Though Llewyn appears stuck, he’s the nomad always ecstatic in his circumlocutions. He’s on a road to nowhere but at least trudging on a path to somewhere. The rest of the world marks time, gliding smoothly along the straight line of the future, arrested comfortably in the steady flow of the ever-present, and being naively present relieves one from the nightmare of history. Maybe the materialization of Dylan’s music in the final minutes, when it wasn’t there in the beginning, is another sign that Llewyn’s time has passed, and it’s time to, um, face the music. Like clockwork he goes into the alley to confront the shadowy figure, and takes his punch (this time not saying “I’m sorry?” before the fist collides with his face, however). Consigned again to this cesspool, he doesn't stay down but ascends through iron bar shadows and follows his bellicose aggressor, who gets into a cab and drives off. Llewyn looks on somewhat wistfully, not saying “farewell” in accord with Dylan but rather says “Au revoir”—indicating they’ll see each other again. At that quiet utterance the cab’s wheels screech and turn a sharp corner. The linear trajectory forward is thwarted and Fate's Emissary will inevitably come around again. The Orbital Noose: Inside Llewyn Davis
posted by timshel
on Mar 26, 2014 -
Here are some compilations of old drive-in theater intermission shorts, obsolete advertising for vanished venues. Won't you please visit our celestial snack bar? The show starts in ∞ minutes. Hover over links for more detail.
1 (10m, corn dogs, Dairy Queen)
- 2 (10m, Butch, Eskimo Pie)
- 3 (7m, public displays of affection)
- 4 (3m, cable TV)
5 (10m, PSAs)
- 6 (10m, performing food!)
- 7 (9.5m, racist indians, snack bar gnomes)
- 8 (10m, Jay Ward-like cartoon roundup)
9 (4m, daylight savings time)
- 10 (13m, shrimp rolls, local ads)
- 11 (10.5m, Dr Pepper robbery, conformity, PSAs)
- 12 (14m, Creepy the Clown and "Dutch Treete")
13 (10m, Optigan music spectacular!)
- 14 (2m, EAT CANDY BARS)
- 15 (9m, Swiss people are magical)
- 16 (5m, assorted animation)
17 (17m, Snacks in Space) [more inside]
posted by JHarris
on Mar 15, 2014 -
Film preservation 2.0 Unless the unique challenges of digital preservation are met, we run the risk of a future in which a film from 1894 printed on card stock has a better chance of surviving than a digital film from 2014.
posted by mediareport
on Mar 2, 2014 -
"All studios have their main logo that appears at the beginning of a film, but some occasionally use custom logos that reflect the theme of the movie. When I noticed that Warner Bros. does this a lot I wanted to find out how often this happened and what these logos looked like. I couldn’t find a good overview with all logos gathered in one place, so I started to collect them myself, in 2009. Now, five years later, I think I have enough to paint a picture of Warner Bros logo design evolution.
posted by chavenet
on Feb 27, 2014 -
The Asylum gets all the attention (and the lucrative gig filling time for "SyFy") but they're far from the only company out there making "mockbusters," those ultra low budget, direct-to-DVD movies named similar to big Hollywood blockbusters, in the hopes that an inattentive purchaser will buy their movie in the hopes they're getting something better. But The Asylum's not the only ones making them, and a prominent mockbuster subgenre is that of companies making really
poor CG movies that resemble Pixar and Dreamworks hits only to the extent that they can maintain plausible, legal deniability, their profit margins relying on clueless grandparents getting something nice for the little ones.
Two of these companies are Video Brinquedo (trailer for their Little & Big Monsters
and some clips from its sequel
) and Spark Plug Entertainment (trailer for An Ant's Life
). Far more of their output, including whole movies, awaits you than you could ever hope to stomach.... [more inside]
posted by JHarris
on Feb 26, 2014 -
Assembling a Film's Billing Block.
The blurb at the bottom of a movie poster is called the "billing block." And while it might look like a bar code of haphazardly packed type, it is in fact the product of detailed legal agreements and intense contract negotiation. Below is the the billing block for a fictional film and an explanation of how it was constructed. (via kottke.org
posted by xingcat
on Feb 24, 2014 -
As a thank you gift for his work on "Star Wars", George Lucas gave art director Roger Christian 25,000 pounds in 1979 to make a short film. Christian used the money to shoot a 25 minute medieval fantasy titled "Black Angel"
. Lucas liked the film so much that he had it precede theatrical showings of "Empire Strikes Back" in the UK, Australia and Scandinavia. In the intervening years, the film was thought lost until a negative was discovered at Universal Studios in 2011. The film was restored and given a premiere
at the Mill Valley Film Festival in Marin County last October. It will be shown again later this month at the Glasgow Film Festival and will eventually find its way to a streaming services like Netflix later this year. The BBC recently talked to Christian about the film and its rediscovery.
