March 2012
Red Moon, a proper introduction
homelyhook:
For all of those big time followers of this blog (jk) you’ll notice I’m re stating the excitement I have that this little gem is out in the world.
http://vimeo.com/37565848
Two and a half years ago, me and Martin Morse moved to Los Angeles. Within days, Jimmy Marble moved to this great city, too. Within a month, we were making movies. I wanted to impress my new friend, so when he...
February 2012
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WATCH KEY AND PEELE TONIGHT!
mcgriffin:
You wanna watch some bitchin’ ass animation and visual effects AND get a good laugh in, then watch Key and Peele tonight at 10:30! Good stuff, and features this little guy:
Everything is satisfactual.
This little guy is my favorite.
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It would be next to impossible for me to agree... →
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I was a guest on the SpotCast, a podcast about... →
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Watch Jonathan Ames’s Wonderful Drunk Speech at... →
This is indeed wonderful, and is the most charming thing Jonathan Ames has ever been involved with.
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Hitchcock/Truffaut
A.H.: Well, the silent pictures were the purest form of cinema; the only thing they lacked was the sound of people talking and the noises. But this slight imperfection did not warrant the major changes that sound brought in. In other words, since all that was missing was simply natural sound, there was no need to go to the other extreme and completely abandon the technique of the pure motion picture, the way they did when sound came in.
F.T.: I agree. In the final era of silent movies, the great film-makers--in fact, almost the whole of production--had reached something near perfection. The introduction of sound, in a way, jeopardized that perfection. I mean that this was precisely the time when the high screen standards of so many brilliant directors showed up the woeful inadequacy of the others, and the lesser talents were gradually being eliminated from the field. In this sense one might say that mediocrity came back into its own with the advent of sound.
A.H.: I agree absolutely. In my opinion, that's true even today. In many of the films now being made, there is very little cinema: they are mostly what I call 'photographs of people talking.' When we tell a story in cinema, we should resort to dialogue only when it's impossible to do otherwise. I always try first to tell a story in the cinematic way, through a succession of shots and bits of film in between. It seems unfortunate that with the arrival of sound the motion picture, overnight, assumed a theatrical form. The mobility of the camera doesn't alter this fact. Even though the camera may move along the sidewalk, it's still theater. One results of this is the loss of cinematic style, and another is the loss of fantasy. In writing a screenplay, it is essential to separate clearly the dialogue from the visual elements and, whenever possible, to rely more on the visual than on the dialogue. Whichever way you choose to stage the action, your main concern is to hold the audience's full attention. Summing it up, one might say that the screen rectangle must be charged with emotion.
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Watchcomedycentral:
Obama Drops Some Science on Key & Peele
Here’s a clip from tonight’s all-new Key & Peele, airing at 10:30/9:30c. You can see another clip by following the link, and you can watch last week’s series premiere in its entirety right here.
East Coast, you have about 15 minutes to get your ass to a tv for tonight’s episode. West Coast, you’ve got three hours....
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You are now singing this theme song. http://gifshop.tv/m/96377SJ3T7/
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Can Can Cans http://gifshop.tv/m/7GM47SJ3T7/
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Grimey's Garden: Terry Gilliam 10 Lessons For... →
rubenfm:
I think I agree with pretty much all of Terry’s rules.
maddenmeiners:
2. Film school is for fools.
Live and learn how to make films. I didn’t go to film school. I just watched movies in the cinemas. And probably my greater education was actually making films, so that’s all I would ever say: watch movies, get a camera, make a movie. And if you do it enough times, eventually you...