood (LoTR), Christian Bale (Batman), Johnny Depp (Pirates), and maybe even Robert Downey Jr. (Iron Man)? No Stallones, Schwarzeneggers, or Van Dammes in that group.
The Star Wars empire has grown into one of the most fertile incubators of talent in the worlds of movies (Lucasfilm), visual effects (Industrial Light & Magic), sound (Skywalker Sound), and video games (LucasArts). Along the way, some of the original Lucas crew has gone on to become his biggest competitors.
The Flash interface is really annoying and not useful...the whole image is a better way to look at it. Very Mark Lombardi. (via vc)
A profile of Alec Baldwin by Ian Parker for the New Yorker.
He recalled a day, a few years ago, when he was driving through L.A., saw a car run a red light, smash into another car, and keep moving. Baldwin gave chase and, eventually, blocked the culprit in a cul-de-sac. Before the police arrived, the driver got out of his car -- "Typical drug-addict, alcoholic, fuckhead look on his face. He was, 'O.K., what? What? You're chasing me. What?' This nineteen-year-old kid, his eyes blazing. I'm thinking, I'm going to come over there and knock your teeth down your fucking throat just because you're asking me 'What?' You know what, you little fuck? I saw you. I'm a pretty liberal person, but my liberalness comes from what the government should be doing with its excess of wealth. That doesn't mean I'm not a law-and-order person. I'm the kind of person -- you catch the kid who's drunk and high and he almost killed a girl, let's take him in and beat the shit out of him for a couple of hours. Then he'll learn." He laughed. "I believe that!"
Things I have enjoyed Alec Baldwin in:
The Hunt for Red October
Glengarry Glen Ross
The Departed
The Royal Tenenbaums
The Aviator
But what firmly installs Baldwin onto my list of favorite actors of all time is his many Saturday Night Live appearances. Watching Schweddy Balls and Inside the Actors Studio (with Baldwin as Charles Nelson Reilly) still brings tears of howling laughter to my eyes. I gotta bump 30 Rock to the top of my viewing queue.
Don LaFontaine, the voice of countless movie trailers, is dead at 68. I liked this tribute from the Washington Post:
In a world of people who all have some sort of private omniscient voice-over running things inside their heads, sometimes God, sometimes Mom, and sometimes Don LaFontaine...
In a world where marketing is far more important than content...came one man...with a Voice.
Check out a brief bio video of LaFontaine with his voice in action.
Panopticist has a quick round-up (with clips) of a few adult movies inspired by the films of Stanley Kubrick.
There have been several other porn films inspired by Kubrick's oeuvre, including Spermacus, 2002: A Sex Odyssey, Thighs Wide Shut, and A Clockwork Orgy.
NSFW.
@ the movies
Koyaanisqatsi
This is my favorite scene from Koyaanisqatsi.
Unaware at first of the camera, she sees it. Then smiles almost imperceptibly and turns away. Then self-consciously looks everywhere but at the camera. And finally, a last contemptous peek at the camera.
Update: Sorry, the video is not available outside of the US.
Thirty-five minute video in which Saul Bass talks about some of the iconic movie title sequences he created in his career. (via smashing telly)
I triple endorse every single one of these 17 simple rules for going to the cinema with me.
9. You will not involuntarily exclaim any of the following, or any derivatives of the following, ten minutes before and ten minutes after the end of the screening: "Oh SHIT! OUCH!", "Woah!", "Oooooooh!", "PAIN CITY!", "Holy [anything]!". Such exclamations are not involuntary. If you are a Tourette's sufferer, you will provide a confirmatory note from a registered and reputable practitioner of medicine before purchasing your tickets, whereupon you will be politely refused entry.
My insistence on the strict adherence to rule #1 is why I often find myself at the movies alone (sobbing quietly, friendless).
I linked to Hands on a Hard Body yesterday. If you need a little extra prodding to watch it, check out the first segment of this old episode of This American Life.
We hear a long interview with Benny Perkins, who won the truck one year and was back the year they made their film to try to win again. He says a contest like this is not easy money. You slowly go crazy from sleep deprivation.
Paintings of notable movie families, including the Clark W. Griswolds and the Jack Torrences from The Shining.
Hands on a Hard Body is available on Google Video in its entirety. From Wikipedia:
Hands on a Hard Body: The Documentary is a 1997 film documenting an endurance competition that took place in Longview, Texas. The yearly competition pits twenty-four contestants against each other to see who can keep their hand on a pickup truck for the longest amount of time. Whoever endures the longest without leaning on the truck or squatting wins the truck. Five minute breaks are issued every hour and fifteen minute breaks every six hours.
