Craft Truck chats with the brilliant cinematographer Adam Kimmel discussing making informed choices, selling Phillip Seymour Hoffman as the diminutive title character in Capote, what it was like to shoot Jesus’ Son with basically no resources and no time, why he favours films that relate to the human condition like Never Let Me Go, and working with Spike Jonze on the beautiful short film.
Jiro Ono is an 85-year-old sushi master Jiro Ono, who owns a tiny 10-seat shop in Tokyo that has the highest Michelin Guide rating of three stars. He is also the subject of the documentary “Jiro Dreams of Sushi“. Dr. Jonathan Wai distills the film with seven life lessons we can take from the sushi master.
“When you work for Jiro, he teaches you for free. But, you have to endure ten years of training. If you persevere for ten years you will acquire the skills to be recognized as a first-rate chef.” In Jiro’s restaurant, many apprentices do not make it to the next level. Yet there are those who persevere. For example, one of the apprentice sushi chefs tried over 400 times to make egg sushi that met Jiro’s standards of being worthy to be served. When he finally received Jiro’s approval, he was overwhelmed with joy and cried. Take away lesson: Only when you understand what it feels like to fail and try again will you be able to cherish the moment when you achieve success.
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Matt Patches discusses the history of of bad movies – the culture of discussion that has arisen around schadenfreude and how this Ed Wood production sits in the pantheon of camp.
After the publication of 1978’s The Fifty Worst Films Of All Time, 393 readers tore out a suggestion page provided in the back of the book and mailed it to authors Harry and Michael Medved to inform them of an egregious oversight: Ed Wood’s Plan 9 From Outer Space.
“People really took us to task for it,” Harry Medved said in an interview conducted for this piece. He was only 15 when he co-wrote the compendium with his brother and co-author Randy Dreyfuss. “We were shocked by the flood of fan mail—or, in this case, hate mail—saying, ‘We agree Robot Monster is one of the worst of all time, but how could you write a book called The Fifty Worst Films Of All Time and not include Plan 9 From Outer Space? What were you thinking?!’” In 1980, the snail-mail equivalent of a comments section was vindicated. The Medved brothers published a second tome, The Golden Turkey Awards. Based on the reader votes, they declared, damned, and exalted Wood’s chump-change science-fiction flick as “The Worst Film Of All Time.” The label stuck.
Bad movies aren’t made, they’re defined. Before Plan 9 nestled into the cultural consciousness as a notorious shlockfest—mainstream enough for Jerry, Elaine, and George to attempt to catch a midnight screening in the second season of Seinfeld—it was just another science-fiction B-movie filling the second slot of theatrical double bills. (The film unceremoniously premièred in January 1959 accompanied by Time Lock, the thrilling tale of a boy locked in a bank safe, known for costarring a young Sean Connery.) Today, broadband-enabled pop conversation races to new releases with scorching superlatives: “Flop! Disaster! The worst movie of the year/decade/century!” Adam Sandler movies arrive with one hand pre-nailed to the crucifix. But back in 1980, Plan 9 was dredged up from cult obscurity and thrust into the spotlight. It was still awful, but people reveled in its awfulness.
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Just one year after the release of Star Wars, fan made farce was already being made. This short 13-minute film made it’s way through film festival circuits, ultimately making $1,000,000 and becoming George Lucas’ his favorite Star Wars parody.
As part of our continuing series “On the Road,” Steve Hartman meets photographer Richard Renaldi, who started a project titled “Touching Strangers,” where he pairs strangers off the street in tender portraits. While the awkwardness between the subjects is apparent at first, Renaldi says that feeling changes dramatically as the shoot progresses. The story first aired on CBS News in August, 2013.
Dave Dugdale gives his take on the 4K Capable Panasonic GH4 and how he’s looking to make a switch over the Panasonic Camp.
First up I have to show you some footage. The detail is impressive! Published in 1080 because I don’t have a 4k monitor yet, and I am comparing a lot of 5D footage that is only 1080. Won’t see the resolution benefit of 4k watching this review on an iPhone.
Best detailed image quality in this price range, I can say that because I’ve not used the Sony a7s yet. Canon & Nikon have nothing in this price range that can do 4k. And as we will see later it can even keep up with the Red Epic in terms of detail.
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Liz Shannon Miller explains how the gaming industry is starting to play a bigger and bigger role in entertainment and the film/television industries.
Not only is it a $21 billion (with a b) business, but games have become much bigger than “Mario Kart” and shoot-’em-ups: Not only are game-to-movie adaptations like “Assassin’s Creed” and “Metal Gear Solid” poised to define a new generation of action films, but consoles like Xbox and Playstation enable users to watch everything from Netflix to YouTube to original series on their televisions.
Gaming is only going to become more important to the media landscape in the future, and no week makes that more clear than the week of the Electronic Entertainment Expo (E3). If video games aren’t your jam, all you need to know about E3 is that it’s the one of the biggest (and loudest) events of the gaming industry — a week of demos and product launches and big talk about what to expect next from the major studios and tiny indies.
Every year, E3 kicks off with a long day of press events put on by the industry’s biggest players; this time, most of them kept their focus on actual gaming, but there was still news that should be on the radar of anyone invested in the business of creating pop culture.
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A portrait of Rémi Chapeaublanc, a portrait photographer.
Film director : Martin Zarka
Director of photography : Yann Tribolle
Sound-design: Vandy Roc
Producer : Pierre Baussaron
Production company : Blast production