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This month, HBO is airing a special edition of The Godfather that presents scenes from the first two movies in chronological order with some deleted scenes mixed in for good measure. It’s more than 7 hours long. It’s not listed anywhere on HBO’s site, but supposedly it’ll run all month on HBO and their online and on-demand services.
I love watching Gordon Ramsay make scrambled eggs. I first saw this video years ago and, possibly because I am an idiot, have yet to attempt these eggs at home. You and me, eggs, next weekend.
P.S. Jean-Georges Vongerichten makes scrambled eggs in a very similar way. Not quite soft-scrambled…Serious Eats calls them fancy French spoonable eggs.
P.P.S. Anyone have a square Japanese omelette pan I can borrow?
P.P.P.S. In Jiro Dreams of Sushi (now on Netflix!), an apprentice talks about making tamagoyaki (Japanese omelette) over 200 times before Jiro declared it good enough to serve in his restaurant.
That apprentice, Daisuke Nakazawa, is now the head chef at Sushi Nakazawa, one of the five NYC restaurants that currently has a four-star rating from the NY Times (along with the aforementioned Jean-Georges and not along with Per Se, which recently got dunce capped down to 2 stars by populist hero Pete Wells).
Evan Puschak, aka the Nerdwriter, explains why the third movie in the Harry Potter series, The Prisoner of Azkaban, is the best film in the series — spoiler: because Alfonso Cuarón — and why that matters for the young fans of the series: for some, it’s their first exposure to good filmmaking.
A look at how some of the most arresting visual effects were done in Star Wars: The Force Awakens. The filmmakers used many real sets and models (i.e. practical effects), but there were also 2100 shots in the movie with digital effects.
Update: The original video was removed, but I replaced it with one that’s a bit better.
Update: Here’s how the visual effects on the Millennium Falcon’s escape from Jakku scene were done.
Update: ILM released their official look at the visual effects.
In this short video (oh just be patient and watch the whole damn thing), Alan Rickman demonstrates how I feel this morning that he has died of cancer at the age of 69. (Same age and affliction as Bowie, you’ll note.)
That Rickman never won an Oscar (he did receive a Golden Globe, an Emmy, a Bafta and many more) became a perennial topic in interviews but did not seem to trouble the actor himself. “Parts win prizes, not actors,” he said in 2008. It was the wider worth of his art to which Rickman remained committed, saying that he found it easier to treat the work seriously if he could look upon himself with levity.
“Actors are agents of change,” he said. “A film, a piece of theatre, a piece of music, or a book can make a difference. It can change the world.”
I loved Rickman as Hans Gruber in Die Hard and as Dr. Lazarus in Galaxy Quest, but I’ll remember his turn as Severus Snape in the Harry Potter films the most. Among several fantastic actors in that series, Rickman’s performance was arguably the best. Many characters in Potter struggled between the good and not-so-good sides of themselves (including Harry and Dumbledore) but none of them carried that battle off as well as Rickman’s Snape.
A video exploring Stanley Kubrick’s use of color in his films. See also Kubrick’s use of the color red. (via @john_overholt)
Riffing on Kathryn Schulz’s piece about the five best punctuation marks in literature, Max Tohline explores how editing in film can function as punctuation to separate or join together characters, shots, and ideas within movies.
Some people were bothered over supposed gaps in the plot in The Force Awakens. I wasn’t…save the hand-wringing for more weighty fare. But if you were, the novelization of the movie connects some of the dots left detached. Here are some of the more interesting ones (spoilers, obvs):
The Resistance had no idea Starkiller Base existed. This is extrapolated on quite a bit. Snoke’s decision to destroy the New Republic is about flushing out the Resistance. Utter annihilation of the enemy is a mere side effect. Snoke knew using the weapon would give away the base’s location. The Resistance would then send a reconnaissance team to scout the place and the First Order could follow the scouts back to the Resistance HQ and destroy them once and for all. While this is what happens in the movie, the motivations are a bit murkier.
