The Onion’s movie critic Peter K. Rosenthal reviews ‘Noah’ in this week’s Film Standard.
Louis CK joked that no one who asks a question in the Actor’s Studio will ever make it… Let’s see what Bradley Cooper has to say about that!
The idea of a house carried away by balloons is a bit far fetched, but a charming cottage house with modern concrete buildings going up along side it has roots in reality.
In the corner between Northwest 46th Street and 15th Avenue, in Ballard, Seattle, wedged between a Trader Joe’s and an LA Fitness, lies a little cottage. Surrounded by towering concrete walls on three sides, the hundred-year-old house belonged to late Edith Macefield, a stubborn old woman, who famously turned down $1 million in 2006 refusing to sell her home to make way for a commercial complex. In doing so, she became something of a folk hero cheered by Ballard residents who were tired of watching the blue-collar neighborhood disappear under condominiums and trendy restaurants. The publicity surrounding her case was so widespread that it forced the developers to build the five-storey building around her 108-year-old farmhouse. Macefield’s iconic house became inspiration for the 2009 Pixar movie Up.
Amusing Planet | Read the Full Article
Scott McMahon lists three bits of directing advice to keep your cool in the hectic world of film production.
Shooting a movie is not just about the gear. Arthur Vincie writes about the often overlooked process of crew prep and how to approach and plan for working with a crew.
One of the biggest mistakes I see first-time filmmakers commit is to think solely in terms of production time when it comes to crewing up. The crew shows up on the first day, leaves on the last day, and anything that happens in between, before, or after is just donated or doesn’t count.
Sadly, as feature budgets have come down, this has often become less of a mistake and more of a deliberate strategy. But even if you’re not paying the crew for their non-shoot days, you have to account for this time in other ways ? you have to know when to hire your team, how many meals and rides you’ll need to provide, how long you’ll need equipment vehicles for, and when your insurance should begin and end.
There’s no magic formula for figuring out how much prep each person on your crew needs, since each script is different, but you can use common sense. If the script is a gory monster story set in one house, your location department’s prep needs are not going to be that huge (since you’re not hopping from place to place); but your hair/makeup and visual effects staff will need a lot more time to prepare molds, do makeup tests, and possibly buy supplies.
ProVideo Coalition | Read the Full Article
What is an essay film? Kevin B. Lee explores how essay films use sounds, images, words and editing differently than other forms of cinema.
Anticipating the BFI’s absolutely essential film series Thought in Action: The Art of the Essay Film, which starts this week and continues throughout August, I spent several weeks reflecting on what the essay film is. This led to a video essay and text published via the BFI’s magazine Sight & Sound that aimed to argue for what true value this as-yet loosely-defined mode of filmmaking could bring to a world that is already drowning in media. Using the video essay to take a polemical stance was a galvanizing experience for me, as it clarified a great deal of my own sense of purpose in being a film critic in a landscape where critical opinions are abundantly available.
But even in articulating a personal philosophy towards media and criticism (and how the essay film combines the two), I still wanted to understand how the essay film works on a more nuts-and-bolts level. A lot of critical and scholarly writing on the essay film seemed to lack much of a formalist appreciation of how the essayistic mode uses sounds, images, words and editing differently than other forms of cinema.
Fandor | Read the Full Article
In 1988, Oscar-winning German filmmaker Volker Schlondorff (“The Tin Drum”) sat down with legendary director Billy Wilder at his office in Beverly Hills, California and turned on his camera for a series of filmed interviews. Here, Billy Wilder discusses his life and films in interviews filmed over two weeks in 1988. via frame-paradiso
Watching our favorite TV shows is one of the most fundamental ways we entertain ourselves. And for most of TV history, these stories were simple and episodic: you could watch one episode when it aired, and it was a self-contained story. But now that we have the ability to find the whole back- catalogue of a show online, is it changing the way TV show are CREATED? Not only can people catch up without waiting for a DVD release, but entire seasons are released and consumed in a single weekend (thanks Netflix!) How might that be changing the types of stories we’re being told?