Listen to this, some great examples, and a potent reminder that I must finish my Once Upon A Time In The West review which I saw at the BFI back in February. And the half dozen Scorsese reviews that are outstanding. So lazy;
In other news and completely unrelated, here is a fantastic appreciation of Se7en which I thought I’d share. Love that movie, made only through an initial mistake that an original draft was mistakenly circulated to Fincher with the infamous bleak ending, still one of these genuine ‘how did this get made? discussion points some twenty years later…
Anyone heard anything about what he’s doing next? Wasn’t he doing a translation of some Channel 4 UK series or something? In any case its not the staging and compositions that most impresses me about this montage, although they are wonderful, its more how some of these look upgraded to HD which makes me silently mouth a ‘wow’…;
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….
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….
Y’see this is why, for all its faults and irritations, sometimes you just have to love the internet. Here is a completely unknown and unreported documentary about John Alcott, cinematographer on four of Kubrick’s pictures among other works. It aired back in 1986, shortly after his death, and contained therein are some Stanley factoids and anecdotes. As you would imagine it has swept like wildfire through certain appreciation and discussion boards;
Also contains behind the scenes footage of classic The Beastmaster, so don’t say I don’t give you anything….
What could be more Christmassy than ole Spielberg? Here is a fine primer for our next review, have a good one;
Forgive me for continuing the fan-boy fetishation but this is currently doing the rounds and it is fantastic, a technical appraisal of Fincher’s directorial style and creative process;
Well, as we’re here I suppose you should also take a look at this;
And a detailed, precision tribute to close. Now I’m off to see Sion Sono’s latest burst of insanity before a gig over in Islington somewhere, keep it safe people;
Just a little something as placeholder as I finalise my Guardian Of The Galaxy review, suffice to say the Marvel boffins didn’t;t have much time for this technique in their soaring space opera;
Good timing this, as this comprehensive little montage of a specific camera technique has a few examples from the Scorsese canon;
Perhaps this collection of craft can distract from this melancholy news, I know I called it just over a year ago and in my defence it is a death of a thousand cuts rather than an overnight massacre, but the news that one of the original Hollywood studios, established in 1912, is now distributing its moves purely in a digital format is really the end of the beginning, For bonus points, this is faintly amusing;