Showing posts with label film. Show all posts
Showing posts with label film. Show all posts

Monday, July 19, 2010

pass the ukha


Awkward transliteration aside, Luca Guadagnino's I Am Love (Io Sono L'amore) beautifully sates the foreign film trinity of food, sex and death and makes for a lovely Lady Chatterley-dodge from the swelter of a summer afternoon.

Swinton is brilliant, of course, as are the others.

Recommended.

(Plan to eat out afterward. Somewhere amazing.)

Sunday, May 30, 2010

a real truly live place


There’s so much that is not quite right about the Wizard of Oz.

The farm girl whose aunt chides her to stay out of the way because she’s worthless on the farm and yet knows instinctively how to vamp when the Twister hits or the camera strays to her sparkly heels.

The middle-aged men who cozy up to our 12 year old heroine and accompany her on her travels in a way that the creep factor would prohibit in any film made today.

And finally this: the idea that a girl who longs to be anywhere besides Kansas, and then finds herself at last over the rainbow in a “real truly live place” where “most of it was beautiful” would spend the whole of her marvelous adventure wanting only to be home, like some ugly American, and to decide after all that wonder, once she returns again to Kansas, that “I’m not going to leave here ever ever again.”

Really? That’s our moral lesson? Not: Travel has opened my eyes and expanded my mind to make room for new people and new experiences entirely foreign to my own?

(Maybe my bafflement is especially keen because of the unhappy hours I spent in Kansas this last week.)

And yet: It’s a magnificent film, which I was reminded of on Friday when I saw it on the big screen, digitally remastered with the full orchestration of the Chicago Symphony Orchestra behind it and cried -- yes cried -- when Dorothy sang of melting lemon drops away above the chimney tops.

That’s where you’ll find me.


Bonus material, aka "Only bad witches are ugly." -- Glinda the Good Witch

Tuesday, April 20, 2010

cut with your gut

Video: Dog Day Afternoon Trailer
(film editing for Dog Day Afternoon earned
Dede Allen an Oscar Nomination in 1976)

Miss Allen, though she read Eisenstein on a Los Angeles streetcar, is not a theorizer and will generalize only to the extent of suggesting that film editing is both a talent and a craft. She talks in terms of specific films and specific personalities.

Robert Wise, whose “Odds Against Tomorrow” was her first major assignment, she credits with having given her confidence to experiment, to work with her own interpretations of a scene. She remembers once reversing an optical so that, in the Wise film, Gloria Grahame, instead of lowering her eyes in a doorway flirtation with Robert Ryan, raised them to give a quite different meaning to the scene.

She recalls Wise saying delightedly: “It is different working with a woman!” To which Miss Allen answered: “I should hope so.”


From Vincent Canby’s 1972 New York Times piece: Dede Is A Lady Editor.

Esteemed film editor Dede Allen passed away on Saturday.

It’s a trip reading Canby’s 1972 piece on her and her work in which the overwhelming observation seems to be: My god! Look! A lady! Editing film!

Yes: She did.


Craig McKay spoke to her influence on his work yesterday on NPR:

I can remember one of the first things she ever said to me. She says, you have to cut with your gut. And what that meant, I came to discover over the years, was that this process is not really so much a thinking process as it is an intuitive process. She was an intuitive editor. And I think she passed that along to me, along with so many other great editors that she's single-handedly responsible for creating.

Monday, February 22, 2010

1,000 fps



The difference 1,000 frames per second makes. Footage shot for a Pedigree Dog Food Commercial -- recut by Director Bob Purman and crew just for kicks.

Sublime.

Featured in Creativity Online »

Monday, February 01, 2010

The World's Best Mechanical Engineer on the feasibility of Helium 3 Harvesters (as portrayed in the movie Moon)



I saw Sam Rockwell in Moon over the summer. My intention was to escape the emotional world I was suspended in, if only briefly, attending to the bedside of my grandmother who had fallen and injured her brain in a way that could not be repaired. It was intended to be a respite from sitting with her while she died.

Instead, it managed to extend the desolate, zero gravity feeling that pervaded those weeks in July, but I didn't object. We read, we attend theater, we watch movies, we tell stories so that we, each of us, feel a little bit less alone. Moon did that for me just then, just the way I needed it to.

