Typographically inspired movie titles
Typographically inspired movie titles, including Full Meta Jacket, Bembo: First Blood, and He-Man and the Masters of the Univers.
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Early movie reviews
Russian writer Maxim Gorky wrote one of the first movie reviews in 1896 after seeing a collection of Lumiere films. Film/sound editor Walter Murch introduces the piece:
It is written on a completely clear slate, by someone who had not already been taught how to regard the cinema by a thousand other writers, and the newness of it all leaps from the page. What is remarkable is Gorky’s prescience in the last two paragraphs, as he leaps ahead from his description of the first films to speculation on what directions the cinema might eventually take, toward sex and violence. How did he know?
The bulk of Gorky’s short review concerns the absence of color and sound from the films, as if he’s viewing shadows of reality.
Their smiles are lifeless, even though their movements are full of living energy and are so swift as to be almost imperceptible. Their laughter is soundless although you see the muscles contracting in their grey faces. Before you a life is surging, a life deprived of words and shorn of the living spectrum of colours — the grey, the soundless, the bleak and dismal life.
In a collection of accounts of new technology, the NY Times has a pair of film reviews, the first from the Paris debut of the Lumiere films in 1895:
Photography has ceased to record immobility. It perpetuates the image of movement. When these gadgets are in the hands of the public, when anyone can photograph the ones who are dear to them, not just in their immobile form, but with movement, action, familiar gestures and the words out of their mouths, then death will no longer be absolute, final.
And this one from the projectionist of the first Lumiere in NYC:
You had to have lived these moments of collective exaltation, have attended these thrilling screenings in order to understand just how far the excitement of the crowd could go. With the flick of a switch, I plunge several thousand spectators into darkness. Each scene passes, accompanied by tempestuous applause; after the sixth scene, I return the hall to light. The audience is shaking. Cries ring out.
The Times also has a short article previewing the debut of Thomas Edison’s vitascope1, which demonstrates the difficulty in describing this new technology to the public.
The vitascope projects upon a large area of canvas groups that appear to stand forth from the canvas, and move with great facility and agility, as though actuated by separate impulses. In this way the bare canvas before the audience becomes instantly a stage upon which living beings move about.
That sounds a bit boring but audiences loved it.
So enthusiastic was the appreciation of the crowd long before this exhibition was finished that vociferous cheering was heard. There were loud calls for Mr. Edison, but he made no response.
By 1898, the language of cinema was beginning to sort itself out, more or less, as this Times editorial notes.
All the resources of the word-builders see to have been exhausted in finding names for the simple but ingenious machine that throws moving pictures on a screen. The essential features in every device of this sort are the same — a brilliant light before which a long band of minute photographs is rapidly drawn, and a lens to focus and distribute the rays properly. The arrangements for the manipulation of the light, the band, and the lens are numerous, but they vary only in the inconsequential details, and for all practical purposes the machines are identical. Some mysterious impulse, however, has impelled almost every purchaser of the apparatus to buy with it, or to invent for it, a distinctive name. Vitascope and biograph are most familiar here, with cinematograph coming next at a considerable distance. These hardly begin the list that might be formed from a careful study of the amusement advertisements in the papers of this and other countries. From such sources might be taken phantoscope, criterioscope, kinematograph, wondorscope, animatoscope, vitagraph, panoramograph, cosmoscope, anarithmoscope, katoptikum, magniscope, zoeoptrotrope, phantasmagoria projectoscope, variscope, cinograph, cinnomonograph, hypnoscope, centograph, and xograph. This is far from exhausting the supply. Electroscope exists, and so do cinagraphoscope, animaloscope, theatrograph, chronophotographoscope, motograph, rayoscope, motorscope, kinotiphone, thromotrope, phenakistoscope, venetrope, vitrescope, zinematograph, vitropticon, stinnetiscope, vivrescope, diaramiscope, corminograph, kineoptoscope, craboscope, vitaletiscope, cinematoscope, mutoscope, cinoscope, kinetograph, lobsterscope, and nobody knows how many more. Here, surely, is a curious development of the managerial mind.
