Soderbergh endoses the Red


Steven Soderbergh loves the Red One camera:


"This is the camera I've been waiting for my whole career: jaw-dropping imagery recorded onboard a camera light enough to hold with one hand. I don't know how Jim and the RED team did it--and they won't tell me--but I know this: RED is going to change everything." Steven Soderbergh


Soderbergh uses the pseudonym Peter Andrews when he's a DP. Shooting the movie you're directing is not something the ASC is a fan of. I went to an ASC even earlier this year, and there was some grumbling about Soderbergh and his ilk, though I can't think of any other prominent directors who shoot their own movies.


There are a whole slew of crazy rules set forth by all the guilds, the DGA, the Writer's Guild, the ASC, and the ACE about what names can appear where. You'd think that the person who does the work should get the credit, but that would be too logical.


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Master Classes


Two Sundays ago I took a few master classes in cinematography. The morning session was taught by Ron Dexter whose website includes some of the information he shared in the class.


The first half of the afternoon session was taught by Daniel Pearl who shot both the original and remake of The Texas Chainsaw Massacre. He has shot a lot of recognizable commercials, including many for Gatorade and the award winning Motorola commercial "Wings" (check out his sports reel and general reel). Pearl favors high contrast cinematography, and one of the interesting things he said was that modern film stocks are so good that they almost work against DP's striving for high contrast. First thing most DPs say when they are sitting in telecine is to crush the blacks.


Pearl's class consisted of watching clips from his reel followed by Q&A after each clip. The second half of the afternoon class, in constrast, consisted of an actual lighting workshop taught by Rodrigo Prieto, the DP most famous for his work with Alejandro González Iñárritu on Babel, 21 Grams, and Amores Perros but who has also shot films like Brokeback Mountain, Alexander, 8 Mile, and Frida.


Prieto chose to recreate the lighting from the final scene of Lust, Caution which he just finished shooting for Ang Lee. Without giving away the story, Prieto told us that the last scene consists of Tony Leung entering a dark room from the hallway, walking over to sit on a bed, and then standing and walking back out the door. On a small stage at the Mole Richardson building he set about recreating the lighting from his memory and then shooting two shots on a Viper camera brought in for the class.


I hadn't heard much about Lust, Caution, but any movie directed by Ang Lee and starring Tony Leung is going to hook me (it's adapted from this book by Eileen Chang). Prieto discussed the challenges of trying to control soft light, and he walked us through how he dealt with several tricky lighting issues he ran into for these last two shots. Several LCD monitors were set up around the room so we could get a sense of what the camera was seeing.


The camaraderie among cinematographers never fails to impress me. You'd think people who have to compete for work would be guarded and jealous, but DP's always seem willing to share their techniques and knowledge with others. Prieto was as personable a guy as you'll meet in the film world.


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Two sequels tonight, one good, one bad


I caught Rodrigo Y Gabriela for the second time tonight, at the Ford Ampitheatre under a surprisingly clear LA evening sky, the temperature a perfect 69 degrees. It was a bit of a risk because bands with one album under their belt often lack enough material to fill a full set. At the same KCRW Sounds Eclectic concert where I first heard Rodrigo Y Gabriela, Lily Allen mailed in a set where she played her same set list for the umpteenth time. But Rodrigo Y Gabriela were so so good that night...


About a quarter of the way into tonight's performance, Rodrigo addressed just that topic when he said they didn't want to play the same set list they'd been playing all over the world. So he asked for requests, and the usual litany of cries popped out from the audience.


"Freebird!"


"Nirvana!"


After one person cried "Shakira!" Rodrigo played a few bars from "Hips Don't Lie." But the best cover of the night was when they dipped their toes into "Wish You Were Here" by Pink Floyd--just a few strums from the opening bar--and then decided to keep rolling with it when the crowd started to sing along. Just one of those special moments when crowd and performers meet each other halfway, the type of spontaneous thing that can only happen live. They also riffed on Dave Brubeck's "Take Five," and I look forward to the day when they put out an entire album of covers.


After a few songs, early in the concert, Rodrigo took the mike and, in halting English, said, "I want to ask a question." He hesitated. And then he asked us if wanted to stay seated or to stand. They weren't used to performing in front of a seated audience, he said. "Do you want to stay seated..." Silence. "...or do you want to stand?" Everyone cheered and stood up, and with that, a charge arced through the crowd.


