ESPN working with creative agency JESS3 created this animated short that explains the TV ratings process reminiscent of “Schoolhouse Rock,” meets “Sesame Street.”
William Shatner weighs in on the decades long debate of what was better: Star Trek versus Star Wars?
In these clips from the 1975 AFI Life Achievement Award show honoring Orson Welles, Johnny Carson, Frank Sinatra, Ingrid Bergman and others pay tribute to the legendary filmmaker.
Johnny Carson tells the story of how the two met, and why Welles owes him fifty bucks.
Frank Sinatra sings an original song to Orson Welles, “He’s a Champ,” a play on “The Lady Is a Tramp.”
Actress Ingrid Bergman pays tribute to director Orson Welles.
Actor Joseph Cotten (THE MAGNIFICENT AMBERSONS, CITIZEN KANE) talks about the “astounding impact” that Orson Welles had on all forms of show business, and thanks Welles for pushing him to be an actor.
Actor / Director Peter Bogdanovich, tells a story of shooting with Welles on the film, THE OTHER SIDE OF THE WIND.
Comedian and radio performer Edgar Bergen performs his classic ventriloquism act with “Charlie McCarthy” In this clip they talk about Welles’ infamous “War of the Worlds” performance on the night of October 30, 1938. “The Charlie McCarthy” show is sometimes humorously credited with “saving the world,” because more Americans were tuned in to it than Welles’ program.
The legendary Orson Welles accepts the 3rd AFI Life Achievement Award.
TV executive Lauren Zalaznick thinks deeply about pop television. Sharing results of a bold study that tracks attitudes against TV ratings over five decades, she makes a case that television reflects who we truly are — in ways we might not have expected in this Ted Talk.
Jim Emerson takes a (very) detailed look at the first part of a famous TDK car/truck chase sequence, analyzing how it is put together and whether the filmmaking grammar makes sense.
When, for example, we’re shown someone gazing intently offscreen and there’s a cutaway to something else (that appears to be in the vicinity), we assume (having familiarized ourselves with basic cinematic grammar over the years) that we are seeing what they are looking at. But that’s not always the case. Why? I don’t know. I find many directorial choices in contemporary commercial movies to be sloppy, random, incomprehensible–and indefensible.
This essay takes a long, hard look at roughly the first half of the big car and truck chase sequence from Christopher Nolan’s “The Dark Knight,” set on the lower level streets by the Chicago River. It stops, starts, reverses, repeats, slows down… taking the sequence apart (and putting it back together) shot by shot. The idea is to look at it the way an editor would–but also as a moviegoer does. We notice lapses in visual logic whether our brains register them consciously or not. I found this sequence utterly baffling the first time I saw it, and every subsequent time. At last, I now know exactly why.
Press Play | Read Full Article
If you are like me you can’t figure out how Michael Bay comes up with such thought provoking, emotionally powerful scripts time and time again. Now thanks to Mark Riffee with Wired we know his secret… the CIA is his writing partner.
That’s right if you have a screenplay that shows the Department of Defense in a positive light they will give you a helping hand, maybe even loan you a aircraft carrier or perhaps even let you in on a few classified secrets.
If you want to make a war film and need a fleet of F-22s, a crowd of Marines, or a Navy aircraft carrier, just call up the Department of Defense’s entertainment media office and they’ll tell you if the Army can spare that M1A1 Abrams tank you’ve always wanted for a day or two of filming.
“The scripts we get are only the writer’s idea of how the Department of Defense operates,” Vince Ogilvie, deputy director of the Defense Department’s entertainment liaison office, told Danger Room. “We make sure the Department and facilities and people are portrayed in the most accurate and positive light possible.”
Hollywood has been working with government organizations to make more credible films for years (for instance, Jerry Bruckheimer and Paramount Pictures worked closely with the Pentagon when filming the 1986 blockbuster “Top Gun”). But the phenomenon is under newfound scrutiny. There was a bit of a kerfuffle recently when some in the press and in Congress speculated about whether the government will give Sony Pictures any pointers while they make a film about the killing of Osama bin Laden.
Wired | Read The Full Article
The excerpt below is from the CIA Entertainment Industry Liaison and they are eager to have a “constructive dialogue” with you.
As an organization that plays a key role in America’s defense, the CIA is a frequent subject of books, motion pictures, documentaries, and other creative ventures. For years, artists from across the entertainment industry — actors, authors, directors, producers, screenwriters, and others — have been in touch with the CIA to gain a better understanding of our intelligence mission. Our goal is an accurate portrayal of the men and women of the CIA, and the skill, innovation, daring, and commitment to public service that defines them.
If you are part of the entertainment industry, and are working on a project that deals with the CIA, the Agency may be able to help you. We are in a position to give greater authenticity to scripts, stories, and other products in development. That can mean answering questions, debunking myths, or arranging visits to the CIA to meet the people who know intelligence — its past, present, and future. In some cases, we permit filming on our headquarters compound. We can also provide stock footage of locations within and around our main building.
Intelligence is challenging, exciting, and essential. To better convey that reality, the CIA is ready for a constructive dialogue with a broad range of creative talents.
CIA | Entertainment Industry Liaison
Now, I know what you are thinking… where can I get may hands on some cool military gear. Well here is their contact information. But take my advice; go with the nuclear powered aircraft carrier. Otherwise you are going to need to bring 150,000 gallons of fuel to the set each day.