It’s difficult to read these accounts and not think about how we’ll all sound in 100 years as we now attempt to explain the internet, mobile phones, the web, blogs, and the like.
[1] Edison didn’t actually invent the vitascope. Thomas Armat sold the rights to his invention to The Edison Company on the condition that Edison could claim to have invented it. ↩
Disney/Pixar progress
The NY Times has a look at the progress made by Disney since their 2006 acquisition of Pixar, a purchase some say Disney paid too much for.
“There is an assumption in the corporate world that you need to integrate swiftly,” Mr. Iger said. “My philosophy is exactly the opposite. You need to be respectful and patient.” Key to the successful integration, analysts say, has been Mr. Iger’s decision to give incoming talent added duties. Instead of just buying Pixar and moving on, Mr. Iger understood what made the acquisition valuable, said Mr. Price, the author. “If you are acquiring expertise,” he said, “then dispatch your newly purchased experts into other parts of the company and let them stretch their muscles.”
It also sounds as though Pixar has loosened their high standards since the acquisition…they’re outsourcing some animation, doing more sequels (Cars 2, presumably for the merchandising), and making several direct-to-DVD movies.
Twisted: A Balloonamentary
An interesting-sounding documentary, on a row between two schools of balloon twisters. (Some examples of the craft.) From the NYT:
“Twisted: A Balloonamentary” examines the world of professional balloon twisters, who make everything from life-size racing cars to their own wedding dresses. It also exposes the rift—who knew?—between the “gospel twisters,” who use their craft as a way to teach Bible lessons, and the “adult” twisters, who use balloons for more prurient entertainment.
“I refused to see the movie” when it first played, said Ralph Dewey, a prominent gospel twister from Deer Park, Tex. “There’s just too much unclean stuff in there.” He and several other like-minded twisters boycotted a screening of “Twisted” at a balloon convention in Texas last year.
The scenes that might make Mr. Dewey squirm take place at a gay men’s party in Las Vegas, where balloons are fashioned into parts of the male anatomy that are most logically suited for this purpose.
According to the twisters themselves, the two factions have long co-existed, however uncomfortably, at conventions and other gatherings, but the film is bringing simmering resentments to the surface.
Star Wars: The Clone Wars
Lucas finally does away with all those pesky human actors in an animated sequel to Episode II that no one was clamoring for. But I had to look at the trailer.
Indiana Jones and the Kingdom of the Crystal Skull
If you need a reminder of Harrison Ford’s ability to play Indiana Jones after nearly 20 years on the shelf, it comes in the movie’s opening scene. Indy is roughly extracted from a car and tumbles to the ground. We see him stumble towards his trademark hat with that walk, a graceful stuttering step, wary of booby traps even on solid ground. Even though the camera shows us only his boots, it’s unmistakably Indiana Jones.
That walk is also a signal that Lucas and Spielberg didn’t screw this whole thing up…aside from the goofy film title (although having seen the movie, anything else would have ruined the surprise). They didn’t take the bait offered by Casino Royale or The Bourne Ultimatum and attempt to shoehorn Dr. Jones into a frenetic, circa-2008 thrill-ride. Oh, there were thrills alright and plenty of swashes were buckled, but this was an action/adventure movie straight out of the 80s. Safe territory for Lucas and Spielberg perhaps, but for someone who believes that the best 80s action adventure movies have something to teach contemporary filmmakers (#1 of a long list: Don’t make the special effects the star), the film was a thoroughly enjoyable territory in which to spend an evening. (thx to nextnewnetworks for the ticket hookup)
Hancock, second trailer
The second trailer for Hancock, the Will-Smith-as-apathetic-superhero movie due out this summer, is up on Apple Trailers. I believe this is the same one I linked to on YouTube a month ago, but watch it again anyway. I am hoping against hope that this one isn’t going to be as stupid as I think and instead will be as awesome as I hope.