Few musical groups rally the crowd to their support with such unanimity. Even their constant use of the Irish-inflected "fookin" (picked up when they were playing on the streets of Ireland, just before they landed their first record deal) failed to deter the elderly woman seated in front of me, who danced a jig like there was no tomorrow. The music just takes you there.


One thing that always leaps off the stage at their show is the sound engineering. Two acoustic guitars sound like an entire band under the skilled hand of their sound engineering team. A revelation at this show was the video projected on a white sheet behind them featuring live black and white video footage of the two of them on stage, cut together in time with the music. I couldn't see the cameras from my seat, but I'm guessing they were portable wide-angle cams attached to the guitar or mic stands.


The Mexican guitar duo are touring the world for most of the remainder of 2007, so do yourself a favor and get out to see them. They just set down in LA after rocking a 15,000 person crowd at the Glastonbury Festival, and prior to that they've blown folks away at Coachella and Bonnaroo, among others.


After that, I rushed back down to the Bridge to catch another sequel of sorts, Live Free or Die Hard. Hollywood has been in sequel mode for years and years now, but I'm hard-pressed to recall another period beyond the last year in which they've deluged us with more (off the top of my head: Rocky Balboa, Pirates of the Caribbean: At World's End, Shrek the Third, Evan Almighty, Spiderman 3, Fantastic Four: Rise of the Silver Surfer, Ocean's Thirteen, Hostel II, Saw 29). And I haven't seen one yet that caused me to feel much of anything (I haven't seen them all, but perhaps that's for the best).


Tory, Phil, Jen and I were the only ones in our theater cackling our asses off at the sheer risibility of Live Free or Die Hard. In its sheer earnest absurdity it did offer that pleasure along with the usual communal joy of the company of opening night fanatics. As a night out I got my money's worth but


Timothy Olyphant, as the chief villain, gives an epically terrible performance. Just mind-blowingly awful. The grand tradition of Die Hard was the bombastic bad guy, from Alan Rickman to Jeremy Irons. Olyphant is like a constipated Ryan Seacrest for the duration of the movie. I've long considered trying out season one of Deadwood, but it's tough to get over the fact that Olyphant is one of the leads. Then again, we did live through 8 seasons of Robert Iler on The Sopranos, so perhaps you can carry a weak link with a strong ensemble.


A lot of people like to attribute my distaste for a movie like this to being a film snob, but that's far from the truth. I got my start in movies watching popcorn movies, and I'm still the guy who waits in line to get opening night seats to take a big group of friends with me to see the big blockbusters at midnight. I loved Die Hard and think Bruce Willis is quite underrated.


But too many sequels are just excuses for us to hang out with characters again. They've long since halted in any development, and these sequels are excuses for us to see them repeat a song and dance. Story and drama are decoration, draped on a spine of action sequences. I'm not so naive as to think studios would ever initiate plans for blockbuster sequels by focusing on character, but I don't think it has to be an afterthought, either. A character that undergoes some sort of arc during a movie--that's the basis for compelling drama, especially in movies like this where we all know the ending going in.


John McClane is the same guy in Live Free or Die Hard that he's been since the first movie ended. His character doesn't evolve in this movie; he arrives fully-formed and runs around while lots of gear explodes around him. What's worse is that the quasi-realism of the action set pieces in earlier Die Hard movies has been replaced by some of the most preposterous action sequences I've ever seen. Here is where I may spoil an action sequence or two, but maybe not since half of them are in the trailer. Anyway, consider that your spoiler warning.


In one sequence, the bad guys are in a helicopter chasing Willis and his sidekick, the Mac guy Justin Long. Though they are right next to the car firing away with a machine gun, they can't hit anything. It's just shoddy blocking. Then Bruce Willis takes out a fire hydrant and the resulting spray knocks the shooter out of the helicopter. A bit ludicrous, but funny as a sight gag. Willis then drives into one of the NYC tunnels to avoid the helicopter, so Olyphant orders his hacker team to direct traffic into the tunnel from both ends, and then he kills the lights in the tunnel while the cars are driving towards each other. For some reason, none of the drivers think to turn on their headlights so they all crash into each other and nearly crush Willis and Long, the monkeys in the middle. Angered, Willis drives his car into a tollbooth which somehow causes the car to launch up and out into the the hovering helicopter.


