After neglecting the pro market in recent years, Apple is out with the first of two new machines this Thursday, the iMac Pro. (The redesigned Mac Pro is expected sometime in 2018). The ultra-high-end 18 Xeon core processor version won’t be available until next year, but the 10-core version seeded to reviewers this week is receiving very high marks for power and speed. Over at Mkbhd, Marcus Brownlee posts a seven-minute video with his thoughts, including how Final Cut Pro on the machine has handled 8K Raw files with simultaneous color correct and use of plug-ins. Regarding Final Cut use, […]...
- 12/12/2017
- by Scott Macaulay
- Filmmaker Magazine - Blog
The sequel to Ridley Scott’s 1982 classic manages to be both visually stunning and philosophically profound
Blade Runner may have shaped the future, but it’s easy to forget its past. Now universally accepted as a classic, Ridley Scott’s future-noir fantasy (from an android-hunting novel by Philip K Dick) flopped in 1982, widely dismissed as an exercise in ravishing emptiness, as eye-catchingly hollow as Rachael, the glamorous “replicant” played by Sean Young. Late-in-the-day recuts didn’t help, adding an explanatory narration and dopey happy ending following negative test screenings. Indeed, it was only when Blade Runner was reconfigured via a 1992 Director’s Cut, and later Scott’s definitive Final Cut, that its masterpiece status was assured, sitting alongside Fritz Lang’s Metropolis and Kubrick’s 2001 in the pantheon of world-building sci-fi.
No such tribulations await Blade Runner 2049, which has opened to the kind of critical adoration that sorely evaded Scott’s original.
Blade Runner may have shaped the future, but it’s easy to forget its past. Now universally accepted as a classic, Ridley Scott’s future-noir fantasy (from an android-hunting novel by Philip K Dick) flopped in 1982, widely dismissed as an exercise in ravishing emptiness, as eye-catchingly hollow as Rachael, the glamorous “replicant” played by Sean Young. Late-in-the-day recuts didn’t help, adding an explanatory narration and dopey happy ending following negative test screenings. Indeed, it was only when Blade Runner was reconfigured via a 1992 Director’s Cut, and later Scott’s definitive Final Cut, that its masterpiece status was assured, sitting alongside Fritz Lang’s Metropolis and Kubrick’s 2001 in the pantheon of world-building sci-fi.
No such tribulations await Blade Runner 2049, which has opened to the kind of critical adoration that sorely evaded Scott’s original.
- 10/8/2017
- by Mark Kermode, Observer film critic
- The Guardian - Film News
Based on the Philip K. Dick's 1968 novel Do Androids Dream of Electric Sheep?, Ridley Scott's 1982 science fiction thriller, Blade Runner, introduced audiences to a dystopian future where synthetic humans, known as Replicants, are bio-engineered for use in off-world colonization. When these Replicants go rogue, special police units called Blade Runners hunt down and "retire" them. Despite its initial lukewarm critical and commercial reception, Blade Runner has become one of the most influential movies of the last 40 years, pioneering what became an entirely new genre: neo-noir cyberpunk. 35 years later, thanks to subsequent releases like the 1992 Director's Cut and the definitive 2007 Final Cut, Scott's film is now heralded as a groundbreaking visionary masterpiece and one of the most important motion pictures ever made. Now, another visionary filmmaker, the Oscar-nominated Denis Villeneuve, attempts to honor the original film while expanding its influence with a sequel, the highly anticipated Blade Runner 2049.
- 10/6/2017
- by Adam Frazier
- firstshowing.net
As Ridley Scott lives and breathes — and lord knows he will, so long as there are more Alien prequels to be made — there is always the chance that Blade Runner: The Final Cut‘s title may yet become anachronistic. But for going on ten years now, the seventh distinct full-length cut of Scott’s magnum opus has fulfilled its promise of being the last word on Blade Runner. Released in 2007, this version of the iconic 1982 sci-fi film mixes and matches various scenes and edits from multiple previous editions, while digitally tweaking the visual effects, colors, and audio mixing in preparation for Blade Runner‘s inaugural release in high-definition formats. Out of the many previous incarnations, The Final Cut most closely resembles Scott’s 1992 Director’s Cut, with some subtle but noteworthy modifications.
Though the film is based on Philip K. Dick’s novel Do Androids Dream of Electric Sheep?...
Though the film is based on Philip K. Dick’s novel Do Androids Dream of Electric Sheep?...
- 10/5/2017
- by The Film Stage
- The Film Stage
For Denis Villeneuve, there are two versions of the original “Blade Runner,” despite the seven that have circulated since its 1982 release. “The original [cut] is the story of a human being that is falling in love with a replicant,” Villeneuve said. “And the [final cut] is a story of a replicant that discovers its true identity.”
So where does Villeneuve’s sequel, “Blade Runner 2049,” fall in that equation? He’s not saying — not exactly. “I will say that this movie is made from the tension between those two movies,” he said, during an interview with IndieWire earlier this year.
Read More:Denis Villeneuve on ‘Blade Runner 2049’: Early Roger Deakins Footage is ‘Just the Tip of the Iceberg’
But that doesn’t quite give credit to the feverish, decades-long discourse surrounding the film. Not only have its creators fought over how it’s best interpreted — specifically whether Rick Deckard (Harrison Ford...
So where does Villeneuve’s sequel, “Blade Runner 2049,” fall in that equation? He’s not saying — not exactly. “I will say that this movie is made from the tension between those two movies,” he said, during an interview with IndieWire earlier this year.
Read More:Denis Villeneuve on ‘Blade Runner 2049’: Early Roger Deakins Footage is ‘Just the Tip of the Iceberg’
But that doesn’t quite give credit to the feverish, decades-long discourse surrounding the film. Not only have its creators fought over how it’s best interpreted — specifically whether Rick Deckard (Harrison Ford...
