A collection of videos showing directors in cameos.
Many directors at some point in their careers have stepped out from behind the camera to act. This is typically in a smaller, cameo role, and often with varying degrees of success: sometimes they're completely natural and sometimes they bring the film to a screeching halt. And sometimes you'd never even know they were there.
YouTube user barringer82 has posted several mini-compilations of films of different eras and directors. For instance: the 1980s, Wes Anderson, Stanley Kubrick, Paul Thomas Anderson, David Lynch, the 1990s, Quentin Tarantino, and the 1970s.
Here's the premise: taken together, this summer's movies are bad enough that it signals the end of the summer blockbuster. The evidence in two parts.
Update: Counterpoint. (thx, patricio)
Roger Ebert + blog = subscribed. (via house next door)
To be honest, I was a little disappointed in Standard Operating Procedure...but the fault is my own, not the film's. My expectation was that the film would start with the photos of Abu Ghraib & misdeeds of the lower ranking soldiers and then move up the chain of command, both militarily and thematically speaking, to explore the issues of truth in photography and culpability. To Morris' credit, he didn't do that. It's too easy these days to attempt arguments about Iraq or the Bush Administration that connect too many dots with too little evidence...essentially propaganda that sings to the choir.
SOP has a surprisingly small depth of field; it's the story of those infamous photos, the people who took & appeared in them, and what they have to say about the photos & the actions they purport to show. And in that, the movie succeeds. Morris leaves plenty of negative space into which the audience can insert their own questions about what the photographs ultimately depict and who's responsible in the end.
Incidentally, Morris generated a bit of controversy recently when he admitted that he'd paid some of the interviewees in SOP. The criticism of this practice is that "the credibility of interviewees diminishes when money changes hands and that these people will provide the answers they think are desired rather than the truth". That is a concern but no more so than every other reason for being untruthful, including not telling the truth out of spite for lack of payment. People have so many better reasons to lie than money.
The Expedition One crew, consisting of one American and two Russian astronauts, spent 136 days in space aboard the International Space Station. Their logs include a record of the movies they watched while on their mission.
6 Feb 2001: We ate some dinner and watched the last part of "City of Angels". Shep did his best to explain to Yuri and Sergei what the phrase "chick flick" means.
24 Feb 2001 We put some chow and the DVD player in the Soyuz and close the hatch about 0530. It takes 2 orbits to get the first set of hooks off and the docking tunnel pressure checked. We get the "Austin Powers" sequel in while all this is taking place. (Maybe a Soyuz first here).
Update: The Expedition One crew also documented their many computer problems.
Sergei notices that the Russian PCS laptop has locked up. He tries to reboot, but the Sun application software won't load. Lots of messages on the screen noting data errors. Sergei thinks that it may be the hard drive. He boots up windows to see if the windows partition runs OK--it does. So at least some of the hardware is functional.
Maybe they need Macs?
I've got Will Smith action hero fatigue, but HOLY CRAP does Hancock look awesome. I am into apathetic superheroes. There's a second trailer available on YouTube...and its quality is surprisingly good. (You can tell I don't make it out to the movies a lot these days...the first trailer has been out since December.)
Honestly I was getting a little burned out on Errol Morris. I've been reading his Times blog, reading and listening to interviews with him about Standard Operating Procedure, and went to see him at the Apple Store last night. (I was most intrigued by his observation that photographs both reveal and conceal at the same time.) But this (relatively) short interview with him on the AV Club site is worth reading and got me unburned out. One of the many choice quotes:
I wish they'd just get it over with and make [Iraq] the 51st state, because I think it's the perfect red state: religious fundamentalists, lots of weaponry. How could you go wrong? We're already spending a significant fraction of our gross national product on the infrastructure; such as it is, on Iraq. Make it the 51st state and get it over with.
The interviewer, Scott Tobias, makes an interesting observation toward the end.
It seems like there's been plenty of instances in which big guys [i.e. Bush, Cheney, etc.] could have and should have been held accountable. Yet it's not as if they've slipped a noose. It's as if they deny that there's even a noose to be slipped.
And Morris replies:
That's what's so bizarre. You know, there are smoking guns everywhere, and people are being constantly hit over the head with smoking guns, and people simply don't act on them.
For me, this is the central mystery of the Bush administration. There has been demonstrable legal wrongdoing on the part of this administration and through some magical process, they've charmed the country and managed to sidestep not only legal action (including impeachment) but even the threat of legal action and -- this is the best part -- get fucking reelected in the process. With Bush's disapproval rating at an all-time high (for any President since Gallup began polling), it's not like people aren't aware and the 2006 elections clearly show the country's disapproval with Bush et al. Maddening and fascinating at the same time.
Here's the trailer for Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb.
It was done by a fellow named Pablo Ferro; it was his first movie trailer. Steven Heller writes:
After seeing Ferro's commercials, Kubrick hired him to direct the advertising trailers and teasers for Dr. Strangelove and convinced him to resettle in London (Kubrick's base of operations until he died there in March 1999). Ferro was inclined to be peripatetic anyway, and ever anxious to bypass already completed challenges he agreed to pull up stakes on the chance that he would get to direct a few British TV commercials, which he did. The black and white spot that Ferro designed for Dr. Strangelove employed his quick-cut technique -- using as many as 125 separate images in a minute -- to convey both the dark humor and the political immediacy of the film. At something akin to stroboscopic speed words and images flew across the screen to the accompaniment of loud sound effects and snippets of ironic dialog. At a time when the bomb loomed so large in the US public's fears (remember Barry Goldwater ran for President promising to nuke China), and the polarization of left and right -- east and west -- was at its zenith, Ferro's commercial was not only the boldest and most hypnotic graphic on TV, it was a sly subversive statement.
Ferro worked with Kubrick on the iconic and fantastic main titles for the film as well.
