ER One Shot (YT): one long opening shot from the Quentin Tarantino-directed episode of the TV series ER. Blog post | less bloggy, more pagey, format. [more inside]
Corey Feldman is probably most widely recognized as a child star of the 1980s, but since then he has branched out into music. Yet with two group albums and two solo albums, his only music video appearances have been cameos (Katy Perry's "Last Friday Night" [Funny or Die] and Mac Miller's "S.D.S." [YouTube]). That is, until now: "Ascension Millennium" (YT) is the first song off his forthcoming album, and it's "a musical journey through his 'Feldmansion' in this Day in the Life Adventure," complete with an appearance from his pal Sean Astin from "The Goonies" and tributes to Michael Jackson. [more inside]
Aria was an art movie/promotional stunt put out by Virgin Media in 1987 with famous directors providing a music-video take on various opera pieces. ( A full review by That Opera Chick). Of particular note is Julien Temple's (Of Earth Girls Are Easy fame) adaptation of Verdi's Rigoletto as a zany, cartoonish, ecstasy-fueled and very 80s farce set at the infamous Madonna Inn. Watch the whole delirious sequence here.
[all links may contain SPOILERS] Antonioni's unique style works beautifully in The Passenger. The dream-like long takes, especially the final seven minute one where the dusty town square is seen through the barred window of Locke's hotel room—evokes a world that he is barred from. There is nothing romantic or sentimental about the space that we see, but it conveys a sense of an ongoing life that Locke has chosen to retreat from. There is also Antonioni's eye for aesthetic detail-for whitewashed walls of buildings, and vividly colored backgrounds like yellow doors and red car seats. He is a director of great formal rigor and beauty, whose style effortlessly suits his vision. The slow rhythm of the film may put off some viewers, but it forces them to be more observant, and understand there is nothing accidental in the images that Antonioni constructs. - Leonard Quart [more inside]
"I need to feel the winter, grey colour to me is the most poetic. It allows me to leave the prison of my imagination, everything that is grey suits me."
Greek filmmaker Theo Angelopoulos has passed away. "[He was] possessed of a singular style that has long divided critics... visually evocative, often beautiful, his films contain long sections with little or no dialogue." In 1995, he won the Grand Jury Prize at Cannes for Ulysses' Gaze, and three years later, the Palme D'Or for Eternity and a Day. A career in clips. [more inside]
The long take, an uncut, uninterrupted shot in film, is seen by some as the counter to CGI, the last great field for cinematic art. The linked page features six clips from 1990 on, plus the opening shot from Orson Welles' 1958 film, Touch of Evil. Alfred Hitchcock's film from a decade earlier, Rope, took the long cut further, with the whole film shot in eight takes of up to 10 minutes each, a decision shaped by the limit of the physical recording media. With digital media, the long take could be pushed further, as with Russian Ark, from 2002. The movie was shot in one long take, with the narrative working through the history of Russia, set within The State Hermitage Museum, and captured in one day on the 4th take. If the long takes are a tad long for you, try the "short" long takes that are one-shot music videos [videos inside] [more inside]
Curious about the Average Shot Length of a movie? Wondering how the ASL has changed over time? The Cinemetrics database comes to the rescue with statistical data on shot length!