- 10/5/2017
- by Ben Travers
- Indiewire
Something I’ve stated before in pieces such as this is the rather distinct feeing of euphoria that comes from experiencing the classics on the big screen. The best ones have the capability to “transport” their audience back to the days of original release, granting new generations of audiences a taste of what past audience members felt and experienced back when. And then, every once in a while, there’s the experience that transcends what came before. For one night only – the night of Wednesday the 20th, to be precise – a rather small handful of IMAX theaters around the country, including Hollywood’s historic Tcl Chinese IMAX (where this “humble” cinephile ), ran what was advertised as a “one night only” IMAX projection of the “Final Cut” edit of Sir Ridley Scott’s seminal Blade Runner, both as a tribute to the film on its 35th anniversary and to give the...
- 10/2/2017
- by William Coffey
- Age of the Nerd
So what I can tell you about Blade Runner 2049 without having the spoiler police on my ass? Elvis is in it; ditto Sinatra. (I won't say how for fear of reprisals.) I can reveal that the sequel runs 2 hours and 43 minutes – that's 45 minutes longer than the 1982 original, based on Philip K. Dick's Do Androids Dream of Electric Sheep? For Blade Runner junkies like myself, who've mainlined five different versions of Ridley Scott's now iconic sci-fi film noir – from the release print to the Director's Cut and the...
- 9/29/2017
- Rollingstone.com
Perhaps 35 years isn’t such a long time when you consider it took 25 for Ridley Scott to make his Final Cut of the original Blade Runner. Blade Runner 2049 brings back replicant hunter Rick Deckard (Harrison Ford) and a new group of Blade Runners and replicants. At the Los Angeles press conference for the film, screenwriter Hampton Fancher recalled early ideas for a sequel not too long after the 1982 original. “Through the ‘80s sometimes Ridley would give a call, ‘What do you think? Do you have any ideas? Maybe we should do something.’” Fancher recalled. “That kind of...read more...
- 9/25/2017
- by Fred Topel
- Monsters and Critics
Comedy has taken Nathan Fielder to some pretty strange places, but nothing quite compares to the time he found himself walking a high wire between two seven-story buildings in downtown L.A. It was the finale of the third season of Nathan for You, the hit Comedy Central series in which Fielder offers preposterously elaborate assistance to small-business owners and other regular folks. For this episode, he took on his biggest project yet: transforming a deeply nerdy, semi-employed man who lives with his parents into a genuine hero. Fielder assumed the identity of Corey Calderwood,...
- 9/7/2017
- Rollingstone.com
Happy September, guys! This month’s home entertainment releases are wasting no time, as Tuesday looks to be another stellar day of horror and sci-fi titles coming our way. For those of you excited for Blade Runner 2049, Warner Bros. is putting out The Final Cut version of Ridley Scott’s original masterpiece in 4K Ultra HD, and Criterion is giving Alfred Hitchcock’s Rebecca their trademarked HD treatment with a stunning new release.
As far as new indie horror movies go, both A Dark Song and Raw come home this Tuesday and are well worth your time, and for those of you Winchester brothers fans out there, the 12th season of Supernatural is being released this week, too.
Other notable titles for September 5th include The Spell, The Atoning, The Basement, I Saw What You Did, and a 4K Ultra HD release of The Cabin in the Woods.
Blade Runner...
As far as new indie horror movies go, both A Dark Song and Raw come home this Tuesday and are well worth your time, and for those of you Winchester brothers fans out there, the 12th season of Supernatural is being released this week, too.
Other notable titles for September 5th include The Spell, The Atoning, The Basement, I Saw What You Did, and a 4K Ultra HD release of The Cabin in the Woods.
Blade Runner...
- 9/5/2017
- by Heather Wixson
- DailyDead
Before Blade Runner 2049 is released in theaters on October 6th, fans can experience Ridley Scott's 1982 sci-fi masterpiece like never before beginning September 5th with the 4K Ultra HD Blu-ray version of Blade Runner: The Final Cut (originally released in 2007), and Warner Bros. Home Entertainment has now released the trailer for the 4K release.
Press Release (via Why So Blu?): Upon its original release in 2007, director Ridley Sir Ridley Scott said: “The Final Cut is the product of a process that began in early 2000 and continued off and on through seven years of intense research and meticulous restoration, technical challenges, amazing discoveries and new possibilities. I can now wholeheartedly say that Blade Runner: The Final Cut is my definitive director’s cut of the film.”
Ultra HD showcases 4K resolution with High Dynamic Range (Hdr) and a wider color spectrum, offering consumers brighter, deeper, more...
Press Release (via Why So Blu?): Upon its original release in 2007, director Ridley Sir Ridley Scott said: “The Final Cut is the product of a process that began in early 2000 and continued off and on through seven years of intense research and meticulous restoration, technical challenges, amazing discoveries and new possibilities. I can now wholeheartedly say that Blade Runner: The Final Cut is my definitive director’s cut of the film.”
Ultra HD showcases 4K resolution with High Dynamic Range (Hdr) and a wider color spectrum, offering consumers brighter, deeper, more...
- 8/11/2017
- by Derek Anderson
- DailyDead
By H. Perry Horton
Don’t give Kurt Russell your antiques.
The article Happy Accidents: Bloopers So Good They Made the Final Cut appeared first on Film School Rejects.
Don’t give Kurt Russell your antiques.
The article Happy Accidents: Bloopers So Good They Made the Final Cut appeared first on Film School Rejects.
- 8/2/2017
- by H. Perry Horton
- FilmSchoolRejects.com
Mel Gibson is back in business in Hollywood, with last year’s “Hacksaw Ridge” aiding the actor and filmmaker’s redemption arc. However, it hasn’t taken long for Gibson to fall into one of the industry’s favorite pastimes — lawsuits!
Last year, cameras started rolling on “The Professor And The Madman,” an adaptation of the great book by Simon Winchester, about the creation of the first Oxford English Dictionary by Professor James Murray (played by Gibson), whose work became complicated thanks to the participation of Dr.