Kubrick wanted to film it all using small airplane models (doubtless prefiguring his classic space ship ballet in 2001: A Space Odyssey). Ferro dissuaded him and located the official stock footage that they used instead. Ferro further conceived the idea to fill the entire screen with lettering (which incidentally had never been done before), requiring the setting of credits at different sizes and weights, which potentially ran counter to legal contractual obligations. But Kubrick supported it regardless. On the other hand, Ferro was prepared to have the titles refined by a lettering artist, but Kubrick correctly felt that the rough hewn quality of the hand-drawn comp was more effective. So he carefully lettered the entire thing himself with a thin pen. Yet only after the film was released did he notice that one word was misspelled: "base on" instead of "based on". Ooops!
If you want that hand-lettered look for yourself, Pablo Skinny is a font by Fargoboy that closely duplicates Ferro's handwriting.
Ferro went on to make several well-known movie title sequences, including those for Bullitt, the original The Thomas Crown Affair, and To Die For, but not Napoleon Dynamite. He collaborated with Kubrick once again on the trailer for A Clockwork Orange, another classic.
Update: According to this Wikipedia article, the work of Canadian avant-garde filmmaker Arthur Lipsett caught the eye of Stanley Kubrick after an Oscar nomination for his short film, Very Nice, Very Nice and, more importantly for our business here, that Kubrick directed the Strangelove trailer himself in Lipsett's style after Lipsett refused to work with Kubrick on it:
Stanley Kubrick was one of Lipsett's fans, and asked him to create a trailer for his upcoming movie Dr. Strangelove. Lipsett declined Kubrick's offer. Kubrick went on to direct the trailer himself; however, Lipsett's influence on Kubrick is clearly visible when watching the trailer.
The two are stylistically similar for sure, but Ferro is credited with having designed the main title sequence (according to the titles themselves). That passage doesn't appear to have been derived from any particular source, so I looked for something more definitive. From a 1986 article by Lois Siegel
After his Academy Award nomination, he received a letter from British filmmaker Stanley Kubrick. The typewritten letter said, "I'm interested in having a trailer done for Dr. Strangelove." Kubrick regarded Lipsett's work as a landmark in cinema -- a breakthrough. He was interested in involving Lipsett. This didn't happen, but the actual trailer did reflect Lipsett's style in Very Nice, Very Nice.
An endnote to a 2004 profile of Lipsett by Brett Kashmere describes what Kubrick wrote to Lipsett in the letter:
Kubrick described Very Nice, Very Nice (1961) as "one of the most imaginative and brilliant uses of the movie screen and soundtrack that I have ever seen." Kubrick was so enthused with the film he invited Lipsett to create a trailer for Dr. Strangelove (Stanley Kubrick, 1965) an offer Lipsett refused. Stanley Kubrick, letter to Arthur Lipsett, Arthur Lipsett Collection, Cinematheque québécoise Archives, Montreal, May 31, 1962.
It's not clear what the connection is between Lipsett's work and the trailer that Ferro ended up producing for Strangelove, but several sources (including Heller) say that Ferro developed his quick-cut style directing commercials in the 1950s, work that would predate that of Lipsett.
Lipsett more clearly influenced the work of another prominent filmmaker, George Lucas. Lucas found inspiration in Lipsett's 21-87 in making THX-1138 and borrowed the concept of "the Force" for the Star Wars movies. Lucas' films are littered with references to Lipsett's film; e.g. Princess Leia's cell in Star Wars was in cell #2187. (thx, gordon)
Trailer for Glass, A Portrait of Philip in 12 Parts, a film about composer Philip Glass. The joke that Chuck Close tells at the end is from a page on Glass' own site. (via crazymonk)
Manufactured Landscapes opens with an eight-minute tracking shot of a gigantic factory in China, the camera moving past row after row of workers assembling widgets until you feel like the factory floor circumnavigates the globe. The point of the shot, as with Edward Burtynsky's photography, is to encourage the viewer to do some rudimentary mathematics about the scale of industry in the world:
eight minutes to move across one factory + look at all those employees + how many factories like this are there in China? = wow, that's a lot of widgets
While it's unfair to say that the movie goes downhill from there, the tracking shot packs such a punch that the rest of the film seemed lacking in comparison. It was the only shot in the film that really felt like the cinematic equivalent of Burtynsky's photography...a long photograph, if you will.
A somewhat uneven list of the best films that never won a Best Picture Oscar. As the commenters point out, lots of good films (like Raging Bull & Dr. Strangelove) were missed. (via house next door)
The Art of the Title Sequence, a blog highlighting good movie title sequences. (thx, ben)
NY Times film critic A.O. Scott penned a short appreciation of fellow reviewer Roger Ebert for the Sunday Times, particularly his TV work.
His criticism shows a nearly unequaled grasp of film history and technique, and formidable intellectual range, but he rarely seems to be showing off. He's just trying to tell you what he thinks, and to provoke some thought on your part about how movies work and what they can do.
Long rumination on the use of slo-mo in movies, particularly in Standard Operating Procedure. Being a slo-mo fan myself (especially when wielded by Wes Anderson or by NBC Sports during football games), I enjoyed this description of it:
Slo-mo can be a mesmerizing revelation of the grace inherent in the ordinary.
Slo-mo was invented and patented in 1904 by an Austrian priest-turned-physicist named August Musger. And who was working in the patent office in Austria in 1904?
My fantasy now is that Albert Einstein -- working in the Swiss patent office in Bern in 1904, when Musger patented slo-mo in (relatively) nearby Austria -- might have become aware of Musger's slow-motion patent (perhaps it even crossed his desk?) and that contemplation of slo-mo might have influenced Einstein's thinking about the nonabsoluteness, the relativity, of time.
Two other sort-of-related bits of Errol Morris news: 1) part 2 of his short series on re-enactments is now online, and 2) Morris will be talking about his new movie at the Apple Store in Soho on April 23 at 6:30pm. Prepare to wait in a long line. (thx, findemnflee)
There Will Be Blood is out on DVD already. And so are the other four Oscar nominees for best picture (well, ok, Juno is out early next week).