Kylo Ren knows who Rey is. After failing to call Anakin Skywalker’s lightsaber to his hand, Ren turns to Rey — who is now holding the blue lightsaber — and he declares, “It IS you,” and then the fight begins.
Ok, whoa. What does that mean?
Han hadn’t seen Kylo Ren/Ben since he became an adult. When Ben removes the helmet of Kylo Ren, Han Solo is shocked by how grown-up his son looks as he hasn’t seen him since he became an adult. This lends credence to the theory that Snoke seduced a teenaged Ben to the Dark Side. Speaking of which, Leia knew Snoke was trying to get his claws in her son since he was a child and never told Han until right before the Starkiller mission.
[Rey] struggles with the Dark Side almost immediately. Rey might look serene as she finds the Force and battles a badly injured Kylo Ren, but she is fighting with rage. After beating down her opponent, a voice inside her encourages her to kill him. She rejects the notion, but is still struggling with herself when the rift opens up and separates the two of them.
[Ren] also cracked open something in Rey’s mind. One of the advantages of a book is internal narration. When Ren attempts to retrieve the map from Rey’s brain he senses something weird within her mind. Not resistance, but a barrier. Probing at it is what causes Rey to suddenly find herself — with no provocation — inside Ren’s mind. Now this is just speculation, but it certainly sounds like someone had walled off Rey’s Force sensitivity and Kylo Ren accidentally broke down the wall.
The script for the movie clarifies a few things as well.
Luke Skywalker Immediately Knows Who Rey Is and Why She Is Here. The script describes Luke Skywalker as being older now, with white hair and a beard. It says that he looks at Rey with a “kindness in his eyes, but there’s something tortured, too.” Most interestingly, it says that Luke “doesn’t need to ask her who she is, or what she is doing here.” Does this mean that he knows Rey is his child? Or does this mean that he knows because of the Force? The script only adds that “his look says it all.”
Kylo Ren Is Horrified By His Actions. The script gives us some internal insight into Kylo Ren after he just killed his father Han Solo. The screenplay notes that “Kylo Ren is somehow WEAKENED by this wicked act,” noting that he is “horrified” and his “SHOCK is broken only when” Chewbacca cries out in agony.
Fun fact that I just discovered: the novelizations of all three of the original Star Wars movies were released before the movies came out! Star Wars the book came out 6 months before the movie, Empire a month before, and Jedi a couple of weeks before. I’m amazed you could walk into a bookstore an entire month before The Empire Strikes Back was released and discover that Vader was Luke’s father. Truly a different approach to spoilers.
A short entertaining look at Star Wars’ secret sauce. Joseph Campbell? Kurosawa? Flash Gordon? The ancient future? The sounds? (PS: The Wilhelm Scream shows up pretty early on in The Force Awakens, as Poe and Finn exit the First Order hangar bay.)
From Tony Zhou comes another episode of Every Frame a Painting. In it, he uses Bong Joon-ho’s Memories of Murder to explore ensemble staging, how movies can direct an audience’s onscreen attention when many people are on the screen at the same time, and why a director would want to do that.
Jordan Hanzon made an edit of Inside Out showing only the “outside” parts of the film…so, none of the stuff with Joy, Sadness, Anger, etc. I bet Pixar had an internal cut like this just to make sure the outside stuff hung together independent of the inside. (via devour1)
I love Devour. They find great videos and curate their selection well. But they never credit their sources. More than a dozen times in recent months, I’ll post a video to kottke.org and it’ll show up on Devour within 30 minutes or so. (How do I know they’re taking from me and not the place I originally found them? Because I often don’t post stuff right away because of my scheduling, pacing, etc.) Anyway, it’s not just me…they take stuff from Colossal and other places as well. It sucks. I’ve complained to them on Twitter and nothing changed. For the past few months, I’ve been using a tit-for-tat approach and not crediting Devour for finding a video on their site. Since it’s the new year, I’m giving them another chance. Come on, Devour, stop being a leech and credit your sources!↩
Radiohead were commissioned to write the theme song for Spectre, the newest James Bond movie. The movie’s producers decided to go in a different musical direction, so the band recently put the rejected song up on Soundcloud. Enjoy. (via df)
Update: They took the full version down from Soundcloud but it’s up on Spotify.