Continue reading Mel Gibson Sues Voltage Pictures Over Final Cut On ‘The Professor And The Madman’ & More at The Playlist.
Last year, cameras started rolling on “The Professor And The Madman,” an adaptation of the great book by Simon Winchester, about the creation of the first Oxford English Dictionary by Professor James Murray (played by Gibson), whose work became complicated thanks to the participation of Dr.
Continue reading Mel Gibson Sues Voltage Pictures Over Final Cut On ‘The Professor And The Madman’ & More at The Playlist.
- 8/1/2017
- by Kevin Jagernauth
- The Playlist
The Hollywood winds have been blowing in the direction of franchises and cinematic universe for a while, but it’s still surprising to see a studio make such a transparent move towards them and away from the creative forces that helped build the backbone of its modern era. A regime change at Warner Bros. may spell […]
The post Warner Bros. Reportedly Wants to Avoid Working With ‘Auteur Directors Who Want Final Cut’ appeared first on /Film.
The post Warner Bros. Reportedly Wants to Avoid Working With ‘Auteur Directors Who Want Final Cut’ appeared first on /Film.
- 6/22/2017
- by Hoai-Tran Bui
- Slash Film
Last December, a regime change occurred in Hollywood, with longtime New Line Cinemas’ head Toby Emmerich landing a new gig as President of Warner Bros. The passing of power takes time — he’s apparently still figuring out what the office layout will be — and Emmerich’s effect on WB will become clearer moving forward. However, it does seem like the new man behind the big desk wants to make the studio’s operations leaner.
Continue reading Warner Bros. Reportedly Looking To Avoid Working With “Auteur Directors Who Want Final Cut” at The Playlist.
Continue reading Warner Bros. Reportedly Looking To Avoid Working With “Auteur Directors Who Want Final Cut” at The Playlist.
- 6/21/2017
- by Kevin Jagernauth
- The Playlist
Author: Jon Lyus
In an age when familiarity is preferential to the unknown, we are knee deep in a sea of cultural revivals. A buoyant Hollywood has become a replicating machine, capable of serving up the chance to begin again in a golden land of opportunity and adventure. But this is one we’ve been in before; Blade Runner 2049 is the latest of these familiar adventures. And there’s a new trailer to remind us exactly why we’re going back to the future.
Shown originally as part of the CinemaCon presentation last month word quickly leaked out on the internet that this new footage of Denis Villenueve’s film was astonishing, and now we get to judge this for ourselves.
Ryan Gosling and HArrison Ford in Denis Villeneuve’s Blade Runner 2049.
The dark star of the 80s sci-fi boom Blade Runner has a colourful history. The various...
In an age when familiarity is preferential to the unknown, we are knee deep in a sea of cultural revivals. A buoyant Hollywood has become a replicating machine, capable of serving up the chance to begin again in a golden land of opportunity and adventure. But this is one we’ve been in before; Blade Runner 2049 is the latest of these familiar adventures. And there’s a new trailer to remind us exactly why we’re going back to the future.
Shown originally as part of the CinemaCon presentation last month word quickly leaked out on the internet that this new footage of Denis Villenueve’s film was astonishing, and now we get to judge this for ourselves.
Ryan Gosling and HArrison Ford in Denis Villeneuve’s Blade Runner 2049.
The dark star of the 80s sci-fi boom Blade Runner has a colourful history. The various...
- 5/8/2017
- by Jon Lyus
- HeyUGuys.co.uk
Last week brought a brand new trailer for Cars 3, along with our reaction after seeing roughly half the movie. Easily the most impressive and promising element of the movie is the new character Cruz Ramirez voiced by comedian Cristela Alonzo, who gives the franchise a much needed bigger heart. But beyond that, Pixar Animation […]
The post See How a Scene from ‘Cars 3’ Evolves from Storyboard to the Final Cut appeared first on /Film.
The post See How a Scene from ‘Cars 3’ Evolves from Storyboard to the Final Cut appeared first on /Film.
- 5/1/2017
- by Ethan Anderton
- Slash Film
Exclusive: Off-beat, buddy road movie, which world premiered at Dubai in December, due to screen at Unifrance Rendez-vous in Paris.
Paris-based Loco Films has taken on world sales of Egyptian filmmaker Sherif El Bendary’s debut feature Ali, The Goat, And Ibrahim about a young man who sets off on a journey of self-discovery across Egypt in the company of his beloved pet goat Nada.
Ali Sobhy plays the titular Ali opposite Ahmed Magdy as tormented sound engineer and travelling companion Ibrahim, who joins the Egyptian odyssey.
“We fell in love with the film. It’s very humorous with a strong premise: a man who is deeply in love with his goat who sets off on a colourful journey across Egypt,” said Loco Films founding chief Laurent Danielou.
“They cast 2,000 goats for the role!” he added. “It’s a feel-good movie, which is original, exotic, funny and slightly crazy – in perfect sync with Loco.”
The deal covers...
Paris-based Loco Films has taken on world sales of Egyptian filmmaker Sherif El Bendary’s debut feature Ali, The Goat, And Ibrahim about a young man who sets off on a journey of self-discovery across Egypt in the company of his beloved pet goat Nada.
Ali Sobhy plays the titular Ali opposite Ahmed Magdy as tormented sound engineer and travelling companion Ibrahim, who joins the Egyptian odyssey.
“We fell in love with the film. It’s very humorous with a strong premise: a man who is deeply in love with his goat who sets off on a colourful journey across Egypt,” said Loco Films founding chief Laurent Danielou.
“They cast 2,000 goats for the role!” he added. “It’s a feel-good movie, which is original, exotic, funny and slightly crazy – in perfect sync with Loco.”
The deal covers...
- 1/12/2017
- ScreenDaily
We pay tribute to the film stars and directors from around the world who sadly passed away in 2016.Hector BabencoArgentine-born Brazilian director Hector Babenco died on July 13 at 70-years-old.He found international success with Brazilian slum drama Pixote (1981), going on to make Kiss Of
We pay tribute to the film stars and directors from around the world who sadly passed away in 2016.