A nice appreciation of Primer, one of my favorite movies.
At bottom, Primer is a movie about morals and ethics, about how science is able to accomplish extraordinary things without regard to their consequences. On the breathless (and terrific) DVD commentary track, Carruth calls Abe and Aaron "kids in a clubhouse" and mocks their habit of strutting around in crisp dress shirts and ties. As the film progresses, the sheer enormity of their creation throws their very human flaws into sharp relief; they reveal themselves to be untrustworthy, greedy, and often narrowly self-serving and diabolical in how they use the machine.
The web site for Errol Morris' new movie, Standard Operating Procedure, is up. Looks like it supplements the movie with interviews, photos, etc.
The new Coen Brothers film sounds interesting:
Burn After Reading is an upcoming comedy film, set for a September 12, 2008 release, starring John Malkovich, George Clooney, Tilda Swinton, Frances McDormand and Brad Pitt, and made by Joel and Ethan Coen. According to the Coens the plot will focus on the world of the CIA, physical fitness in Washington, D.C., and internet dating. The film is the follow up to the Academy Award winning No Country For Old Men and has been described by Tilda Swinton as "...a kind of monster caper movie. All of us are monsters -- like, true monsters. It's ridiculous. It's much lighter than 'No Country for Old Men.'"
Errol Morris returns to his Times blog for the first time since his examination of the Roger Fenton photographs and covers re-enactments in documentary films, a technique he pioneered in the excellent The Thin Blue Line, and how it applies to truth in photography.
Critics argue that the use of re-enactments suggest a callous disregard on the part of a filmmaker for what is true. I don't agree. Some re-enactments serve the truth, others subvert it. There is no mode of expression, no technique of production that will instantly produce truth or falsehood. There is no veritas lens -- no lens that provides a "truthful" picture of events. There is cinema verite and kino pravda but no cinematic truth.
And then:
Is the problem that we have an unfettered capacity for credulity, for false belief, and hence, we feel the need to protect ourselves from ourselves? If seeing is believing, then we better be damn careful about what we show people, including ourselves -- because, regardless of what it is -- we are likely to uncritically believe it.
Review of Clerks, 14 years after it was released. Verdict: it doesn't hold up that well.
I don't think I laughed more than a couple of times. And for the past 14 years, all I could remember about the film was the pick-up hockey game on the roof and the big punchline about Dante's ex-girlfriend's encounter in the bathroom. In the years that have followed, the cult of Kevin Smith has waxed and waned but mostly endured, spinning off into comic books, diaries, and concert appearances, several well-trafficked websites (and many other fan sites), and other assorted merchandise and pop-cultural flotsam.
I've never understood why Clerks was so well-regarded. Actually, now that I think about it, despite an affection for Mallrats shared by almost no one with any sense, I don't like any of Smith's movies but I do like Smith and the way that he goes about making his films...if that makes any sense at all. (Ok, Chasing Amy was alright and Jersey Girl was underrated.)
Roger Ebert announces his return to his Sun-Times reviewing gig...but not his TV show because he's currently unable to speak.
Are you as bored with my health as I am? I underwent a third surgery in January, this one in Houston, and once again there were complications. I am sorry to say that my ability to speak was not restored. That would require another surgery. But I still have all my other abilities, including the love of viewing movies and writing about them.
Good luck, Roger!
Ridley Scott is set to direct a film about Gorbachev and Reagan's 1986 summit in Iceland. Looks like I may get my wish. (thx, gunnar & brian)
MovieStamper lets you permalink and tag your favorite movie scenes. For instance, check out the timestamps for The Departed or Office Space. (Oh, and I know you're eventually going to click on the boobs tag, so here you go. NSFW.)
It's all a bit proof of concept right now, but if people start using it in earnest, it could be a fantastic resource.
In a review (of sorts) of the Paris Hilton vehicle The Hottie and the Nottie on the eve of its UK release, critic Joe Queenan picks his worst movie of all time, along with the criteria he used to choose it.
To qualify as one of the worst movies ever made, a motion picture must induce a sense of dread in those who have seen it, a fear that they may one day be forced to watch the film again -- and again -- and again.
Gigli wasn't that bad. Neither was Jersey Girl.
Interview with Errol Morris in the Columbia Journalism Review about Standard Operating Procedure.
Somebody comes up to you and says, "I'm a postmodernist; I don't care about truth; it's subjective." My answer is, "So it doesn't matter who pulled the trigger? It doesn't matter whether someone committed murder, or whether someone in jail is innocent or not?" I believe that it does matter. What happens in the world matters a great deal.
Morris also says that there will be a web site that accompanies the film where you can view all the Abu Ghraib photos in the order that they were taken.
You can click on a photograph and an iris opens up -- you go into the photograph, and inside of the photograph is context. Take, just for example, the Gilligan photograph, the one on the box, with the wires. I rubber-band that photograph with the other ones taken at the same time, so that it becomes a group of related photographs. There's software that allows you to reconstruct the room from the different angles of the photographs. Then I have biographies that you can click on for all the people who were in the room, and their own accounts. Plus you can see stuff that I recorded for this movie. In other words, you can really enter the world of the photograph.
Talented people are leaving Pixar because very few people get a shot at directing a film of their own.
For all the success, however, there's very little room atop Pixar's food chain. While live-action movie studios might crank out more than a dozen movies annually, the digital animation company built by Apple's Steve Jobs barely makes a film a year -- and had no features at all in 2005 or 2002. What's more, all Pixar movies so far have been directed by an inner circle of animation all-stars: John Lasseter ("Toy Story," "A Bug's Life," "Toy Story 2" and "Cars"), Brad Bird ("The Incredibles" and "Ratatouille"), Andrew Stanton ("Finding Nemo" and summer's forthcoming "Wall-E") and Pete Docter ("Monsters, Inc." and 2009's "Up").
Brad Bird is set to direct a live-action movie about the earthquake that hit San Francisco in 1906.
