- True Grit Cinematographer Roger Deakins Talks About His “Shot of the Year”
Deakins is a cinematographer’s cinematographer—the type who writes detailed responses on super fans’ discussion boards, sharing technical specs (“a 1K pup [without a lens] and two Tweenies coming through the window”), giving credit when it’s due (“Nancy Haig and I tested a number of blind samples”), and dishingÂ personal advice (“Nothing ventured, nothing gained!”). He isn’t driven by praise—just the desire to tell a great story. “When I read a script, I think about the development of the characters—I don’t really think about the visuals. Generally, when you read a script that Joel and Ethan have written, it seems very obvious what it should look like,” says Deakins, which may make him the only person in Hollywood who finds the notoriously uncommunicative Coen brothers completely transparent.
- The Art of the False Comparison; or, Why Freddy Got Fingered is Better Than Touch of Evil
We all know how false comparisons work. Everybody has a number of movies they like that (most, or many) other people don’t. And everybody also has a number of movies they don’t like that (most, or many) other people do. So you just compare films from the first category to films from the second category (even if they have absolutely nothing to do with one another) and watch the outrage pour forth. You can maximize the outrage if you also make sure that the films from the second category are widely-acknowledged classics. (I realize that Armond White kind of does this with his annual “Better Than” list, though he confines it to new movies.)
- Video Game Trailers are playing hardball
In a bid to give movie trailers a run for their money, Techland, the creators of Zombie video-game Dead Island assemble something mighty impressive. Not quite the 28 Weeks Later Opening, but it certainly worth a look to see why all the game-geek and web buzz was so ubitquitous last week.
- Editing out The Bible for a Wider Audience
When you aim to please everyone, you probably will please no one. Producers, director and the studio trying to capture both the Blind Side / Passion of the Christ audience as well as secular families with Soul Surfing.
- A Festival You DON’T want your film at
This is the type of Film Festival logic and logistics that you never want to see as a filmmaker!
See also: http://www.youtube.com/watch?v=Zf6f6cIKvCQ&hd=1
The link goes to 14 minute VIDEO of the 2010 ‘mix-up’ by the Swansea Film Festival which outlines just how frustrating festivals can be to the filmmakers whose films are there to be celebrated; in fact this video could be an outtake or extra scene from the documentary on lower-tier film festival circuit, Official Rejection.
- The real director of the Room? Not Tommy Wiseau
Although Tommy Wiseau’s name is synonymous with The Room, having written, directed, produced, and starred in his cult tragicomedy like a latter-day Orson Welles with an ass fetish, filmmaker Sandy Schklair has now come forward demanding that he be the one recognized as directing one of the worst movies of all time. In an upcoming interview with Entertainment Weekly, Schklair reportedly says that he was initially hired as a script supervisor, but his responsibilities quickly expanded as it became clear that Wiseau was too busy acting and, presumably, lighting candles to answer questions regarding his dialogue or directions, so it fell to Schklair to step in and call the shots.
You can now take a look at RowThree’s bookmarks at any time of your choosing simply by clicking the “delicious” button in the upper right of the page. It looks remarkably similar to this:
What we’ve been reading over the past week or so.
- A Top 10: Lengthy Tracking Shots
From Godard to Scorsese. Showy Shots abound. There are plenty more to add (feel free to suggest in the comment, I am surprised they left out the big D.W. Griffith shot in Intolerance. Or for that matter, The Protector, Brazil, Serenity, Boogie Nights, Satantango, etc. etc. But then again, it is only a top 10.
- Playboy does James Cameron (no photos!)
“Avatar is made very consciously for movie fans. If critics like it, fine. I can’t say I won’t read the reviews, because I may not be able to resist. I spent a couple of decades in the capricious world of being judged by those not knowledgeable about the depth and history of film and with whom I would not want to have a conversation—with a few notable exceptions. Why would I want to be judged by them? For me, this past decade has been about retreating to the great fundamentals, things that aren’t passing fads or subject to the whims of some idiot critic. You can’t write a review of the laws of thermodynamics.”
- SPIEGEL Interview with Umberto Eco on the vertigo of making lists
“I was fascinated with Stendhal at 13 and with Thomas Mann at 15 and, at 16, I loved Chopin. Then I spent my life getting to know the rest. Right now, Chopin is at the very top once again. If you interact with things in your life, everything is constantly changing. And if nothing changes, you’re an idiot.”
- ‘Nine’ Leads Indie Heavy Golden Satellite Nods
While the awards – handed out by International Press Academy – are generally disregarded as a serious Oscar precursor due to their often inexplainable decisions, this year’s batch is definitely full of worthy nominees, particularly from the specialty sector.
- More Mainstream Press for THE ROOM.
“Tommy Wiseau’s “The Room” is a train wreck of almost incomprehensible proportions: Whole scenes are out of focus, while others are repeated in their entirety; characters appear without introduction, while others vanish without explanation; and the unfortunate cast engages in behavior that few would consider typical. All of which, of course, makes the painfully overwrought relationship drama one of the greatest comedies ever to be created entirely by accident.”
- The Road Takes Desolate Journey From Page to Screen
To deliver “The Road’s” worn and weathered ambience, Hillcoat avoided as much as possible the over-the-top digital approach employed by director Roland Emmerich for his post-apocalyptic spectacle, “2012.” Hillcoat shot “The Road” at 51 real-world locations to give the R-rated film, which opens Wednesday, an extra dose of authenticity.
- 100+ Cliche Dialogue Lines
‘The Definitive List of Cliched Dialogue’ or just another day at the office for those ink stained grinders writing Arnold Schwarzenegger, Mark Dacacos or Steven Segal flicks.
- Critical Shift: New Moon vs. Gone With The Wind
Peter Howell considers what has changed in the critical landscape in how lurid melodrama and hammy acting was received in 1939 vs. 2009.
- Tres Chic Twin Peaks Photo Gallery
Quite an awesome (yet creepy) set of on-set photos taken during the taping of Twin Peaks by Richard Beymar.
- The 99 Most Jaw-Dropping Movie Moments
We love those movie moments that make us feel like we’ve been swiftly punched in the gut. The shocking scenes that give us goosebumps and gasps at the same time. Because we love those shock & awe bits so much, we’ve compiled our 99 favourites, counting down to the all-time greatest jaw-dropping movie moment.
Tommy Wiseau has been making quite the splash around these parts lately. Kurt and I chatted about the film in an earlier episode of the Cinecast and just recently, there was more talk about Wiseau’s cult favourite. I never imagined the opportunity would arise to see the film for myself but here we are, a screening all our own in Vancouver.
The Room will be screening as part of The Rio’s midnight double bill on Friday, November 20th. As if seeing this classic among a crowd of adoring craptacular movie lovers isn’t enough, the film its beeing partnered with is none other than Paul Verhoeven’s much misunderstood and equally loved and hated Showgirls.
Tickets are a steal at $10 for both shows ($8 if you arrive in costume). More details on the Double Bill on official event page.
If you’re wondering what all the hubbub is about, check out the film’s trailer tucked under the seat!
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So much for the Gabba Gamble being around to rescue the show. With Andrew recuperating from Lollapalooza it’s up to Kurt and Marina to keep the show on the road. Starting with Chan-Wook Park’s uncategorizable Thirst along to Near Dark, Innocent Blood and vampires in general, eventually landing in romantic comedy territory with a revisit to (500) Days of Summer and a quick tour 1980s John Hughes. There are some DVD picks in there as well. And, of course, it would not be a Cinecast without a few tangents. The sound quality is a bit tinny, so apologies and some *Fist Shaking at Skype.*
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