Scrubbing the grain from HD movies
Possible collateral damage from the ascendence of HD and Blu-ray: people want their movies to look nice and clean and sharp and without film grain, even if the feel of a movie calls for it.
Unfortunately, what seems to happening right now is that the studio marketing folks are conducting focus groups with new Blu-ray consumers, who are saying they want perfect pictures every time. As a result, a few of the Hollywood studios are currently A) using excessive Digital Noise Reduction to completely scrub film grain from their Blu-ray releases, or B) not releasing as many older catalog titles as they might otherwise for fear that people will complain about grain. Some studios are even going so far as to scrub the grain out of NEW releases that have been shot on film. Case in point: New Line’s Pan’s Labyrinth Blu-ray Disc. When I saw this film in the theaters, it was dark and gritty. The grain was a deliberate stylistic choice — part of the artistic character of the film. New Line’s Blu-ray, on the other hand, is sparkly and glossy — almost entirely grain-free. So much fine detail has been removed that the faces of characters actually look waxy. Everyone looks like a plastic doll.
(via house next door)
Elusive movie objects
Sixteen elusive movie object of desire, including White Castle burgers in Harold & Kumar, the Ark of the Convenant in Raiders of the Lost Ark, and the One Ring from the LOTR trilogy.
Fight Club
This one’s not holding up as well as one would think. The first time I saw it, in the theater in 1999, my reaction was “eh”. The second time, on DVD a few years ago, I thought it was great. Now I’m back closer to “eh” again.
HD retouching
Related to yesterday’s post about photo retouching is this article about how challenging high definition is to makeup artists and actors alike (via house next door) .
John Toll is an Academy Award-winning cinematographer who has had limited exposure to HD photography, but who understands the impact of it on the business. “Film tends to be more kind,” he said. “Now with HD, they’re doing things like more filtration, or softening of the light, or degrading the image so it’s not so highly defined. It’s sort of what they used to do in movie star close-ups, an over-diffused style to try to make them look glamorous. Now they do it so you don’t see every pore in a close-up on skin.”
Also related, James Danziger weighs in on the Dove/Dangin/Leibovitz controversy the latter of whom is represented by Danziger’s gallery.
Any photograph used in a magazine, a billboard, an album cover, whatever — can only be presumed to be a photo-based illustration. The issue, which Dove’s well-intentioned campaign addressed, is the effect these illustrations have on the psyche, self-esteem, and well-being of women (in particular) not to mention the unrealistic view men might have of women. It brings to mind the shock the eminent Victorian art critic John Ruskin experienced upon discovering his wife’s pubic hair, after which he was unable to consummate the marriage. Divorce followed shortly.
1001 Movies You Must See Before You Die
Ok, we’ve done books so let’s move on to movies. From the book by Steven Jay Schneider comes a list of 1001 movies you must see before you die. Since it’s less time consuming to watch movies rather than read books, I did a lot better on this list…I’ve seen 214/1001 movies on the list. My favorites are marked with an asterisk.