Last week, PZ Myers, an outspoken critic of creationism, was booted from a screening of Expelled, a film defending intelligent design co-written by Ben Stein.
They singled me out and evicted me, but they didn't notice my guest. They let him go in escorted by my wife and daughter. I guess they didn't recognize him. My guest was...
Richard Dawkins.
Here's an account of the affair in the NY Times and a review of the film by Dawkins called Lying for Jesus.
Is that upcoming Judd Apatow produced/written/directed/presented by/executive produced movie going to be any good? Use this handy scoring system to find out.
Drillbit Taylor is written by Apatow acolyte Seth Rogen (3), but directed by Steven Brill, the auteur behind Little Nicky (-2). It stars Owen Wilson (-1) and is sadly free of Apatow's repertory company of comedians, though Leslie Mann does play a supporting role (1). As far as we know, it contains no wangs, no seasoned dramatic actress, and no McLovin. It should score about a 1, which is to say it will be slightly better than Anchorman.
The Anchorman Is Not As Funny As You Remember sidebar is spot on as well. Will Ferrell needs to rethink his shit.
During the conference Xerxes sent a man of horseback to ascertain the strength of the Greek force and to observe what the troops were doing. He had heard before he left Thessaly that a small force was concentrated here, led by Lacedaemonians under Leonidas of the house of Heracles. The Persian rider approached the camp and took a thorough survey of all he could see -- which was not, however, the whole Greek army; for the men on the further side of the wall which, after its reconstruction, was now guarded, were out of sight. He did, none the less, carefully observe the troops who were stationed on the outside of the wall. At that moment there happened to be the Spartans, and some of them were stripped for exercise, while others were combing their hair. The Persian spy watched them in astonishment; nevertheless he made sure of their numbers, and of everything else he needed to know, as accurately as he could, and then rode quietly off. No one attempted to catch him, or took the least notice of him.
Back in his own camp he told Xerxes what he had seen. Xerxes was bewildered; the truth; namely that the Spartans were preparing themselves to die and deal death with all their strength, was beyond his comprehension, and what they were doing seemed to him merely absurd. Accordingly he sent for Demaratus, the son of Ariston, who had come with the army, and questioned him about the spy's report, in the hope of finding out what the behavior of the Spartans might mean. 'Once before,' Demartus said, 'when we began our march against Greece, you heard me speak of these men. I told you then how I saw this enterprise would turn out, and you laughed at me. I strive for nothing, my lord, more earnestly than to observe the truth in your presence; so hear me once more. These men have some to fight us for possession of the pass, and for that struggle they are preparing. It is the custom of the Spartans to pay careful attention to their hair when they are about to risk their lives. But I assure you that if you can defeat these men and the rest of the Spartans who are still at home, there is no other people in the world who will dare to stand firm of lift a hand against you. You will now have to deal with the finest kingdom in Greece, and with the bravest men.
That's from Book VII of Herodotus' The Histories, translation by Aubrey de Selincourt. Why was none of this hair-combing business in the movie? That would have been great in slow motion.
Which reminds me. My other question about 300 is why the filmmakers, having wonderfully distilled and reduced the Hollywood action movie down to its fantastically violent essence, padded the remainder of the film with 45 minutes of the most boring slow-motion-filmed plot since Plutarch's Watching Paint Dry? 300 would have benefitted greatly from a little worship at the altar of Jason Bourne: don't stop the fucking action, ever.
There Will Be Vader, a mashup of There Will Be Blood and Star Wars, with Daniel Plainview playing the part of Vader.
(via house next door)
A collection of film stills on LiveJournal. Click through to see more from each film.
New trailer for Speed Racer...watch it in full HD glory if your internet connection can take it. The courses remind me even more of Mario Kart than in the first trailer.
Rating the critics: the Economist's More Intelligent Life blog picks their favorite movie and book critics. They will be offering picks in more categories in the coming days. (via mr)
WH: And you have a great sense for the afterthought. The interview is finished, it's over, and Errol is still sitting and expecting something. Then all of a sudden there comes an afterthought, and that's the best of all.
EM: Yes, often.
WH: Very often, yes. And I have learned that, in a way, from you. Wait for the afterthought. Be patient. Don't say, "Cut." Just let them do it.
I don't get out to the theater much these days, but I'm going to make an exception for Morris' upcoming Standard Operating Procedure.
The Haikuvies blog provides summaries of movies in haiku form. From the Princess Bride summary:
Iocane powder
brings end to battle of wits
ha ha ha ha... flop
A comparison of Owen Wilson's roles in Wes Anderson films and his real-life goings-on.
Mapping the idea of "life imitating art" onto Owen Wilson's biography and Wes Anderson's films reveals their startling convergence. As Anderson's works increasingly addressed themes of depression, psychiatric treatment, and "hitting bottom," so too did Wilson's life chart a course towards collapse. Wilson's characters in Anderson's early films-the sublime geniuses born of commingling depression, emotion and creativity-gradually give way to caricatured objects of psychoanalytic explication.
They don't make 'em like they used to. Sort of. According to Wikipedia, there are seven different versions of Blade Runner, from a 113-minute workprint version shown to test audiences in early 1982 to the "Final Cut" supervised by director Ridley Scott and released in late 2007. I saw the latter version1 and with the exception of Rachael's giant shoulder pads and the slower pacing, the whole thing seemed surprisingly contemporary (or not-too-dated at least). The film has aged well, like a fine wine.
[1] Which I watched in HD on a large TV...a fantastic way to view this beautifully cinematic film. I think this is what David Lynch is taking about when he says that you shouldn't watch movies on a "fucking telephone". ↩
Interview with Susan Bradley, who did some graphic design and designed a typeface for Pixar's Ratatouille. I enjoyed her response when asked about "one thing everybody should do today":
Something backwards or something analog you'd normally computerize.
You can find out more about Susan on her site. (via waxy)
Is George Clooney the last movie star?
