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In his first interview since it was revealed that he had a secret child with his housekeeper, Arnold Schwarzenegger tells Lesley Stahl of 60 Minutes about the affair that cost him his marriage. Arnold also shares a wealth of new information about his life, as detailed in his autobiography, “Total Recall: My Unbelievably True Life Story.”
A harsh, demanding father drove young Arnold Schwarzenegger to be ambitious – first in body-building, then in movies, and later in politics. Lesley Stahl looks back at this success story.
Arnold Schwarzenegger kept his affair a secret for as long as he could, until his wife Maria Shriver forced him to confess that it had resulted in a child. Lesley Stahl reports in part 2 of this interview.
Witney Seibold explains how a film is actually projected onto the screen, what can go wrong, and what you can do about it.
A director is working hard on her film. She is not only working slavishly to achieve the right look, tone and thematic throughline for her drama, but she is also embroiled in a bitter battle with the financiers of her film. The financiers, having provided a substantial amount of the film’s financing, are making demands about the film’s content. The studio doesn’t like a particular scene, and they want it cut from the film. The director will have nothing of this, and feels the scene in question is the crux of the drama. This back-and-forth will continue for months. Eventually, there will be a compromise, and small cuts will be made. Test audiences will dictate further cuts. The final editing of the film is in a state of flux.
Directors are always fighting to have final cut of their films; that is to say, they want the last word on how the film is edited for content and pacing. Certain very influential or successful directors are given final cut, but the vast bulk of films you see will have been dictated by moneymen and producers. Some directors allow their editors great leeway to get final cut, and in those cases the editors themselves dictate the pace of the film. A film is typically passed around a lot before its distributed into theaters.
There is, however, one person in the film industry who always, without exception, has final cut: The projectionist at the movie theater. It is they, after all, who are exhibiting the film on a ground level. It is the theater projectionist who is the final arbiter on how a film looks, how much lighting it has, how well displayed it is. The chef may have made a great meal, but it’s the polite waitress that you’ll remember.
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“I have sort of an inherent dislike of things that take themselves too seriously and I just think there’s a sort of a pompousness that I’m always trying to avoid and sometimes I really try to avoid it big time. In The Lord of the Rings I didn’t want to make a self-important sort of pompous fantasy adventure. I wanted to make something that was gentle and sweet and in part, obviously, scary and exciting and adventurous, and humor’s an important part of making that. I also think that humor helps make the world feel real. Humor is part of the way that all people survive. No matter what the circumstances, there’s usually room in most peoples’ lives for a good laugh and some humor, and I think that this helps make these people feel as real as you or I, rather than being clichéd characters.”
– Peter Jackson, “Creative Screenwriting,” January/February, 2002
Art of the Title interviews David Fincher about his iconic title sequences.
Absolutely! Obviously, all the Saul Bass stuff is really inspiring to me. I wasn’t so much aware of the people that worked on North by Northwest or their importance as much as I was like, “That’s a really interesting way to present something.” I looked at it as part of the entertainment form.
You know, Butch Cassidy & the Sundance Kid has an amazing title sequence that was originally a sequence in the movie. It featured Katharine Ross, Redford, and Newman in Bolivia, where they see a film about their own exploits. It’s a beautiful idea for a scene and it also made for an amazing title sequence because it set up the idea of the Western as something we’ve come to know through the movies. The film was such a revolution in terms of thinking about the Western and in terms of buddy movies! I look at that movie and its title sequence and I think, “That was a scene in the film — that was written in the script — but it was used in a completely different way.” They decided maybe it was too dour or negative, that maybe the ending would be more provocative without teeing up the events.
Yeah, I can’t think of many great title sequences to movies that I dislike, so it’s as much about it being a good title sequence as it is about it being a movie that I enjoyed. That’s when they stand out.
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Bruce Willis didn’t go back far enough in time…
In this lecture Joel Grimes shares the single greatest fundamental rule of lighting that will shatter your perception of how lighting really works. “I love setting people free from the technical burdens that bog us down and move forward into the creative process.” Joel will also attempt to shatter the standard view of how we define a “Photographer” and present a new model that moves us toward viewing ourselves first and foremost as “Artist”.
Here are some of Joel’s photographs
Check out Joel’s site for more of his photography.
Here’s some comedy advice from cast interview segments recorded at the Paley Center segments from shows such as The Office, Curb Your Enthusiasm, Community, Parks and Recreation and Entourage.
The Nikon D600 is the smallest Full Frame video capable DSLR on the market right now. Here’s a quick breakdown of what this new camera brings to the table and how it compares to the Canon 5D mkIII
Jason Cuthbert breaks down the character of Alex DeLarge, the anti-hero of Stanley Kubrick’s “A Clockwork Orange”
In 1971, screenwriter/director/producer Stanley Kubrick’s A Clockwork Orange gave evil a new makeover: one set of long black eyelashes circling the right eye like a boxer’s shiner; one demon-possessed gaze that seems to be communicating with unseen heathens; one pair of combat boots deliberately parked on a public table and a Charlie Chaplin bowler hat. This completes the anarchic warrior pose that introduces us to the juvenile, sociopath anti-hero protagonist Alex DeLarge (Malcolm McDowell).
This dark yet colorful kaleidoscope of terror and lust expresses extreme youth angst, while using un-adolescent elements – “Singin’ in the Rain”, Beethoven, and suspenders. Due in part to its depiction of rampant rape and unprovoked “ultra violence”, A Clockwork Orange was stamped with an “X” rating – becoming the second X-rated film, following Midnight Cowboy, to be nominated for an Academy Award.
Go Into The Story | Read the Full Article