Posts tagged “film”

British Path�'s films on smog and air pollution

From Variety:

British Path�, the U.K. newsreel archive company, has uploaded its entire 100-year collection of 85,000 historic films in high resolution to YouTube.

The collection, which spans 1896 to 1976, comprises some 3,500 hours of historical footage of major events, notable figures, fashion, travel, sports and culture. It includes extensive film from both World War I and World War II.

Naturally, I looked for some videos about smog, air pollution, and the environment. The Archive doesn’t disappoint. There are pieces called “The Smog Menace”, “Smog Detector”, and a documentary called “Guilty Chimneys” (part 1 + 2, part 3).

There’s a lot of fascinating stuff in the archive beyond smog and air pollution. Pretty cool.

Behind the Scenes: The Grand Budapest Hotel Miniatures

A collection of shots of the miniatures from the film as they were being created. The details are pretty incredible.

The Grand Budapest Hotel

Beth and I went and saw Wes Anderson’s newest film, The Grand Budapest Hotel, at our customary and preferred pre-noon showtime. In attendance were a healthy set of other 30 somethings and a substantial number of significantly older clientele. I love Anderson’s films without reserve. This one did not disappoint; in fact, it has stuck with me in peculiar ways.

The film is typically quirky, beautiful, and flagrantly not of this reality: set in a made-up eastern European country, it takes place slightly before a large conflict that draws from both the first and second world wars. The external, wide shots of the hotel and many of the sets are clearly models — though exquisitely detailed ones. The story floats through history, moving us back in time somewhat quickly. At the beginning, a young woman visits a statue of a dead author, paying tribute as the snow falls around her in a somewhat drab courtyard. She holds a book -�The Grand Budapest Hotel - by ‘The Author.’ We see a picture of him on the back cover, than cut to him behind a desk, alive and recounting how he came to the story of the hotel and its owner (and seemingly breaking the fourth wall as he describes storytelling). These scenes are all shot in a typical, modern aspect ratio. We cut to the past, where Jude Law plays a younger version of The Author. The aspect ratio changes and Law becomes the narrator. We learn a little about the hotel, a quieted place of fading glory, ornamentation discarded for brute utilitarianism; and of its proprietor, Zero Mustafa. Zero recounts how he came to the hotel as a lobby boy, and we shift further back in time. F. Murray Abraham, who plays the older Zero, takes over as narrator. Zero, now played by Tony Revolori, is a refugee from an unnamed somewhere. The casting is smart — in no human world does Revolori grow into Abraham, but both convey otherness and outsider. We meet his flirtatious, bisexual, at times well-mannered and at times flagrantly vulgur mentor M. Gustave, portrayed with brilliant aplomb by Ralph Fiennes. The aspect ratio changes again — this time dramatically, to one slightly taller than wide. A striking, uncommon effect. The combination of shifting aspect ratios and narrators helps the viewer organize the periods of the film, but also confuses. A neat way of depicting the manic and wily sands of memory, transposing and mixing up bits and pieces of recalled experience.

The story goes off the rails from there — in fun and memorable ways. There’s a thug who removes some of another character’s fingers, a love story between a savant baker and Zero, a prison break, incredible sets and many, many familiar faces. To describe any of it in detail would be tantamount to pilfering little bits of delight. Like all Anderson films, there’s subtle humor, detail, and insane exposition.

So why’s it bugging me? I’m not sure. Anderson doesn’t address the obscenities of history directly, but lightly and from glancing angles. This pisses people off (not me), especially those who think Anderson’s films are superficial nods to aesthetes. There are palpable senses of loss and longing: for older Zero, an understandable one; an equivalent saudade for Gustave, who by wily strength of charm maintains his bizarre interpretation of old-world decorum and propriety at the Hotel. He lives by a code, as it were, and watches the world crumble around him.

The melancholy extends to the connection between Zero and Gustave, to the Hotel and the world it represented, and to a perceived brightness of a forgone time. It permeates throughout the film and ultimately gives way to an acknowledgement of passing. If Anderson’s worlds of whimsy are creations of joy, then the drab scenes set in the ‘present’ of the film (mid-80s) and in the recent past of Law’s Author seem to come from a muted woe daubed with signs of former glory.

That last bit sounds remarkably abysmal — it’s not, at all. I’m keen for a repeat viewing. The film’s a delight and the best I’ve seen in quite a while.