I *love* this movie. (via waxy)
Update: Whoa! The contest on which this film is based was cancelled after a 2005 competitor shot himself shortly after he left the contest.
Vega had been a contestant in the internationally popular Hands on a Hardbody contest at Patterson Nissan in Longview when he killed himself Thursday morning after leaving the contest at the beginning of its third day. The 24-year-old East Texan walked away around 6 a.m., when he politely excused himself just before a scheduled 15-minute break for competitors, a witness said.
A lawsuit filed by Vega's widow alleging that the dealership was "negligent in organizing and conducting the contest" was just recently settled. (thx, justin)
Amazon is having a Blu-ray sale...selected Blu-ray movies are 50% off. Titles include Mad Men season 1, No Country for Old Men, Pirates of the Caribbean trilogy, Reservoir Dogs, and Gangs of New York.
They're making an animated movie of my favorite book from childhood, Cloudy with a Chance of Meatballs.
"It's actually only loosely -- very, very loosely -- based on the book," Faris explained. "But it's about a small town that rains food, basically. So hamburgers come down, and ice cream, and [the residents] have to figure out a way [stop it]. Eventually, it gets more and more dangerous, and they have to figure out a way to stop the satellite machine that's raining food."
It stars Andy Samberg and Anna Faris. I'm prepared to be *very* disappointed. (thx, kimberly)
Roger Ebert is not a fan of 3-D movies.
Ask yourself this question: Have you ever watched a 2-D movie and wished it were in 3-D? Remember that boulder rolling behind Indiana Jones in "Raiders of the Lost Ark?" Better in 3-D? No, it would have been worse. Would have been a tragedy. The 3-D process is like a zombie, a vampire, or a 17-year cicada: seemingly dead, but crawling out alive after a lapse of years. We need a wooden stake.
Bottle Rocket, Wes Anderson's first film, is getting the Criterion treatment in both DVD and Blu-ray formats. Lovely cover. (via goldenfiddle)
Some movies Rex didn't realize you could watch in their entirety (for free and in 480p) on Hulu: Metropolitan, The Fifth Element, 28 Days Later, Requiem for a Dream, Lost in Translation, Koyaanisqatsi, and Eternal Sunshine.
Me either! Also available are Raising Arizona, Lost Highway, Hoop Dreams, Sideways, Master and Commander, Ghostbusters, The Karate Kid, and Groundhog Day.
The Parallel Universe Film Guide catalogues hundreds of movies that never were but may exist in another quantum reality. Titles include Help! Our Camera Has Palsy, Adorable Italian Stereotypes Al Dente, and Who's Tired of Philosophical Hit Men? Not Me! (via vsl)
Recent critical clinkers The Mummy: The Third Mummy Movie and The Journey to the Middle of 3-D Mediocrity caused me to wonder: has Brendan Fraser ever appeared in a good movie? A trip to IMDB refreshed my memory -- soiled by several Pauly Shore vehicles -- that Fraser appeared in Crash, Gods and Monsters, and Dead Poets Society School Ties, and a couple of other movies that didn't suck.
The entirety of Hoop Dreams, which appeared at the top of the best documentaries list I posted yesterday, is available on Hulu to watch for free. Watch for Gates getting his pocket picked. (thx, skeets & david)
Neat infographic of the 2008 US movie box office. It's more or less the same as this epic chart from the NY Times earlier in the year.
In October 2007, the International Documentary Association made a list of the 25 best documentaries.
1. Hoop Dreams (1994), Steve James
2. The Thin Blue Line (1988), Errol Morris
3. Bowling for Columbine (2002), Michael Moore
4. Spellbound (2002), Jeffrey Blitz
5. Harlan County U.S.A. (1976), Barbara Kopple
6. An Inconvenient Truth (2006), Davis Guggenheim
7. Crumb (1994), Terry Zwigoff
8. Gimme Shelter (1970), Albert Maysles, David Maysles, and Charlotte Zwerin
9. The Fog of War (2003), Errol Morris
10. Roger & Me (1989), Michael Moore
11. Super Size Me (2004), Morgan Spurlock
12. Don't Look Back (1967) D.A. Pennebaker
13. Salesman (1968), Albert Maysles, David Maysles, and Charlotte Zwerin
14. Koyaanisqatsi: Life Out of Balance (1982), Godfrey Reggio
15. Sherman's March (1986), Ross McElwee
16. Grey Gardens (1976), Albert Maysles, David Maysles, Ellen Hovde, and Muffie Meyer
17. Capturing the Friedmans (2003), Andrew Jarecki
18. Born into Brothels, (2004), Ross Kauffman and Zana Briski
19. Titicut Follies (1967), Frederick Wiseman
20. Buena Vista Social Club (1999), Wim Wenders
21. Fahrenheit 9/11 (2004), Michael Moore
22. Winged Migration (2002), Jacques Perrin
23. Grizzly Man (2005), Werner Herzog
24. Night and Fog (1955), Alain Resnais
25. Woodstock (1970), Michael Wadleigh
The first trailer for Harry Potter and the Half-Blood Prince has been released, featuring a wee Voldemort. Movie is out in November.