U.S. Military Assistance in Producing Motion Pictures, Television Shows, Music Videos
Department of Defense
Special Assistant for Entertainment Media
Department of Defense
The Pentagon, Room 2E592
Washington, DC 20301-1400
(703) 695-2936 / FAX (703) 695-1149
For information regarding U.S. military assistance in producing feature motion pictures, television shows, documentaries, music videos, commercial advertisements, CD-ROM games, and other audiovisual programs, please contact the Military Service being portrayed or being asked to provide assistance:
Chief, Office of Army Chief of Public Affairs
Los Angeles Branch
10880 Wilshire Boulevard, Suite 1250
Los Angeles, CA 90024
(310) 235-7621 / FAX (310) 235-6075
Director, Navy Office of Information West
10880 Wilshire Boulevard, Suite 1220
Los Angeles, CA 90024
(310) 235-7481 / FAX (310) 235-7856
Director, Secretary of the Air Force
Office of Public Affairs
Office of Public Affairs-Entertainment Liaison
10880 Wilshire Blvd, Suite 1240
Los Angeles, CA 90024
(310) 235-7511 / FAX (310) 235-7500
Director, Marine Corps Public Affairs
Motion Picture and Television Liaison
10880 Wilshire Boulevard, Suite 1230
Los Angeles, CA 90024
(310) 235-7272 / FAX (310) 235-7274
We live in a time where technology is making extraordinary things possible. But until they invent a creatively gifted robot, the technology is still subject to the human hand. And as of yet, no piece of gear, no matter how sophisticated or how many Vimeo beauty test shoots its responsible for, will ever deliver anything but crap when put in the hands of a numbskull. And now there’s You Are Not a Photographer, a site showcasing the best of the worst all in one place.
How many people do you know that bought a nice camera, started a Facebook page and called it a photography business? Having a DSLR does not make you a professional photographer. We’re outing these no talents with daily pictures from the worst of the web. We only post pictures that were from a photography “business,” and we use that term lightly. Maybe you are one of those photographers. Have a good laugh at yourself. You submit the photos, and we provide the snark.
You Are Not a Photographer | Visit Site
John Hess talks about working his hometown festival and the headaches caused by formatting issues and we recap the week of Sept 12-18, 2011
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Animation I created for the Temecula Valley Internation Film and Music Festival
Article Wrap up
Alimation: An Animated Film of Food Zoetropes
Alexandre DUBOSC’s short piece ‘Alimation’ of edible zoetropes, created for the 2011 Annecy International Animated Film Festival.
Monopod Battle: Sachtler vs Manfrotto
This video by Orange Wedding Films offers quick comparison review of the Sachtler Soom Systemand the Manfrotto Monopod 561BHDV.
Unlocking the Genre Codex
What constitute a genre? Using a database of 897 scripts, genres are broken down using good old statistics and graphs, which is really the only way to discuss films.
10 Tips for Crowd Funding Newbs
Crowd funding sites like Kickstarter and IndieGoGo are littered with the carcasses of failed projects. Though not a guarantee of success, there’s probably a good chance the unsuccessful pitch may have ignored one or more of these tips…
Transitioning from FCP to Premiere – the Gotchas
For those looking to avoid the pitfalls of FCP X and migrate to Adobe, Vimeo user Walter Biscardi Jrdemonstrates some of the differences between FCP and Premiere Pro CS5.5 that may be able to save you some early transitional frustrations.
The Sony EX1 vs Canon 5d MkII, Underwater
In this week’s vlog of our favorite underwater short film “The Underwater Realm“, Director David M. Reynolds takes a look at their underwater light tubes, underwater color grading and pits the EX1 and Canon 5d MkII up against each other:
Inside RED Studios, Hollywood
Ted Shilowitz discusses the basics of RED Cinema Cameras being used by Peter Jackson and James Cameron and delivers a tour of RED Studios.
Naming your Baby, How to Find a Great Title for Your Screenplay
A movie title is like a first impression and Gordon Hoffman breaks down some ideas on how to pick out the right title.
How to Drive Fast without Breaking any Speed Limits
On this episode of Film Riot, Ryan Connolly demonstrates how to shoot action driving scenes, using some fancy camera and sound work to add some octane to a car chase scene without breaking any speed limits.
10 New Rules for the Film Industry
Thomas Mai – film consultant and professional speaker talks about the 10 new rules in 10 minutes for the film industry and all the great possibilities for film makers today.
WTF Post of the Week
CEO Reed Hastings has had a public change of heart. Coming on the heels of a rather controversial price increase, Netflix is spinning off the DVD-by-mail division into a separate entity called “Qwickster” and adding video game options.
From the Netflix blog:
It is clear from the feedback over the past two months that many members felt we lacked respect and humility in the way we announced the separation of DVD and streaming, and the price changes. That was certainly not our intent, and I offer my sincere apology. I’ll try to explain how this happened.
For the past five years, my greatest fear at Netflix has been that we wouldn’t make the leap from success in DVDs to success in streaming. Most companies that are great at something – like AOL dialup or Borders bookstores – do not become great at new things people want (streaming for us) because they are afraid to hurt their initial business. Eventually these companies realize their error of not focusing enough on the new thing, and then the company fights desperately and hopelessly to recover. Companies rarely die from moving too fast, and they frequently die from moving too slowly.
** Editorial Correction – the spelling of Netflix’s new company is Qwikster (no “c”). We apologize for the mispelling.
Driving the speed limit is totally uncool as evidenced when the last time I did 65 on the 405 I was passed up and shouted down by a stream of insane LA drivers. This twisted PSA spoof from theucbmidnightshow demonstrates that you may save one life with safe driving, but you could endanger millions.