posted by AlonzoMosleyFBI
on Feb 7, 2014 -
So, you have a Creative Agency with the whimsical (or just silly) name "Fishfinger"
, and you've done work for notable clients like Nike, RedBull, Penguin Books and Hasbro, but you want your agency and your name to go viral
. What do you do? You photoshop a bunch of classic movie posters to make 62 Amazing Fishy Films
. Yes, The Codfather, Forrest Guppy and the James Bond movie with its namesake are there. [more inside]
posted by oneswellfoop
on Jan 30, 2014 -
In 2013, the Onomo International hotel group asked photographers Omar Victor Diop
and Antoine Tempé
(nsfw) to create a series of photographs set in the group’s hotels as part of an advertising campaign.
Fans of Hollywood, the pair created ONOMOllywood
, an exhibition images from iconic films featuring African models in previously white roles. [more inside]
posted by sparklemotion
on Jan 30, 2014 -
Because the film is a period piece, The Godfather actually presents a fascinating record of what 1940s-era New York City locations still existed in the early-1970s. Sadly, many of them are now gone. What still remains? Let’s take a closer look.
posted by timshel
on Jan 27, 2014 -
The December 16, 1996 issue of Sports Illustrated featured Someone to Lean On
, a longform article by Gary Smith [previously]
"We begin way over there, out on the margin. We begin with a dirty, disheveled 18-year-old boy roaring down a hill on a grocery cart, screaming like a banshee, holding a transistor radio to his ear. No one ever plays with him, for he can barely speak and never understands the rules. He can't read or write a word. He needs to be put away in some kind of institution, people keep telling his mother, because anything, anything at all, can happen out there on the margin," begins the article.
It's the story of James Robert Kennedy, nicknamed Radio, popularized by Cuba Gooding Jr.'s portrayal in the 2003 movie
of the same name. Want to know how Radio and Coach Harold Jones are doing these days? Check our their website
for a brief update: Radio is 68 and still attending school and helping out with the athletic teams. [more inside]
posted by MoonOrb
on Jan 24, 2014 -
(2013) focuses on an American man who, after initially visiting as a tourist, moved to India to volunteer at the Arias Home of HOPE
, a home for HIV-positive children in Acharapakkam, near Chennai. He eventually became an Indian citizen by marriage. [more inside]
posted by XMLicious
on Jan 23, 2014 -
Over the years, Hollywood has made films that have promoted the U.S. Military and films that have advertised specific products. But fifty years ago, those two tendencies intersected for a curious artifact of cinema and the military industrial complex. Say hello to “The Starfighters”
. [more inside]
posted by AlonzoMosleyFBI
on Jan 18, 2014 -
"The rise in popularity of television is credited with inciting the move to the widescreen systems that flourished throughout the 50s, 60s, and 70s. This is only partially true. In the early 1950s, studios did begin to compose their movies so that the top and bottom of the picture could be chopped off and a wider screen would show the center of the old 1.37:1 frame. The aspect ratio used by the various studios varied from about 1.5:1 up to the common 1.85:1. But the real reason for the birth of a multitude of widescreen and large format systems was the 1952 opening of a movie made in a process that had its roots in a World War II aerial gunnery trainer. This Is Cinerama
(modern YouTube trailer; Wikipedia
) shook the industry to the core. The public and reviewers loved it. Its giant screen filled with three oversized 35mm images and an incredible new sound system called Stereophonic were a marvel to behold, and the studios immediately rushed to find something that could do what Cinerama did
(Google books preview of the August 1952 issue of Popular Mechanics
)." [more inside]
posted by filthy light thief
on Jan 4, 2014 -
If the sheer number of Leonard adaptations is remarkable, what is more remarkable still is how few of them are any good.
No one was more aware of, or blunt about, this disappointing onscreen record than Leonard himself. His first crime novel, The Big Bounce
, was twice adapted for film, in 1969 and 2004. Leonard memorably described the earlier effort as the “second-worst movie ever made”; it was not until he saw the 2004 version, he later said, that he knew what movie was the worst.
posted by Rustic Etruscan
on Jan 3, 2014 -
If you use Netflix, you've probably wondered about the specific genres that it suggests to you. Some of them just seem so specific that it's absurd. Emotional Fight-the-System Documentaries? Period Pieces About Royalty Based on Real Life? Foreign Satanic Stories from the 1980s? ... Through a combination of elbow grease and spam-level repetition, we discovered that Netflix possesses not several hundred genres, or even several thousand, but 76,897 unique ways to describe types of movies.
posted by Horace Rumpole
on Jan 2, 2014 -