This excellent documentary was created as an Arena Special and includes interviews with Welles from BBC interviews in 1960 and 1982. It also includes an interview with Pauline Kael discussing her controversial “Raising Kane” article.
Harvey Weinstein sent this quick memo to Errol Morris on his appearance on NPR to promote the film “The Thin Blue Line”:
Heard your NPR interview and you were boring. You couldn’t have dragged me to see THE THIN BLUE LINE if my life depended on it.
It’s time you start being a performer and understand the midia
Q: What is this movie about?
A: It’s a mystery that traces an injustice. It’s scarier than NIGHTMARE ON ELM STREET. It’s like a trip to the Twilight Zone. People have compared it to IN COLD BLOOD with humor.
Speak in short one sentence answers and don’t go on with all the legalese. Talk about the movie as a movie and the effect it will have on the audience from an emotional point of view.
If you continue to be boring I will hire an actor in New York to pretend that he’s Errol Morris. If you have any casting suggestions, I’d appreciate that.
Keep it short and keep selling it because that’s what’s going to work for you, your career and the film.
Congratulations on all your good reviews. Let’s make sure the movie is as successful.
Art of the Title talks to motion graphics designer Simon Clowes about the Rube-Goldberg device approach to the title sequence for CBS’s Sherlock Holmes re-imagining.
I found out about the project late, but it sounded interesting — especially after watching the pilot episode. There had already been a lot of work done on it pertaining to the brief while I was on vacation. The client requested that we lean towards a “New York” theme since they wanted to communicate that this adaptation of Sherlock Holmes was set in New York as opposed to London. There were already storyboards that communicated what the client had asked for. It would have been a waste of time to design something of the same ilk, so I decided to design something that did not adhere to the brief… and see what happens.
I wanted to communicate how Sherlock Holmes’ mind works in the non-traditional sense of detective work. Even though the show was a modern adaptation of him, his techniques were still very rudimentary and unexpected and this aspect of Holmes’ character is always of interest to me. This is what separates his style from that of other detectives.
Art of the Title | Read the Full Article
Denise Martin chronicles the behind-the-scenes production of the new Netflix series of Arrested Development.
On a late Thursday afternoon in mid-October, Jason Bateman pulled a paper bag out of the freezer on the set of Arrested Development. His character, Michael Bluth, was looking to extract some information from a child and suspected an icy treat would do the trick. “Tell me about George Maharis,” he said with a sly grin. After the kid innocently obliged, a triumphant Michael emptied the bag onto the kitchen counter to reveal the delicious reward within: a dead dove. “Well, that’s not what either of us expected,” he said.
The gags — the frozen bird, the nod to the hermano episode — will be all too familiar to the millions of Bluth-family anthropologists who’ve spent the years since Arrested Development’s 2006 cancelation obsessively cataloguing the show’s many recurring bits, visual jokes, and one-liners. If you somehow missed the news that is literally everywhere, the Bluths will run wild again this Sunday when Netflix releases fifteen new episodes simultaneously — a potential eight-hour smorgasbord for binge viewers not willing to pay heed to series honcho Mitch Hurwitz’s pleas to savor the experience.
While the episodes are still shrouded in secrecy, what’s clear is that, dead doves aside, the new season is a different animal than the original series. “It’s important to understand that this is not season four,” cautioned Bateman. “There will never be a season four. These episodes should be treated together as act one of a package we’re hoping to finish.” In fact, the revival is an anthology series, with each chapter following a single member of the Bluth family over the same stretch of time, years after George Sr.’s “light treason” scandal, and, collectively, the episodes are meant to serve as an epic prequel to an Arrested Development film, albeit one that has yet to get an official greenlight.
Vulture | Read the Full Article
Adam Mars-Jones writes Scarecrow and The King of Marvin Gardens – quirky, unstylised films made in the 60s and 70s that refused to smooth their rough edges. This bravery, Adam Mars-Jones argues, is what film-makers are missing today
The label “independent film” doesn’t mean what it once did, and the Sundance festival is part of the reason. The moment aspiring film-makers realised there was a potential shortcut to distribution and acclaim, they started smoothing off their rough edges – consciously or without even noticing – or at least they began to stylise themselves. Either way, the overall effect of the festival has not been to promote individuality but to erode it. So it’s a mild beneficial shock to watch two American films of the early 1970s on re-release – not because they’re masterpieces, exactly, but because they give the flavour of a different set of assumptions.