Objectified is an upcoming film about industrial design by Gary Hustwit, director of Helvetica.
Objectified is a documentary about industrial design; it's about the manufactured objects we surround ourselves with, and the people who make them. On an average day, each of us uses hundreds of objects. (Don't believe it? Start counting: alarm clock, light switch, faucet, shampoo bottle, toothbrush, razor...) Who makes all these things, and why do they look and feel the way they do? All of these objects are "designed," but how can good design make them, and our lives, better?
The film is due out in early 2009. (via design observer)
HD version of Presto, the short film shown before Pixar's Wall-E. The shorts shown before Pixar films seemingly have something to do with the next film in the company's pipeline. Boundin' preceded Cars (both were set in the desert Southwest), One Man Band came out before Ratatouille (the former set in Italy, the later in France, but with similar "set" design), and Lifted preceded Wall-E (both featured outer space and spaceships), but I can't figure out what Presto has to do with Up (the teaser's no help).
Nice remembrance from Roger Ebert on the end of the long-running At the Movies show.
One thing we never did, apart from an occasional special show, was depart from the format: Two critics debating the week's new movies. No "advance looks" at trailers for movies we hadn't even seen. No celebrity interviews. No red carpet sound bites. Just two guys talking about the movies. At one point, our show and two clones were on the air simultaneously. Then we were left alone again: The only show on TV that would actually tell you if we thought a movie was bad.
Inappropriate movie soundtracks
YouTubers are adding innappropriate new soundtracks to movie scenes, thereby ruining them. I stumbled across the Richie suicide scene from The Royal Tenenbaums set to Lynyrd Skynyrd's Free Bird (instead of Needle in the Hay) and then found a bunch more:
Terminator 2
The Matrix ruined
Star Wars, under pressure
2001
This Monsters Inc. one is actually fantastic.
Starship Troopers
A Clockwork Orange
Reservoir Dogs
Contact
Several of these originated on Something Awful.
Spike Jonze's Where the Wild Things Are might be in trouble. It was originally due out in October, got pushed back to fall 2009, and has now been taken off of the Warner Bros. release schedule. But not all is lost...here's what Warner had to say about it:
We've given him more money and, even more importantly, more time for him to work on the film," Horn said. "We'd like to find a common ground that represents Spike's vision but still offers a film that really delivers for a broad-based audience. We obviously still have a challenge on our hands. But I wouldn't call it a problem, simply a challenge. No one wants to turn this into a bland, sanitized studio movie. This is a very special piece of material and we're just trying to get it right.
They're making a fourth Terminator movie with Christian Bale? Although I didn't actually mind the third one so bring it on, I guess. (via goldenfiddle)
Update: McG is directing? I take it back...put it back in the can. Also, Joseph, isn't it time to stop using that name?
Amblin', Steven Spielberg's first film shot on 35mm, is available on YouTube (~25 min long). Binary Bonsai has more on the first real movie that Spielberg directed (which the director now dislikes).
Spielberg's first outing is all about humanity, love, feelings, innocence and all the other softness for which he has since become almost infamous. Whatever tech-lust Spielberg might have, goes on behind the lens, not in front of it. And despite moving on to do some pretty tech-heavy films (Jurassic Park for instance), he almost always keeps the human side of things front and center.
Thumber is a OS X app that screencaps one-second intervals of movies and stitches the results together into one big image. Inspired by one of my favorite art projects, Cinema Redux by Brendan Dawes.
An article from Animation World Magazine about the animation techniques used in Wall-E.
Life is nothing but imperfection and the computer likes perfection, so we spent probably 90% of our time putting in all of the imperfections, whether it's in the design of something or just the unconscious stuff. How the camera lens works in [a real] housing is never perfect, and we tried to put those imperfections [into the virtual camera] so that everything looks like you're in familiar [live-action] territory.