"CASTELLO CAVALCANTI" by Wes Anderson

Christmas in early November. Enjoy!

Michael Chabon's introduction to The Wes Anderson Collection

This beautiful tome arrived today. The New Yorker summarizes it best:

Were it only for the text of his introductory essays and extended interviews with Wes Anderson, Matt Zoller Seitz’s book “The Wes Anderson Collection,” which discusses all seven of Anderson’s feature films in copious detail, would be an indispensable resource, as well as a delight….

But the text isn’t all there is to it: the book is entirely in the Andersonian spirit—it’s a beautiful object, not a coffee-table book (except in size) but one that’s designed and thought out to its slightest detail, with its amazingly wide and deep offering of visual documentation. (Far be it from me to diminish the images and artifacts by calling them “illustrations.”) Still photographs from the set, frame enlargements, storyboards, influences (from “Peanuts” to Holbein to Welles), references (record covers, school insignias), and memorabilia (newspaper clippings, casting snapshots) are matched with informative and discursive captions that play like stage whispers, and all are brought together with taste, insight, and joyful celebration.

The introduction by Michael Chabon praises Anderson as much as it reflects on aging and growth:

The world is so big, so complicated, so replete with marvels and surprises that it takes years for most people to begin to notice that it is, also, irretrievably broken. We call this period of research “childhood.”

There follows a program of renewed inquiry, often involuntary, into the nature and effects of mortality, entropy, heartbreak, violence, failure, cowardice, duplicity, cruelty, and grief; the researcher learns their histories, and their bitter lessons, by heart. Along the way, he or she discovers that the world has been broken for as long as anyone can remember, and struggles to reconcile this fact with the ache of cosmic nostalgia that arises, from time to time, in the researcher’s heart: an intimation of vanished glory, of lost wholeness, a memory of the world unbroken. We call the moment at which this ache first arises “adolescence.” The feeling haunts people all their lives.

Everyone, sooner or later, gets a thorough schooling in brokenness. The question becomes: What to do with the pieces? Some people hunker down atop the local pile of ruins and make do, Bedouin tending their goats in the shade of shattered giants. Others set about breaking what remains of the world into bits ever smaller and more jagged, kicking through the rubble like kids running through piles of leaves. And some people, passing among the scattered pieces of that great overturned jigsaw puzzle, start to pick up a piece here, a piece there, with a vague yet irresistible notion that perhaps something might be done about putting the thing back together again.

Two difficulties with this latter scheme at once present themselves. First of all, we have only ever glimpsed, as if through half-closed lids, the picture on the lid of the jigsaw puzzle box. Second, no matter how diligent we have been about picking up pieces along the way, we will never have anywhere near enough of them to finish the job. The most we can hope to accomplish with our handful of salvaged bits—the bittersweet harvest of observation and experience—is to build a little world of our own. A scale model of that mysterious original, unbroken, half—remembered. Of course the worlds we build out of our store of fragments can be only approximations, partial and inaccurate. As representations of the vanished whole that haunts us, they must be accounted failures. And yet in that very failure, in their gaps and inaccuracies, they may yet be faithful maps, accurate scale models, of this beautiful and broken world. We call these scale models “works of art.”

“The ache of cosmic nostalgia.” “The bittersweet harvest of observation and experience.”

Goddamn.

Read the whole thing.

The Grand Budapest Hotel Trailer

The first trailer for Wes Anderson’s The Grand Budapest Hotel was released today. Looks positively Wes Anderson-errific. Can’t wait.

Errol Morris's The Unknown Known

Errol Morris is at it again. From an interview at The Daily Beast:

… Of all the so-called nefarious characters within the George W. Bush administration, why Rumsfeld?

If I’m asked to think about the two major Secretaries of Defense of the last fifty years, it’s Robert S. McNamara and Donald Rumsfeld—two Secretaries of Defense who presided over disastrous wars and were major public figures. People are going to say this is The Fog of War 2. One very big difference between [McNamara and Rumsfeld] is that McNamara says the war was a mistake, it was wrong. He didn’t say it at the time, but has subsequently said it. Rumsfeld? Not so much. I always say it’s Tabloid 2.

The topic of war seems to fascinate you. Why are we in a seemingly constant state of war?