Of Oz the Wizard is the entire Wizard of Oz movie presented in alphabetical order by dialogue. So it starts with all the scenes where Dorothy and the gang say “a”, “aaiee”, “along”, and proceeds through “you’re” and “zipper”. Even the words on each of the title cards are sorted alphabetically.
(I feel like I’ve posted this before — or something like it — but I can’t find it in the archives. Anyone?)
Update: Ah yes, I was thinking of this alphabetized version of Star Wars (which I’ve seen before but somehow never posted):
Another example is Thomson & Craighead’s The Time Machine. Matt Bucy, the creator of Of Oz the Wizard, seems to have pioneered this technique (the Vimeo page indicates it was completed in April 2004) but didn’t post the video online until a few days ago. (via @Mister_Milligan, @sannahahn)
How can Han Solo talk to and understand any alien he meets? Why is he such a gifted pilot? In this short piece from 2008, Tim Carmody answers those questions and more: Han Solo Has the Force.
Luke and Vader (especially young Anakin) are remarkable, inventive pilots, as is Lando, but Han blows them all away. In one scene after another in Empire, Han is able to perform feats that Artoo or Threepio say are mathematically near-impossible. He does this in a ship that has a remarkable warp-speed computer but which appears singularly unsuited for close-quarters maneuvers. Finally, he gets the drop on Vader in Episode IV, and while Vader may have been distracted by his sensations re: Luke, this is still evidence that we are dealing with a very special pilot.
And there’s further evidence from The Force Awakens (slight spoilers!): he shoots a stormtrooper with a blaster without looking. As I recall, it wasn’t a look-away, like this Cristiano pass or this Jordan assist, it was more like he could actually see the stormtrooper behind him. (Of course, Cristiano and Jordan might also be Force-sensitive, but that’s another post.)
A behind-the-scenes photo from “2001: A Space Odyssey” from Coudal’s treasure trove of “Stuff About Stanley Kubrick.”
Charlie Kaufman, who wrote “Being John Malkovitch” and “Eternal Sunshine of the Spotless Mind” and wrote and directed “Synecdoche, New York,” talks about his latest writing/now co-directing project, “Anomalisa,” which is “a stop-motion animated dark comedy about a depressed customer-service expert who falls in love on a business trip”:
Is it weird for me to say that Anomalisa contains the most realistic sex scene I’ve ever seen in a movie? Given that it’s happening between puppets?
It’s not weird. Almost everybody we speak to feels that way. We worked really hard on that scene. It took six months to shoot. We were very aware of people coming into it thinking it was going to be like Team America, that it was going to be a joke, and we didn’t want it to be [like that]. We knew there would probably be some laughing at first because it’s puppet sex. We weren’t opposed to that, but what we found is that there is the occasional laugh at that point out of nervousness, but then people get really quiet.
There’s also an interview with co-director Duke Johnson that starts, “‘There were a lot of penises,’ says Duke Johnson. ‘They break very easily because they’re tiny.’”
Katherine Waterston has been cast to star in “Alien: Covenant,” the sequel to “Prometheus” to be directed by Ridley Scott. Waterston starred in Paul Thomas Anderson’s “Inherent Vice” and is the daughter of actor Sam Waterston.
So what’s the storyline?
Specific plot details are being closely guarded, but it is believed to follow the crew of the colony ship Covenant, bound for a remote planet, who discover what they believe is an uncharted paradise. But in fact it’s a dark, dangerous world whose the only inhabitant is David (Michael Fassbender), the “synthetic” and survivor of the doomed Prometheus expedition.
1. There are SPOILERS in this post. If you have not seen the movie, do not continue reading. I’ve only read one other review of the movie, so much of this may be stated elsewhere (and better) by others.