@ the movies
Wall-E
Wall-E was wonderful...best new film I've seen in a long time. With it, Andrew Stanton joins Brad Bird in Pixar's top tier of directors, with the much-heralded John Lasseter in third place. But I can see where Tyler Cowen was coming from when he stated in his short review that the film was "not recommended for children" and that "some bold genius at Pixar will be fired". Wall-E was funny, charming, and endearing but also subversive, disturbing, and dystopian. That combination that usually doesn't play well at the box office but some of my favorite films ride that fine line between comedy and disconcerting drama.
Some other thoughts and observations:
- This was the first Pixar movie to include live action sequences. What, they couldn't 'toon Fred Willard?
- Disney is selling all sorts of Wall-E merchandise to go along with the movie, much of which will end up in a landfill somewhere. Just like the movie. It's a full circle. Very clever, Disney.
- Here's a list of easter eggs and references in the film and here are some Apple-specific references. My favorite was a scene near the end with Wall-E, the autopilot, and the autopilot's buddy that referenced the Luke/Vader/Emperor struggle at the end of Jedi.
- I doubt it was an explicit reference, but the future earth of Wall-E resembles that of the under-appreciated Idiocracy.
- The ending credits are a fun little tour through art history.
- Presto, the funny short movie played before Wall-E, is available for purchase from the iTunes Store for $1.99. Here's the Buy n Large corporate web site. Galax-E is a font inspired by the lettering from Wall-E.
Advice on writing screenplays.
I think people see inspiration as the ignition that starts the process. In fact, real moments of inspiration often come at the last minute, when you've sweated and fretted your way through a couple of drafts. Suddenly, you start to see fresh connections, new ways of doing things. That's when you feel like you're flying. The real pleasure of any script is the detail. And a lot gets lost in the process. Put it back in at the last minute.
Stanley Kubrick's MySpace page is actually pretty interesting. Lots of photos of the man and his films.
Vulture's wrong, wrong, wrong list of the best Pixar films. Finding Nemo belongs in #1 with The Incredibles and Ratatouille close behind. Then Toy Story 2 followed by the rest. Putting The Incredibles in the #7 spot, that's just plain irresponsible.
Wall-E is getting excellent reviews so far...it's currently rated a 92 on Metacritic.
@ the movies
I Am Legend
God ruined I Am Legend with the most literal deus ex machina I've ever seen in a movie. The alternate ending makes a whole lot more sense. Then again, I would have been satisfied with three straight hours of how Neville spends his time in Manhattan wilderness, alone, procuring supplies, checking buildings off of his scavenging list, visiting the MoMA to get new art for his walls, collecting iPods for "new" music, etc. Is it every New Yorker's fantasy to have all of Manhattan to himself for a day?
A list of movie cameos that end up stealing the whole movie. The deserving #1 is Alec Baldwin's Glengarry Glen Ross speech. (God, what a great scene.)
@ the movies
Roman Polanski: Wanted and Desired
Now showing on HBO:
On March 11, 1977, Roman Polanski was arrested in Los Angeles and charged with the following counts: furnishing a controlled substance to a minor, committing a lewd or lascivious act on a child, unlawful sexual intercourse, rape by use of drugs, perversion and sodomy. Less than a year later, on February 1, 1978, Polanski drove to LAX, bought a one-way ticket to Europe, and never came back. Roman Polanski: Wanted and Desired explores the implausible events that took place between these dates, along with details, before and after, that forever altered the life and career of Polanski, one of the world's most acclaimed directors.
This snippet of an interview with the filmmaker should give you a taste of what to expect from the film:
I felt it was my job to explain how people think they know the story, but they don't. That doesn't excuse Polanski in any way, but it shows what he went through. I think the best viewer for this film is someone who can't stand Roman Polanski and is disgusted by what happened. But if they allow themselves to watch the film, they usually come away from it feeling differently. If not about the crime, then at least about the aftermath. It's quite surprising.
The Smoking Gun has the grand jury testimony of then 13-year-old Samantha Gailey, taken two weeks after she had sex with Polanski. If you don't catch the movie on HBO, it'll be out in limited release in theaters on July 11.
Update: There's a post on the HBO bulletin board for the movie that looks like it was written by Samantha Geimer (formerly Gailey):
I hope you all watched and enjoyed the movie. I think Marina did an excellent job in uncovering the facts. Since my mother did not participate, let me clarify a few things for you all.
She did not travel in the same social circles with Roman. She met him once, that meeting had nothing to do with my getting the modeling job. She did not send me off to be raped, or have some blackmail plot in mind. Calling the police pretty much rules blackmail out from the get go. Roman was not known as a pedophile in March of 1977, he was a influential and respected director. Even his relationship with Natasha Kinski did not occur until after my meeting with him, as far as I know.
The sex was not consentual and I have never said it was.
