Ever wondered what one of those strange sounding Foley artists are in a movie’s credits? What, how does an award winning short sound?
Ahead of Scorsese’s latest here is a little profile of his cinematographer, Rodrigo Prieto, whom is also known for his sterling work with such luminaries as Iñárritu, Oliver Stone, Ang Lee, Spike Lee, and others;
Well. What is there to be said? I’ve been quiet as I’ve been as terrified, horrified and scared as the rest of you, during this slip into some direct to video 1990’s dystopian B movie. But it’s real, and Van Damage or Dolph Lungren are not going to turn up and save the day. So the numbness begins to recede, slowly but surely, and we find solace in our obsessions and the loves of our lives. There’s plenty more to say but you’ve heard it all I’m sure, so I’m focusing on the things I love – case in point I’m hugely looking forward to the Scorsese season that might blot out some of the terror of the inauguration in January. Take care of yourselves, hug your loved ones a little more, and maybe we’ll get through the way the world seems to be turning;
This is quite a illuminating discovery, some filmmakers collective of some such which covers the work of some well regarded, upcoming cinematographers. Lens choice is not a ingredient that could covered in most reviews, so I found this fascinating;
I’ve also found a new movie to christen my new work environment, with the Curzon Mayfair a ten minute walk from Parliament Square across the patrol bliss of St. James Park I reckon I’ll be able to squeeze this in before the weekend;
I was thinking of saving this for my rematch coverage at the end of the month, but why deny ourselves such sumptuous pleasures?;
A little examination of slow motion to round out the weekend, when alarmingly I did manage to catch a movie which didn’t have any fisticuffs, super heroics or gunfire in it. A review will follow shortly, I’ll give you a hint that it’s star next appears in what might be the most controversial film of the year, which I can’t wait to see.
The great video essayist Tony Zhou is back with another look at a frequently neglected area of film technique, here considering the concept of ensemble staging and its numerous advantages to communicating story, character and plot. The film cited is also fantastic by the way, described by Ebert as the ‘South Korean Zodiac‘ Bong Joon-hoo is usually described as ‘the director of The Host’ which was great, but this is his best film, it should be interesting to see what he has planned next….
So farewell Colchester, I hardly knew ye. After five months it’s time to move on to pastures anew, as I have been approached for and accepted a new mission down in deepest, darkest Surrey. Unfortunately this has obliterated some of my screening ambitions for the LFF as my new contract starts on the same day as the press screenings, but there are some other possibilities I am pursuing and there are always the weekend screenings in October. As something of a risk mitigation strategy I have acquired £100 worth of tickets to public screenings to reduce the possibilities of an even mix of material, which means that The Witch, High-Rise, Hitchcock/Truffaut, a few other screenings and the Todd Haynes Q&A are all in the bag, so it’s only Carol, The Assassin and Son Of Saul I really have to see. Oh, and The Lobster. And The Green Room. And The Club – Jesus Christ in a sidecar this is never easy is it? So having acquired a pop-pourri of material over the last fortnight I thought I’d throw together a gold old fashioned flotsam & jetsam post, so crane your neck to this;
I think what I really admire is the editing job on this, the wealth of material they had to wade through to go from 1° to 90° is quite an archaeological effort, and a fine selection of soundtrack from Mr. Glass;
Recently there has been something of a small movement among film critics of the modern ilk with regard to venerating a so-called vulgar cinematic aesthetic. You can read through the links at your leisure but the gist is some hopelessly numb effort to replicate some modern cinephile movement, aping the Cahier Du Cinema crowd of the 1950’s to attack the prevailing dogma, to burst the status quo and establish a new, fresh canon of cinematic contours. Unfortunately I regard this as little more than some contrarian post-modern circle jerk, you may call me a elitist snob but P.W.S Anderson, Michael Bay and Tony Scott are not some diamonds in the rough, waiting to be properly excavated and appreciated, their works secretly harbouring a new paradigm for the 21st century…..or maybe they are? It is fun to read this sort of material, from my admittedly cursory skim reading this is perhaps a perfect synthesis of a contemporary style and movement in 2015, as frankly the breadth and quality of modern web criticism does seize upon the spectaculars, the blockbusters, the popcorn tent-poles and almost utterly eclipses the alternatives – I don’t need to point to the collapse of The Dissolve again do I? A cultural landscape that spends roughly five times the effort, advertising and ink in frantically debating casting decisions of superhero movies, of cinematic movie universe cohesion or the construction of action set-pieces than it does in appreciating the final work itself is quite vulgar, so maybe, just maybe these guys are on to something….
Finally for now a fine archival documentary on the 1960’s restructuring of Hollywood, back in those halcyon days when the likes of Lucas and Scorsese were storming the citadels gates, rather than being the elder statesman gatekeepers. Apparently this piece never aired on TV, so this is quite a rarity…..
Like any good patriot of cinema I have given Fury Road another appreciation over the past few days, furtively wallowing in the primitive format of 2D delivery. This essential revisit was not dictated by any dissatisfaction with the modern blockbuster 3D formula, it simply aligned with a challenging weekend schedule, and the absolute joy this film has ignited demands another detailed deliberation – more on that soon. In the meantime I’ve also despaired at Tomorrowland, the summers weakest blockbuster thus far, a troubling piece that strangely yields some brilliant editorial technique just as it wanes on both on a political and ideological level. In that light here is a brief yet acute primer, on the fine art of cutting across axis of meaning and time;
Food for thought isn’t it? That piece seeds the soil for one of 2015’s great London cinephile events of the season which occurs on Sunday. You are promised an epic mix of Leone, De Niro, 19th century New York, alongside the incremental waning of affiliation….
A little education for your Easter weekend, a masterclass with the German maestro;
One of the great joys of the boxed set I’m slowly working through isn’t just the HD transfers of the movies, there is also documentary material such as this;