- This Is A Longreads On The Internet: The Inroads Of Slow Art In A Fast Culture | The Awl – Hieman yliyrittämisen ja kaiken kaikkiaan selityksen makua, mutta silti kiinnostava
- Films with cats in them – LÖYSIN MAAILMAN PARHAAN ELOKUVABLOGIN!!1!¡1
- Look at the eyes, guess the movie – And thus continues my annual tribute to eye shots (see also: 2009, 2010, 2011 and 2012). This year, including the header image (which you can consider number "0"), there are 13 eye shots. As usual, some of them are easily recognizable. Others not so much.
Elokuvallisia huomioita maailmalta 9.03.2013 – 14.03.2013
- Cartoon Research | Dedicated To Classic Cartoons: Past, Present & Future –
- How Disney Bought Lucasfilm—and Its Plans for ’Star Wars’ – Businessweek –
- Eastern Europeans Tune In to Communist Nostalgia on TV – Businessweek – Eastern Europe is aiming to emulate Scandinavia’s success in exporting local-language TV shows.
Elokuvallisia huomioita maailmalta 5.03.2013
- The 12 Worst Things in the Star Wars Expanded Universe –
- Väiski Vemmelsääri ja kumppanit / Warner Bros. studion animaatiopiirroksia 1930-1960 | EMMA – Espoon modernin taiteen museo – WHOA
- Villen tärkeä muistelmablogaus siitä, miten ala-asteikäisenä pystyi katsomaan Filmnetin näyttämiä elokuvia – Tiesin videonauhojen piilopaikat, sillä isäni ja kymmenen vuotta vanhempi veljeni halusivat myös katsoa elokuvat, mutta myöhäiset esitysajankohdat eivät aina sopineet, joten elokuvia videoitiin paljon. Joskus katsoin videoita niinä kouluaamuina, joina vanhempani olivat jo lähteneet töihin, mutta minulla alkoi koulu vasta tuntia tai paria myöhemmin. Joskus piilotin elokuvia katsoakseni ne sopivalla hetkellä, minkä veljeni tosin usein huomasi. Joskus yritin nauhoittaa elokuvia perheeltäni salaa. Harrastin myös kasettien nimitarrojen vaihtoa: kumitin nimiä pois ja pistin kasetteja “tyhjinä” omien elokuvieni joukkoon, kirjoitin kasetteihin jonkin lastenleffan tai oman nimeni ja niin edelleen.
Twitarviot twhelmikuussa
THE LAST STAND (US’13): A curiously inert, dull, and unsuspenseful movie. The ticking clock is wasted, the character beats unconvincing.
— Olli Sulopuisto (@osulop) February 4, 2013
CRUISING (US’80): Was Friedkin more interested in the setting than the protagonist or plot? Nothing wrong with it, just pondering.
— Olli Sulopuisto (@osulop) February 9, 2013
PLACE BEYOND THE PINES (US’12): A triptych that starts as Drive on a bike (no lie) but expands into a different kind of morality tale.
— Olli Sulopuisto (@osulop) February 11, 2013
SOUNDBREAKER (’11/’12?) Sounds ducking amazing, obviously (except for the interviews). Theme, visuals laid out kinda thick from the title on
— Olli Sulopuisto (@osulop) February 12, 2013
But the music! Oh wow, the music.
— Olli Sulopuisto (@osulop) February 12, 2013
I’m going to use a certain word repeatedly in a derogatory fashion even though I don’t believe that’s all there is to it. So:
— Olli Sulopuisto (@osulop) February 12, 2013
GANGSTER SQUAD (US’13): Cartoon violence, cartoon performances, cartoon gangsters and cartoon cops.
— Olli Sulopuisto (@osulop) February 12, 2013
Emma Stone makes a remarkable entrance, whoowhee, but isn’t given much to do afterwards. (No-one is.)
— Olli Sulopuisto (@osulop) February 12, 2013
There’s an interesting spectrum of voices, though. Nolte = gravel, Gosling = whiny, Stone = smoky.
— Olli Sulopuisto (@osulop) February 12, 2013
.@vierastalo Given that I last saw Dick Tracy 23 years ago, I daren’t really talk about it.–There’s a sprinkle of Untouchables in the story.
— Olli Sulopuisto (@osulop) February 12, 2013
PARKER (US’13): I’ll watch Statham in anything, but I still wouldn’t mind it being better than this.