The only one we have. Wow. There's one teensy-weensy problem, though, that nobody seems to have noticed. One tiny little thing missing from the George Clooney is the World's Biggest Movie Star storyline...nobody watches his movies.
On the other hand, Will Smith gets Oscar noms and gets people into the theater.
Some bootleg scans of these were linked around the web last week, but here's the real thing: photos of current Hollywood celebrities photographed in scenes from Hitchcock films. Click on the photos to see the originals.
I like Tilda Swinton and all, but her performance in Michael Clayton receiving awards bugs me. She was the only prominent woman character in the movie and was the only character who was insecure, emotional, and tentative. None of the other main characters appeared unsure of themselves for even an instant, not even the crazy guy. In short, Swinton played a stereotypically weak woman in a sea of stereotypically strong men characters. Boooring. At least her character wasn't just sexy and stupid...but is that progress?
(Warning, spoilers: One could also argue that Swinton's takedown at the end of the film could be construed as a comment on the part of the filmmakers about the proper role of women in the executive workplace. But I wouldn't go there.)
I love this little rant by Jeffrey Wells about people who don't watch the "20 or 25 films that are somewhere between excellent, very good or good enough to watch and think about later" that are released every year.
Movies are not supposed to be pills that you take to feel better. They're not travelling carnivals with elephants and jugglers. They're supposed to be aesthetic journeys and emotional hikes that get us in touch with things that too many of us tend to push away (or anesthetize ourselves from) in our day to day. They're supposed to be compressions and condensations that create indelible moments, insights and excavations into our collective soul. We're only here for 80 or 90 years, we need to figure some stuff out before we pass on, and good movies are part of the learning-and-realizing process.
(via goldenfiddle)
On view at MoMA through May 12, 2008: Design and the Elastic Mind.
In the past few decades, individuals have experienced dramatic changes in some of the most established dimensions of human life: time, space, matter, and individuality. Working across several time zones, traveling with relative ease between satellite maps and nanoscale images, gleefully drowning in information, acting fast in order to preserve some slow downtime, people cope daily with dozens of changes in scale. Minds adapt and acquire enough elasticity to be able to synthesize such abundance. One of design's most fundamental tasks is to stand between revolutions and life, and to help people deal with change.
I was surprised at how many of the show's ideas and objects I'd seen or even featured on kottke.org already. But getting there first isn't the point. The show was super-crowded and I didn't have a lot of time to look around, but here are a couple of things that caught my eye.
Michiko Nitta's Animal Messaging System (AMS), part of a larger project she did called Extreme Green Guerillas. The basic idea of the AMS is to use the radio ID tags worn by migratory animals to send messages from place to place. Nice map.
Molecubes are self-replicating repairing robots. Video here.
And I've been looking for Brendan Dawes' Cinema Redux project for several months now...most recently I wanted to include his work in my time merge media post.
Using eight of my favourite films from eight of my most admired directors including Sidney Lumet, Francis Ford Coppola and John Boorman, each film is processed through a Java program written with the processing environment. This small piece of software samples a movie every second and generates an 8 x 6 pixel image of the frame at that moment in time. It does this for the entire film, with each row representing one minute of film time.
For more, check out the online exhibition (designed by Yugo Nakamura and THA Ltd, the folks behind FFFFOUND!). Thanks (and congratulations!) to Stamen for hosting a tour of the exhibition.
According to Wikipedia, a rent party is:
a social occasion where tenants hire a musician or band to play and pass the hat to raise money to pay their rent. The rent party played a major role in the development of jazz and blues music.
Further reading suggests that rent parties started in Harlem in the 1910s as a way to offset rising rents.
Harlemites soon discovered that meeting these doubled, and sometimes tripled, rents was not so easy. They began to think of someway to meet their ever increasing deficits. Someone evidently got the idea of having a few friends in as paying party guests a few days before the landlord's scheduled monthly visit. It was a happy; timely thought. The guests had a good time and entered wholeheartedly into the spirit of the party. Besides, it cost each individual very little, probably much less than he would have spent in some public amusement place. Besides, it was a cheap way to help a friend in need. It was such a good, easy way out of one's difficulties that others decided to make use of it. Thus was the Harlem rent-party born....
Jazz pianist Fats Waller was associated with these parties and lived a short but colorful life.
The ebullient young man with the dazzling jazz style was a big hit at the Sherman Hotel. His nightly audience included men with wide lapels and bulging pockets. One evening Fats felt a revolver poked into his paunchy stomach. He found himself bullied into a black limousine, heard the driver ordered to East Cicero. Sweat pouring down his body, Fats foresaw a premature end to his career, but on arrival at a fancy saloon, he was merely pushed toward a piano and told to play. He played. Loudest in applause was a beefy man with an unmistakable scar: Al Capone was having a birthday, and he, Fats, was a present from "the boys".
The party lasted three days. Fats exhausted himself and his repertoire, but with every request bills were stuffed into his pockets. He and Capone consumed vast quantities of food and drink. By the time the black limousine headed back to the Sherman, Fats had acquired severeal thousand dollars in cash and a decided taste for vintage champagne.
I was inspired to read about rent parties and Waller by this interview with Michel Gondry, director of Be Kind Rewind. Gondry says about his film:
It's important in the story that there's a parallel between what's happening in the film and what happened in the past with rent parties, which were very real. Fats Waller became the great musician he was through those parties. When someone could not afford the rent for one month, they'd make a party. You'd bring a dollar, and there would be a piano contest all night long. People making their own entertainment, that's exactly what it is.
Here's Waller performing one of his most well-known pieces, Ain't Misbehavin'.
Jad Abumrad from Radio Lab curates The Morning News' Video Digest and selects clips from movies with good music.
Why is movie popcorn so expensive? Because it subsidizes movie prices for more movie goers. That and the theaters get to keep all the profit they make on consessions; that's generally not true for ticket sales.