Nosferatu, A Symphony of Terror(1922)
The General (1927)
King Kong (1933)
Snow White and the Seven Dwarfs (1937)
The Wizard of Oz (1939)
Gone With the Wind (1939)
Pinocchio (1940)
Citizen Kane (1941)
Casablanca (1942)
It’s a Wonderful Life (1946)
On the Waterfront (1954)
Rear Window (1954)
The Seven Samurai (1954)
Touch of Evil (1958)
The 400 Blows (1959)
North by Northwest (1959)
La Jetee (1961)
West Side Story (1961)
Lolita (1962)
Goldfinger (1964)
Dr. Strangelove (1964)*
A Hard Day’s Night (1964)
The Sound of Music (1965)
Faster, Pussy Cat! Kill! Kill! (1965)
The Graduate (1967)
Cool Hand Luke (1967)
Rosemary’s Baby (1968)
2001: A Space Odyssey (1968)
Butch Cassidy and the Sundance Kid (1969)
A Clockwork Orange (1971)*
Willy Wonka and the Chocolate Factory (1971)
Harold and Maude (1971)
Dirty Harry (1971)
Deliverance (1972)
The Godfather (1972)*
The Sting (1973)
American Graffiti (1973)
The Conversation (1974)
Young Frankenstein (1974)
Chinatown (1974)
Blazing Saddles (1974)
The Godfather Part II (1974)*
Dog Day Afternoon (1975)
One Flew over the Cuckoo’s Nest (1975)
The Rocky Horror Picture Show (1975)
Monty Python and the Holy Grail (1975)
Barry Lyndon (1975)
The Outlaw Josey Wales (1976)
All the President’s Men (1976)
Rocky (1976)
Taxi Driver (1976)
Network (1976)*
Star Wars (1977)*
Close Encounters of the Third Kind (1977)
Annie Hall (1977)
Saturday Night Fever (1977)
The Deer Hunter (1978)
Grease (1978)
Alien (1979)
Life of Brian (1979)
Apocalypse Now (1979)
The Jerk (1979)
The Muppet Movie (1979)
The Shining (1980)*
Star Wars: Episode V - The Empire Strikes Back (1980)*
Airplane! (1980)
Raging Bull (1980)
Raiders of the Lost Ark (1981)*
Fast Times at Ridgemont High (1981)
E.T.: The Extra-Terestrial (1982)
Blade Runner (1982)
Tootsie (1982)
Gandhi (1982)
A Christmas Story (1983)
Star Wars: Episode VI - Return of the Jedi (1983)
The Right Stuff (1983)
Scarface (1983)
Amadeus (1984)
The Terminator (1984)
This Is Spinal Tap (1984)
Beverly Hills Cop (1984)
Ghostbusters (1984)
The Killing Fields (1984)
The Natural (1984)
The Breakfast Club (1985)
Back to the Future (1985)
Brazil (1985)
Stand By Me (1986)
Blue Velvet (1986)
Aliens (1986)
Ferris Bueller’s Day Off (1986)
A Room with a View (1986)
Platoon (1986)
Top Gun (1986)
Raising Arizona (1987)
Full Metal Jacket (1987)
Withnail and I (1987)
Good Morning, Vietnam (1987)
The Princess Bride (1987)
The Untouchables (1987)
Fatal Attraction (1987)
Women on the Verge of a Nervous Breakdown (1988)
The Thin Blue Line (1988)
Akira (1988)
A Fish Called Wanda (1988)
The Naked Gun (1988)
Big (1988)
Dangerous Liaisons (1988)
Die Hard (1988)
Who Framed Roger Rabbit (1988)
Rain Man (1988)
The Accidental Tourist (1988)
Batman (1989)
When Harry Met Sally (1989)
The Cook, the Thief, His Wife and Her Lover (1989)
Do the Right Thing (1989)
Roger & Me (1989)
Glory (1989)
Say Anything (1989)
Goodfellas (1990)
Jacob’s Ladder (1990)
Dances with Wolves (1990)
Pretty Woman (1990)
Edward Scissorhands (1990)
Total Recall (1990)
Boyz ‘n the Hood (1991)
Raise the Red Lantern (1991)
Thelma & Louise (1991)
Terminator 2: Judgment Day (1991)
The Silence of the Lambs (1991)*
JFK (1991)
Slacker (1991)
The Player (1992)
Reservoir Dogs (1992)*
Glengarry Glen Ross (1992)
Unforgiven (1992)
The Crying Game (1992)
Groundhog Day (1993)