And last, I was not supposed to be alone with him, a friend was to come along with with us, but he talked me into going alone with him as the last minute, my mother was unaware of that until I called her later to check in. Even so, she would never have dreamed he would do what he did to me, just because we were alone. This was a long time ago, when child molestation did not immediately leap to the front of everyone's mind as is does today. I do find it strange that some of his friends say he couldn't have done it, while others say of course he would.
My mother has carried alot of guilt about this for many years, so I would appreciate it if people would stop blaming her. There is alot of blame to go around.
Quentin Tarantino's next movie: Inglorious Bastards. Here's le plot:
A band of U.S. soldiers facing death by firing squad for their misdeeds are given a chance to redeem themselves by heading into the perilous no-man's lands of Nazi-occupied France on a suicide mission for the Allies.
According to Ain't It Cool News, Tarantino will release the movie in two parts, as he did with Kill Bill. (via crazymonk)
From an abridged script for Indiana Jones and the Kingdom of the Crystal Skull:
PRODUCER FRANK MARSHALL immediately proves his commitment to using CGI "only when necessary" by featuring completely necessary CGI prairie dogs in the first shot of the movie.
A bunch of cars drive through the DESERT to AREA 51. HARRISON FORD'S SHADOW, then HARRISON FORD'S SHOE, then HARRISON FORD'S ARM, then HARRISON FORD'S HAT and finally HARRISON FUCKING FORD are eventually revealed.
HARRISON FORD
Alright folks, let's get this show on the road. I want to make it to Country Buffet by four.CATE BLANCHETT
Pryvet, Harrison. I am evil Soviet. You vill help me find Moose and Squirrel, yes?HARRISON FORD
Holy Christ, you're not going to talk like that the whole movie are you?CATE BLANCHETT
Da. You vill help locate MacKuffin now.
(thx, david)
Indiana Jones and Nuke the Fridge
Not so long ago, on May 24th, IMDB message board participant beachedblonde coined a new phrase: nuke the fridge. Here's the definition from the Urban Dictionary...it's roughly equivalent to jumping the shark:
A colloquialism used to delineate the precise moment at which a cinematic franchise has crossed over from remote plausibility to self parodying absurdity, usually indicating a low point in the series from which it is unlikely to recover. A reference to one of the opening scenes of Indiana Jones and the Kingdom of the Crystal Skull, in which the titular hero manages to avoid death by nuclear explosion by hiding inside a kitchen refrigerator.
Sample usage:
Man, when Peter Parker started doing the emo dance in Spider-Man 3, that franchise officially nuked the fridge.
Since then, things have progressed quickly. The original posting seems to have been deleted but the phrase caught on, infected other message boards and web sites, and is now a full-blown meme on the verge of nuking the fridge itself. Google currently returns close to 16,000 results for variations on the phrase. Some participants in the IMDB forums have already grown tired of the phrase's repeated use. A Wikipedia page was created and has already been deleted (reason: "Protologism with no RELIABLE sources evidencing more than extremely limited usage"). A web site dedicated to the meme is available at nukingthefridge.com, not to be confused with the movie review blog at nukedthefridge.com. And of course, no meme these days is complete without the proper new media accoutrements: Facebook page, MySpace page, t-shirt, YouTube page, an auction to sell the domain name, and a post on a large-ish general interest blog way after the whole thing's already played out. I only heard it for the first time an hour ago and I'm already sick of it. Memes seem to be spreading so rapidly now on the web that they burn out before they can properly establish themselves. It'll be interesting to see if nuke the fridge makes it through this ultra-virulent phase and somehow slows down enough to jump to casual mainstream usage. (via cyn-c)
Younger than we used to be
While we're on the topic of The Curious Case of Benjamin Button, Andrew Sean Greer wrote a book with a similar premise published in 2004 called The Confessions of Max Tivoli. It was based in part on the same Fitzgerald story as Fincher's film.
Mr. Greer is candid about the precedents: F. Scott Fitzgerald told a related story in "The Curious Case of Benjamin Button," and that in turn was inspired by a remark of Mark Twain that the best part of life came at the beginning and the worst part at the end. Later Fitzgerald found "an almost identical plot" in Samuel Butler's "Note-books." In "The Sword and the Stone," which Mr. Greer read as a child, Merlin ages backward. Mr. Greer carries it further back, to Greek mythology, and forward to "Mork & Mindy," in which Jonathan Winters played a baby. And at one book signing, he said, a reader asked him if he knew about the "Star Trek" episode in which ----
Actually, when he began the book he was thinking more of Bob Dylan. In 2001, having published a collection of stories and in the middle of writing a novel, he found himself singing "My Back Pages" -- "I was so much older then, I'm younger than that now" -- and he had what amounted to an epiphany. "I thought that could be a book not like anything I'd written before," he said. "It sounded like a wild adventure that no one's going to want to read, but it could be a lot of fun, and maybe that's the point of it."