It also prompted me to send the World's Best Mechanical Engineer an email asking him 1) have you seen Moon and 2) when you do, let me know what you think of those Helium 3 Harvesters.

The World's Best Mechanical Engineer designs and deploys agricultural harvesters (currently in the works: a machine that harvests romaine lettuce with water jets -- video on youtube) so I figured he would have something interesting to say about it. His guest post series, The World's Best Mechanical Engineer Explains it all For You, is also some of the most heavily searched out and retrieved content on this blog, so I asked if he would want to do a guest post on detritus as well.

He was kind enough to agree.


Video: Moon Movie Trailer


The World's Best Mechanical Engineer on the feasibility of Helium 3 Harvesters (as portrayed in the movie Moon)
I watched "Moon" on video the other day, and suttonhoo asked my technical opinion of the Helium 3 harvesting machine in the movie.

Roughly I would say the size of the machine was 25 feet wide, 40 feet long, and 25 feet high. The harvester had wide spindly arms extending off each side that were upsetting the surface of the moon. The exact details of that might have been clearer on the big screen, on the small screen it looked like either some form of high pressure jet or laser. The machine ran autonomously on a huge pair of tracks.

The track drive is where the problems start with this machine. Track drives have three defining traits: they are high maintenance, they are heavy, and they give great flotation in soft conditions. The first two negatives generally outway the last positive trait. That's why your Honda has wheels instead of a pair of tracks.

In the context of the moon, high maintenance is a gigantic liability since there's only a single maintenance guy for a fleet of four harvesters. And maintenance is difficult in a vacuum, dangerous work for a single maintenance man. Helium 3 is going to be a very expensive product, and downtime in your operation will be lost millions. Compared to a wheel drive, track drives are in my experience roughly 5 times more maintenance intensive than wheel drives.

The huge weight of a track drive in and of itself is not much of a liability on the moon, except that those tracks have to be fabricated somewhere. If they are fabricated on earth, the cost of hoisting them into space would be probably prohibitive. So we'd have to assume that they'd be fabricated on the moon. But everything you do on the moon is expensive and time consuming. Tracks are a costly design proposition in both the earthly and lunar context.

This leaves us with the one compelling advantage of track drive: flotation. When NASA first landed on the moon they were afraid that there may be many feet of unpacked dust on the moon's surface, enough to swallow the entire lunar lander. In practice, however, the surface of the moon did not threaten to swallow any of the landers or men that landed there. Undoubtedly this was in part due to the moon's low gravity, about 1/6th of earth's. A typical car tire puts about 35-50 psi pressure on the ground.

A typical track drive applies 5-10 psi of ground pressure on earth. But a car tire on the moon, would only apply 6-8 psi of pressure to the moon's surface (with the same amount of tire squash). Effectively a wheeled vehicle on the moon would achieve flotation comparable to a track drive on earth. A track drive would be an expensive and unreliable overkill. If there were flotation concerns, a six wheel drive would be much more compelling. Six wheel drive would be lower maintenance, and allow for lifting a damaged wheel or suspension without stopping. Harvesting could continue until repairs could be scheduled or parts were available, allowing for minimal downtime.

The second problem with the Helium 3 harvester involves the scarcity of Helium 3. In spite of what the taikonauts may want you to believe, it takes a huge amount of lunar material to produce a pound of He3. The concentration of He3 on the moon is roughly .01 parts per million. Any harvester would have to process enormous quantities of lunar material in order to produce a trickle of He3.

I'd expect a harvester to have a huge scraper on front delivering surface material into the machine, and for it to eject over 99.99999% of the material as probably an extremely fine powder. It just didn't appear that nearly enough material was being handled to produce an economically attractive quatity of He3. I will acknowledge, however, the possibly that the lasers/high pressure jet device on the fronts of the machine were extracting the He3 using some futuristic technology. But if so, why were there rocks flying all over the place?

On a more political note, the lunar corp astronauts and employees probably should have been Chinese. Nasa was supposedly returning to the moon in this decade, but it appears that funding for that program will not exist. In fact the U.S. will soon lack any kind of lifter for astronauts, and we'll actually be buying astronauts tickets on Russian rockets. Not that I mean to disparage the Russian space program, they build the most reliable rockets in the world. It just seems a shame that with both the U.S. and Russia's venerable space programs, the real Lunar Corp logo may very well be in Chinese.