An amazingly dense infographic of box office revenues for all movies since 1986. It's a little confusing at first because the vertical scale is basically irrelevant, but once you get the hang of things, it's fun to just scroll through the years. Interesting stuff to look out for:
1. The gross receipts have obviously gone up in the past 11 years.
2. The summers get much more blockbustery.
3. As time goes on, movies open bigger but don't last nearly as long in the theater as they used to. There are also more movies to choose from in 2007 than in 1986.
4. For some exceptions to the normal pattern, check out My Big Fat Greek Wedding, Juno, Dances With Wolves, Platoon, and Million Dollar Baby. (via big picture)
Just a heads up to let you know that a liveblog of the Oscars is going to be starting here in a little bit. Follow along as I follow along, if you know what I mean (and I think you do).
7:44a, Feb 25th: The Oscars are over. 20% of the nominees won. The cat threw up on the rug and Ollie's a bit fussy this morning. We'll see you back here next year.
11:42p: Bedtime. Last update until tomorrow morning, when I assume the Oscar ceremony will finally be over.
11:06p: None of the stories on the front page of Digg refer to the Oscars. Unsurprising that they have their heads in the sand on such an important issue.
10:47p: BREAKING NEWS: The program on ESPN2 right now is not Fisting; it's Fishing. Fishing. Also, 1363 unread items in my RSS reader.
10:28p: Fashion update. Just took off my shirt. It's hot in here, it's not just me.
10:08p: Battery life at 31% and dropping.
10:00p: Just checked the movie times at the theater two blocks from my apartment. Juno at 10:50, There Will Be Blood at 10:20, Atonement at 10:30, and No Country for Old Men at 10:15 & 10:55. Michael Clayton is on Movies OnDemand for $4.99 at any time.
9:32p: Is this a good time to go to the movies? Lots of empty seats at There Will Be Blood maybe?
9:07p: My liveblogging outfit this evening: jeans by Banana Republic, long sleeve tshirt by American Apparel, socks by Wal-Mart, boxer shorts by Muji.
8:55p: What else is on right now: The Mummy on Encore, Buffy the Vampire Slayer on Fox Movie Channel, Miller's Crossing on Encore Action, The Departed on Cinemax, episode #8 of The Wire on HBO, the Masterpiece version of Pride and Prejudice on PBS, Bulls vs. Rockets on ESPN, Godfather II on AMC, and Born Into Brothels is just ending on IFC but Spanking the Monkey starts in 20 minutes.
8:43p: Non-ceremonial bulletin: I've turned on the comments.
8:34p: I'm told that the ceremony has started.
7:58p: The Oscars have not started yet.
Trailer for Indiana Jones and the Kingdom of the Crystal Skull redone in the style of a circa-1980s movie trailer.
If adventure has a name, it must be: Indiana Jones.
An annotated list of the top ten cinematographic moments in film in 2007: part 1 and part 2.
The shot that stuck out in my head the very first time I saw the film spoke to me so deeply that I referenced it in my initial review: "A few years trickle by as Plainview adds onto his enterprise until finally, oil. A black-tarred hand reaches to the sky and suddenly you sense the influence of Stanley Kubrick on the film. Like the apes who discovered weaponry in "2001: A Space Odyssey," Plainview has come upon the object that will dictate America's destiny for the next century and more." I don't thiink I could say it any better now.
(via house next door)
Interview with Michel Gondry on his new movie, Be Kind Rewind.
I hate cynicism. I wipe it from me. I don't like cynical people. I don't like cynical movies. Cynicism is very easy. You don't have to justify it. You don't have to fight for it.
Gondry also did a hilarious remake of the film's original trailer.
Update: Maybe Gondry got the premise for the movie from an old Nickelodeon show called Amanda, Please! Or not.
If you've already seen King of Kong: A Fistful of Quarters, I'd suggest reading Jason Scott's pair of posts about the movie. In The King of Wrong, Scott suggests that the filmmakers left out crucial details and fudged others in order to make the actual events fit the story they were trying to tell.
What I'm saying here is that a good percentage of what makes the documentary "good" are made up conflicts, inaccurate reporting, smoothed-over narratives that are meant to make you root for one side or hate the other, when in fact reality doesn't hold up to these allegations. The whole point of the narrative is that Steve is wronged, denied his rightful place in the record books because of internal machinations. But he had the championship for 3 years! He had played Billy one-on-one. Billy was not on this campaign to cut Steve off at the knees at every turn so to humiliate him and dismiss him, to his own aggrandizement.
In a follow-up post, Scott elaborates on his poor opinion of the film, drawing upon his experience making a documentary about another nerd subculture, the BBS.
Is Billy Mitchell "real"? I have no doubt that he says things that are over the top. I have no question that he goes off the rails on certain subjects. I also know that if you interview people for hours on end, at various days, you will get some pretty crazy stuff. How you choose to deal with that stuff is a little bit of who you are as an interviewer and editor and director. There's no question you can "filter for crazy", or "filter for nice", or filter for whatever the hell you wish to. I never claim that Billy's not capable of throwing out whoppers. I'm saying that when you lace his words with an implication of malice, of cheating, of lying to stay on top, then you are moving into caricature and needless trashing of a real person to achieve your goals. Chasing Ghosts has Billy Mitchell and a whole other range of players, and gives you the story without turning the whole experience of video games, and arcades, into a petty small-minded pissing match.
Scott nearly comes off as holier-than-thou about the standards that documentary filmmakers should be held to, but he clearly put his money where his mouth is when filming his BBS documentary. After a rough interview with Thom Henderson, a controversial figure in the compression software community, which interview caused Henderson to recall, with pain, a particularly difficult period in his life, Scott offered him the chance to edit it out of the movie...and something else too:
But you know, when I put together the ARC-ZIP episode (later renamed COMPRESSION) and sent it to him to see, I told him flat out. "If you're not comfortable with this, if you don't like it, let me know and it won't go in." He wrote back and said he and his wife were fine with it. I then told him I was giving him irrevocable, permanent rights to the film such that he could distribute and copy and even sell it however he pleased. He's the only other person besides myself with any rights to my films. He has it for download from his site to this day.