This passage from a NY Times review of Tivoli provides a good sense of what the tone of the film might be:
For when the repercussions of Max's reverse aging are eventually understood, the tragedy of his predicament becomes clear. Not only does he have the exact year of his death forever staring him in the face (1941, when he will complete his 70-year process of anti-decay), but he must also live his entire life, except for a few brief months in 1906 when his real and apparent ages coincide, being something other than what he seems.
Oh, and Shaun Inman quotes from Vonnegut's Slaughterhouse-Five about WWII moving backwards:
When the bombers got back to their base, the steel cylinders were taken from the racks and shipped back to the United States of America, where factories were operating day and night, dismantling the cylinders, separating the dangerous contents into minerals. Touchingly, it was mainly women who did this work. The minerals were then shipped to specialists in remote areas. It was their business to put them into the ground, to hide them cleverly, so they would never hurt anybody again.
(thx, jamaica)
The idea of a 3-D movie has been explored since basically the dawn of the moving image, but now, according to Portfolio, the idea is waxing once again, thanks to Jeffrey Katzenberg and several others. The rationale:
Studios are latching onto 3-D for much the same reason that Bob Dole took Viagra. Most of Hollywood's businesses are making money -- for all Katzenberg's complaining, DreamWorks' first-quarter profit was up 69 percent -- but the sector that makes Hollywood feel best about itself, theatrical showings, is deflating, in large part because the difference between seeing a movie in your local multiplex and on a 52-inch high-definition TV in your family room is not that vast.
Trailer for The Curious Case of Benjamin Button. David Fincher, Brad Pitt, Cate Blanchett, F. Scott Fitzgerald. Pitt's character starts off as an old man and ages backwards. Is it possible to buy tickets for this *right now*? BTW, the full text of the Fitzgerald short story on which the film is based is available online.
Interesting article on the genesis, sound design, and cinematography of Wall-E.
"We wanted it to have the feeling that it had actually been filmed," says Morris. Using subtle details such as barrel distortion and lens flare, gave Wall.E the feel of the 70mm sci-fi films of the Seventies. For the first time Pixar also brought Academy Award-winning cinematographer Roger Deakins and special-effects don Dennis Muren onboard. "We wanted to get the nuance of a live action film, and actually put mistakes in with zooms and framing to give it a more immediate feel."
Deakins is well-known for working with the Coen Brothers on many of their films. (thx, brian)
Mark Simonson notes that the period typography in the Indiana Jones movies is pretty good, except for that used on Indy's travel maps.
In Raiders of the Lost Ark (1981) which is set in 1936, we see ITC Serif Gothic (designed in 1972). The wide spacing feels right, and it does have an art deco feel, but it's 1970s art deco.
A list of the 100 best movie posters of all time. There's a lot to disagree with on this list. American Beauty at #2?
Two is a trend: unusual movie reviews. First up was Peter Bradshaw's review of The Incredible Hulk in Hulk-speak and now comes Christopher Orr's review of M. Night Shyamalan's newest stinker, The Happening. Orr hated the movie so much that his entire column is a list of spoilers so that you can mock the film without having seen it.
An upcoming film from Pixar: Andrew "Finding Nemo" Stanton's adaptation of Edgar Rice Burroughs' John Carter of Mars. As Binary Bonsai notes, this is a bit of a departure for Pixar, what with all the sexuality and violence.
Peter Bradshaw, film critic for The Guardian, wrote his 1-star review of The Incredible Hulk in Hulk-speak.
"Hulk. Smash!" Yes. Hulk. Smash. Yes. Smash. Big Hulk smash. Smash cars. Buildings. Army tanks. Hulk not just smash. Hulk also go rarrr! Then smash again. Smash important, obviously. Smash Hulk's USP. What Hulk smash most? Hulk smash all hope of interesting time in cinema. Hulk take all effort of cinema, effort getting babysitter, effort finding parking, and Hulk put great green fist right through it. Hulk crush all hopes of entertainment. Hulk in boring film. Film co-written by star. Edward Norton. Norton in it. Norton write it. Norton not need gamma-radiation poisoning to get big head.
Remember when The Hulk had a blog?
(via house next door)
Rave review of a 1995 documentary on the Yugoslavian War called The Death of Yugoslavia.
