To whoever was up on EITHER/OR/BORED today looking at my post on the underground film ‘Pull My Daisy’ – I notice that the link to the film was broken, so i fixed it. In fact, it is now embeded on the page.
For everyone else, the post in question can be found here.
Once upon a time I used to make films. I’ve been a little lapse in that regard the past few years, focusing on writing and what not, but I’m sure I’ll get back to it eventually. This short is an interesting example. It was left unfinished at a youth project in Cardiff and I was asked if I’d like to finish it off. I added a few touches of my own to make the protagonist more interesting. It was a great exercise in what can be done with something in post-production.
This started off life as an orphan project. A rough edit had been completed and a draft of a voice-over script. I completed the editing and, starting from scratch, wrote a script that added new depth to the original idea, further developed the protagonist’s character and took it in a somewhat different direction. Referencing an old victorian etiquette manual found on the Gutenberg Project I re-imagined our hero as having a somewhat schizoid personality.
Here it is on vimeo:
And if your device cannot handle vimeo, here it is on youtube:
Just added a link to a great site featuring cinematographic analysis of different films. If you are at all interested in photography, cinematography or movies I totally recommend it.
Cinevenger is about looking at the photography of a film and peeling back the layers of visual meaning that have been created both consciously and unconsciously by the filmmakers. This is done from two perspectives: looking at the photography of previously released films, and also examining the efforts of cinematographers photographing films currently in production.
Thanks be for Tim for hipping me to this.
Tim sez: “Beautifully done! Every shot is so well thought out and crafted. Texturing, lighting and cinematography is awesome.”
Some people can just make anything sound epic….
And follow this here link to hear Richard Dreyfuss reading the iTunes EULA.
< via open culture and some chick I know on facebook. >
Having grown wary of destroying the world over and over again, he has now turned he attention to Shakespeare.
Everybody needs a hobby I guess.
For those that thought that yesterday was a bit flippant and lighthearted here on Either/Or/Bored here’s an article on the casualisation of the language of rape in modern society:
We live in a strange and terrible time for women. There are days, like today, where I think it has always been a strange and terrible time to be a woman. It is nothing less than horrifying to realize we live in a culture where the “paper of record” can write an article that comes off as sympathetic to eighteen rapists while encouraging victim blaming. Have we forgotten who an eleven-year-old is? An eleven-year-old is very, very young, and somehow, that amplifies the atrocity, at least for me. I also think, perhaps, people do not understand the trauma of gang rape. While there’s no benefit to creating a hierarchy of rape where one kind of rape is worse than another because rape is, at the end of day, rape, there is something particularly insidious about gang rape, about the idea that a pack of men feed on each other’s frenzy and both individually and collectively believe it is their right to violate a woman’s body in such an unspeakable manner.
The Careless Language Of Sexual Violence – The Rumpus.net.
Sheen’s case is an extreme example of how the media peddle a toxic materialistic ideology. The (nearly all rightwing) media in America, and in this country too, have been only too happy to sell papers or broadcasting space by reporting his disturbance. But these stories only sell because people in the UK and US have become addicted to the media’s continuous recycling of materialist values. There is now no doubt that the kind of person who seeks celebrity is more likely to have a pre-existing potential for narcissistic, self-aggrandising behaviour. This was proved by a recent study of 200 US celebrities, while a 2006 study showed that, as a whole, Americans are six times more narcissistic than they were 50 years ago.
via Are the media fuelling Charlie Sheen’s breakdown? | Comment is free | The Observer.
“There’s one bright spark in all of this – the rights don’t include the option to remake the original film, so we’ll be spared that ‘net flame war at least.”
via Warners Wants Blade Runner Sequels | Movie News | Empire.
Oh Edison, you intellectual property whore…
It was a dark and stormy night on December 18, 1908. Okay—maybe it wasn’t so dark and stormy. But it should have been, because that was the night Thomas Edison tried to hijack the motion picture industry.
“With his beetle brows, long wispy hair, and beatific look, Edison might have seemed the addled inventor,” writes the historian Neil Gabler, “but he was a shrewd businessman and a fearsome adversary who was never loath to take credit for any invention, whether he was responsible or not.”