Sunday, January 10, 2010

in search of memory



Please come to a theater near me.

Please.

btw: Eric Kandel's book, In Search of Memory? Brilliant and a pleasure to read.

Friday, November 06, 2009

essanay assayed


It had a lovely look to it.

Morace Park commenting on a film tin that he purchased on Ebay for £3.20, according to yesterday's Guardian.

Unknown to Mr. Park at the point of purchase, the tin contained a previously unknown film by Charlie Chaplin.

film manufacturing in chicago


Related: Chicago Film Manufacturing »

Monday, October 12, 2009

watch me

Video: Black Dynamite Trailer

He's making the world a decent place -- to DIE.


From the Black Dynamite movie trailer, which will be in theaters this Friday.

This is either going to be really good -- or super bad.

According to Michael Jai White, the actor and filmmaker who plays Black Dynamite, the character for a "Ninja-slaying, lady-melting, blaxploitation-style hero" came to him while listening to James Brown's Super Bad on repeat.

The New York Times notes that "a boom mike makes a cameo early on," and the movie "features a climactic kung-fu showdown at the White House between Black Dynamite and Richard Nixon."

proceed & be bold

Illus: Amos Paul Kennedy, Jr.


I learned of the letterpress work of Amos Paul Kennedy Jr. in the tired hours of the late afternoon yesterday, as the result of a random conversation with @lzinger at the grocery store about how rutabagas are a little like turnips and a little sweet potatoes. And how they are not. By the end we were talking about Twitter, which is how the acquaintance led to this.

Come to find out she made a movie about the man, whose kinetic letterforms absorbed the better part of my evening.

Proceed. Be bold.

Update: Proceed and Be Bold will screen at the San Francisco Documentary Film Festival on October 24th & 26th »

Saturday, October 10, 2009

lovin' spoonful


The robin in Mary Poppins's London is an American robin.

Better still – and striking an early blow for gay rights – the two red-breasted robins shown building a nest together are both male.


From The 20 worst science and technology errors in films: A far-from-definitive list of the 20 most annoying science and technology errors in films, from slow-moving lasers to extraterrestrials who use Windows Vista in this morning's Telegraph.

Friday, October 09, 2009

very ape



On November 24th Christie's of London will auction the 22-inch armature used in the 1933 film 'King Kong' to allow the animated ape to scale the Empire State Building in the final scenes, according to the Associated Press.

"Christie's said it hopes to get up to 150,000 pounds (about $240,000) from the figure's sale."



Video: King Kong 1933

Monday, October 05, 2009

what remains

grand daddy cedar


This is the image that remains with me after watching Kurosawa’s Rashômon (yeah for only the first time -- I'm catching up on my greats): A woodsman walking alone through the forest, the camera moving fluidly, magically, through the treetops at a distance, and everywhere the strength of the soaring cedar.

We learn later, watching the DVD special bits, that the dolly is rooted on a rail on the ground and so it must be that we’re looking down and long across a slope, but that reasoning comes later. Just now there is pure magic in how the camera glides through the trees, and I’m reminded of the airy distance that breathed between the oaks of the savanna at dusk, when walking I heard the sonorous hoot of an owl just a little bit distant, stopped and held still to see (after a beat, then three) the giant bird break his bluff and wing his massive bulk through the trees.

It’s all around us in this masterpiece of a movie, the cedar. The manic thief knows his one calm moment as he naps in the lap of one fragrant giant, warmed by the sun, the celluloid nearly redolent with the perfume of its baking wood. He peers skyward under the influence of the breeze and captures a glimpse of the woman he will blame for his motives (whom he blames, pardon me, for his woody) and she too is stalwart and cedar like. Miyagawa’s masterful camera pans her heel to head just as he panned the stewards of the forest, from burl to overstory.

The cedars will be witness to the crimes the camera spares us -- the assault on the wife; the murder (the suicide?) of the husband. This none-of-us-knowing is what, of course, provides Rashomon with its potency as each player unwinds the narrative of the grove’s events in his or her own telling in which he or she is (as it always is) the hero of the story.

What remains with me are the trees.

Wednesday, September 09, 2009

09.09.09

Video trailer for District 9 (which came out a few weeks ago)


Video trailer for Tim Burton's 9 (premiering today)


And Nine (embedding disabled upon request) coming out this November »

Yeah. I don't know what's up with all these 9s either. Just thought it was curious.