Because I think people are crazy. I talk very briefly about Shakespeare, and with Shaskespeare, the motivating force of history is insanity, greed, jealousy, hate, power. Rumsfeld said, “Well, maybe that was true then, but it’s different now.” Then he reads this memo to Condi Rice where he basically tells her to shut up, you’re not in the chain of command, nobody wants to hear from you, and if you continue to talk out, I’m going to the president and I’m going to have you muzzled.

This is going to be fascinating. And terrifying.

via kottke

Soderbergh on Cinema and parallels with doing science

Steven Soderbergh recently gave a “State of the Cinema” talk at the San Francisco International Film Festival (embedded above, transcript here). If you’re interested in film, cinema, and the arts, it’s worth a read. Soderbergh is an excellent, intelligent storyteller.

The passages below stood out — mainly because I think his description of art, and of cinema, parallel creative scientific thinking nicely. We face some of the same problems of “entrenched ideology” — the scientific enterprise can be slow to respond to alternative viewpoints. Second, there’s a similar and interesting distinction between science and “Science” that resembles the distinction he draws between cinema and movies.

Art is also about problem solving, and it’s obvious from the news, we have a little bit of a problem with problem solving. In my experience, the main obstacle to problem solving is an entrenched ideology. The great thing about making a movie or a piece of art is that that never comes into play. All the ideas are on the table. All the ideas and everything is open for discussion, and it turns out everybody succeeds by submitting to what the thing needs to be. Art, in my view, is a very elegant problem-solving model.

Now we finally arrive at the subject of this rant, which is the state of cinema. First of all, is there a difference between cinema and movies? Yeah. If I were on Team America, I’d say “Fuck yeah!” The simplest way that I can describe it is that a movie is something you see, and cinema is something that’s made. It has nothing to do with the captured medium, it doesn’t have anything to do with where the screen is, if it’s in your bedroom, your iPad, it doesn’t even really have to be a movie. It could be a commercial, it could be something on YouTube. Cinema is a specificity of vision. It’s an approach in which everything matters. It’s the polar opposite of generic or arbitrary and the result is as unique as a signature or a fingerprint. It isn’t made by a committee, and it isn’t made by a company, and it isn’t made by the audience. It means that if this filmmaker didn’t do it, it either wouldn’t exist at all, or it wouldn’t exist in anything like this form.

via daring fireball

66 Behind the Scenes Pics from The Empire Strikes Back

there is so much amiss in this photograph.

I don’t know if this is a curated collection or just a fan finding every behind the scenes image he can from ESB… but it doesn’t matter. The pictures are amazing. Enjoy.

via Daring Fireball

Samsara

I first saw Baraka in college and was blown away by the imagery and the format — a beautiful 70mm film, silent, relying solely on the power of its images to carry narrative force. It succeeded. The follow-up - 20 years later - took five years to make and was filmed in 25 countries. From the creators’ website:

SAMSARA is a Sanskrit word that means “the ever turning wheel of life” and is the point of departure for the filmmakers as they search for the elusive current of interconnection that runs through our lives. Filmed over a period of almost five years and in twenty-five countries, SAMSARA transports us to sacred grounds, disaster zones, industrial sites, and natural wonders. By dispensing with dialogue and descriptive text, SAMSARA subverts our expectations of a traditional documentary, instead encouraging our own inner interpretations inspired by images and music that infuses the ancient with the modern.

Expanding on the themes they developed in BARAKA (1992) and CHRONOS (1985), SAMSARA explores the wonders of our world from the mundane to the miraculous, looking into the unfathomable reaches of man’s spirituality and the human experience. Neither a traditional documentary nor a travelogue, SAMSARA takes the form of a nonverbal, guided meditation. Through powerful images, the film illuminates the links between humanity and the rest of nature, showing how our life cycle mirrors the rhythm of the planet.

The filmmakers approach non verbal filmmaking with an understanding that it must live up to the standard of great still photography, revealing the essence of a subject, not just its physical presence. SAMSARA was photographed entirely in 70mm film utilizing both standard frame rates and with a motion control time-lapse camera designed specifically for this project. This camera system allows perspective shifts to reveal extraordinary views of ordinary scenes. The images were then transferred through the highest resolution scanning process available to the new 4K digital projection format that allows for mesmerizing images of unprecedented clarity. SAMSARA will be a showpiece for the new, high-resolution 4K digital projection, the HD format, as well as standard digital and film projection.

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