Friday, October 18, 2013

deep focus links

---The NSA video

---Rebel Rocket Attack

---"My offer is this: nothing"

---The Art of Editing in The Good, The Bad, and The Ugly

---behind the scenes of Escape From Tomorrow

---Pudovkin's Five Editing Techniques

---“Our latest research and statistical analysis shows that you are currently the citizen of an objectively humiliating nation wreathed in a miasma of pettiness, sloth, rank stupidity, and failure,” the report read in part, adding that this—this goddamned disgrace of a culture and system of government, if that’s what you call whatever the hell this is—is where you live, where you are from, and where you will likely die. “Decline and dysfunction are currently the first things people across the world think of when they hear the name of your place of origin, and, by association, these are the first words that would come to mind when they think of you as well.”

---the spaces of Dial M for Murder

---“In virtually every scene in Kane,” Friedkin continues, “the foreground, middle ground, and background are in equal focus. It’s described as realism but to me the photographic technique is expressionist; in life we don’t really see all things in absolute focus. The technology allowed for the visual style of the picture but it’s all in service of telling a great story that has meaning and reverberation.”

---22 seconds of Chungking Express

---"I’m not very interested in contemporary American realism, or books about marriage, parenting, suburbia, divorce. Even as a child browsing at the library I distinctly remember avoiding books that had the big silver Caldecott award sticker on the front, because I loved fairy tales, ghost stories, adventures, whereas the Caldecott prize stories often had a dutiful tone that tended more towards social issues. Those things were not my cup of tea, even when I was small, and I knew it — although if something’s written well enough, anything goes. To paraphrase Nabokov: all I want from a book is the tingle down the spine, for my hairs to stand on end."  --Donna Tartt

---the 3D and the sound and the vfx and the cinematography of Gravity

---anatomy of a scene: 12 Years a Slave

---"As soon as a screen can produce something that can move, it becomes a passive medium, whereas I feel that comics are a very active medium. The appeal is they masquerade as a passive medium, but they're not at all. It takes a lot of effort to read comics, even though it seems like they're easy. It seems like they need to be fixed on paper to have a certain power – my wife always tells me never to use the word magic, but I can't help it, there is no other word: there is a magic when you read an image that you know doesn't move but you have a sense that something is moving, if not on the page then in your mind."  --Chris Ware

---Notes on Film Noir by Paul Schrader

---split diopters

---"Bay Watched" by Nathan Heller

---"how do you live life as a feminist — espousing the straightforward ethical belief that women are equal to men — when the world that surrounds you pummels you with encouragement, both implicit and explicit, to act and think otherwise?"

---Vice interviews Slavoj Zizek

---Chapter 2: Rushmore and Seitz's interview with Anderson about The Royal Tenenbaums

---trailers for The Grand Budapest Hotel, The Monuments Men, The Counselor, Natan, and Dear Mr. Watterson

---"Kurosawa is setting up the information, locations and visual rules of the film," Aronofsky says. "His attention to geography is brilliant. He's a war general, in that sense. In Seven Samurai, when the samurais draw in the sand and lay out the plan, he tells you the entire movie, right there. You get so many films today with shootouts, where you don't know what the hell's going on. But when Kurosawa picks his shots for the battle scenes, everything makes perfect sense."

---"Jean-Luc Godard: The Spirit of the Forms"

Thursday, October 3, 2013

moronic links

---The Wes Anderson Collection by Matt Zoller Seitz

---making A Hard Day's Night

---a scene from Gravity

---Bergman's Dreams

---"Tim Burton related Batman to things that were happening then—the fetish underground, the transgressive elements, the Gothic elements which were coming out of music as well. There was a real heavy punk element to the whole thing and Batman very quickly adapts to that; he was a black leather figure in a cave."

---the legacy of 2001: A Space Odyssey

---Grand Theft Auto V Time Lapse

---"no matter how much you love a film and how many good notices it gets, it's the bad reviews that stick. Always."  --Mark Kermode

---live in Rome: Talking Heads

---Keloid

---This Is the End bloopers

---Rumble and Sway

---"What other country could magnanimously spend $4-6 trillion on two good wars in Afghanistan and Iraq against lightly armed minority insurgencies without winning or accomplishing a thing?"  --Tom Englehardt

---Jhumpa Lahiri at work

---del Toro's opening titles for The Simpsons

---"What hallucinating, self-serving monsters have you become?" "We looked at our great legacy of self-government and we handed ourselves over to the reign of morons."

---Errol Morris on filmmaking

---American Hustle

---trailers for Foxcatcher, Secret Ceremony, Inequality for All, Jimmy P, Under the Skin, Need for Speed, and La Venus a la Fourrure 

---"Speaking purely objectively, Fischer's plays are utterly inspired. We get to see large chunks of two of them: a theatrical adaptation of Serpico, the Al Pacino film from 1973 that was itself a landmark of hairy cinematic anti-heroism, and Heaven and Hell, a blood-soaked depiction of a Vietnam war raid ("You'll find a pair of safety glasses and some earplugs underneath your seats. Please feel free to use them"). The Serpico play is enlivened by a fantastic model train stage set, and the hilariously idiotic casting (I particularly like the kid on the radio dressed as a nun, squeaking "I got something!" The same kid trills "Let's rock, Esposito!" while calling an airstrike in the second one). The staging is even more elaborate in Heaven and Hell, with Fischer shimmying down a rope onto the stage, minature aircraft swooping across the proscenium, numerous explosions and gunshots – even a flamethrower."
--Andrew Pulver

---"Everything Wrong with World War Z"

---Scorsese on the birth of the modern movie

---"Do these moping women find their purpose when their reservation ends? Do they pack their bags and depart the hotel with a knowing smirk? Are they moving forward with resolve and a rolling suitcase trailing behind? Do they leave their place of transition at the end of the story?"

---Happy Birthday, Brigitte

---"For the role of Rosemary's opportunistic husband Guy, Polanski settled on the New York actor and director Cassavetes. Perhaps fittingly given the nature of the material, it was not a marriage made in heaven and ultimately these two strong-willed men of opposing sensibilities did not get along. As a director, Cassavetes was freewheeling and improvisational, where Polanski was precise and methodical; as an actor, Cassavetes was Method trained while Polanski preferred a more naturalistic style. Polanski was never entirely satisfied with Cassavetes' performance, but I think he underestimates its effectiveness."

---10 tips for writing a Hollywood blockbuster

---Unsentimental Education: On Claude Chabrol's Les Bonnes Femmes by Catherine Grant

---“Ingmar, the people you know must be monsters."