Sunday, September 06, 2009

wild thing

Video Trailer: Where the Wild Things Are

Hope.
Fear.
Adventure.

I can get into that.

Plus the kid looks a whole lot like my Portland honey, J-H.

The movie adaptation of Where the Wild Things Are opens October 16th.

Sendak's book terrified me when I was a kid. Not in a nervous Cat in the Hat kind of a way; in a subverting the dominant paradigm I want to do that too kind of way.

Of especial interest is the documentary that director Jonez has also made about Where the Wild Things Are author and illustrator Maurice Sendak, a clip of which is available via the NYTimes website (left side rail) »

The documentary airs Oct 14th on HBO. (Or so says the NYT. Nothing online at HBO about it quite yet.)

Tuesday, September 01, 2009

ella es el matador



It’s a testament to the filmmakers of the strangely moving Ella es el Matador (She is the Matador) that, regardless of what you think about bullfighting, you want to see these women in ring.

And you want to find one of your own.[1]

Airing on PBS POV in September »


[1] Figuratively.

Friday, August 07, 2009

also on my list


Movie Trailer: Cold Souls

Sunday, July 19, 2009

moonwalk


Video: Moon Film Trailer


Random detritus in honor of tomorrow's 40th anniversary of the first walk on the moon, and because this blog needs a break from death and dying. (Although it just occurred to me that the moon is a dead satellite, so maybe I'm not departing that far afield after all.)


Update: b1-66er has admonished me that my reference to the Moonwalk conspiracy theorists is not in the least bit funny and instead provides a platform for lies and superstitions that do no one any good. given his great kindness to me in my recent hour of need I have struck out the reference. ignore it. it perpetuates lies and superstition that do no one any good.

Friday, June 26, 2009

in the heat of the night


Saw In the Heat of the Night, the 1967 Academy Award Winner for Best Motion Picture, for the first time tonight. Am embarrassed to admit that it took me this long, but somehow I managed to miss the memo that it may be one of the best movies ever made.

Pitch perfect every step of the way.

Each shot is so luscious in its composition that I couldn't bear to take my eyes off the screen. Each plot point is essential, of course, in the unraveling of the mystery, which the script unravels so brilliantly, but it's the performance of the actors that makes the movie unforgettable. The intensity of their engagement, the depth of their character portrayals. Sweet god in heaven why don't they make movies like this anymore?

If you've never seen it, see it soon. If you've already seen it, see it again.

And if you don't want to know anything about it before you watch it DON'T WATCH THE TRAILER.

Although I really must share with you that it's true what they say: They call him Mr. Tibbs.

Go see what I mean »

And then go download Quincy Jones' soundtrack and play it with the windows rolled down as you drive slow through the swelter of the summer night.

Saturday, May 09, 2009

speaking of Eisenstein


Video: ¡Que viva México! footage by Sergei Eisenstein


Come to find out Eisenstein set out to make a film in Mexico in 1932, during the depths of the Depression, bankrolled by the American author Upton Sinclair.

A mountain of reels were shot and Eisenstein expected that they would be shipped to him in the U.S.S.R. for editing. The Soviet government prevented their delivery, and the film was never finished.

But the footage -- most all of it quite stunning, if misguided in its portrayal of the modern Maya -- was cobbled together by another hand and has been posted in nine parts to YouTube by Documentales Mexico »



Update: The cameraman on ¡Que viva México! was Manuel Alvarez Bravo »

had Eisenstein replied


Video: Opening clip from Sergei Eisenstein's first full length feature Стачка (1925)

How I would like to go to Moscow and work under Eisenstein for a year. ... What I would learn under a person like Pudovkin is how to handle a camera, the higher trucs of the editing bench, & so on, of which I know as little as of quantity surveying.


Samuel Beckett in a series of letters to his friend Thomas McGreevy, cited in The Making of Samuel Beckett in the 30 April issue of the New York Review of Books.

Beckett wrote to Eisenstein and requested admission to the Moscow State School of Cinematography. He didn't hear back.

It's strange to speculate what kind of films the author of Play and Endgame and the just now running on Broadway Waiting for Godot might have made, had Eisenstein replied.
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