— Olli Sulopuisto (@osulop) February 13, 2013
A GOOD DIE TO DIE HARD aka DIE HARD V aka JOHN-JOHN: THE MISSION TO MOSCOW (US’13): Well, it’s got one fun setpiece.
— Olli Sulopuisto (@osulop) February 14, 2013
Physical sfx and CGI work pretty seamlessly in said setpiece (a car chase), otherwise it’s more John Rambo than John McClane.
— Olli Sulopuisto (@osulop) February 14, 2013
BROKEN (UK’12): Lovely observed character piece with a strong sense of life instead of plot. Only the very end feels a tad formulaic.
— Olli Sulopuisto (@osulop) February 14, 2013
QUARTET (UK’12): Tasty emotional pablum. Grumpy Gambon should star in the sequel.
— Olli Sulopuisto (@osulop) February 14, 2013
JAGTEN (DK’12): A modern-day witch hunt builds tension with subtle details. Thematically on par with Brass Eye’s 2001 special.
— Olli Sulopuisto (@osulop) February 15, 2013
LES MISERABLES (UK’12): Urmh. This one goes to eleven?
— Olli Sulopuisto (@osulop) February 19, 2013
All the bulging veins make it look like everybody is constipated all the time.
— Olli Sulopuisto (@osulop) February 19, 2013
Why all the decapitated shots in Les Miz?
— Olli Sulopuisto (@osulop) February 19, 2013
@pmihal It’s fine until you realize the stitch between the CGI tracking shot and the physical camera-and til Wolvie starts vein-poppin’
— Olli Sulopuisto (@osulop) February 19, 2013
@pmihal I was constantly drawn out of the movie by the unexplained conflict between realistic design and the bellowing people, esp. faces
— Olli Sulopuisto (@osulop) February 19, 2013
.@aavama @pmihal Why’s Hooper privilege the physical reality of acting while singing over all other kinds of potential aesthetic pleasure?
— Olli Sulopuisto (@osulop) February 19, 2013
TAULUKAUPPIAAT (2010): Sain vihdoin katsottua. Kannatti. Helevetin hyvä tatsi näyttelijöiden kanssa. Kevyesti tyylitelty puhe toimii.
— Olli Sulopuisto (@osulop) February 20, 2013
DANS LA MAISON (FR’12): Transgressive desire, metafiction, peeping compositions. Luchini is hilarious yet again. Je suis content.
— Olli Sulopuisto (@osulop) February 20, 2013
VIRU – TARINOITA HOTELLISTA (2013): Puhuvia päitä temaattisesti järjesteltynä, arkistokuva lähinnä liimana skarvien päällä.
— Olli Sulopuisto (@osulop) February 21, 2013
DIRTY DANCING (US’87): I don’t mind the anachronistic non-diegetic music, but I do mind the anachronistic diegetic music.
— Olli Sulopuisto (@osulop) February 23, 2013
OZ THE GREAT AND POWERFUL (US’13): I quite liked the Academy Ratio bits. Other than that the plot overtakes gags with diminishing returns.
— Olli Sulopuisto (@osulop) February 26, 2013
Saldo: 50 (jos Taulukauppiaat lasketaan ja hipit hiljaa, mä lasken sen nyt mukaan, koska tämä on mun lista)
Terminator: Sarah Connor Chronicles ei ollut luojalleen helppo keikka
Josh Friedman avautui Twitterissä scifisarjan tekemisen vaikeudesta.
Why It’s So Hard To Do Sci-Fi On Network TV
Too bad Josh Friedman isn’t blogging anymore. Good thing he’s on Twitter, tho.