2. Overall, I enjoyed the movie. But thinking back to The Phantom Menace, I also enjoyed that quite a bit in the same spine-tingling way. But this movie is way better than the prequels were.
3. The cast was excellent and the casting progressive. I love that the two new protagonists are a black man and a woman. “Why are you grabbing my hand?”
4. Carrie Fisher’s voice has changed a lot. It suited her character.
5. By far the best part of the movie at the showing I went to didn’t appear on screen. I went to a matinee at 11am and the audience was mostly adults…probably 98% over the age of 30. When Rey uses the Force to persuade the Stormtrooper to release her, a little kid’s voice from the front row echoed out loudly across the entire theater: “Jedi mind trick”. The place exploded in laughter. A perfect comedic moment.
6. How many times are they going to keep making the same movie though? The plots of A New Hope, Return of the Jedi, and The Force Awakens are more or less the same: a small band of resistance fighters going up against an evil superpower headed by two practitioners in the Dark Side discover a weakness in the enemy’s planet-sized superweapon and destroy it with some X-wing fighters in the nick of time. Also: stolen plans in a droid, a young orphan discovering the ways of the Force, a trench run by a gifted young pilot to blow up the superweapon, a bailing-out of the X-wing fighters by the crew of the Millennium Falcon, sons/students striking down their fathers/masters, and so on. Is this part of the reason that Empire Strikes Back is considered the best of the series, because it’s different?
7. When Lucas made the first trilogy (and when he and Spielberg made Raiders of the Lost Ark), he constructed it from a bunch of different sources from when he was a kid and in film school. With The Force Awakens, JJ Abrams did the same thing, but instead of pulling from Flash Gordon and Kurosawa like Lucas did, he pulled from what he grew up with as a kid and in film school…Star Wars and Spielberg. In a way, The Force Awakens is a reboot of the original 1977 Star Wars, similar plot and all. And even if it isn’t a true reboot, it sure does rhyme.
8. Aside: when is the Empire/First Order going to learn not to put all of their eggs in one basket? Their superweapon strategy has failed three times now. They always seem to know where the rebels are hiding, they possess overwhelming force…why don’t they just defeat them through conventional means?
9. More synchronicity. When I watched the original Star Wars as an adult, one of the things I noticed is what a relatively minor character Vader is in the Empire when compared to his importance to the story and his increased power & responsibility in Empire and Jedi. He’s not in command, he’s not really part of the military at all, and the military leaders aren’t all that impressed with The Force. It’s almost almost like he’s the Emperor’s personal assistant. Kylo Ren’s role in The Force Awakens is similar…he’s not in charge (General Hux is), he’s not really part of the military (although he commands troops), and according to Snoke, Ren hasn’t even completed his training. (What was Vader’s excuse, then? He presumably completed his training long before the events of A New Hope…what was taking him so long to gain power?)
10. The scene at the very end bugged me. Having discovered the whereabouts of Luke Skywalker, the last of the Jedi, the Resistance sends Ren, Chewy, and R2 to see what’s up? I get the symbolism and all, but wouldn’t Leia be interested in seeing her brother again? Or more persuasive in getting him to come out of retirement?
11. We’re going to hear more about Rey’s parentage, right? She’s Luke’s daughter or something? (I’m guessing not. Waaay too obvious, even for Star Wars.)
12. Speaking of parentage, why is Snoke so big? So we’re not wondering if Rey is Snoke’s granddaughter or something? Or is it that Snoke’s hologram is big and he’s normal sized? (Wookiepedia says Snoke is 7 feet tall but doesn’t cite a source.)
13. If you liked this movie, you have to give the proper credit to George Lucas for allowing it to exist. He could have sat on this series until after his death and beyond. But he didn’t. He sold the whole shebang to Disney and trusted Kathleen Kennedy to make more movies.
