Elokuvallisia huomioita maailmalta 25.01.2012 – 28.01.2012

  • A Game of Shadows: more to the mystery | fxguide – The arm plates were shot on a Phantom HD Gold camera at 432fps. “We ended up going 19 times slower than real-time for the frozen time moment,” says Quintavalle, “with things moving enough to see stuff rippling. The Phantom can go a lot higher speed than that still, but we didn’t need it to. We shot the whole thing fully slow motion, something like 7,000 or 8,000 frames of footage which we then ramped in and out of.”
  • How Many Movies Have You Seen? – The more you watch from the present day, the more garbage you’re bound to see—but your conclusions will be your own. Conversely, the further back you go, the more you’ll be guided by the opinions of others. (If nothing else, what’s available will be largely determined by what’s remained popular.)
  • Who Doesn’t Love Woody Harrelson? (Esquire) – From his hemp hats to his dopey charm to his recent roles as dark and scarred antiheroes, there's something we all have to face: It's hard not to enjoy his presence.
  • Elokuva ja arkkitehtuuri -tapahtumasarja Orionissa keväällä 2012 –

Elokuvallisia huomioita maailmalta 21.01.2012 – 24.01.2012

Oscar-ehdokkuuden saaneet käsikirjoitukset luettavaksenne

Best Original Screenplay

Michel Hazanivicius, The Artist
Kristen Wiig and Annie Mumolo, Bridesmaids
Woody Allen, Midnight in Paris
J.C. Chandor, Margin Call
Asghar Farhadi, A Separation

Best Adapted Screenplay

Alexander Payne, Nat Faxon and Jim Rash, The Descendants
John Logan, Hugo
George Clooney, Beau Willimon and Grant Heslov, The Ides of March
Steven Zaillian, Aaron Sorkin and Stan Chervin, Moneyball
Bridget O’Connor and Peter Straughan, Tinker Tailor Soldier Spy

Puuttuvista saa vihjata vaikka kommenteissa.

Elokuvallisia huomioita maailmalta 20.01.2012

  • Book vs. Film: My Week With Marilyn – But by eliminating most of his personal ambition—really, just by eliminating his inner monologue of judgment and job-related scheming—the film makes him simultaneously more accessible and less interesting. It also makes the film far less about him, and far more about the much more familiar and prestigious topic of Marilyn Monroe. Michelle Williams’ terrific performance as Monroe accomplishes part of that shift, and director Simon Curtis helps it along by opening the film with Williams doing a musical number as Monroe, emphasizing the force of her personality and the depths of her sex appeal—and establishing her as the film’s real focus. And the script seals the deal by keeping all the specificity of her character, while tossing out most of the specificity of Clark’s. She’s still a worldwide mega-star with a complicated history, a distinctive persona, a troubled marriage, an angry boss, an interfering coach, and a myriad of personal issues; the Clark of the film is just the smiling, sympathetic witness to her troubles. The trailer certainly acknowledges that the story is more hers than his:
  • Evidence, scholarship and debate: Saul Bass and the shower scene in “Psycho” – As these statements indicate, Saul Bass (1920-96) made a significant contribution to movie making, but his work in film was just one part of his creative practice; he also made a major contribution to graphic design, running a design office in Los Angeles with a reputation for excellence in corporate identity graphics and advertising. His sixty-year career includes some of the most compelling imagery of the postwar period, including the title sequences for the three films directed by Alfred Hitchcock (1899–1980) that are discussed in this article — Vertigo (1958), North by Northwest (1959), and Psycho (1960). By the first of these commissions Bass had already been named Art Director of the Year (1957) by the Art Directors Club of New York, and many more prestigious awards followed, including an Academy Award (1968), Royal Designer for Industry (1965, bestowed by the Royal Society of Arts, London), and the Gold Medal of the American Institute of Graphic Arts (AIGA, 1981).[3]
  • Steven Soderbergh – AVC: You’re not someone who’s like, “Well, I want a three-hour cut down the line at some point”?

    SS: No, not at all. I’m not precious about anything. The effort it took to get something means nothing to me in post. It means nothing to the audience. I’ll chop limbs off. I’ll put an arm where a leg should be. I’ll do anything.

Elokuvallisia huomioita maailmalta 17.01.2012 – 18.01.2012

  • Satoshi Kon -retrospektiivi Hki–Tre–Vaasa, näytöksiin ilmainen pääsy – uuh
  • George Lucas (NYT Mag) – “I’m retiring,” Lucas said. “I’m moving away from the business, from the company, from all this kind of stuff.” He was careful to leave himself an out clause for a fifth “Indiana Jones” film. But otherwise, “Red Tails” will be the last blockbuster Lucas makes. “Once this is finished, he’s done everything he’s ever wanted to do,” says Rick McCallum, who has been producing Lucas’s films for more than 20 years. “He will have completed his task as a man and a filmmaker.”
  • Michelle Williams (GQ) – “Oh God,” she says. “Wow. I mean, I must have said that twelve years ago, before I learned to shut my mouth. Wow.” Then, less to me than to herself: “All right, I can take it. I’m 31—I can take it.”