Yes, I am surely a wanderer, a pilgrim on earth. Are any of you more? -- Goethe, The Sorrows of Young Werther
''I wasn't just looking for instances of decayed film,'' Morrison recalls of his two-year excavation. ''Rather, I was seeking out instances of decay set against a narrative backdrop, for example, of valiant struggle, or thwarted love, or birth, or submersion, or rescue, or one of the other themes I was trying to interweave. And never complete decay: I was always seeking out instances where the image was still putting up a struggle, fighting off the inexorability of its demise but not yet having succumbed. And things could get very frustrating. Sometimes I'd come upon instances of spectacular decay but the underlying image was of no particular interest. Worse was when there was a great evocative image but no decay.''
Hua Yang De Nian Hua is a 2000 short film by Hong Kong director Wong Kar-wai that was shown at the 2001 Berlin International Film Festival.
It consists of a 2m 28s montage of scenes from vintage Chinese films, most of which were considered lost until some nitrate prints were discovered in a California warehouse during the 1990s, set to a song from the soundtrack of Wong's In the Mood for Love (2000). It is available on the Criterion Collection DVD release of In the Mood for Love as an extra, as well as various bootlegged VCD releases of Wong's features.
Rose Hobart consists almost entirely of footage taken from East of Borneo, a 1931 jungle B-film starring the nearly forgotten actress Rose Hobart. Cornell condensed the 77-minute feature into a 20-minute short, removing virtually every shot that didn't feature Hobart, as well as all of the action sequences. In so doing, he utterly transforms the images, stripping away the awkward construction and stilted drama of the original to reveal the wonderful sense of mystery that saturates the greatest early genre films.
Flokkar: comics, Grant Morrison, The Authority
GE called upon BBDO and Three Legged Legs to create an animated fable for their Imagination Theatre campaign. Our answer: Samurai. It's a tale of a pint-sized samurai faced with a seemingly impossible challenge as proposed by a behemoth Emperor and his wicked minions
Table of Malcontents posted, via Google Video, Academy Award-winning animated short Ryan by Canadian animator Chris Landreth. Watch it before it gets taken down by lawyers. “The clip took 14 days to shoot and was all mapped out from the beginning. I notated the whole song and used that as my bible. The words and musical sections were divided equally allowing 7 days each. We were shooting about 25-30 words a day and working 9 hour days, (about 1 word every 15-20 minutes) which ended up being too much for my art director who pulled out halfway through. For the word section the more solid ideas were executed in the first few days allowing the others to ferment. Naturally there were a few that didn’t go exactly to plan so I had to treat them on a case to case basis. I think the results from the ones that needed lateral thinking are my favourites, especially “and” which was spelled out of the laptop, external drive, wacom tablet and ipod speakers.” (from Motionographer)
Flokkar: film london
Considering that Mr. Gehry's buildings appear almost completely indifferent to conventions, I expected Mr. Gehry to be something of an egomaniac. Instead he turned out to be surprisingly modest. Describing a hotel in Spain that he just completed, Mr. Gehry said, "the rooms are comfortable," and when talking about the Guggenheim in Bilbao, he said that he was relieved that the people of the city liked it. The only time Mr. Gehry showed strong pride was when he was discussing being a good employer.
Most architects of Mr. Gehry's stature can staff the lower rungs of their office with volunteers and interns. "I am very proud," he says and sits up at the conference table. "Everybody gets paid. Everybody here is paid. There's no freebie interns. I've never done that. A lot of my colleagues do that, but that offends me so I've never done that." Like only one or two other topics in our conversation, this issue of how he cares for the people who work for him is something that seems to get him excited. "I am very proud," he says, again referring to his employees, "that they always get cost of living index raises and bonuses and more.
Another aspect of Mr. Gehry's old-fashioned virtue is his concern for what will happen to his employees once he dies. When I ask him if his age adds greater urgency to picking projects and finishing projects, Mr. Gehry says, "No. I am not that megalomaniac. No, I think the day will come and . . ."