But the old man wanted it all, so he assembled his rivals and proposed that they join his Motion Picture Patents Company. It would function as a holding operation for the participants’ collective patents—sixteen all told, covering projectors, cameras, and film stock. MPPC would issue licenses and collect royalties from movie producers, distributors, and exhibitors.
Ars Technica: Thomas Edison’s plot to hijack the movie industry
Anybody who has seen robert rodriguez’s Planet Terror, on its own or as part of the Grindhouse double feature, will remember the fake trailer that plays at the beginning/in the intermission for a ‘mexploitation’ flick called Machete. Well, it turns out that this is a project that is actually coming to a cinema near you! It’s got a mad cast as well including Jessica Alba, Robert De Niro, Lindsay Lohan, Steven Seagal and Cheech Marin. Oh, and of course, the unimitable Danny Trejo!
It promises to be a riot.
What with all the bullshit over immigrants going on in Arizona Trejo and Rodriguez stopped by ain’t it cool news to drop off a special cut of the trailer just for arizona. Just follow the link below for your viewing pleasure!
Hey Arizona, Don’t Fuck With This Mexican… MACHETE has some Cinco De Mayo words for you!!! Now in 720p! — Ain’t It Cool News: The best in movie, TV, DVD, and comic book news..
Which, as you will notice, was totally ripped off by Walt Disney for a segment in <em>Fantasia</em>
Essay on production design/art direction extrodinaire William Cameron Menzies by American film theorist/critic David Bordwell:
William Cameron Menzies was a wunderkind. He started working on films in 1919 when he was twenty-three; ten years later he won an Academy Award. By the time he died in 1956, he had participated in over seventy films. Why has nobody written a book about him?
Don’t look at me. After several years sporadically tracking his career, I’m aware that this is a mammoth task. Here I want just to float some ideas about a filmmaker as distinctive, and sometimes as delirious, as Busby Berkeley. Like Berkeley, Menzies shows that a strong imagination can yank the screen away from weak directors. Like Berkeley, he shows that the studio system gave considerable leeway to flamboyant, even peculiar imagery, as long as it could be somehow motivated by story and genre. Just as important, he shows how exceeding the limits of that sort of motivation can seem daring, or maybe just cockeyed.
William Cameron Menzies: One Forceful, Impressive Idea << davidbordwell.net : essays.
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snarfed from the may issue, bits of which are now online for your viewing pleasure. It’s an Italian cinema special!
Right now i’m reading the next issue which concerns itself with, amongst other things, the bestest books on cinema. Also four lions is film of the month. W00t!
Cinematic nostalgia, endemic corruption and the deadening hand of Silvio Berlusconi have prevented Italy’s real story from being told on film for 30 years, says Nick Hasted. But now a new generation of film-makers is finding its voice
BFI | Sight & Sound | Italian Cinema: Maestros and mobsters.
In 1950s America–or any other time and place–it’s tough to imagine anything scarier or more warping than watching your dad slowly turning into a sadistic maniac before your very young eyes, and even worse if he decides to make you his personal project, and burn all the laziness out of you as if you’re no longer just a kid but training to be a Navy SEAL coupled with a Harvard fast tracker (an epidemic reflected in today’s “helicopter parenting”). This month we can begin to really immerse ourselves in that scariness, as Nicholas Ray’s BIGGER THAN LIFE (1956) finally hits DVD in the lush Criterion edition his fans have been praying for… shall we celebrate? No?! Not yet. First we must write this essay– a hundred times on the blackboard, until it’s perfect–and our crazy dad shall hover over us in the sky, terrifying and confusing the hell out of us whilst we try to concentrate. In short, while BIGGER THAN LIFE is a masterpiece, it is at times excruciatingly painful to watch. Art, entertainment and genuine fear and tragedy rarely all filter down into a deceptively “normal American family film” with such quiet desperation.
Bigger than Life: Nicholas Ray in the heart of the gray flannel darkness >> brigh lights after dark film journal