Art of the Title covers ‘Run Lola Run’ →
The whole film is a visual treat, but I remember seeing that opening sequence for the first time in theaters distinctly. I still occasionally pop in Run Lola Run‘s soundtrack today.
The whole film is a visual treat, but I remember seeing that opening sequence for the first time in theaters distinctly. I still occasionally pop in Run Lola Run‘s soundtrack today.
I’m not a filmmaker, nor do I have any intention of starting down that path, but I found these series of videos from lightsfilmschool.com pretty fascinating. The first video breaks down the 180 degree rule, a key guideline with two character film scenes. The second looks at various distances to shoot characters, introducing some terminology and motivations behind each distance.
Great series of images from Bond’s latest spawned from this Reddit thread. I’m rooting for Deakins, the look of that film honestly is at least half the reason I’d place it in my top five Bond films of all time.
The FontFeed‘s Yves Peters looks at typographic choices made on poster art for recent Hollywood releases. Interesting to see the ubiquitous Helvetica Neue put to both great (Zero Dark Thirty) and not so great (Django Unchained) use.
The A.V. Club‘s Todd VanDerWerff:
But I’ll still miss the idea of everybody watching everything together. With every new freedom comes a kind of loss, and sometimes, those can’t be quantified. We’ve been consuming content in serialized fashion for centuries now—people made weekly visits to theaters long before the novel was even a glint in Cervantes’ eye—and that habit will likely die hard. And maybe I’m being a stick-in-the-mud here, tied to a method of TV watching that was already in its death throes when I was a child. But when I can watch a great episode of TV with my watercooler—real or virtual—around me, that increases the value of it to me, increases the sense that I’m a part of something.
This is a long, long read, but it’s the smartest breakdown I’ve read of what’s really going on in Shane Carruth’s cult time travel film. Makes the wait for Upstream Color a lot harder.
If you’ve got twelve minutes and dig science fiction films, watch this Vimeo video essay by Steven Benedict. It jumps around in its coverage, but on a surface level it illustrates why Blade Runner still holds up as one of my favorite films.
Columbia professor Tim Wu, writing for The New Yorker:
That doesn’t mean the cable industry has no prospects. But this year or next, cable companies will have to accept that they are no longer the gatekeepers for the best content. It means, eventually, that the industry will probably have to embrace the idea of simply carrying the content of others (which was its original business model), and essentially function as what used to be called an “Internet-service provider.”
Wu is a very smart guy, and his points about the potential impact of House of Cards are argued well. But I’m not as optimistic that the ‘best content’ will move as rapidly away from cable as he predicts.
There’s a reason that this long interview with Vulture‘s Mary Kaye Schilling is getting so talk online. It’s because it’s great, candid, and moves in directions I never would have expected (e.g. Soderbergh loves reading US in airports).
A nice ongoing feature over at Press Play with video essays and written analysis of this year’s Oscar nominees. I especially liked their breakdown of the supporting actress category; with all this attention focused on Anne Hathaway, it’s easy (and unjustified) to forget why the other four nominees are even there, especially Jackie Weaver.