In the most ridiculous sequence, though, Olyphant orders an F-35 military jet to take out Willis, who's driving a semi. Thanks to Wikipedia I've learned that the F-35 featured in the movie is of the short-takeoff and vertical-landing (STOVL) variation, and it can fly under highways and hover over the street like a Harrier. The entire sequence culminates with Willis somehow hanging off the back wing of the airplane as it spirals out of control and...well, I won't continue.


As a form of disposable inanity, perhaps it delivers what lots of audience members want, and so part of the responsibility lies with the audience. In the bathroom after the show, a couple guys were high fiving and saying it was the best movie they'd seen all summer. Just now I perused the Metacritic page for the movie and was shocked to see how many critics stamped it with approval. Maybe the critics really have given up and realized they have no effect on popular fare like this. Or maybe I am that film snob.


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Chacun Son Cinema


Cool DVD for those with region-free players or a region 2 player: Chacun Son Cinema, a series of 32 3-minute films directed by some of the world's premier auteurs to celebrate the 60th anniversary of the Cannes Film Festival. Sadly, the 33rd short, "World Cinema," by the Coen Brothers, is not on the DVD. My copy arrived today, though sadly my region-free DVD player has died so I have to watch it on my computer. I hate region coding.


Here's a listing of the shorts and directors on the DVD (as seen over at Filmbrain):


OPEN-AIR CINEMA- Raymond Depardon

ONE FINE DAY- Takeshi Kitano

THREE MINUTES- Theo Angelopoulos

IN THE DARK- Andrei Konchalovsky

DIARY OF A SPECTATOR – Nanni Moretti

THE ELECTRIC PRINCESS HOUSE- Hou Hsiao-Hsien

DARKNESS- Jean-Pierre & Luc Dardenne

ANNA- Alejandro González Iñárritu

MOVIE NIGHT- Zhang Yimou

THE DYBBUK OF HAIFA- Amos Gitai

THE LADY BUG- Jane Campion

ARTAUD DOUBLE BILL –Atom Egoyan

THE FOUNDARY- Aki Kaurismäki

UPSURGE –Olivier Assayas

47 YEARS LATER- Youssef Chahine

IT’S A DREAM- Tsai Ming-Ling

OCCUPATIONS- Lars Von Trier

THE GIFT- Raul Ruiz

THE CINEMA AROUND THE CORNER- Claude Lelouch

FIRST KISS- Gus Van Sant

CINEMA EROTIQUE- Roman Polanski

NO TRANSLATION NEEDED- Michael Cimino

AT THE SUICIDE OF THE LAST JEW IN THE WORLD IN THE LAST CINEMA IN

THE WORLD David Cronenberg

I TRAVELLED 9000 KM TO GIVE IT TO YOU –Wong Kar Wai

WHERE IS MY ROMEO? –Abbas Kiarostami

THE LAST DATING SHOW- Billie August

IRTEBAK – Elia Suleiman

SOLE MEETING –Manoel De Oliveira

5.557 MILES FROM CANNES

WAR IN PEACE –Wim Wenders

ZHANXIOU VILLAGE- Chen Kaige

HAPPY ENDING- Ken Loach


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Soderbergh next big name to shoot the Red


I've been at each day of Cinegear Expo this weekend. Friday I was able to convince a few classmates to join me, and the first seminar we attended was the Red seminar where we watched the short that Peter Jackson shot on the Red, a WWI pic titled "Crossing the Line." More on that later, but the latest interesting news is that in addition to being used on the Angelina Jolie-Morgan Freeman movie Wanted, the Red will be used to shoot Steven Soderbergh's movies The Argentine and Guerilla.


Getting such huge names to test and sign off on their cameras is a huge win for Red. Here's a pic of the Red they had at Cinegear:




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Video 3-pack


I got a crush on Obama (Youtube video) - goodness gracious.


How to wash your filthy keyboard? Put it through the dishwasher (Quicktime). Looks light it actually works with the right types of keyboards.


A quick tease of a trailer for Pixar's next animated movie Wall-E (next movie after Ratatouille, that is).


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2 steps past, 1 step future, or vice versa


The Vladmaster is a movie told through a handmade View-Master reel. Portland-based artist Vladimir photographs dioramas to recreate famous stories. The View-Master was one of my favorite childhood toys. I wish I still had my old red viewer. The View-Master Ultimate Reel List is the IMDb of View-Master reels.