I enjoyed King of Kong, but reading that some of the movie's tension was manufactured sure takes the polish off of it for me.
Update: The Onion AV Club has an interview with Billy Mitchell about the movie and his take on it.
I invited [Steve Wiebe] to the Classic Gaming Expo, 2004. I invited him there, and I went up to speak onstage, as I do at each expo there. When I went up and spoke onstage, I called him to the stage, in order to honor him. I unveiled the poster in his honor, honoring his accomplishments. I did that in 2004. He was onstage with me. And I'm sorry to tell you that you can't see that, 'cause they forgot to put that in the movie.
The first trailer for Indiana Jones and the Unfortunately Titled Movie Kingdom of the Crystal Skull is available...in HD even.
Do We Really Want Another Black President After The Events Of Deep Impact?
Related: the latest episode of This American Life leads with a fascinating piece about how the funny happens at The Onion. In a lovely paradox, it turns out that the process of making funny things isn't all that amusing...the sound of silence following the recitation of a funny possible headline in the writers' room is deep and unnerving. (thx, marshall)
Usually the combination of "Hollywood" and "Oscars" is enough to scare me off a story, but this short examination of how good actors become movie stars was pretty interesting. Of his sudden stardom, Jack Nicholson said:
I remember when that happened to me. I'd been working for 12 years, and then the part in "Easy Rider" changed my life. Very few people have ever had the experience where they sit back and say, "I am a movie star." I knew it at the first showing of "Easy Rider" at the Cannes Film Festival by how the audience reacted to the movie. A lot of people would say, "I know I'm a movie star, but, oh, I wonder what's going to happen..." I knew it then: I was a movie star. And it was great.
The story is part of the recent NY Times Magazine package on the breakthrough movie stars of 2008. The photographs of the chosen stars by Ryan McGinley are notable as well for "their attempt to wrestle the Hollywood photoshoot beast away from its recent hyper-produced overwrought incarnation".
Did you know that Paris Hilton has a movie out? Yeah, no one else cares either. The Hottie & the Nottie opened this weekend and took in only $230 per screen.
That means that, based on an $8 average ticket price, 29 paying customers showed up at each location over the 3-day [weekend]. In a country that seems fascinated with Paris Hilton, only 3,219 unlucky Americans will have been suckered into seeing Hottie by Monday morning.
Emphasis mine.
The milkshake line from There Will Be Blood came from a transcript that PT Anderson found of the 1924 congressional hearings over the Teapot Dome scandal.
Anderson concedes that he's puzzled by the phenomenon -- particularly because the lines came straight from a transcript he found of the 1924 congressional hearings over the Teapot Dome scandal, in which Sen. Albert Fall was convicted of accepting bribes for oil-drilling rights to public lands in Wyoming and California.
In explaining oil drainage, Fall's "way of describing it was to say 'Sir, if you have a milkshake and I have a milkshake and my straw reaches across the room, I'll end up drinking your milkshake,' " Anderson says. "I just took this insane concept and used it."
(via observations on film)
New extended trailer for Pixar's Wall-E that reveals a bit more of the story and a new character.
Update: The trailer is offline. Awaiting the official release.
I enjoy movies based on real-life events because of the post-movie Google/Wikipedia binge. You start at the Wikipedia page for the movie in question and work your way out from there. In this case, I read about convicted spy Robert Hanssen and the agent who helped catch him, Eric O'Neill, who has his own web site and a wife who's prettier than the actress who plays her in the film, surely a rarity. The most interesting aspect of such research is the differences between the real-life events and the filmed narrative. It's fun to think about why those changes were made and how it made the narrative better or worse.
Slideshow of lobby cards from a collection assembled by late screenwriter Leonard Schrader. Here's a companion article about the collection's discovery.
Screenwriter Leonard Schrader's secret collection consisted of lobby cards, which were used to promote films in movie theaters from the silent era through the 1960s. Typically issued as a set of eight sequential 11"-by-14" mini-posters depicting scenes from a film, they pre-dated trailers as a promotional device. They were low tech even by 20s standards, but in a black-and-white era, they made up for it with their flashy graphics, riotous colors, and over-the-top salesmanship.
Jamie Zawinski reckons that Bill Murray re-lived February 2nd for at least 4 years in Groundhog Day.
Update: The screenwriter for Groundhog Day says that Phil Conners' day lasted "about ten years". (via waxy)
Which actors would play the designers in Graphic Design: The Movie? Maybe Phillip Seymour Hoffman as Michael Bierut, Massimo Vignelli played by Sean Connery (Connery won't do the Italian accent though), and Julie Christie as Paula Scher.
Guillermo del Toro, director of the acclaimed Pan's Labyrinth (and the meh Hellboy), is set to direct the two Hobbit movies for Peter Jackson and New Line.
Just purchased: Jonny Greenwood's There Will Be Blood soundtrack on the recommendation of Alex Ross in the New Yorker.
Greenwood is better understood as a composer who has crossed over into rock. Trained as a violist, he worked seriously at writing music in his youth, and had just embarked on studies at Oxford Brookes University when, in 1991, Radiohead was signed by the EMI record label. He dropped out of college to join the band on tour.
All but a few of the title sequences of Woody Allen's films are set in one typeface: white Windsor on a black background.
The NY Times gets all nostalgic about VHS and the upcoming releases of Be Kind Rewind and Son of Rambow.
The generation that came of age in the '80s, as the VCR was becoming a staple, is especially prone to VHS nostalgia, a manifestation of the broader retro culture that has accounted for untold hours of programming on VH1.
In December, Adam Lisagor wrote a similar piece on VHS nostalgia and the movies for kottke.org:
But for a generation of filmmakers who cut their filmmaker teeth by shooting with the family camcorder and editing with two VCRs, there is a logical fixation with the object of the plastic and magnetic 1/2" VHS videocassette and the visual artifacts of its recorded image.