Philadelphia (1993)
Jurassic Park (1993)
Schindler’s List (1993)
The Piano (1993)
Hoop Dreams (1994)
Forrest Gump (1994)
Clerks (1994)
Four Weddings and a Funeral (1994)
The Lion King (1994)
Natural Born Killers (1994)
Pulp Fiction (1994)*
Muriel’s Wedding (1994)
The Shawshank Redemption (1994)*
Heavenly Creatures (1994)
Casino (1995)
Babe (1995)
Toy Story (1995)
Braveheart (1995)
Clueless (1995)
Heat (1995)
Seven (1995)*
Smoke (1995)
The Usual Suspects (1995)
Fargo (1996)
Independence Day (1996)
The English Patient (1996)
Shine (1996)
Trainspotting (1996)
L.A. Confidential (1997)
Princess Mononoke (1997)*
The Butcher Boy (1997)
The Ice Storm (1997)
Boogie Nights (1997)*
Titanic (1997)*
Saving Private Ryan (1998)
Buffalo 66 (1998)
The Big Lebowski (1998)
Run Lola Run (1998)
Rushmore (1998)*
Pi (1998)
Happiness (1998)
The Thin Red Line (1998)
There’s Something About Mary (1998)
Magnolia (1999)*
The Blair Witch Project (1999)
Three Kings (1999)
Fight Club (1999)
Being John Malkovich (1999)
American Beauty (1999)
The Sixth Sense (1999)
The Matrix (1999)*
Gladiator (2000)
Requiem for a Dream (2000)
Amores Perros (2000)
Crouching Tiger, Hidden Dragon (2000)
Traffic (2000)
Memento (2000)
Dancer in the Dark (2000)
Amelie (2001)
Spirited Away (2001)
No Man’s Land (2001)
Moulin Rouge (2001)
Monsoon Wedding (2001)
Mulholland Dr. (2001)
The Royal Tenenbaums (2001)*
The Pianist (2002)
Lost in Translation (2003)
Oldboy (2003)
Good Bye Lenin! (2003)
The Lord of the Rings: The Return of the King (2003)*
Fahrenheit 9/11 (2004)
A Very Long Engagement (2004)
Sideways (2004)
Caché (2005)
Brokeback Mountain (2005)
The Constant Gardener (2005)
If you’d like to post your movie list, I used this list along with a list of additions and subtractions.
Update: The very latest edition of the book adds and subtracts some more movies to/from the list; here are the added movies that I’ve seen:
Crash (2004)
Little Miss Sunshine (2006)
The Prestige (2006)
United 93 (2006)
Children of Men (2006)
El Laberinto del Fauno (2006)
The Queen (2006)
Apocalypto (2006)
The Departed (2006)
Volver (2006)
And deleted from the list:
Monsoon Wedding (2001)
Mulholland Dr. (2001)
A Very Long Engagement (2004)
Caché (2005)
It’s interesting to watch the churn on a list like this. With the newest movies, they’re making guesses as to how they’ll age and in many cases, the guesses aren’t that good. Also, removing Caché for Apocalypto? No fucking way. (thx, jack)
Movie director cameos
A collection of videos showing directors in cameos.
Many directors at some point in their careers have stepped out from behind the camera to act. This is typically in a smaller, cameo role, and often with varying degrees of success: sometimes they’re completely natural and sometimes they bring the film to a screeching halt. And sometimes you’d never even know they were there.
Director compilations
YouTube user barringer82 has posted several mini-compilations of films of different eras and directors. For instance: the 1980s, Wes Anderson, Stanley Kubrick, Paul Thomas Anderson, David Lynch, the 1990s, Quentin Tarantino, and the 1970s.
End of the blockbuster
Here’s the premise: taken together, this summer’s movies are bad enough that it signals the end of the summer blockbuster. The evidence in two parts.