The new Apple iPhone ads. The iPhone drops Jun. 29. I want one, but my last experience with AT&T (or Cingular, as it was then) was awful. Hmmm.


A still from Michel Gondry's new movie Be Kind Rewind. Jack Black stars as Jerry, who accidentally becomes magnetized, erasing all the tapes in the video store where his best friend Mike works (Mike is played by Mos Def). To retain the store's best customer, an old lady who might be going cuckoo, Jerry and Mike decide to re-enact and film every movie she chooses to rent. Where does Gondry come up with all those wonderful concepts?


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Memorial Day weekend


I am really sick: eyes watering, nose running, throat burning. My sinuses and chest are so congested I feel like I'm breathing through one of those coffee straws. A lot of people at school seem to be sick; one professor just canceled a class tomorrow morning. It's odd to see a cold seize hold around school when the weather is 70 degrees and sunny every day.


I have not slept as much or as regularly this quarter, and this weekend was really packed. Perhaps the lack of sleep has compromised my immune system. Whatever the cause, here's a sick day worth's of content.


Saturday I spent as 1st AC (assistant cameraperson) on a classmate's shoot. Since this was a reshoot, we had the luxury of a 2nd AC, and it made life a lot easier. Last quarter we had one AC per shoot, and that's a lot of work for one person. You have to load and download film, take focus measurements, guard the camera, swap lenses, check the gate, clean filters, move the camera into position, swap the camera from sticks to dolly and back, pull focus, keep a camera log, set the T-stop on the lens, run a stopwatch on shots to calculate how much film was run and how much is left, mark and clap the slate, write camera reports, and more. It's a very technical position, but I enjoy it. The day started early, with a 5AM alarm buzzing in my ear. When I got home at the end of the day, I told myself I'd take a quick nap and then head out to meet up with a few friends. I woke up at 5AM the next morning.


Sunday was spent at a wedding in Laguna Beach. I know nothing about the city other than what I'd seen on a few episodes of that MTV show of the same name (that show was shot beautifully on Panasonic Varicams, I believe). I'm not sure the city had any say in the matter, but that show forever cemented that town's image among most of America as the place where wealthy, self-absorbed teenagers ply their Machiavellian schemes to climb the social ladder.


Monday, on a last-minute suggestion from Mark, I attended the last day of the Star Wars convention at the LA convention center (the official title of the event was Star Wars Celebration IV). I consider myself a moderate Star Wars fans (enjoyed eps IV-VI, watched eps I-III out of devotion), but next to the types of fanatics you'd imagine at a gathering like this, I felt like Paris Hilton at a Mensa meeting.




At one T-shirt booth I asked a vendor if she had a particular Boba Fett t-shirt in large.


"Which one?" she barked.


"The second one from the right, top row?" I replied, taken aback by her hostile demeanor. She looked over her shoulder and then back down at some book she was reading.


"That's Jango Fett," she muttered, and paid me no further attention. Oops.


This being the last day of the convention, the schedule was very light on Lucasfilm-generated content. Most things to see were created by vendors or fans, from droids, action figures, and models to fan films and costumes. One room featured dozens of decorated Darth Vader helmets, much like the ubiquitous cows that appeared on city sidewalks a few years back. Darth as Lady Liberty? Or the Unabomber?






At another booth, as I looked over some artwork, a boy of about 8 or 9 years old walked behind me holding a yoda lightsaber, one of the ones that lights up and makes lightsaber sounds when swung through the air. A booth clerk, in his early forties, stopped the boy.


"The yoda lightsaber?" nodded the man in approval. "Strong choice."


"It's my first one," said the boy, beaming.


"That one's very light," the man explained. "Good for people who use a one-handed fighting technique, like me." He proceeded to demonstrate with some shadow-fencing, but one of his parries smacked me in the back of my head.


"Sorry, man," he said.


"Easy there, Jedi," I said, rubbing my head.




I watched a couple of fan films in the screening room. The ones I saw were all 2005 award winners. "One Season More" is an animated short that imagines Luke Skywalker's yearning to leave Tatooine as a musical number. It has the suitable mix of love and satire that characterizes the best of fan homages. It's one portion of Star Wars The Musical. This year's winners and entries can be seen at AtomFilms.


