Posts Tagged: Film
Over at Grantland, Mark Harris looks back on the stories Hollywood told this year, why marquee films are gridlocking the industry, and what that sort of thing can do to your head:
“I did not begin 2014 by imagining that the most resonant movie moment of the 12 months to come would be a quiet, resigned stare-down in a bathroom.
Book-to-movie adaptations are nothing new, but does the transition work the other way around? Over at Electric Literature, Tobias Carroll examines the capacity of prose to put film on paper:
This shouldn’t work, but it does. Perhaps it’s that the deconstructive elements of the novel echo another part of the world of cinema: between film school and film criticism, discussion is as much a part of cinema as images projected onto a screen.
For years, film buffs have been devouring companion material to the original works that captured their interest—deleted scenes, commentary, bloopers, most eagerly that much-loved paean to auteurism, the director’s cut. To accept this practice is to acknowledge the impossibility of artistic perfection; as the saying goes, “art is never finished, only abandoned.” The New Republic wonders why the literary world is so hesitant to make the same admission....more
Yony Leyser, director of the documentary about William S. Burroughs, is making a feature film about Berlin’s queer community, and he needs your help to crowdfund it. Over at Indiewire, Leyser explains his desire to deglamorize the city’s dark underground scene and explore what it means to be a member of a community whose definition is constantly in flux:
I go back and forth from being firmly committed to the “queer community” to being totally and completely disillusioned with the concept and diametrically opposed to it.
The Believer blog has a great interview with avant-garde filmmaker Nina Menkes. Menkes provides some insight into her creative process, as well as her take on being a feminist filmmaker:
I am surely a feminist filmmaker, but not because I set out to become one, or am trying to make any kind of statement.
Fitzgerald was undone by his screenwriting-is-writing mistake. It’s a notion that has its basis in artistic form.
It’s that time of year again—SF gets all abuzz as Frameline Film Festival, the oldest film festival dedicated to LGBT programming, crushes it with an amazing roster of films.
My picks as a cineaste and devoted SF-resident are below, but again they are based on what I think is going to be great and are merely a reflection of my rarified individual tastes....more
There has never been a great movie adaptation of a novel. This isn’t to say that there’s never been a good movie that was first a book....more
Bowling scenes tend to pop up in films that fizzle, Mr. Bruzzese, 39, continued. Therefore it is statistically unwise to include one in your script. “A cursed superhero never sells as well as a guardian superhero,” one like Superman who acts as a protector, he added.
Some would say that Derek Waters is a man with an idea. And, that idea is to get people inebriated and then ask them to recount an historical event.
But there’s so much more than that. He is a writer, actor, comedian, and film producer, and this Saturday, he will make his third appearance at the San Francisco International Film Festival in as many years....more
The dictionary defines memory as “the ability to recall.” For a computer, it’s an exact science when regurgitating programs, data, and facts, but for humans, that process can be ephemeral, flawed, and selective....more
The Place Beyond the Pines begins with a long tracking shot, and the shot acts as a summary of everything that’s good about the movie: its confidence, its ambition, and its meager but distinct accomplishments....more
Roger Ebert had this elegance about him that made us all want to be like him....more
The New Yorker pays tribute to Roger Ebert in “Postscript: Roger Ebert, 1942-2013.” The article states:
Ebert writes, in the introduction to his 2006 anthology of his work, “Awake in the Dark,” of seeing “three movies during a routine workday,” and, according to Douglas Martin’s obituary in the Times, Ebert “said he saw 500 films a year and reviewed half of them.” Some movies elicit passionate exultation; others, passionate revulsion.
I grew up in Hawaii, so I have no concept of going away on “spring break”, but Harmony Korine has clearly schooled me in what I seemed to not have missed in his raunchy, pulpy, neon-fueled reflection of young America, Spring Breakers....more
A dizzying blitz of descriptors surrounds Katheryn Bigelow’s Zero Dark Thirty: pro-torture, anti-torture; anti-Bush, pro-Obama; mindlessly jingoistic, nuanced in its critique of American exceptionalism....more