Hector Babenco
Argentine-born Brazilian director Hector Babenco died on July 13 at 70-years-old.
He found international success with Brazilian slum drama Pixote (1981), going on to make Kiss Of The Spider Woman (1985), for which he earned a best director Oscar nominee and William Hurt earned an Oscar win for best actor.
Babenco went on to direct Meryl Streep and Jack Nicholson in Ironweed (1987) and Tom Berenger and John Lithgow in At Play In The Fields Of The Lord (1991).
After undergoing cancer treatment in the 1990s, he returned to the director’s chair for films including Brazilian prison...
We pay tribute to the film stars and directors from around the world who sadly passed away in 2016.
Hector Babenco
Argentine-born Brazilian director Hector Babenco died on July 13 at 70-years-old.
He found international success with Brazilian slum drama Pixote (1981), going on to make Kiss Of The Spider Woman (1985), for which he earned a best director Oscar nominee and William Hurt earned an Oscar win for best actor.
Babenco went on to direct Meryl Streep and Jack Nicholson in Ironweed (1987) and Tom Berenger and John Lithgow in At Play In The Fields Of The Lord (1991).
After undergoing cancer treatment in the 1990s, he returned to the director’s chair for films including Brazilian prison...
- 12/31/2016
- ScreenDaily
Producer Matt Damon has a history with playwright, writer, and director Kenneth Lonergan. Over 14 years ago, Damon starred in a London production of one of Lonergan’s plays, This is Our Youth, alongside Manchester by the Sea star Casey Affleck. Years later, Damon had a supporting role in Lonergan’s second film, Margaret, a troubled and long-delayed drama caught up […]
The post Why Producer Matt Damon Had Final Cut on ‘Manchester by the Sea’ appeared first on /Film.
The post Why Producer Matt Damon Had Final Cut on ‘Manchester by the Sea’ appeared first on /Film.
- 11/8/2016
- by Jack Giroux
- Slash Film
Avid's new Nexis | Pro Team Bundles.
Digistor Marketing Manager Mark Richards has witnessed first-hand the changes wrought on the post-production landscape by the digital revolution.
"Conversations with facilities have changed from .what are you going to edit it on?' to .what are the assets, how are you going to store and keep track of them, how are you going to archive them, who.s going to access them and what.s the workflow?'," Richards says. "It.s all about managing the media better from place to place and making sure it.s reliable and backed up."
"Our role is to have those conversations early and make sure that people understand what the options are for making sure that they can efficiently get the stuff produced, managed, supported, secured, backed up and out the door. Rather than the equipment that [the client] needs it.s really more about the services and the workflow,...
Digistor Marketing Manager Mark Richards has witnessed first-hand the changes wrought on the post-production landscape by the digital revolution.
"Conversations with facilities have changed from .what are you going to edit it on?' to .what are the assets, how are you going to store and keep track of them, how are you going to archive them, who.s going to access them and what.s the workflow?'," Richards says. "It.s all about managing the media better from place to place and making sure it.s reliable and backed up."
"Our role is to have those conversations early and make sure that people understand what the options are for making sure that they can efficiently get the stuff produced, managed, supported, secured, backed up and out the door. Rather than the equipment that [the client] needs it.s really more about the services and the workflow,...
- 10/18/2016
- by Sponsored Content
- IF.com.au
Early word is really promising on Denis Villeneuve’s next film, “Arrival,” which is set to be released this November (read our rave review here). While promoting the film, interviewers are also asking the director about his upcoming “Blade Runner 2.” Not much is known about the film, other than it stars Ryan Gosling and Harrison Ford and should be released October 2017.
Continue reading Director Denis Villeneuve Wants To Make A ‘Dune’ Movie, Doesn’t Have Final Cut On ‘Blade Runner 2’ at The Playlist.
Continue reading Director Denis Villeneuve Wants To Make A ‘Dune’ Movie, Doesn’t Have Final Cut On ‘Blade Runner 2’ at The Playlist.
- 9/13/2016
- by Charles Dean
- The Playlist
Indigo Film crime series, Vr firsts, Sally Potter multimedia musical and Dilma Rousseff drama among projects heading to the Lido.
As Venice seeks to ramp up its industry profile, the festival’s market head Pascal Diot has revealed further details of how this year’s inaugural ‘Venice Production Bridge’ (September 1-5) will work.
Extra funds have been set aside by the Biennale for the initiative which, as reported earlier this year, will incorproate the existing market strands, among them Final Cut and the Gap Financing Programme.
“What we want to do with the Production Bridge is to offer as many services as possible to producers,” Diot explained. “(Paolo) Baratta [president of la Biennale di Venezia] was keen on the market. He has been a great support. That’s why when, for the 5th anniversary, we decided to propose something more, he said ‘yes’ right away.
More than 1700 accredited industry delegates are due to attend the festival. High-profile Us delegates...
As Venice seeks to ramp up its industry profile, the festival’s market head Pascal Diot has revealed further details of how this year’s inaugural ‘Venice Production Bridge’ (September 1-5) will work.
Extra funds have been set aside by the Biennale for the initiative which, as reported earlier this year, will incorproate the existing market strands, among them Final Cut and the Gap Financing Programme.
“What we want to do with the Production Bridge is to offer as many services as possible to producers,” Diot explained. “(Paolo) Baratta [president of la Biennale di Venezia] was keen on the market. He has been a great support. That’s why when, for the 5th anniversary, we decided to propose something more, he said ‘yes’ right away.
More than 1700 accredited industry delegates are due to attend the festival. High-profile Us delegates...