No plans for a new Star Wars movie were unveiled, but one welcome bit of news was the announcement of a new CG series from Lucasfilm Animation: The Clone Wars. Here's a sneak peek. I really enjoyed the last animated series, Star Wars - Clone Wars, Vol. 1 and Star Wars - Clone Wars, Vol. 2. This looks to be in that style.


Tuesday morning and early afternoon I spent at Disneyland with Alan, Sharon, and my two nephews Ryan and Evan. What do Disney and Lucas have in common? Both appropriated stories and built entertainment empires. Lucas took strands of Japanese film and set them in another universe (Lucas was originally supposed to direct Apocalypse Now, and Star Wars is his version of that movie, about how a small force--the Rebels--can overcome a larger force--the Empire--through sheer force of will). Disney took Grimm's fairy tales, which were indeed grim, and gave them happier endings and an animated life.


Since the last time I visited Disneyland, over 10 years ago, the most apparent change is that the price of admission has more than doubled. But seeing it all through my nephew Ryan's eyes helped me to appreciate just how enduring a piece of culture Disney built. He was so excited he was a live wire--no nap needed on this day.


While sitting with my nephew on It's A Small World, he almost jumped out of the boat he was so pumped up. That ride doesn't look like it's been updated one bit since my parents took me on it when I was a child (I thought perhaps we'd see young children in India answering customer service phones, or Chinese kids sewing Nikes, but the ride retains its idyllic view of the world), and yet it still kills with youngsters.


Something I wondered while wandering the park: what happened to the Mickey Mouse Club? Why isn't that show still running? Look at some of the talent that came out of the sixth and seventh seasons of the most recent incarnation of the show, which ended in 1994: Britney Spears, Christina Aguilera, Justin Timberlake, and Ryan Gosling. That's the pop music equivalent of the 2003 NBA Draft that produced Lebron James, Carmelo Anthony, Dwayne Wade, and Chris Bosh, among others. The Mickey Mouse Club was so competitive that Jessica Simpson and Matt Damon failed to make the cut. I'm not sure why they ceded that space to the likes of American Idol. If Disney doesn't bring back that show, I hope they've at least retained the services of the casting director/talent scout.


------------------------------------


I miss walking the streets of NYC. Google Maps Street View allows me to revisit old favorites. Here's my old apartment.


Microsoft Surface, coming Winter 2007, is one of the early products pointing towards the gesture-manipulated touchscreen interface seen in Minority Report.


An upcoming June software upgrade will allow it you to watch YouTube videos on the AppleTV.


The 2007 Cannes Film Festival winners. From what I've heard from folks who attended, the lineup of movies was very strong this year.


Christopher Nolan is going to shoot some of The Dark Knight in IMAX format. Most features that have been projected in IMAX theatres are simply 35mm films blown up. Since they weren't framed for the IMAX theater, I find many scenes incomprehensible unless you're sitting in the back row. Audiences viewing The Dark Knight at an IMAX theater will see the movie switch aspect ratios from whatever the 35mm aspect ratio is to 1.43 to 1 when the IMAX scenes come on screen.


Based on Gallup Polls, America is willing to elect a black or a woman for president, but if you're gay or an atheist (or both, I presume) your time has not come.


Darren Aronofsky disses the DVD for his movie The Fountain. It doesn't have a commentary, but Aronofsky has said he recorded one himself and will post it online soon so you can listen to it while watching the movie.


as many of you can tell it is light on the extras as compared to my previous dvd releases.



everything at the studio was a struggle.

for instance: they didn't want to do a commentary track cause they felt that it wouldn't help sales.

i didn't have it in me to fight anymore.

whatever.



so:

niko, my friend who did the doc on the dvd came up with a novel idea.

we recorded a commentary track ourselves.

we're gonna post it on a site soon, http coming soon.

you can play it and watch the flick and hopefully you'll enjoy it.

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GIF (Good it's Friday)


Ivan Basso confessed to "attempted doping," and now Bjarne Riis admits that he used EPO during years that include his 1996 Tour de France win. Eric Zabel and Rolf Aldag, who rode for Telekom during the Riis and Ullrich Tour de France wins in the 90's, also fessed up to EPO use. So did Telekom rider Bert Dietz. And Udo Bölts, and Christian Henn. Cycling is detoxing, and it's necessary, though not pretty.


