March 2012
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February 2012
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Martin Scorsese's Film School: The 85 Films You... →
graceyu:
SCORSESE! (Everyone take a shot!)
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The next oldest actor to win an Oscar will be...
havisham:
#guys #come on #it doesn’t count if it’s posthumous
#it’s ok #we can dig him up and give it to him
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“There can’t be anything in the film that tells you one way or another because...”
– Christopher Nolan on the ending of Inception | Screen Rant
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The new SHINS video is brilliant →
thatisawesome:
mattedits:danielnavetta:
WOW THAT WAS AWESOME. May or may not have almost cried.
Directed by the Daniels (Daniel Kwan and Daniel Scheinert), the same directors of Manchester Orchestra’s “Simple Math”. And it’s free-ee-ee!
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“Youth isn’t just about running pell-mell at the sun yelling, ‘Damn it all to...”
– Hayao Miyazaki (via corcordium)
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“We had to write reports on what we wanted to be, and the boy next to me wrote a...”
– Amy Heckerling, director of Fast Times at Ridgemont High and Clueless in These Amazing Shadows (via kimbrulee
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“A conversation is held under the presumption that you have something of value to...”
– My Shakespeare professor, who was one of three teachers who influenced Robin Williams’ character in Dead Poets Society. He said Keating jumping off the desk was taken directly from his own lecture, and that he worked with Williams one on one for certain mannerisms.
I always know a professor is...
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A Valentine's Movie List
YES to Out of Sight.
brightwalldarkroom:
by Chad Perman
If you decide to watch a movie on Valentine’s Day - and we here at BWDR obviously strongly recommend that you do - choosing one can be a bit of a minefield. The straight-forward Hollywood rom-coms of the past twenty years (at least) are usually god awful, the predictable and sappy ones often make you want to burn out your eyes (The...
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Harold Crick: Miss Pascal, I've been odd, and I, I know I've been odd, and... I want you.
Ana Pascal: What?
Harold Crick: There there are many reasons, there are so many influences in my life, that are telling me, at times, quite literally, that I should come here and bring you these, but I'm doing this because I want you.
Ana Pascal: You want me?
Harold Crick: In no uncertain terms.
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Hitchcock/Truffaut
A.H.: Well, the silent pictures were the purest form of cinema; the only thing they lacked was the sound of people talking and the noises. But this slight imperfection did not warrant the major changes that sound brought in. In other words, since all that was missing was simply natural sound, there was no need to go to the other extreme and completely abandon the technique of the pure motion picture, the way they did when sound came in.
F.T.: I agree. In the final era of silent movies, the great film-makers--in fact, almost the whole of production--had reached something near perfection. The introduction of sound, in a way, jeopardized that perfection. I mean that this was precisely the time when the high screen standards of so many brilliant directors showed up the woeful inadequacy of the others, and the lesser talents were gradually being eliminated from the field. In this sense one might say that mediocrity came back into its own with the advent of sound.
A.H.: I agree absolutely. In my opinion, that's true even today. In many of the films now being made, there is very little cinema: they are mostly what I call 'photographs of people talking.' When we tell a story in cinema, we should resort to dialogue only when it's impossible to do otherwise. I always try first to tell a story in the cinematic way, through a succession of shots and bits of film in between. It seems unfortunate that with the arrival of sound the motion picture, overnight, assumed a theatrical form. The mobility of the camera doesn't alter this fact. Even though the camera may move along the sidewalk, it's still theater. One results of this is the loss of cinematic style, and another is the loss of fantasy. In writing a screenplay, it is essential to separate clearly the dialogue from the visual elements and, whenever possible, to rely more on the visual than on the dialogue. Whichever way you choose to stage the action, your main concern is to hold the audience's full attention. Summing it up, one might say that the screen rectangle must be charged with emotion.
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Your Boyfriend Sucks by The Ataris.
Sonny:...
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Anonymous asked: Hey Elaine, Its Scott. I completely understand your reluctance to post your films on a blog for all to see if you're not comfortable showing them, but is there a website I could go to to see them? If not, I understand. Being a filmmaker myself, I am really interested in finding other people who make films to see theirs and discuss the process and the ideas behind them. Anyway, if you're...
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“I think we ought to be personally responsible. I think if you can take care of...”
– Bill Murray (via bunkercomplex)
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Anonymous asked: Hey there. Anonymous again, but you can call me Scott. Have any of those films you made in college been uploaded onto any website, like Youtube, or Vimeo? I'd love to see them. And as for the writing, do you write screenplays? Geat picks by the way. I really dug Eternal Sunshine, and I've heard great things about 81/2, I'll have to check that out. Here's an other wrench for ya....
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Anonymous asked: You have the greatest film related blog I have ever seen. Please keep at it. Also, do you make films? And just to throw a wrench in your day, what is your favourite film of all time and why? In great detail if you feel so inclined, though I will accept a one word answer if you don't have the time.