- 8/31/2016
- by geoffrey@macnab.demon.co.uk (Geoffrey Macnab)
- ScreenDaily
Pretty much everybody likes Ridley Scott’s original 1982 Blade Runner—or at least the “Final Cut” version that makes all the others look like garbage—but even its biggest fans can probably admit that the film has some flaws. For one thing, it’s a little hard to get a read on its antagonists, the rogue Nexus-6 replicants led by Rutger Hauer’s Roy Batty. Their quest to live longer is fairly sympathetic, but also they kill people and are kind of scary, so how is the audience supposed to feel about them? What they really needed was an explicit visual reminder metaphorically plastered across their foreheads that could give people a sense of their mental state. Hot Topic would’ve sold a lot more Blade Runner t-shirts, at least.
Anyway, in completely unrelated news, Variety is reporting that Jared Leto has just joined the cast of director Denis ...
Anyway, in completely unrelated news, Variety is reporting that Jared Leto has just joined the cast of director Denis ...
- 8/18/2016
- by Sam Barsanti
- avclub.com
**Final Thoughts Have Been Added In An Update Below After Watching The Finished Version**
Last night, at 9:30, on a Monday, South By Southwest attendees were treated to a gratuitous showing of food porn that no one was ready for (and no, I’m not talking about my Instagram page). As a special treat, Seth Rogen and Evan Goldberg showed a very raw, Very unfinished Sausage Party cut to hungry audiences, who ate it up.
The last thirty minutes alone will leave animated lovers feeling dirty, shocked and ashamed (in a good way?), as stoner humor mixes with existential insanity in ways that lampoon race and broach religious understanding. How do you make a movie about food wanting to fuck have a weighty, Pixar-heavy undertone (Dixar filmmaking, as the film jokes)? Just ask Rogen and Goldberg (and their co-writers, Kyle Hunter and Ariel Shaffir).
Reviewing the film seems a bit hasty,...
Last night, at 9:30, on a Monday, South By Southwest attendees were treated to a gratuitous showing of food porn that no one was ready for (and no, I’m not talking about my Instagram page). As a special treat, Seth Rogen and Evan Goldberg showed a very raw, Very unfinished Sausage Party cut to hungry audiences, who ate it up.
The last thirty minutes alone will leave animated lovers feeling dirty, shocked and ashamed (in a good way?), as stoner humor mixes with existential insanity in ways that lampoon race and broach religious understanding. How do you make a movie about food wanting to fuck have a weighty, Pixar-heavy undertone (Dixar filmmaking, as the film jokes)? Just ask Rogen and Goldberg (and their co-writers, Kyle Hunter and Ariel Shaffir).
Reviewing the film seems a bit hasty,...
- 8/10/2016
- by Matt Donato
- We Got This Covered
Ryan Lambie Aug 9, 2016
From 2001 and Metropolis, to The Wicker Man and Event Horizon: a look at nine films with scenes we may never see...
There are some movies whose images and ideas are so indelible, it's difficult to imagine a world without them. Yet films are by their nature delicate things; they're the end-product of months or even years of craftsmanship, and whether they're stored on celluloid or captured digitally, they're as vulnerable to the ravages of time or acts of god as any other artform.
Cinema history is littered with stories of lost and damaged movies. Back in the 1920s, eminent director Erich von Stroheim made Greed, an expensive, nine-and-a-half hour epic that was repeatedly cut until only 140 minutes of its original footage remained. Legend has it that a janitor accidentally threw out the removed footage and, just like that, years of work were gone - seemingly forever.
From 2001 and Metropolis, to The Wicker Man and Event Horizon: a look at nine films with scenes we may never see...
There are some movies whose images and ideas are so indelible, it's difficult to imagine a world without them. Yet films are by their nature delicate things; they're the end-product of months or even years of craftsmanship, and whether they're stored on celluloid or captured digitally, they're as vulnerable to the ravages of time or acts of god as any other artform.
Cinema history is littered with stories of lost and damaged movies. Back in the 1920s, eminent director Erich von Stroheim made Greed, an expensive, nine-and-a-half hour epic that was repeatedly cut until only 140 minutes of its original footage remained. Legend has it that a janitor accidentally threw out the removed footage and, just like that, years of work were gone - seemingly forever.
- 8/2/2016
- Den of Geek
Venice Production Bridge will incorporate Gap Financing Market and Final Cut events.
The Venice Film Festival (Aug 31 - Sept 10) has revealed the line-ups for its 2016 market events, newly renamed the Venice Production Bridge (Sept 1 - 5).
The Production Bridge will host features, TV, web-series and Vr projects.
Venice’s two-day Gap-Financing Market event (September 2-3, 2016) will host 40 selected European and International projects looking to close their international financing.
The market’s Final Cut strand will award prizes to selected in-the-works projects from Africa and from Iraq, Jordan, Lebanon, Palestine and Syria, while the inaugural Book Adaptation Rights Area will see publishers pitch books ripe for film or TV adaptation.
The European Commission organises two workshops, one on access to finance (Sept 3) and the other on the future of cinemas (Sept 4). The second event, which will be opened by European Commissioner Oettinger, will focus on how cinemas can fully reap the benefits of digital technologies.
Gap Financing...
The Venice Film Festival (Aug 31 - Sept 10) has revealed the line-ups for its 2016 market events, newly renamed the Venice Production Bridge (Sept 1 - 5).
The Production Bridge will host features, TV, web-series and Vr projects.
Venice’s two-day Gap-Financing Market event (September 2-3, 2016) will host 40 selected European and International projects looking to close their international financing.
The market’s Final Cut strand will award prizes to selected in-the-works projects from Africa and from Iraq, Jordan, Lebanon, Palestine and Syria, while the inaugural Book Adaptation Rights Area will see publishers pitch books ripe for film or TV adaptation.
The European Commission organises two workshops, one on access to finance (Sept 3) and the other on the future of cinemas (Sept 4). The second event, which will be opened by European Commissioner Oettinger, will focus on how cinemas can fully reap the benefits of digital technologies.
Gap Financing...