On this the weekend of the Star Wars convention here in LA, psychiatrists have diagnosed Anakin Skywalker, later Darth Vader, of having a personality disorder. It sounds so obvious as to be an Onion headline, but apparently it's not. If you read me this line, I'd swear it was satire:


The diagnosis came to [psychiatrist Eric] Bui, a Star Wars fan, as he watched the series. "I thought to myself, 'That guy is crazy.' But he's not crazy. He's borderline."


Speaking of Star Wars, there's a rumor going around that George Lucas will announce a new Star Wars movie tomorrow at the convention (Saturday).


New ride at the Kennedy Space Center simulates 17,500 mph liftoff of a Space Shuttle. Now that sounds cool.


90% of handset owners believe iPhone is better than their current phone. That's when you know your marketing and brand are strong, when your product hasn't even reached consumers and yet they're crowning it the champ.


Michel Gondry directs Natalie Portman in the video for Paul McCartney's "Dance Tonight." Maybe not as conceptually brilliant as his other videos, but he still is able to pull off his effects in camera. Here's another Michel Gondry video, for Cibo Matto's "Sugar Water," which is built around a supremely clever conceit.


Someday our kids will laugh at us for ever having been impressed with regular old HD resolution. By then they'll be watching Ultra HD, with a resolution of 7680 x 4320 (16X sharper than HDTV), shot on cameras that can capture 4000 fps.


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The river


I'm still recovering from a weekend in Vegas for Betina's wedding. Good times, though exhausting. If I ever stayed there for more than a weekend I'd surely end up like Nicolas Cage in Leaving Las Vegas. Two cruel and stone-faced blackjack dealers nearly made it a costly weekend, but I managed to fight back valiantly at a poker table and a blackjack table, finally surfacing into the black sometime around 4am on Sunday morning.


Get your order in now for the 2005 vintage of Marilyn Merlot.




A list of the world's fastest growing religions. High birthrates in countries where a religion dominates are critical for growing the religion.


SomeEcards offers e-cards for the modern, sardonic sensibility. I'll definitely be sending some of these in the near future (some are funny but borderline NSFW).






Steampunk Star Wars desktops.


RetailMeNot collects coupons for online shopping sites. They offer a Firefox extension that notifies you when there's a coupon for the online shopping site you're visiting (there's also a Dashboard widget).


Tim Allen to star in the mixed martial arts drama Redbelt which David Mamet wrote and will direct. Huh?


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DL on DV


David Lynch has found digital video religion.


Once you start working in that world of DV with small, lightweight equipment and automatic focus, working with film seems so cumbersome. These 35mm film cameras are starting to look like dinosaurs to me. They're huge; they weigh tons. And you've got to move them around. There are so many things that have to be done, and it's all so slow. It kills a lot of possibilities. With DV everything is lighter; you're more mobile. It's far more fluid. You can think on your feet and catch things.

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Some footage from My Blueberry Nights


First trailer I've seen for My Blueberry Nights. You can find lots of stills from the movie if you click on the pic below and register on the forums at KFCCinema.com. I worry about the pic as it's WKW's first effort in English, and because the only time I saw Norah Jones in concert she seemed to withdraw under the gaze and attention of the crowd. But some directors you follow wherever they go.




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Budget kitchen


Mark Bittman advises readers how to assemble a well-equipped kitchen for $200 to $300 by hitting up restaurant supply houses. The low prices he quotes for many kitchen tools are impressive.


The economics of The Godfather.


The Visual Effects Society announced its list of the 50 most influential visual effects films of all time (remember, the difference between visual effects and special effects are that the latter must be done on set, e.g. blowing up a car, turning on a smoke machine). The top 10:


1. Star Wars (1977)

2. Blade Runner (1982)

3. 2001: A Space Odyssey (1968)

3. The Matrix (1999)

5. Jurassic Park (1993)

6. Tron (1982)

7. King Kong (1933)

8. Close Encounters of the Third Kind (1977)

9. Alien (1979)

10. The Abyss (1989)


RIP Studio 60 on the Sunset Strip. Can't say it bothers me much. The show never really grabbed me.


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What is a picture maker


From a conversation between Martin Scorsese and Steven Spielberg:


Scorsese: And even off the floor while you're directing sometime you can still be writing the script while you're shooting. Again, I want to ask you about the visuals. Steven is a picture maker and people wonder what a picture maker is. I once asked you about a shot in Empire of the Sun, and I'm going to ask you to tell the story. I think that kind of defines it. There's this extraordinary shot of the sun in the morning. A great big sun coming up and the last three kamikaze pilots are doing ritual sake and they are silhouetted against the sun.



