The Screen Junkies turn their wits on Disney’s animated feature Frozen
Bob Harrington takes you on a photographic trip to the past. He will show you how to achieve that high contrast look of the black and white glamour look of 1940s Hollywood using modern gear.
Old meme is old. But why is this such a bad thing? Once the height of internetiness, the sight of a LOLCat now is unforgivable. Memes become passé crazy fast: after just months or even WEEKS of a new meme, we tire of the once hugely popular. Why does this happen, and happen so QUICKLY? Is it a reflection of the sheer volume of visual information we absorb from the internet? Or does it say something about this specific visual culture?
A mini doc that explores different facets of Wes Anderson Film and Commercial work.
Timo Boll, the German table tennis star, takes on a KUKA robotic arm in an epic game of ping pong
Adam Savage sits down with the co-creator and showrunner of Lost, writer of Prometheus, Star Trek: Into Darkness, and the upcoming Tomorrowland. He talks about what it’s like to create for TV, avid fans, and working with your heroes.
Cinematographer Shane Hurlbut, ASC takes you on an adrenaline-pumping ride behind the scenes of the upcoming blockbuster Need for Speed. Shane relied on the Canon Cinema EOS C500 digital cinema camera, the Cinema EOS 1D-C digital SLR, and Canon lenses to capture the heart-pounding, high-velocity speed racing action coming soon to the big screen. Directed by Scott Waugh and starring Aaron Paul, Need for Speed hits theaters on March 14, 2014.
Ready to dance in your seat? Drummer Clayton Cameron breaks down different genres of music—from R&B to Latin to pop—by their beats. A talk that proves hip hop and jazz aren’t cooler than math—they simply rely on it..
Andy Baker, the Senior Vice President and Group Creative Director for National Geographic Channel answers some frequently asked questions about how production companies approach the network.
What’s the biggest mistakes new production companies make?
I think there are sort of two most common mistakes that production companies make when starting work with new clients. The first is not doing their homework. It’s really important for agencies to really understand their client, not only what drives their business, but also things like who their competition is. Fully understanding that can really set you up for success when working with a new client, because trust me – they’ll see it. Whether you demonstrate that understanding by knowing about Nat Geo content, or even something as simple as checking out previous promo work, it’s important to have a good understanding of what’s been done or aired before. It’s no different than any field, whether in TV or packaged goods: understand your client. They’ll appreciate it and it will save time along the way. The other mistake production companies can make is not really paying attention to parameters set out by the client. We had a situation once where we had given a company a budget for a project and asked for some concepts and ideas based on the assumption that any idea they pitched would fall within that budget. We loved the ideas, got approval from my clients at Nat Geo, greenlit the project, then got an estimate that was about 25% higher than the budget we’d given them – and when we pushed back, they sent revised concepts for that original budget that were not as strong. Of course there was the disappointment of not being able to execute the approved concept, but also I then had to go to MY clients (internal execs) and tell them that the idea they loved actually couldn’t happen. Not a good place to be, and we ended up having to start over with a different agency.
Take a look behind the scenes at the shooting of Wes Anderson’s latest picture with Robert Yeoman, ASC.
Shot by Robert Yeoman, ASC, The Grand Budapest Hotel is very much a film in keeping with his previous collaborations with director Wes Anderson: a storybook tale with complex narratives and first-person narrators, captured in an illustrative style that’s both theatrical and cinematic. The central story is bookended by scenes set in the late 1970s, when an elderly author (Tom Wilkinson) recounts the details of his extended stay at the Grand Budapest Hotel in the 1960s. He recalls a story told to his younger self (played by Jude Law) by one Monsieur Moustafa (F. Murray Abraham), the hotel’s owner at the time.
The film then transitions to the early 1930s, when Moustafa, then called Zero (Tony Revolori), serves as a lobby boy for the impeccable Monsieur Gustave (Ralph Fiennes), head concierge of the hotel at the height of its fame. Trouble begins when Gustave’s octogenarian lover, the rich widow Madame Desgoffe-und-Taxis (Tilda Swinton), is found murdered at her estate, and her will bequeaths to Gustave a priceless painting. The surviving Desgoffe clan vows to contest the will, but not before Gustave and Zero swipe the painting. The police then arrest Gustave for Madame D.’s murder, leaving Zero with the task of clearing his mentor’s name.
The Grand Budapest Hotel was shot entirely in Germany, and Anderson set the story in a fictitious Eastern European province, ?Zubrówka (a real-life brand of Polish vodka). As with many of the director’s films, vague historical and geographical references locate the story somewhere between fantasy and reality. “Wes prefers to draw from real-world references to create his own world,” says Yeoman. “In this movie, for instance, the Fascists in power aren’t specifically Nazis, but they certainly could be interpreted that way.”
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Marshall Neilan, silent film director, gave this interview in a 1925 Edition of Photoplay Magazine
How to Be a Motion Picture Director
In which Marshall Neilan answers some pertinent questions. Study carefully, buy a megaphone and take the Golden State Limited
By Marshall Neilan
Q. What are the essential qualifications of a director
A. The ability to convince producers that you are a better director than your pictures show you to be.
Q. How can this be done?
A. Easily. It is being done every day. Read a book on self confidence and salesmanship.
Q. How should a director dress?
A. On his first picture, decently. His dowdiness should increase in direct relationship to his fame until he makes one of the ten best pictures of the year, when he will return to the garb which he wore as a property man.
Q. How should a director act in public?
A. Like a nut or like an owl. Both methods have proved successful. By no means act normal. Producers are convinced that no normal being can be a director.
Q. How do you distinguish a director from mortals?
A. By the number of people to whom he does not speak.There was once a director who became so great that he forgot his wife’s first name.
Q. When a producer asks you the name of your best picture what do you tell him?
A. The next one I am about to do for him.
Q. What kind of car should a director drive?
A. A car as radically different in design from a taxicab as possible.
Q. How many different kinds of directors are there?
A. Two kinds – those that make artistic pictures and those whose pictures pay.
Q. What should a director read?
A. For useful information, the Police Gazette. For publicity purposes, the classics. For personal enjoyment, his own press notices.
Q. What should a director write?
A. Thoughtful articles on the art of directing.
Q. What should a director really know?
A. Enough to hire a good continuity writer, a good cameraman and a good assistant.
Q. How should a director direct?
A. That depends on the importance of the visitors on the lot who happen to be watching him.
Q. Who is the greatest director of them all?
A. I am a modest man.
Tricia Helfer (Battlestar Galactica) talks about growing up on a farm, her modeling career, and experiences on Battlestar Galactica.