stay for the credits

February 20th
10:20

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Via

"

I just think it’s sad that the main places in our culture that we designate to meet new people are bars and nightclubs. I have not had great luck in those spots. I think you’re better off going through mutual friends. The other thing is work and school. Those are the best, I think, because you have repeated, unplanned, in-person interactions where you can really get to know people.

I’m so jealous of people who have crushes on people they go to school with, or work with. That’s such a blessing. You actually get to see them all the time and spend time with them. Most single people I know, myself included, have a difficult time even meeting up with the people they like, be it busy schedules, texting games, or whatever.

The school/work thing is huge, because you don’t have to deal with that. You are automatically given the three factors sociologists have always said you need to build a meaningful connection with someone: 1) proximity, 2) unplanned interactions, and 3) a setting that encourages people to let their guard down and confide in each other. I read about this concept in another depressing article about how you probably won’t make new strong friendships after 30.

"

— Aziz Ansari gets candid about love: “elusive and sadly ephemeral” | Comedy | Interview | The A.V. Club (via soy)

February 18th
09:33

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Aziz Ansari gives a surprisingly insightful interview on dating

A friend told me this story that she had a friend who was at the airport, and there was a cute guy waiting on a delayed flight near her. He had headphones on and was watching Game Of Thrones. In the past, would he have been bored and struck up a conversation? Maybe? But we’ll never know, because he had his goddamn headphones on and didn’t even see her. We just isolate ourselves with all this media, and we might be cutting ourselves off to amazing experiences.

December 29th
09:45

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Roger Ebert revisits Robert Zemeckis' CONTACT; you should, too.

burbanked:

This kind of thing is why Ebert is still Ebert. Rattles off over 1,000 words on a 14-year-old movie and his prose and points make you not only contemplate the nature of the universe, but YOU WANT TO WATCH THE MOVIE AGAIN despite its debilitating McConaughey factor. That, my friends, is blogging magic and the man (Ebert, not McConaughey, obvs) has it shooting out of his pores.

Naturally, the comment string that ensues is pretty epic as well.

November 16th
17:20

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63 Reasons Why Bradley Cooper Definitely Isn't the Sexiest Man Alive

graceyu:

sorakeem:

i was going to say that this was debatable because anyone who knows me knows that i have the biggest crush on bradley cooper, ever… but then i saw ~~reasons #17-22~~ all of the reasons. i can’t handle this. it’s too much.

Ahahhahahahahaha

November 11th
21:19

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faketv:

John Huston is a badass.

theatlanticvideo:

John Huston’s Banned 1946 Film About WWII Veterans

American film legend John Huston directed Let There Be Light for the U.S. Army Signal Corpsin 1946, documenting the treatment of psychologically traumatized soldiers at an army hospital after the war. The beautiful black and white cinematography might look like a Hollywood production, but the film states that “no scenes were staged. The cameras merely recorded what took place …” It’s a moving testament to the cost of war, which might be why the U.S. Army suppressed screenings of the film for over 30 years. The documentary finally resurfaced at the Cannes Film Festival in 1981, to critical acclaim.

This excerpt from the beginning of the film includes the narrator’s introduction and interviews with soldiers about their symptoms and experiences in combat. The full documentary is an hour long and can be watched at the Internet Archive.

I’ve watched this twice in film school for two different courses and it moved me to tears both times. Please watch it.

February 12th
11:36

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Oscars Grapple With Banksy Problem

“The fun but disquieting scenario,” said the Academy’s executive director, Bruce Davis, on Monday, “is if that film wins and five guys in monkey masks come to the stage all saying, ‘I’m Banksy!’ Who the hell do we give it to?”

December 29th
20:23

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"

ONE OTHER THING MURRAY won’t do: He won’t say what he whispered to Scarlett Johansson at the end of Lost in Translation.

“I guess the answer is, there’s somethin’ that makes it impossible to tell,” he says. “But I’ll tell ya a good story about it. I’m gettin’ on the ferry at Martha’s Vineyard, and some guy yells out from across the way, ‘Bill, what’d ya say to her?’ Everyone hears him ask, and I pause for a second with my mouth open and start to speak. And as I start to speak, the foghorn sounds, about a twenty-five-second blast, and I just”—Murray starts moving his lips silently—“I acted it out like I was saying something really sincere, and the crowd laughed so hard. It was great. I couldn’t have bought that moment.”

"

— The Master: Bill Murray.

December 27th
18:23

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animation terms: ones and twos

Animation sequence supervisor Dale Newton mentioned something in his interview that might’ve sounded confusing: “Because of the camera moves, we couldn’t always split things down on twos.” At the link you’ll find a (somewhat clear) explanation of “ones and twos”.

December 17th
19:12

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Production designer Jack Fisk on working and why it's important to take care of sets.

Once you realize that you’re not only designing a film but you’re designing the way it can be shot, the collaboration with the cinematographer becomes more important. If you give them something they can’t shoot, it’s like you’re cutting off your own foot. On Terry’s films, working with Chivo [Emmanuel Lubezki] - that’s really fun - because we’re trying to do it without lights. A lot of times I’ll be cutting extra holes in buildings to create more windows: Holes in the ceiling and stuff like that, so he can shoot.

I never wanted to just design sets in an office and accept whatever is built. I keep working on a set until the crew arrives - until it’s shot. I keep working until the actors push me out of the way. Because it’s permanent. You have to take care of them and love them and not ignore them - be there every minute you can, while they’re being built and shot. Because that is their life and they will be on film forever.

November 29th
08:23

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Kershner, who taught film and photography at George Lucas’ alma mater, the University of Southern California, was selected by the “Star Wars” creator to helm the follow-up that would eventually lead to four other films in the series. He also directed the James Bond film “Never Say Never Again” and “Robocop 2.”

He said he was initially taken aback when Lucas, his former student, asked him to direct the sequel to “Star Wars,” his out-of-nowhere blockbuster.

“Of all the younger guys around, all the hot shots, why me?” he recalled asking. “I remember he said, ‘Well, because you know everything a Hollywood director is supposed to know, but you’re not Hollywood.’ I liked that.”

(via Irvin Kershner, ‘Empire Strikes Back’ Director, Dies at 87 | TheWrap.com)

November 27th
20:47

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Director Kathryn Bigelow is 59 today and gorgeous as ever.

On The Hurt Locker

Was there any trouble filming?

The most intense occasion was when we filmed one sequence in a Palestinian refugee camp in Jordan. As soon as we started, a crowd of young guys gathered around. Some rocks were thrown, and a few fights broke out. We filmed through it all. They soon realized that we were just doing the same shot over and over. They started to applaud at the end of each take.

What qualities in these characters did you find interesting?

Courage and heroism, but fragility under fire, too — the effective or ineffective ability to retain composure in a life or death situation. These are men who day in and day out come face-to-face with their own mortality. That creates a certain psychology.

What is it about how these men relate to each other that you found especially revelatory?

It was the way the script portrayed heroism and courage — not as a cartoonish quality, or an absence of fear, but as a certain kind of resilience in the face of fear. And as being, in the case of the lead character, a flight from intimacy. That was a price of heroism I hadn’t thought about before.

November 12th
13:25

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Remembering Dino De Laurentiis - The Criterion Collection

Criterion has posted an audio interview in which Dino De Laurentiis recounts stealing a 10 minute sequence from Federico Fellini’s Nights of Cabiria.