Pixar's Toy Story 3 will be produced in 3-D. I like Pixar a lot but 3-D has never been anything but a gimmick, so I don't know. TS3 will be out in June 2010. (2010! We'll go together in my hovercar!)
The Oscar nominations are out. Surprises include Juno for Best Picture and Cate Blanchett for Best Actress for Elizabeth: The Golden Age, a movie that received mixed reviews at best. And I'm thinking that Daniel Day-Lewis is pretty much a lock for Best Actor, no?
Update: Most of the Oscar nominated animated shorts are available online.
Charles Burnett's Killer of Sheep, a 1977 film that was selected as one of the 100 essential films of all time by the National Society of Film Critics but was just recently released in theaters, will be shown on TCM today at 8pm and early tomorrow morning at 12:30am. Set your DVRs for this one. (big thx, max)
The I DRINK YOUR MILKSHAKE!!! scene from There Will Be Blood. If you haven't seen the movie, don't watch this...it's from a scene near the end. (P.S. DRAINAGE!!!)
New York-based films at Sundance include "The Wackness," otherwise known as "eww, that movie where Mary-Kate Olsen makes out with Ben Kingsley."
Is it too early to feel nostalgia for the 1990s? Apparently not. "As the world starts to move faster, you can do period pieces of times closer to the present," said Jonathan Levine, the director-writer of an adolescent coming-of-age story set against the Giuliani era in New York....To transform the city to its less gentrified self, the filmmakers threw more garbage on the street, sprayed some more graffiti, painted a mural to Kurt Cobain and obtained a "Forrest Gump" bus poster.
Well I'm pretty sure the 90s were characterized by a feeling of already-arrived auto-nostalgia, but.
Whoops! I'm a bad blogger, sorry to skip out. Had to go see the new Will Ferrell movie ("Semi-Pro") this morning, which means, well, don't ever let your freelance writer friends claim they have a rough life. Yeah, poor me, I had to go to a funny movie on a Friday morning instead of filling out TPS reports. I'd rarely say anything about a movie this far in advance (it opens February 29) so as not to totally enrage the movie's publicists, so, in short: freakin' hilarious. Made me love Will Ferrell all over again. (My Ferrell top five performances, in case anyone ever needs to know, in order: Stranger Than Fiction, The Producers, Anchorman, Zoolander, Talladega Nights.) And I don't even usually like the current strain of all-boy, comedy-star, period-shtick set-up movies mostly because, well, I like actual live women in my movies.
My movie-going pal Sara Vilkomerson agrees about the difficulties of "Cloverfield":
After seeing I am Legend, with the haunted empty Manhattan streets, and the rabid virus-mutated zombies, and the German Shepherd, etc., you might think you'd be prepared to watch Cloverfield.
And you'd think wrong!
And the Times review is brutal.
I've turned my T.V. on just one time in 2008. I rarely miss it at all, except for a very few moments when it's like missing heroin. (Some relief coming: eight episodes of "Lost," beginning January 31; ten episodes of "Battlestar Galactica" coming in March.) Yesterday for a job I was talking with two bigwigs, an actor and an actor-director; they said they were both in a weird state of both crunch and inactivity because of both the Writer's Guild strike and the maybe-upcoming Screen Actor's Guild strike, which I had totally forgotten about. (That 120,000+ member union may strike in June, over the same issues—profit from new media—that sent the Writers Guild out more than two months ago.) That's when I realized: I can't take a world without actors! Sure, they're not as useful as deli owners or baristas to my life. But I like looking at them! Maybe it'll be averted: The Directors Guild is close-ish to a settlement, which might be a template for the writers, which might be sort of a template for the actors. In any event, I asked the nice Oscar-winning lady what sort of things she liked about working: "I have health insurance, that's enough," she said. Mm, I should get a union then! Some health insurance sounds good right about now.
Saw a screening of "Cloverfield" last night. New Yorkers say "too soon!" sarcastically a lot—but you know what? If we—me and another downtown Manhattan-residing friend—spent half an hour after the movie talking about what we did on 9/11, then it's not imaginary that the film actively, consciously, and ill-advisedly uses such imagery. What's weirder is that it was, like, the cast of "The O.C." doing 9/11. Debate on this is ongoing on various internets. But also the movie is totally rad, in an amusement park/horrorshow way. CONFUSING.
Michael Oher, the subject of Michael Lewis' book, The Blind Side, is undecided about declaring for the NFL draft after his junior year.
Oher was named to the all-Southeastern Conference first team after the season and is considered one of the top offensive linemen prospects in the country. He has already shown the promise scouts predicted when he was a homeless 16-year-old who didn't know how to play football.
Meanwhile, the movie adaptation of The Blind Side is proceeding...word on the street is that Brad Pitt, Julia Roberts, and George Clooney are interested in starring.
Update: Oher declared for the draft. (thx, michael)
Update: On second thought, Oher reconsidered and is remaining at Ole Miss for another year. (thx, michael)
On the eve of shooting his eighth film, Zach and Miri Make a Porno, Kevin Smith recounts his experiences with the actors and rehearsals on his seven previous films.
It's weird to work one way for so long, and slowly realize it's not necessary anymore; that it was just something you did when you didn't know any better. I hired pros; aside from on-set tweaking and an extra take or two, they don't need to be broken like wild horses or worked like puppets. Those days are behind me now. Now I spend more time thinking about/working on what the flick's gonna look like -- which, I guess, should be the primary job of the director.
The Star Wars Guide to the 2008 Presidential candidates featuring Grand Moff Giuliani, Obi-ron Paul-obi, Hillando Clintrissian, and Wicket Huckabee.
Man, I tell you what...you read Admiral Akbar's resume, take a look at his long career, his credentials, and it's amazingly clear how qualified he is to run a major government. What about his prescient snap evaluation..."It's a trap!" We sure could have used that in Iraq.