Scarecrow, directed by Jerry Schatzberg, won a prize at Cannes in 1973 (the Palme d’Or) then more or less disappeared. Like Easy Rider (1969), the film that persuaded Hollywood to take a generation seriously (a reaction to brute profitability, not aesthetic distinction), it’s both a buddy movie and a road movie, those quintessential 1970s genres. The buddy-road-movie is a sort of anti-genre, like the picaresque in literature, useful as much as anything for what it lets you leave out. Episodic structure, lack of development, plain miscellaneousness – none of these counts as a defect. Many films of the period choose a tough ending over a sweet one, but would prefer to escape the tyranny of an ending altogether.
The heroes “meet cute” in Scarecrow, as hitchhikers competing for rides, though it’s a benighted sort of cuteness, and they travel together from California through Colorado to Michigan. One of them – the charmer, Lion (short for his middle name of Lionel) – has been in the navy, saving money for the child he has never seen. The other – surly Max – has been in jail and has plans for a carwash business. Al Pacino, who plays Lion, had already appeared in The Godfather, but had made one of his first films for Schatzberg, The Panic in Needle Park, a couple of years earlier. Pacino would always have had a shot at movie stardom, by virtue of his prettiness rather than his intensity, but co-star Gene Hackman, with his theatre background and lumpy manner, has character actor written all over him, and needed a less formulaic approach to film-making (and specifically the breakthrough of Arthur Penn’s Bonnie and Clyde) to get noticed.
The Guardian | Read the Full Article
Maybe, the most beautiful thing you can play on your computer today.
A New Jersey guy dedicated to his family, friends, and church, develops unrealistic expectations from watching porn and works to find happiness and intimacy with his potential true love.
Don Jon premiered at Sundance on January 18, 2013
Space presents a fantastic mystery to human life. Unfathomably large, with characteristics that defy our experience and understanding, the stars have perplexed and amazed humanity for our entire recorded history, and likely before. In the present, astrophysicists and astronomers are aggressively studying the universe in an attempt to solve critical scientific and philosophical questions. One of the primary tools for measurement and observation is imaging using cameras connected to powerful telescopes on Earth and in space. And although it’s not the primary motivation for photographing space, beauty is one of the most intriguing byproducts. Images of space communicate the grandeur of the universe, and spark essential curiosities about what may be out there waiting for us once we make our way into the stars.
Ryan Walters explains why “Fix it in Post” is the worst thing you can say on set.
1. Lack Of Vision Results In Mediocre Imagery
As I have worked on a number of productions over the years, the weakest images that I have created have been for directors, and for productions, that want to play it safe. They want to leave all possibilities open until the last minute to make up their mind. Instead of walking away from these type of projects, or encouraging the development of a specific viewpoint, I played along.
Looking back on these projects I see a lot of mediocre imagery that may have gotten me a paycheck, but never ended up on my reel- they did nothing to advance my career. By playing it “safe,” what you, the director, and the production are essentially saying is that you don’t know the story you are telling. After all, we are not in this business to just create images; we are in it to tell visual stories. And the visuals we create for that story should support and reinforce that content.
If you don’t know your story, then what results is a lack of vision, which translates into a lack of confidence. For example, instead of making the bold choice to shoot your lead actor in silhouette, visually showing he is hiding something as he delivers a crucial line of dialogue, the shot is brightly lit as if it were a comedy. The shot no longer holds the power and intrigue that it did before. By wanting to say anything, the shot now says nothing.
Ryan Walters | Read the Full Article
Academy Award nominee and winner of Greenville High School’s “Outstanding Mold Maker” certificate, Shane Mahan. Shane started his career at Stan Winston Studio just as James Cameron and Stan Winston began a partnership that would span 4 features and 25 years pushing the technology of creature creation and visual effects further than anyone had ever gone before.
Join award-winning headshot photographer Rod Goodman as he goes behind the curtain to shed light on the creation of a headshot. With an emphasis on capturing the essence of a subject while creating a marketable headshot, Goodman will discuss both the technical and creative aspects of this subtle art form. Topics will include: camera equipment choices, lighting, exposure settings, retouching and photographer-client dynamics – with before & after examples – among others. Viewers will gain an overall knowledge of the process of creating an impactful and successful headshot.