Despite some criticism about the accuracy of translation, the series would be in my list of top ten documentaries of all time, I cannot recommend it highly enough. It unravels the mechanism of the sordid path of human conflict, from nationalism to genocide, like no other film before or since. It is the film that never was made about the holocaust.
Sounds like a candidate for True Films. All six parts are available on Google Video...start with part one.
Typographically inspired movie titles, including Full Meta Jacket, Bembo: First Blood, and He-Man and the Masters of the Univers.
Early movie reviews
Russian writer Maxim Gorky wrote one of the first movie reviews in 1896 after seeing a collection of Lumiere films. Film/sound editor Walter Murch introduces the piece:
It is written on a completely clear slate, by someone who had not already been taught how to regard the cinema by a thousand other writers, and the newness of it all leaps from the page. What is remarkable is Gorky's prescience in the last two paragraphs, as he leaps ahead from his description of the first films to speculation on what directions the cinema might eventually take, toward sex and violence. How did he know?
The bulk of Gorky's short review concerns the absence of color and sound from the films, as if he's viewing shadows of reality.
Their smiles are lifeless, even though their movements are full of living energy and are so swift as to be almost imperceptible. Their laughter is soundless although you see the muscles contracting in their grey faces. Before you a life is surging, a life deprived of words and shorn of the living spectrum of colours -- the grey, the soundless, the bleak and dismal life.
In a collection of accounts of new technology, the NY Times has a pair of film reviews, the first from the Paris debut of the Lumiere films in 1895:
Photography has ceased to record immobility. It perpetuates the image of movement. When these gadgets are in the hands of the public, when anyone can photograph the ones who are dear to them, not just in their immobile form, but with movement, action, familiar gestures and the words out of their mouths, then death will no longer be absolute, final.
And this one from the projectionist of the first Lumiere in NYC:
You had to have lived these moments of collective exaltation, have attended these thrilling screenings in order to understand just how far the excitement of the crowd could go. With the flick of a switch, I plunge several thousand spectators into darkness. Each scene passes, accompanied by tempestuous applause; after the sixth scene, I return the hall to light. The audience is shaking. Cries ring out.
The Times also has a short article previewing the debut of Thomas Edison's vitascope1, which demonstrates the difficulty in describing this new technology to the public.
The vitascope projects upon a large area of canvas groups that appear to stand forth from the canvas, and move with great facility and agility, as though actuated by separate impulses. In this way the bare canvas before the audience becomes instantly a stage upon which living beings move about.
That sounds a bit boring but audiences loved it.
So enthusiastic was the appreciation of the crowd long before this exhibition was finished that vociferous cheering was heard. There were loud calls for Mr. Edison, but he made no response.
By 1898, the language of cinema was beginning to sort itself out, more or less, as this Times editorial notes.
All the resources of the word-builders see to have been exhausted in finding names for the simple but ingenious machine that throws moving pictures on a screen. The essential features in every device of this sort are the same -- a brilliant light before which a long band of minute photographs is rapidly drawn, and a lens to focus and distribute the rays properly. The arrangements for the manipulation of the light, the band, and the lens are numerous, but they vary only in the inconsequential details, and for all practical purposes the machines are identical. Some mysterious impulse, however, has impelled almost every purchaser of the apparatus to buy with it, or to invent for it, a distinctive name. Vitascope and biograph are most familiar here, with cinematograph coming next at a considerable distance. These hardly begin the list that might be formed from a careful study of the amusement advertisements in the papers of this and other countries. From such sources might be taken phantoscope, criterioscope, kinematograph, wondorscope, animatoscope, vitagraph, panoramograph, cosmoscope, anarithmoscope, katoptikum, magniscope, zoeoptrotrope, phantasmagoria projectoscope, variscope, cinograph, cinnomonograph, hypnoscope, centograph, and xograph. This is far from exhausting the supply. Electroscope exists, and so do cinagraphoscope, animaloscope, theatrograph, chronophotographoscope, motograph, rayoscope, motorscope, kinotiphone, thromotrope, phenakistoscope, venetrope, vitrescope, zinematograph, vitropticon, stinnetiscope, vivrescope, diaramiscope, corminograph, kineoptoscope, craboscope, vitaletiscope, cinematoscope, mutoscope, cinoscope, kinetograph, lobsterscope, and nobody knows how many more. Here, surely, is a curious development of the managerial mind.
It's difficult to read these accounts and not think about how we'll all sound in 100 years as we now attempt to explain the internet, mobile phones, the web, blogs, and the like.
[1] Edison didn't actually invent the vitascope. Thomas Armat sold the rights to his invention to The Edison Company on the condition that Edison could claim to have invented it. ↩
The NY Times has a look at the progress made by Disney since their 2006 acquisition of Pixar, a purchase some say Disney paid too much for.