Flokkar: architecture Singapore
The quota quickie was an unlooked-for consequence of a state attempt to give British film a shot in the arm - the 1927 act, which obliged exhibitors to screen a greater percentage of home-made films. A guaranteed market was created overnight, and muscular Hollywood outfits such as Paramount, Warners and Fox set up British subsidiaries to supply the demand for as little cash as possible. (read more)
Flokkar: film
Flokkar: film
The germ of my plays? I'll be as accurate as I can about that. I went into a room and saw one person standing up and one person sitting down, and a few weeks later I wrote The Room. I went into another room and saw two people sitting down, and a few years later I wrote The Birthday Party. I looked through a door into a third room, and saw two people standing up and I wrote The Caretaker.--- Harold Pinter
Singapore's strength lies in execution — not ideas, nor strategic planning, said the fast-talking Mr Yeo.
Flokkar: singapore
While most of those friends -- Andy Warhol, Stan Brakhage, Allen Ginsberg -- have departed for that rent-controlled loft in the sky, Mekas continues to create and innovate.
On Jan. 1, a week after his 85th birthday, Mekas launches a yearlong film-a-day series. He'll post a new poetic short at his website each afternoon until the end of 2007. He hopes film buffs will watch them on their iPods.
In May Mr. Saatchi, famed for spotting young unknowns and turning them into art-world superstars, created a section on his Web site for artists of all ages to post their work at no charge. It is called Your Gallery, and now boasts contributions by about 20,700 artists, including 2,000 pieces of video art.
Everything there is for sale, with neither the buyer nor the seller paying a cent to any dealer or other middleman. About 800 new artists have been signing up each week.
And since Stuart (shorthand for “student art”) went online last month, some 1,300 students (including 450 in the United States) have created Web pages there. No one vets the quality or style of the art.
With dealers and collectors scouring student shows for undiscovered talent and students hunting for dealers to represent them, Mr. Saatchi has tapped a vein that can’t stop gushing. If Stuart gains anything like the cachet of MySpace, it has the potential to morph from a nonprofit venture into a gold mine for Mr. Saatchi. (More from the NYT)
The notion of pairing the resolutely white-bread Crosby with the exquisitely offbeat Bowie apparently was the brainchild of the TV special's producers, Gary Smith and Dwight Hemion, according to Ian Fraser, who co-wrote (with Larry Grossman) the song's music and arranged it.
Crosby was in Great Britain on a concert tour, and the theme of the TV special was Christmas in England. Bowie was one of several British guest stars (the model Twiggy and "Oliver!" star Ron Moody also appeared). Booking Bowie made logistical sense, since the special was taped near his home in London, at the Elstree Studios. As perhaps an added inducement, the producers agreed to air the arty video of Bowie's then-current single, "Heroes" (Crosby introduced it)
[...]
The original plan had been for Bowie and Crosby to sing just "Little Drummer Boy." But "David came in and said: 'I hate this song. Is there something else I could sing?' " Fraser said. "We didn't know quite what to do."
Fraser, Kohan and Grossman left the set and found a piano in the studios' basement. In about 75 minutes, they wrote "Peace on Earth," an original tune, and worked out an arrangement that weaved together the two songs. Bowie and Crosby nailed the performance with less than an hour of rehearsal.
And that was almost that. "We never expected to hear about it again," Kohan said. (click for more)
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In the best case scenarios, film schools (or education for that matter) allow you to find your voice and they also provide a supportive enough environment to help you develop it. That was why, although I enjoyed my time making Under One Roof, I had to leave Television. The harsh daily grind of TV-making was killing my own filmmaking voice I had and I had leave to save it. I decided to enroll myself in film school, to not just learn the technical side of things (that you can learn as an apprentice), but to set time aside to help me define, refine my filmmaking voice in a structured environment. I knew I had that voice, but had trouble articulating, accepting it and I needed a little help.
Flokkar: film, filmmaking, singapore