Update: Counterpoint. (thx, patricio)
Roger Ebert + blog = subscribed. (via house next door)
Roger Ebert + blog = subscribed. (via house next door)
Standard Operating Procedure
To be honest, I was a little disappointed in Standard Operating Procedure…but the fault is my own, not the film’s. My expectation was that the film would start with the photos of Abu Ghraib & misdeeds of the lower ranking soldiers and then move up the chain of command, both militarily and thematically speaking, to explore the issues of truth in photography and culpability. To Morris’ credit, he didn’t do that. It’s too easy these days to attempt arguments about Iraq or the Bush Administration that connect too many dots with too little evidence…essentially propaganda that sings to the choir.
SOP has a surprisingly small depth of field; it’s the story of those infamous photos, the people who took & appeared in them, and what they have to say about the photos & the actions they purport to show. And in that, the movie succeeds. Morris leaves plenty of negative space into which the audience can insert their own questions about what the photographs ultimately depict and who’s responsible in the end.
Incidentally, Morris generated a bit of controversy recently when he admitted that he’d paid some of the interviewees in SOP. The criticism of this practice is that “the credibility of interviewees diminishes when money changes hands and that these people will provide the answers they think are desired rather than the truth”. That is a concern but no more so than every other reason for being untruthful, including not telling the truth out of spite for lack of payment. People have so many better reasons to lie than money.
The Expedition One crew, consisting of one
The Expedition One crew, consisting of one American and two Russian astronauts, spent 136 days in space aboard the International Space Station. Their logs include a record of the movies they watched while on their mission.
6 Feb 2001: We ate some dinner and watched the last part of “City of Angels”. Shep did his best to explain to Yuri and Sergei what the phrase “chick flick” means.
24 Feb 2001 We put some chow and the DVD player in the Soyuz and close the hatch about 0530. It takes 2 orbits to get the first set of hooks off and the docking tunnel pressure checked. We get the “Austin Powers” sequel in while all this is taking place. (Maybe a Soyuz first here).
Update: The Expedition One crew also documented their many computer problems.
Sergei notices that the Russian PCS laptop has locked up. He tries to reboot, but the Sun application software won’t load. Lots of messages on the screen noting data errors. Sergei thinks that it may be the hard drive. He boots up windows to see if the windows partition runs OK—it does. So at least some of the hardware is functional.
Maybe they need Macs?
I’ve got Will Smith action hero fatigue,
I’ve got Will Smith action hero fatigue, but HOLY CRAP does Hancock look awesome. I am into apathetic superheroes. There’s a second trailer available on YouTube…and its quality is surprisingly good. (You can tell I don’t make it out to the movies a lot these days…the first trailer has been out since December.)
The slipperiness of truth
Honestly I was getting a little burned out on Errol Morris. I’ve been reading his Times blog, reading and listening to interviews with him about Standard Operating Procedure, and went to see him at the Apple Store last night. (I was most intrigued by his observation that photographs both reveal and conceal at the same time.) But this (relatively) short interview with him on the AV Club site is worth reading and got me unburned out. One of the many choice quotes:
I wish they’d just get it over with and make [Iraq] the 51st state, because I think it’s the perfect red state: religious fundamentalists, lots of weaponry. How could you go wrong? We’re already spending a significant fraction of our gross national product on the infrastructure; such as it is, on Iraq. Make it the 51st state and get it over with.
The interviewer, Scott Tobias, makes an interesting observation toward the end.
It seems like there’s been plenty of instances in which big guys [i.e. Bush, Cheney, etc.] could have and should have been held accountable. Yet it’s not as if they’ve slipped a noose. It’s as if they deny that there’s even a noose to be slipped.
And Morris replies:
That’s what’s so bizarre. You know, there are smoking guns everywhere, and people are being constantly hit over the head with smoking guns, and people simply don’t act on them.
For me, this is the central mystery of the Bush administration. There has been demonstrable legal wrongdoing on the part of this administration and through some magical process, they’ve charmed the country and managed to sidestep not only legal action (including impeachment) but even the threat of legal action and — this is the best part — get fucking reelected in the process. With Bush’s disapproval rating at an all-time high (for any President since Gallup began polling), it’s not like people aren’t aware and the 2006 elections clearly show the country’s disapproval with Bush et al. Maddening and fascinating at the same time.
