After Michael Mann set out to direct Collateral, the story’s setting moved from New York to Los Angeles. This decision was in part motivated by the unique visual presence of the city — especially the way it looked at night. Mann shot a majority of the film in HD (this was 2004), feeling the format better captured the city’s night lighting. Even the film’s protagonist taxi needed a custom coat to pick up different sheens depending on the type of artificial lighting the cab passed beneath. That city, at least as it appears in Collateral and countless other films, will never be the same again. L.A. has made a vast change-over to LED street lights, with New York City not far behind.Why Hollywood Will Never Look the Same Again on Film: LEDs Hit the Streets of LA & NY
posted by timshel
on Feb 3, 2014 -
Suffice it to say, Persepolis is quite a work. It’s a testament to the power of the graphic novel. The art’s simple linework helps the story feel unpretentious and direct. Persepolis was adapted as a 2007 French animated film, written and directed by Satrapi and Vincent Paronnaud. Among other honors, it was nominated for an Academy Award. Why would someone want to ban such a book?
posted by Artw
on Mar 16, 2013 -
Hearing him discuss films one day in the Lake Street Screening Room used by Chicago critics, Ebert said, "I was struck by the depth and detail of his film knowledge, and by how articulate he was." After reading his work online, Ebert was sold.
"It's a stretch of pavement both enriched and torn apart by class and ethnic divisions. When you go over a bridge or under a viaduct on this street you've left one country for another. It's the American melting pot at full boil." Halsted Street USA. (1995, 56 minutes, Color)
posted by flapjax at midnite
on Dec 31, 2010 -