- 7/29/2016
- by andreas.wiseman@screendaily.com (Andreas Wiseman)
- ScreenDaily
With the news of Michael Cimino death came many expressions of love for an oeuvre that hadn’t been well-regarded, at least on any large scale, since the late ’70s. For many, Cimino’s output — and, well, all of New Hollywood — ends with Heaven’s Gate, a financial and critical debacle so large that, by now, you’re likely to know the basic story, including the fact that its helmer, just recently crowned a studio system darling, was so battered as to never again achieve remotely the same levels of success.
Much of this was documented in Steven Bach‘s 1999 book Final Cut: The Making and Unmaking of Heaven’s Gate, which was made into a documentary that filtered all this information through the primary magic of movies: not having to read. Narrated by Willem Dafoe (who made a very early appearance in Heaven’s Gate — not that you...
Much of this was documented in Steven Bach‘s 1999 book Final Cut: The Making and Unmaking of Heaven’s Gate, which was made into a documentary that filtered all this information through the primary magic of movies: not having to read. Narrated by Willem Dafoe (who made a very early appearance in Heaven’s Gate — not that you...
- 7/6/2016
- by Nick Newman
- The Film Stage
With the news of Michael Cimino’s passing, many people are going to revisit the award-winning director’s films. Best known for directing the classic “The Deer Hunter,” Michael Cimino also is responsible for one of the most controversial films in Hollywood history, “Heaven’s Gate.” The 1980 Western had one of the most tumultuous productions in modern […]
The post 80-Minute ‘Final Cut: The Making And Unmaking of Heaven’s Gate’ Explores Michael Cimino’s Misunderstood Masterpiece appeared first on The Playlist.
The post 80-Minute ‘Final Cut: The Making And Unmaking of Heaven’s Gate’ Explores Michael Cimino’s Misunderstood Masterpiece appeared first on The Playlist.
- 7/5/2016
- by Charles Dean
- The Playlist
Cimino and star Kris Kristofferson on the set of the ill-fated production of "Heaven's Gate".
By Lee Pfeiffer
Michael Cimino, whose fast rise to royalty in Hollywood was matched only by the sudden demise of his career, has died at age 77. He was born in Long Island and entered the film business with his first success as the co-writer of the 1973 Clint Eastwood Dirty Harry sequel "Magnum Force". (He had previously written the screenplay for the sci-fi cult film "Silent Running" starring Bruce Dern.) Eastwood was suitably impressed and gave Cimino the opportunity to make his directorial debut with the buddy crime caper "Thunderbolt and Lightfoot". Released in 1974, the film was a hit and helped launch Jeff Bridges to stardom with the Oscar nomination he received. In 1978 Cimino released his ambitious Vietnam War epic "The Deer Hunter" starring Robert De Niro and newcomer Meryl Streep. The politics of the big...
By Lee Pfeiffer
Michael Cimino, whose fast rise to royalty in Hollywood was matched only by the sudden demise of his career, has died at age 77. He was born in Long Island and entered the film business with his first success as the co-writer of the 1973 Clint Eastwood Dirty Harry sequel "Magnum Force". (He had previously written the screenplay for the sci-fi cult film "Silent Running" starring Bruce Dern.) Eastwood was suitably impressed and gave Cimino the opportunity to make his directorial debut with the buddy crime caper "Thunderbolt and Lightfoot". Released in 1974, the film was a hit and helped launch Jeff Bridges to stardom with the Oscar nomination he received. In 1978 Cimino released his ambitious Vietnam War epic "The Deer Hunter" starring Robert De Niro and newcomer Meryl Streep. The politics of the big...
- 7/4/2016
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
The Oscar-winning writer-director was widely acclaimed for The Deer Hunter but fell from grace with Heaven’s Gate.
Michael Cimino, the Oscar-winning Hollywood writer-director best known for The Deer Hunter and Heaven’s Gate, has died at age 77.
Press reports said that Cimino’s body was found at his Los Angeles home on Saturday (July 2), with the cause of death yet to be determined.
Cimino started his career in television commercials and as a screenwriter, with credits including 1972 sci-fi tale Silent Running and 1973 Clint Eastwood crime thriller Magnum Force. He made his directing debut on 1974 Eastwood comedy drama Thuderbolt and Lightfoot, which he also wrote.
He rose to prominence as director of 1978 Vietnam war story The Deer Hunter, on which he also got a story credit. The film won five Oscars, including best picture and best director for Cimino himself.
Two years later, however, Cimino’s reputation took a hit when Heaven’s Gate, which he wrote...
Michael Cimino, the Oscar-winning Hollywood writer-director best known for The Deer Hunter and Heaven’s Gate, has died at age 77.
Press reports said that Cimino’s body was found at his Los Angeles home on Saturday (July 2), with the cause of death yet to be determined.
Cimino started his career in television commercials and as a screenwriter, with credits including 1972 sci-fi tale Silent Running and 1973 Clint Eastwood crime thriller Magnum Force. He made his directing debut on 1974 Eastwood comedy drama Thuderbolt and Lightfoot, which he also wrote.
He rose to prominence as director of 1978 Vietnam war story The Deer Hunter, on which he also got a story credit. The film won five Oscars, including best picture and best director for Cimino himself.
Two years later, however, Cimino’s reputation took a hit when Heaven’s Gate, which he wrote...
- 7/3/2016
- ScreenDaily
The Oscar-winning writer-director was widely acclaimed for The Deer Hunter but fell from grace with Heaven’s Gate.
Michael Cimino, the Oscar-winning Hollywood writer-director best known for The Deer Hunter and Heaven’s Gate, has died at age 77.
Press reports said that Cimino’s body was found at his Los Angeles home on Saturday (July 2), with the cause of death yet to be determined.
Cimino started his career in television commercials and as a screenwriter, with credits including 1972 sci-fi tale Silent Running and 1973 Clint Eastwood crime thriller Magnum Force. He made his directing debut on 1974 Eastwood comedy drama Thuderbolt and Lightfoot, which he also wrote.
He rose to prominence as director of 1978 Vietnam war story The Deer Hunter, on which he also got a story credit. The film won five Oscars, including best picture and best director for Cimino himself.