Spielberg: Sometimes it pays to get to the set before your crew, which I try to do on almost every picture. I like to get there first. I walk around, and figure out what I'm going to do that day. I got to the set while it was still dark and then I saw, as it got lighter, where the sun was going to rise. It was going to rise on the very flat area, and I suddenly had this idea. Luckily, thank God, the camera truck had arrived and there was one assistant and he was taking boxes out of the truck. I had the driver and the assistant take an 800mm lens out and stick it up on an Arri, and we ran with five sandbags. I ran into the makeup hut and grabbed these four Japanese who spoke no English. I gave them swords and put hats over their heads, and dragged them out to the field, and basically said, "Do what we did yesterday. Do. Rehearse." I took a sake cup: "And do this [Spielberg mimicked the sake ritual] and bow." I ran back to the camera, which was about an eighth of a mile away. It was awful — this was before we had little motorcycles and golf carts — you just had to run. They were having trouble getting the magazine loaded because the guy who took the camera off the truck was not a loader, so we were both together loading the camera. I had never loaded an Arri before and you have to load it properly. By this time, the sun is five feet off the ground, and we're not going to make it in time. Finally, we closed the gate. I do an eye focus, turn on the camera, and scream as loud as I can, "DO IT LIKE YESTERDAY." It was like kismet, like magic, just where the sun needed to be. We filled the entire frame with the 800mm long lens. We were able to get that moment.


Also from the same interview:


Spielberg: Well, when I was about 15 years old, I was living in Phoenix, Arizona. My second cousin had a friend who had a friend who was the creator of Hogan's Heroes. [Through this connection, Spielberg visited the man at his office.] This guy said, "Well, do you want to be a picture maker?" and I said, "Yes," and he said, "I'm in television. You want to talk to the guy next door. That's the guy you should talk to. It's John Ford." I said, "You have John Ford next door?" He said, "Yeah, his secretary's really nice." So I went next door, and the secretary said, "Well, Mr. Ford's at lunch, but he'll be back any minute now, so why don't you have a seat and wait." So we waited and we talked, and I told her about my little 8mm movies I was making back in Phoenix, Arizona, and all of a sudden the door opens and a man in a complete safari outfit, with a patch over his eye, with a cigar between his fingers comes walking into the room. She says, "Mr. Ford will see you for a couple of minutes." So I walk into the room and he is sitting there with his big cowboy boots on his desk. It reminded me of the scene in It's a Wonderful Life when Jimmy Stewart sits across from Mr. Potter. Mr. Potter purposely has the chair across from him so Jimmy Stewart looked like one of the Little Rascals once he sat in the seat, and shrank down. I did the same thing. Ford said to me, "So you want to be a picture maker?" And I said, "Yes." "What have you done so far?" I said I was 15 years old, and I said, "I've made some films in 8mm and I go to school in Phoenix, Arizona." "Well, what do you know about picture making?" "What do you know about pictures?" "What do you know about art?" "You've got to know about art." I guess I was quiet. "Well, get up and look around the room. What do you see on the walls there?" I said, "Art." "Go to the first painting." And, by the way, these were all Western paintings, probably Russells, Remingtons, but I didn't know those names then.



Director John Ford (center) with actors Jimmy Stewart and John Wayne on the set of "The Man Who Shot Liberty Valance" - click image for larger view and details.



He said, "Tell me what you see?" I said, "Well, there's a cowboy sitting on a horse—" He said, "No, no, no, no, where is the horizon?" I said, "Well, the horizon is just a couple of inches above the bottom of the picture." He said, "OK. Go to the next painting, what do you see in that painting?" I said, "There's a lot of Indians on horseback—" "No, no, where's the horizon?" "Well, the horizon's at the very top of the painting?" "Go to the next painting. What do you see there?" I said, "There's no horizon at all." He said, "No, no, what objects are in the painting?" I said, "There's an Indian and a cowboy." And then, still sitting in his chair, he turns around, he said, "Look, kid, when the day comes in your life when you can tell that a shot is great when the horizon is at the very bottom of the frame with all that sky, or the horizon is at the very top of the frame with all that ground, and when you can recognize the fact when the horizon goes directly in the center of the frame, it's a lousy painting, when you recognize that, you might have a future in the picture business."

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