Pablo Ferro and Dr. Strangelove
Here’s the trailer for Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb.
It was done by a fellow named Pablo Ferro; it was his first movie trailer. Steven Heller writes:
After seeing Ferro’s commercials, Kubrick hired him to direct the advertising trailers and teasers for Dr. Strangelove and convinced him to resettle in London (Kubrick’s base of operations until he died there in March 1999). Ferro was inclined to be peripatetic anyway, and ever anxious to bypass already completed challenges he agreed to pull up stakes on the chance that he would get to direct a few British TV commercials, which he did. The black and white spot that Ferro designed for Dr. Strangelove employed his quick-cut technique — using as many as 125 separate images in a minute — to convey both the dark humor and the political immediacy of the film. At something akin to stroboscopic speed words and images flew across the screen to the accompaniment of loud sound effects and snippets of ironic dialog. At a time when the bomb loomed so large in the US public’s fears (remember Barry Goldwater ran for President promising to nuke China), and the polarization of left and right — east and west — was at its zenith, Ferro’s commercial was not only the boldest and most hypnotic graphic on TV, it was a sly subversive statement.
Ferro worked with Kubrick on the iconic and fantastic main titles for the film as well.
Kubrick wanted to film it all using small airplane models (doubtless prefiguring his classic space ship ballet in 2001: A Space Odyssey). Ferro dissuaded him and located the official stock footage that they used instead. Ferro further conceived the idea to fill the entire screen with lettering (which incidentally had never been done before), requiring the setting of credits at different sizes and weights, which potentially ran counter to legal contractual obligations. But Kubrick supported it regardless. On the other hand, Ferro was prepared to have the titles refined by a lettering artist, but Kubrick correctly felt that the rough hewn quality of the hand-drawn comp was more effective. So he carefully lettered the entire thing himself with a thin pen. Yet only after the film was released did he notice that one word was misspelled: “base on” instead of “based on”. Ooops!
If you want that hand-lettered look for yourself, Pablo Skinny is a font by Fargoboy that closely duplicates Ferro’s handwriting.
Ferro went on to make several well-known movie title sequences, including those for Bullitt and the original The Thomas Crown Affair but not Napoleon Dynamite. He collaborated with Kubrick once again on the trailer for A Clockwork Orange, another classic.
Update: According to this Wikipedia article, the work of Canadian avant-garde filmmaker Arthur Lipsett caught the eye of Stanley Kubrick after an Oscar nomination for his short film, Very Nice, Very Nice and, more importantly for our business here, that Kubrick directed the Strangelove trailer himself in Lipsett’s style after Lipsett refused to work with Kubrick on it:
Stanley Kubrick was one of Lipsett’s fans, and asked him to create a trailer for his upcoming movie Dr. Strangelove. Lipsett declined Kubrick’s offer. Kubrick went on to direct the trailer himself; however, Lipsett’s influence on Kubrick is clearly visible when watching the trailer.
The two are stylistically similar for sure, but Ferro is credited with having designed the main title sequence (according to the titles themselves). That passage doesn’t appear to have been derived from any particular source, so I looked for something more definitive. From a 1986 article by Lois Siegel
After his Academy Award nomination, he received a letter from British filmmaker Stanley Kubrick. The typewritten letter said, “I’m interested in having a trailer done for Dr. Strangelove.” Kubrick regarded Lipsett’s work as a landmark in cinema — a breakthrough. He was interested in involving Lipsett. This didn’t happen, but the actual trailer did reflect Lipsett’s style in Very Nice, Very Nice.