14. Ok, Kennedy. Now I want to see Quentin Tarantino’s Star Wars. Wes Anderson’s Star Wars. Miranda July’s Star Wars. Seriously, do this. (I do not want to see Kevin Smith’s Star Wars. That one you can keep.)
15. All theaters should have assigned seating. I got the exact two seats I wanted (two months ahead of time) and showed up to the theater about 10 minutes before showtime, sat down, and the lights went down soon after. So much less stress than getting there 45 minutes (or 2 hours) beforehand and playing Are These Seats Taken? with strangers.
Update: 16. Does Han’s death scene reference the cantina scene w/ Greedo in Episode IV? He and Ren are both holding the lightsaber. Ren tells Han he needs to do something but doesn’t know if he can go through with it. Ren asks Han to help. The lightsaber activates and Han dies. Does Han activate the lightsaber, thereby causing his death? In other words, does Han shoot first? (Bonus update: I just saw the movie again and I don’t think Han activates the lightsaber. He looks too surprised and Ren definitely thrusts the saber into him.)
Update: 17. In his belated review, Chris Blattman notes the remarkable agreement on the lack of spoilers on social media:
Humanity’s tacit agreement to abide by a no-spoilers-on-social-media rule was one of the greatest acts of social cooperation I have witnessed. And we used it up to keep you from learning Han Solo is killed.
Star Wars Minus Star Wars is a video essay on the original film that doesn’t use a single shot, sound, or snippet of music from the original movie. Instead, it strings together scenes and sounds from movies that influenced George Lucas in making the film and also from movies that have been influenced by Star Wars.
It’s impossible to overstate the impact of Star Wars. Its arrival in theaters on May 25th 1977 marked the end of one chapter in film history and the beginning of another. It’s a hinge on which film history swings. Upon its release, critic Pauline Kael derided the film as “an assemblage of spare parts-it has no emotional grip… an epic without a dream” Twenty years after its release critic Roger Ebert remarked that the film “colonized our imaginations, and it is hard to stand back and see it simply as a motion picture, because it has so completely become part of our memories.”
They’re both right. Star Wars succeeded because of its roots in film history and mythology, and its influence over generations of filmmakers can be felt in countless works that came after it. For better or worse, Star Wars engulfs the past and future of moviemaking.
That was super-fun to watch. See also Where did Star Wars come from? and Paul’s Boutique Minus Paul’s Boutique. (via @tonyszhou, who calls it “the best Star Wars video essay ever”)
Update: This might be even more impressive. John D’Amico made a full-length shot-for-shot remake of Star Wars using material that influenced (or may have influenced) Lucas in making the film. Very cool.
(thx, jim)
The most teasing of teaser trailers is out for Fantastic Beasts and Where to Find Them, the Harry Potter prequel that everyone insists isn’t a prequel. Out November 2016. (via trailer town)
Update: Toooootally a prequel…Dumbledore gets name-dropped in this one:
Update: The full trailer has been released:
For the past few years, Russian director Ilya Khrzhanovsky has been working on a film called Dau about Soviet physicist Lev Landau. Well, sort of. Khrzhanovsky had a huge set built in Ukraine containing a version of a mid-20th century Soviet research institute. For two years, he filmed hundreds of volunteers living on the set as though they were Soviet scientists.
Participants were required to live in period costume (the on-set tailor updated the fashions of the moment as required), to eat period food in period packaging, paid for in Soviet roubles, and to renounce all anachronisms, physical and verbal. No mobile phones, no internet, no laptops; no mention of the state of Israel before the on-set calendar reached 1948. News was supposed to be provided exclusively by the fully staffed on-set newspaper and the on-set radio station. Women were forbidden to wear modern tampons: Soviet-model cloth versions were made available.
When journalist Michael Idov visited the set in 2011 for GQ, even he had to be in character.
ROSENBERG: That’s when Khrzhanovsky appeared. Wearing strangely outdated clothing and spectacles, the director looked sort of like a young Albert Einstein. He would be giving Michael a personal tour of the set, but first Michael would have to be processed.