"There is an assumption in the corporate world that you need to integrate swiftly," Mr. Iger said. "My philosophy is exactly the opposite. You need to be respectful and patient." Key to the successful integration, analysts say, has been Mr. Iger's decision to give incoming talent added duties. Instead of just buying Pixar and moving on, Mr. Iger understood what made the acquisition valuable, said Mr. Price, the author. "If you are acquiring expertise," he said, "then dispatch your newly purchased experts into other parts of the company and let them stretch their muscles."
It also sounds as though Pixar has loosened their high standards since the acquisition...they're outsourcing some animation, doing more sequels (Cars 2, presumably for the merchandising), and making several direct-to-DVD movies.
An interesting-sounding documentary, on a row between two schools of balloon twisters. (Some examples of the craft.) From the NYT:
"Twisted: A Balloonamentary" examines the world of professional balloon twisters, who make everything from life-size racing cars to their own wedding dresses. It also exposes the rift--who knew?--between the "gospel twisters," who use their craft as a way to teach Bible lessons, and the "adult" twisters, who use balloons for more prurient entertainment.
"I refused to see the movie" when it first played, said Ralph Dewey, a prominent gospel twister from Deer Park, Tex. "There's just too much unclean stuff in there." He and several other like-minded twisters boycotted a screening of "Twisted" at a balloon convention in Texas last year.
The scenes that might make Mr. Dewey squirm take place at a gay men's party in Las Vegas, where balloons are fashioned into parts of the male anatomy that are most logically suited for this purpose.
According to the twisters themselves, the two factions have long co-existed, however uncomfortably, at conventions and other gatherings, but the film is bringing simmering resentments to the surface.
Lucas finally does away with all those pesky human actors in an animated sequel to Episode II that no one was clamoring for. But I had to look at the trailer.
@ the movies
Indiana Jones and the Kingdom of the Crystal Skull
If you need a reminder of Harrison Ford's ability to play Indiana Jones after nearly 20 years on the shelf, it comes in the movie's opening scene. Indy is roughly extracted from a car and tumbles to the ground. We see him stumble towards his trademark hat with that walk, a graceful stuttering step, wary of booby traps even on solid ground. Even though the camera shows us only his boots, it's unmistakably Indiana Jones.
That walk is also a signal that Lucas and Spielberg didn't screw this whole thing up...aside from the goofy film title (although having seen the movie, anything else would have ruined the surprise). They didn't take the bait offered by Casino Royale or The Bourne Ultimatum and attempt to shoehorn Dr. Jones into a frenetic, circa-2008 thrill-ride. Oh, there were thrills alright and plenty of swashes were buckled, but this was an action/adventure movie straight out of the 80s. Safe territory for Lucas and Spielberg perhaps, but for someone who believes that the best 80s action adventure movies have something to teach contemporary filmmakers (#1 of a long list: Don't make the special effects the star), the film was a thoroughly enjoyable territory in which to spend an evening. (thx to nextnewnetworks for the ticket hookup)
The second trailer for Hancock, the Will-Smith-as-apathetic-superhero movie due out this summer, is up on Apple Trailers. I believe this is the same one I linked to on YouTube a month ago, but watch it again anyway. I am hoping against hope that this one isn't going to be as stupid as I think and instead will be as awesome as I hope.
Possible collateral damage from the ascendence of HD and Blu-ray: people want their movies to look nice and clean and sharp and without film grain, even if the feel of a movie calls for it.
Unfortunately, what seems to happening right now is that the studio marketing folks are conducting focus groups with new Blu-ray consumers, who are saying they want perfect pictures every time. As a result, a few of the Hollywood studios are currently A) using excessive Digital Noise Reduction to completely scrub film grain from their Blu-ray releases, or B) not releasing as many older catalog titles as they might otherwise for fear that people will complain about grain. Some studios are even going so far as to scrub the grain out of NEW releases that have been shot on film. Case in point: New Line's Pan's Labyrinth Blu-ray Disc. When I saw this film in the theaters, it was dark and gritty. The grain was a deliberate stylistic choice -- part of the artistic character of the film. New Line's Blu-ray, on the other hand, is sparkly and glossy -- almost entirely grain-free. So much fine detail has been removed that the faces of characters actually look waxy. Everyone looks like a plastic doll.
(via house next door)
Sixteen elusive movie object of desire, including White Castle burgers in Harold & Kumar, the Ark of the Convenant in Raiders of the Lost Ark, and the One Ring from the LOTR trilogy.