The problem is that cinema, as I define it and as something that inspired me, is under assault by the studios and, from what I can tell, with the full support of the audience. The reasons for this, in my opinion, are more economic than philosophical, but when you add an ample amount of fear and lack of vision and a lack of leadership you’ve got a trajectory that is pretty difficult to reverse.
- "Retired" director Steven Soderbergh
speaks to the San Francisco International Film Festival about the state of cinema
, full audio at bottom of page 2
posted by Artw
on Apr 29, 2013 -
During the Golden Age of Hollywood and until 1967, mainstream movie studios were banned by the Production Code
from depicting taboo topics like drug addiction, explicit murder and venereal disease, or even showing explicit nudity. But in the 1930's and 1940's, films marketed as "educational" could and did fly under the radar, and three of the best known 'educational' propaganda exploitation films are: Sex Madness
(1935), Reefer Madness
(1936) and The Cocaine Fiends
(1938). [more inside]
posted by zarq
on Oct 15, 2012 -
What you see here is a prime example of what happens to film that is neglected and improperly stored.
This is an original reel from It's a Mad, Mad, Mad, Mad World that is now untouchable. The film has turned acidic, sporting the strongest and most foul vinegar-like odor I have ever smelled. In fact,
Robert Harris told me a story of how his contact lenses were singed by the fumes the film produced, causing temporary retinal damage to his eye. [more inside]
posted by Trurl
on Apr 27, 2012 -
The Seventh Art
is an independently produced video magazine about cinema with three sections: a profile on an interesting group/company/organization in the industry, a video essay and a long-form interview with a filmmaker.
posted by You Should See the Other Guy
on Feb 10, 2012 -
Yet by 1944 the IRS named Barbara Stanwyck the highest-paid woman in America. From 1930-57, she did a minimum of two pictures a year, sometimes even four or five. Yet it wasn't workaholism, according to the actress: "I was afraid they'd get somebody better, frankly. I never really thought I had any clout. For a lot of years I was free-lancing, by choice, but I think discipline stays with you. It's this fear that maybe somebody can come in and take over. Maybe a Redford or a Streep can take the luxury of a year off, but I never thought I could. Of course, we were more workable in those days. And they make more money now. Anyway, I never had self-assurance about leaving."
posted by Trurl
on Nov 27, 2011 -
Leonard Michaels' "The Zipper"
: Rita Hayworth is never seen disrobed in the movie, though it is threatened more than once. The atmosphere of dark repression and mysterious forces – the mood or feeling of the movie – might be destroyed by the revelation of her body. It scared me as she began her striptease dance in the nightclub. I didn’t want everybody to see her body, or even to see that Rita Hayworth had a body. [more inside]
posted by Trurl
on Sep 5, 2011 -
The Academy of Motion Picture Arts and Sciences’ Margaret Herrick Library today launched its latest online research tool, the Production Art Database. The database contains records for more than 5,300 items from the library’s collection, including motion picture costume and production design drawings, animation art, storyboards and paintings. Nearly half of the records include images, making this an invaluable online resource for researchers interested in motion picture design.
posted by Trurl
on Jul 2, 2011 -
Zombie Baby, Fucking Jane Austen, The Last Witch Hunter, Abraham Lincoln: Vampire Hunter, American Bullshit, Better Living Through Chemistry... just some of the titles that made this year's Black List
, a list of the best unproduced screenplays of the year as voted on by industry insiders. LA Times
and Deadline Hollywood
have pieces on it and here's an October audio interview with Franklin Leonard
, creator of the Black List. In past years, aspiring screenwriters could find PDFs of the scripts online. It's gonna be a lot
posted by dobbs
on Dec 13, 2010 -
Toy Story 3
hits theaters today, and it's already winning universal acclaim
as an enchanting and heartbreaking wonderwork, employing understated 3D
and a "real-time"
perspective that deftly capitalizes on the nostalgia and can't-go-home-again angst
of a generation that grew up with the series.
It has a strong pedigree, with 11-year-old predecessor Toy Story 2
the rare sequel to equal its forebear, 1995's Toy Story
(itself the first CGI feature in history).
And it joins a lofty stable of films: over the last 15 years, Pixar has put out an unbroken chain of ten commercial and critical successes
that have grossed over $5 billion worldwide and collected 24 Academy Awards
(including the second-ever Best Picture nom for animation
), a legacy that rivals some of the greatest franchises in film history
But there's rumbling on the horizon. Although the studio has been hailed for its originality
(of the 50 top-grossing movies in history, only nine were original stories -- and five of them were by Pixar
), two of their upcoming projects are sequels
, both of them based some of their least-acclaimed films (Cars 2
in 2011 and Monsters, Inc. 2
in 2012). And while 2012 will also bring
The Bear and the Bow Brave
, the first Pixar flick to feature a female protagonist [previously]
, fellow newcomer Newt
has been canceled
. With WALL-E/Up/Toy Story 3
guru Andrew Stanton focusing on his 2012 adaptation
of John Carter of Mars
and with forays into live-action
already in development, does this mark the end of the golden age of Pixar?
Or is this latest entry lasting proof that even the toughest case of sequelitis can be raised to the level of masterpiece? [more inside]
posted by Rhaomi
on Jun 18, 2010 -