IDOV: Because you were not supposed to admit that the film shoot was in fact a film shoot. Instead, everyone was operating under the notion that it’s the ’50s. That day it was 1952. So I needed to be made into a 1952 version of myself. They took away my clothes. They gave me a new haircut with, like, temples shaved off and gave me an incredibly itchy period suit - including the underwear.
The one thing I was allowed to keep was my watch. I had a vintage watch from 1959 and after a pretty intense discussion they decided it was OK to let me keep this watch from the future.
ROSENBERG: Then Khrzhanovsky instructed Michael to give his freshly minted Soviet passport to a man guarding an otherwise nondescript hallway.
Makes me think of the play staged by Philip Seymour Hoffman’s character in Charlie Kaufman’s Synecdoche, New York. (via @philgyford)
Am I crazy or does this 70s crime comedy starring Russell Crowe and Ryan Gosling actually look good? I mean, it likely won’t be that good, but entertaining this pleasant fiction will make us happy until next May, when we’ll know for sure. FYI: this is a “red band” trailer, so NSFW and all that.
Here’s the teaser trailer for the Spielberg-directed adaptation of Roald Dahl’s The BFG. Hmm. (via the slick new trailer town)
Update: The full trailer has dropped.
I was about to say something about how Spielberg rarely directs animated films but BFG isn’t actually animated. Or is it? CG has gotten so good and blockbusters so reliant on special effects that it’s hard to tell what’s real. I mean, superhero movies are so laden with special effects that they might as well be considered animated. They’re all basically Who Framed Roger Rabbit? but done so seamlessly that you can’t tell Toontown from the real world.
One of the things I look forward to at the end of each year is David Ehrlich’s video compilation of his favorite films of the year. 2015’s installment does not disappoint.
Today, the NY Times is running an editorial by Dr. Bennet Omalu called Don’t Let Kids Play Football. Omalu was the first to publish research on CTE in football players.
If a child who plays football is subjected to advanced radiological and neurocognitive studies during the season and several months after the season, there can be evidence of brain damage at the cellular level of brain functioning, even if there were no documented concussions or reported symptoms. If that child continues to play over many seasons, these cellular injuries accumulate to cause irreversible brain damage, which we know now by the name Chronic Traumatic Encephalopathy, or C.T.E., a disease that I first diagnosed in 2002.
Depending on the severity of the condition, the child now has a risk of manifesting symptoms of C.T.E. like major depression, memory loss, suicidal thought and actions, loss of intelligence as well as dementia later in life. C.T.E. has also been linked to drug and alcohol abuse as the child enters his 20s, 30s and 40s.
The story of Omalu, his research, and its suppression by the NFL is the subject of Concussion, a movie starring Will Smith that comes out on Christmas Day, as well as a book version written by Jeanne Marie Laskas.
Update: Dr. James Hamblin shares the findings of a new paper on how repeated head trauma can affect the brains of kids as young as 8.
In the journal Radiology today, an imaging study shows that players ages 8 to 13 who have had no concussion symptoms still show changes associated with traumatic brain injury.
Christopher Whitlow, chief of neuroradiology at Wake Forest School of Medicine, wanted to see how head impact affects developing brains. His team studied male football players between ages 8 and 13 over the course of a season, recording “head impact data” using a Head Impact Telemetry System to measure force, which was correlated with video of games and practices.
“DVD extras” is a phrase that’s rapidly receding in the pop cultural rearview mirror, but YouTube is chock full1 of them for many popular movies and shows. Here are a few behind-the-scenes looks at Wes Anderson’s The Grand Budapest Hotel.
Bonus video: how to make a Courtesan au Chocolat from Mendl’s:
“Chock full” is another antique phrase, although I bet people will still be using “chock full” long after “DVD extras”.↩
With the new Star Wars movie only a couple weeks away, fans and Star Wars scholars have gone into hyperdrive1 spinning alternate theories about what the series of movies are all about. The most popular such theory attempts to rehabilitate the worst character in the prequels, Jar Jar Binks. Because maybe he’s the most powerful Sith Lord in the galaxy? Who uses drunken fighting like Jackie Chan?