Storified by Olli Sulopuisto· Thu, Feb 28 2013 22:52:02
Entertainmentwallpaper
@Josh_Friedman Big fan wonders: how did you manage to write TSCC in such a low-exposition, slow pace, premium cable style on network TV?Mikhail
@NeosmithXeno i accepted the idea that the network and studio weren’t going to agree with me, like what I did, or keep it on the air.josh friedman
Terminator: The Sarah Connor Chronicles – Wikipedia, the free …Terminator: The Sarah Connor Chronicles (sometimes abbreviated as Terminator : TSCC or simply TSCC) was an American science fiction tele…
When the oscars r on I remind myself that I’m a tv writer now. When the Emmys r on I remind myself that I write network.josh friedman
A lot of TSCC fans like to tweet me their anger at Fox 4 canceling show. I’ve always said–they made a perfectly reasonable biz decision.josh friedman
I hold no anger towards Fox for canceling TSCC. Ratings weren’t good. They gave it a chance–promoted it heavily. People didn’t watch.josh friedman
I love the passion of the fans. Many of u miss show. So do I. But anger at Fox is misplaced. They’ve tried many genre shows that didn’t fly.josh friedman
SF/fantasy isn’t easy on network. World building, mythology, still a tough sell. Truth be told, TSCC wasnt the most commercial show.josh friedman
@Josh_Friedman Anything you’d do different, given a complete time machine do-over?Gary Whitta
@garywhitta Hard to say. I made the only show I knew how to make. I wish I was smarter.josh friedman
Terminator fans didn’t want to watch a drama, and drama fans didn’t want to watch a Terminator show. Difficult show to market, explain.josh friedman
@Josh_Friedman That’s pretty much the phrasing I use to describe commercial struggles of Friday Night Lights, re: football and teen drama.Alan Sepinwall
@sepinwall I always felt u can teach an audience how to watch your show. But if you can’t get them to tune in, you’re dead.josh friedman
@Josh_Friedman Hypothetically, what’s worth more $ for a creator: 2yrs on a network or 5 on cable? (for a SF production)Kevin Batchford
@klb9037 I don’t know about $ but Id much prefer having my show on for five years. Better for soul and probably career.josh friedman
I think network shows work best when the concept is clean and clear. And if its complicated conceptually it needs to be simple in execution.josh friedman
TSCC was a complicated world writ in a complicated way. That’s not a good recipe for most folk.josh friedman
@Josh_Friedman Big fan, and I agree with you completely. Though LOST would definitely be the exception.Josh Golden
@JoshMGolden actually, I think LOST is a great example of what I’m saying…josh friedman
LOST has a very strong central idea: castaways in an island. The mythology and structure become complicated thereafter…josh friedman
…but scenes themselves are very clean and clear. You never leave a LOST scene not getting what they intend u to get.josh friedman
How many times did Sawyer & Hurley use humor 2 explain confusing concepts? A shitload. @DamonLindelof holds your hand, lovingly, but firmly.josh friedman
BSG wouldn’t have survived on network, either. For many of the same general TSCC problems.josh friedman
@Josh_Friedman There was a simple version of TSCC–an action-oriented Terminator of the week show. It just wouldn’t have been interesting.Zack Stentz
@MuseZack remember the # of comments from people before show aired who feared it was gonna be Terminator of the Week?josh friedman
The bloody wall of clues was as close as we came to doing "mission of the week."josh friedman
@Josh_Friedman Wasn’t there a lot of people that didn’t like the blood wall?morded
@_morded_ I was one of them.josh friedman
A fave moment was when a tscc writer said to me one day: " Hey, I started watching The Wire. I finally understand what you’re doing."josh friedman
People may find this weird but I haven’t watched a full episode of TSCC since it was canceled.josh friedman
Fanpop
My 8yrold decided he wanted to finally see it. After 10min he said it was too intense so we turned it off. Barely made it past pancakes.josh friedman
I sold TSCC pitch and soon thereafter was diagnosed w/ kidney cancer…I had to put while project on hold for surgery. FBC and WB waited…josh friedman
…when I recovered, I spent a month worrying I couldn’t write the show after what I’d been through…josh friedman
…eventually I realized it was the perfect thing for me to write…the first words I ever write after surgery were Sarah’s VO…josh friedman
…but the VO that actually aired was completely different than what I first wrote cuz network thought original was too dark.josh friedman
Don’t recall entire VO but it began: "I will die. I will die & so will you. Death gives no man a pass."–these were 2b 1st words of show.josh friedman
Peppy!josh friedman
TSCC mutated quite a bit–every week we reinvented from ground up. Lots of joy coming up with the new–but that’s not what works on network.josh friedman
@Josh_Friedman I liked the aired vo better as an opener, but it’s too bad you didn’t work this one into a later ep. Good stuff.Roxy Bisquaint
@RoxyBisquaint I was happy w/ the one that aired, too. Original one simply an artifact as to how I emotionally accessed show at beginning.josh friedman