Two years later, however, Cimino’s reputation took a hit when Heaven’s Gate, which he wrote...
Michael Cimino, the Oscar-winning Hollywood writer-director best known for The Deer Hunter and Heaven’s Gate, has died at age 77.
Press reports said that Cimino’s body was found at his Los Angeles home on Saturday (July 2), with the cause of death yet to be determined.
Cimino started his career in television commercials and as a screenwriter, with credits including 1972 sci-fi tale Silent Running and 1973 Clint Eastwood crime thriller Magnum Force. He made his directing debut on 1974 Eastwood comedy drama Thuderbolt and Lightfoot, which he also wrote.
He rose to prominence as director of 1978 Vietnam war story The Deer Hunter, on which he also got a story credit. The film won five Oscars, including best picture and best director for Cimino himself.
Two years later, however, Cimino’s reputation took a hit when Heaven’s Gate, which he wrote...
- 7/3/2016
- ScreenDaily
There are days where the Internet feels like the most ghoulish game of telephone ever, particularly when the word starts to spread that someone notable has died. Edgar Wright was the first one I saw mention the death of Michael Cimino this afternoon, quoting a Tweet by Cannes luminary Thierry Fremaux, who announced, “Michael Cimino died peacefully, surrounded by his family and these two women who loved him. We loved him also.” Without question, Cimino’s career was defined by one remarkable high and one remarkable low, and to some degree, his career is the perfect illustration of what happened as film culture moved from the ‘70s to the ‘80s, and part of what makes him such a fascinating figure is how questionable every “fact” about him was. Cimino was a mystery in many ways, and when he made his debut as a director with Thunderbolt & Lightfoot, he looked like...
- 7/3/2016
- by Drew McWeeny
- Hitfix
It had been a long time since I was in the same room with director Michael Cimino. My first job out of Nyu Cinema Studies was in the publicity department at United Artists in New York, where I witnessed the long delays on Cimino’s follow-up to his Oscar-winning 1978 anti-war diatribe “The Deer Hunter,” the period western “Heaven’s Gate.”
The director got caught up in chasing authenticity in the myriad details of the production, training for weeks the cast led by Kris Kristofferson and Isabelle Huppert to roller-skate for one scene — and demanding endless retakes until he shot more feet of film, over 1 million, than even Francis Coppola did on another memorably out-of-control UA movie, “Apocalypse Now.” The original $11 million budget bloated to $32 million (Cimino’s figure), as recounted in Steven Bach’s “Final Cut: Art, Money and Ego in the Making of ‘Heaven’s Gate.’
“Heaven’s...
The director got caught up in chasing authenticity in the myriad details of the production, training for weeks the cast led by Kris Kristofferson and Isabelle Huppert to roller-skate for one scene — and demanding endless retakes until he shot more feet of film, over 1 million, than even Francis Coppola did on another memorably out-of-control UA movie, “Apocalypse Now.” The original $11 million budget bloated to $32 million (Cimino’s figure), as recounted in Steven Bach’s “Final Cut: Art, Money and Ego in the Making of ‘Heaven’s Gate.’
“Heaven’s...
- 7/2/2016
- by Anne Thompson
- Thompson on Hollywood
It had been a long time since I was in the same room with director Michael Cimino. My first job out of Nyu Cinema Studies was in the publicity department at United Artists in New York, where I witnessed the long delays on Cimino’s follow-up to his Oscar-winning 1978 anti-war diatribe “The Deer Hunter,” the period western “Heaven’s Gate.”
The director got caught up in chasing authenticity in the myriad details of the production, training for weeks the cast led by Kris Kristofferson and Isabelle Huppert to roller-skate for one scene — and demanding endless retakes until he shot more feet of film, over 1 million, than even Francis Coppola did on another memorably out-of-control UA movie, “Apocalypse Now.” The original $11 million budget bloated to $32 million (Cimino’s figure), as recounted in Steven Bach’s “Final Cut: Art, Money and Ego in the Making of ‘Heaven’s Gate.’
“Heaven’s...
The director got caught up in chasing authenticity in the myriad details of the production, training for weeks the cast led by Kris Kristofferson and Isabelle Huppert to roller-skate for one scene — and demanding endless retakes until he shot more feet of film, over 1 million, than even Francis Coppola did on another memorably out-of-control UA movie, “Apocalypse Now.” The original $11 million budget bloated to $32 million (Cimino’s figure), as recounted in Steven Bach’s “Final Cut: Art, Money and Ego in the Making of ‘Heaven’s Gate.’
“Heaven’s...
- 7/2/2016
- by Anne Thompson
- Indiewire
In the name of all that is blasphemous, satanic and unholy, what in Satan’s asshole did I just watch?
Mark Of The Witch is an ambitious mess of hackneyed gimmicks that might have been salvageable with a proper budget, not just writer/director Jason Bognacki’s can-do attitude. I’m all for filmmakers going rogue and shooting original content, but only within their pre-determined means. Bognacki’s style is marred by atrocious CGI and incoherent storytelling, all of which try to skirt by on the presumption that arthouse pretension trumps any semblance of a worthwhile narrative. And you know what? Maybe it would have without all the fluctuating audio levels, fish-eye lensing and inexcusable animated misfires.
Maybe.
Bognacki opens on robed cultists (presumably witches) who are holding a baby, before transitioning into an overhead shot of a birthday cake that reads the name “Jordyn” (Paulie Rojas). As the happy post-teen celebrates another year,...
Mark Of The Witch is an ambitious mess of hackneyed gimmicks that might have been salvageable with a proper budget, not just writer/director Jason Bognacki’s can-do attitude. I’m all for filmmakers going rogue and shooting original content, but only within their pre-determined means. Bognacki’s style is marred by atrocious CGI and incoherent storytelling, all of which try to skirt by on the presumption that arthouse pretension trumps any semblance of a worthwhile narrative. And you know what? Maybe it would have without all the fluctuating audio levels, fish-eye lensing and inexcusable animated misfires.