Another theorist asserts that the prequels were secretly brilliant because of a little-discussed over-arching theme related to the Jedi Code and the corruption of the Jedi.
But my personal favorite theory suggests that the past and future Star Wars movies are about ridding the galaxy of a bacterial plague carried by the Jedi.
I don’t know what Midi-chlorians actually are. They might be something like symbiotic/parasitic bacteria or archaea, they might be organelles that live inside a cell, they might even be coherent chunks of molecular code…machines living inside the very DNA of their hosts.
What I do know is what they can do. They manipulate their hosts, they control them and eventually take them over. Eventually, they force them to fight while releasing as much dark energy as they can possibly manage, because that’s how they continue their life cycle.
Being force sensitive just means you’re more heavily infested and more easily manipulated.
Update: The Radicalization of Luke Skywalker suggests that the first three Star Wars films about Luke Skywalker becoming a terrorist.
A more focused study, however, is needed to truly understand that the Star Wars films are actually the story of the radicalization of Luke Skywalker. From introducing him to us in A New Hope (as a simple farm boy gazing into the Tatooine sunset), to his eventual transformation into the radicalized insurgent of Return of the Jedi (as one who sets his own father’s corpse on fire and celebrates the successful bombing of the Death Star), each film in the original trilogy is another step in Luke’s descent into terrorism. By carefully looking for the same signs governments and scholars use to detect radicalization, we can witness Luke’s dark journey into religious fundamentalism and extremism happen before our very eyes.
Cue the Millennium Falcon’s hyperdrive malfunction noise…↩
In this video about the making of The Hobbit movies, members of the film crew, including director Peter Jackson, admit that they didn’t really have a good idea of what was going to happen in the movies until they were on the set filming and that they made a lot of it up as they went along.
The above clip is from a behind-the-scenes video on the Battle of the Five Armies Blu-ray, and it features Peter Jackson, Andy Serkis, and other production personnel confessing that due to the director changeover — del Toro left the project after nearly two years of pre-production — Jackson hit the ground running but was never able to hit the reset button to get time to establish his own vision. In comparison, he spent years prepping the original Lord of the Rings trilogy, and on the Hobbit things got so bad that when they started shooting the titular Battle of Five Armies itself they were essentially just shooting B-roll: footage of people in costumes waving around swords, without any cohesive plan for how the sequence would actually play out. (A choice Jackson quote: “I didn’t know what the hell I was doing.”)
No idea why they would release a video like this which pretty much admits that the movies weren’t as good as they should have been. I mean, they still made a crap-ton of money at the box office (a combined $3 billion worldwide), so happy ending for them anyway I guess?
George Lucas says he had nothing to do with The Force Awakens and furthermore that the movie was not done the way he would have done it.
“The issue was ultimately, they looked at the stories and they said, ‘We want to make something for the fans,’” Lucas said. “People don’t actually realize it’s actually a soap opera and it’s all about family problems — it’s not about spaceships. So they decided they didn’t want to use those stories, they decided they were going to do their own thing so I decided, ‘fine…. I’ll go my way and I let them go their way.’”
Soooooooooooooooo, if Star Wars is a family story, why did you make it about spaceships and special effects?
Perhaps inspired by the long time scale filmmaking of Richard Linklater’s Boyhood, John Malkovich and Robert Rodriguez have teamed up to make a movie that won’t be released until 2115. Why? As a promotion for luxury brand Louis XIII Cognac, which is also aged 100 years. According to io9, Louis XIII is sending out 1000 tickets to people whose descendants will be able to see a screening of the film 100 years from now.
I wonder how serious they are about this? To what extent have they futureproofed their media? The io9 piece says the movie is “preserved on film stock”…is that and an old movie projector sufficient? Have they consulted with MoMA or Danny Hillis?
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