An endnote to a 2004 profile of Lipsett by Brett Kashmere describes what Kubrick wrote to Lipsett in the letter:
Kubrick described Very Nice, Very Nice (1961) as “one of the most imaginative and brilliant uses of the movie screen and soundtrack that I have ever seen.” Kubrick was so enthused with the film he invited Lipsett to create a trailer for Dr. Strangelove (Stanley Kubrick, 1965) an offer Lipsett refused. Stanley Kubrick, letter to Arthur Lipsett, Arthur Lipsett Collection, Cinematheque québécoise Archives, Montreal, May 31, 1962.
It’s not clear what the connection is between Lipsett’s work and the trailer that Ferro ended up producing for Strangelove, but several sources (including Heller) say that Ferro developed his quick-cut style directing commercials in the 1950s, work that would predate that of Lipsett.
Lipsett more clearly influenced the work of another prominent filmmaker, George Lucas. Lucas found inspiration in Lipsett’s 21-87 in making THX-1138 and borrowed the concept of “the Force” for the Star Wars movies. Lucas’ films are littered with references to Lipsett’s film; e.g. Princess Leia’s cell in Star Wars was in cell #2187. (thx, gordon)
Trailer for Glass, A Portrait of Philip
Trailer for Glass, A Portrait of Philip in 12 Parts, a film about composer Philip Glass. The joke that Chuck Close tells at the end is from a page on Glass’ own site. (via crazymonk)
Manufactured Landscapes
Manufactured Landscapes opens with an eight-minute tracking shot of a gigantic factory in China, the camera moving past row after row of workers assembling widgets until you feel like the factory floor circumnavigates the globe. The point of the shot, as with Edward Burtynsky’s photography, is to encourage the viewer to do some rudimentary mathematics about the scale of industry in the world:
eight minutes to move across one factory + look at all those employees + how many factories like this are there in China? = wow, that’s a lot of widgets
While it’s unfair to say that the movie goes downhill from there, the tracking shot packs such a punch that the rest of the film seemed lacking in comparison. It was the only shot in the film that really felt like the cinematic equivalent of Burtynsky’s photography…a long photograph, if you will.
A somewhat uneven list of the best
A somewhat uneven list of the best films that never won a Best Picture Oscar. As the commenters point out, lots of good films (like Raging Bull & Dr. Strangelove) were missed. (via house next door)
Female leads are difficult to find in blockbuster movies.
Female leads are difficult to find in blockbuster movies.
The Art of the Title Sequence, a
The Art of the Title Sequence, a blog highlighting good movie title sequences. (thx, ben)
NY Times film critic A.O. Scott
NY Times film critic A.O. Scott penned a short appreciation of fellow reviewer Roger Ebert for the Sunday Times, particularly his TV work.
His criticism shows a nearly unequaled grasp of film history and technique, and formidable intellectual range, but he rarely seems to be showing off. He’s just trying to tell you what he thinks, and to provoke some thought on your part about how movies work and what they can do.
Slow motion
Long rumination on the use of slo-mo in movies, particularly in Standard Operating Procedure. Being a slo-mo fan myself (especially when wielded by Wes Anderson or by NBC Sports during football games), I enjoyed this description of it:
Slo-mo can be a mesmerizing revelation of the grace inherent in the ordinary.
Slo-mo was invented and patented in 1904 by an Austrian priest-turned-physicist named August Musger. And who was working in the patent office in Austria in 1904?
My fantasy now is that Albert Einstein — working in the Swiss patent office in Bern in 1904, when Musger patented slo-mo in (relatively) nearby Austria — might have become aware of Musger’s slow-motion patent (perhaps it even crossed his desk?) and that contemplation of slo-mo might have influenced Einstein’s thinking about the nonabsoluteness, the relativity, of time.
Two other sort-of-related bits of Errol Morris news: 1) part 2 of his short series on re-enactments is now online, and 2) Morris will be talking about his new movie at the Apple Store in Soho on April 23 at 6:30pm. Prepare to wait in a long line. (thx, findemnflee)
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