Maybe.
Bognacki opens on robed cultists (presumably witches) who are holding a baby, before transitioning into an overhead shot of a birthday cake that reads the name “Jordyn” (Paulie Rojas). As the happy post-teen celebrates another year,...
- 6/8/2016
- by Matt Donato
- We Got This Covered
If there is a reliable truism that can coexist alongside the American film industry’s dance of death with economically insane budgets that now routinely soar north of $200 million, it is that (most) critics and potential ticket-buyers can be counted on to review bad buzz and publicized woes of dollars and production instead of the actual movie once it finally finds its way to a screen. And it may in fact be true that the drama behind the scenes often outstrips the quality of the wide-screen finished product, though certainly this is not always the case. The reception of big-budget box-office flops like John Carter, The Lone Ranger, Jupiter Ascending and Oliver Stone’s Alexander are but some late examples of our number-crunching obsession with pop culture minutiae and the fascination of a behemoth’s preordained fall. Most who trudged out to see any of these films during their theatrical...
- 5/28/2016
- by Dennis Cozzalio
- Trailers from Hell
It’s a weekend night at the Cannes Film Festival. My schedule informs me that I am supposed to meet Matthew Wilder, screenwriter of Paul Schrader‘s “Dog Eat Dog,” at the Carlton Hotel for drinks. As I make my way to the entrance, I can’t help but notice the glitz and glamour scene going on in […]
The post Interview: Paul Schrader & Matthew Wilder Talk ‘Dog Eat Dog,’ Praise From Michael Haneke & Pushing The Edge Of Final Cut appeared first on The Playlist.
The post Interview: Paul Schrader & Matthew Wilder Talk ‘Dog Eat Dog,’ Praise From Michael Haneke & Pushing The Edge Of Final Cut appeared first on The Playlist.
- 5/27/2016
- by Jordan Ruimy
- The Playlist
Venice is to bolster its market offering with new Vr and TV series elements.
The Venice Film Festival (31 August – 10 September, 2016) is to revamp and relaunch its market offering under the banner Venice Production Bridge, which will incorporate existing market strands and add TV, Vr and web series elements.
Going forward, the market will have a focus on completion funding, distribution and international co-production of unfinished feature films. It will incorporate the existing European Gap Financing strand and the Final Cut programme while the popular Biennale College will also contine.
The Venice Production Bridge, coordinated by Pascal Diot and Savina Neirotti, will showcase around 40 projects in the final stages of development and funding, roughly divided between 18 -20 films, which will have at least 70% of their funding in place; documentaries (five to seven projects); TV series (five European series); Virtual Reality ‘films’ (five short to medium length narrative projects); and web series (five projects).
Venice Production Bridge will be...
The Venice Film Festival (31 August – 10 September, 2016) is to revamp and relaunch its market offering under the banner Venice Production Bridge, which will incorporate existing market strands and add TV, Vr and web series elements.
Going forward, the market will have a focus on completion funding, distribution and international co-production of unfinished feature films. It will incorporate the existing European Gap Financing strand and the Final Cut programme while the popular Biennale College will also contine.
The Venice Production Bridge, coordinated by Pascal Diot and Savina Neirotti, will showcase around 40 projects in the final stages of development and funding, roughly divided between 18 -20 films, which will have at least 70% of their funding in place; documentaries (five to seven projects); TV series (five European series); Virtual Reality ‘films’ (five short to medium length narrative projects); and web series (five projects).
Venice Production Bridge will be...
- 4/29/2016
- ScreenDaily
Venice is to bolster its market offering with new Vr and TV series elements.
The Venice Film Festival (31 August – 10 September, 2016) is to revamp and relaunch its market offering under the banner Venice Production Bridge, which will incorporate existing market strands and add TV, Vr and web series elements.
Going forward, the market will have a focus on completion funding, distribution and international co-production of unfinished feature films. It will incorporate the existing European Gap Financing strand and the Final Cut programme while the popular Biennale College will also contine.
The Venice Production Bridge, coordinated by Pascal Diot and Savina Neirotti, will showcase around 40 projects in the final stages of development and funding, roughly divided between 18 -20 films, which will have at least 70% of their funding in place; documentaries (five to seven projects); TV series (five European series); Virtual Reality ‘films’ (five short to medium length narrative projects); and web series (five projects).
Venice Production Bridge will be...
The Venice Film Festival (31 August – 10 September, 2016) is to revamp and relaunch its market offering under the banner Venice Production Bridge, which will incorporate existing market strands and add TV, Vr and web series elements.
Going forward, the market will have a focus on completion funding, distribution and international co-production of unfinished feature films. It will incorporate the existing European Gap Financing strand and the Final Cut programme while the popular Biennale College will also contine.
The Venice Production Bridge, coordinated by Pascal Diot and Savina Neirotti, will showcase around 40 projects in the final stages of development and funding, roughly divided between 18 -20 films, which will have at least 70% of their funding in place; documentaries (five to seven projects); TV series (five European series); Virtual Reality ‘films’ (five short to medium length narrative projects); and web series (five projects).
Venice Production Bridge will be...
- 4/29/2016
- ScreenDaily
Margot Nash and her mother Ethel.
How did you come to make The Silences?
I wrote it as a feature drama. The story was something I really wanted to tell. I had done two feature dramas, so I wrote a script, but it was really expensive and it was really hard to get made and I just put it away. [But] It just wouldn't go away. It was this thing that kept nagging at me. I thought: can I tell it as a documentary? I got a filmmaker residency in Zurich in 2012. It was a fourteen week paid residency where I could work on a project. I had to give some masterclasses but I had a lot of time. I suddenly had this brainwave. I've been making films since the 1970's, and I've often drawn on my story to create images or construct characters. I'd literally re-created some images from my...
How did you come to make The Silences?
I wrote it as a feature drama. The story was something I really wanted to tell. I had done two feature dramas, so I wrote a script, but it was really expensive and it was really hard to get made and I just put it away. [But] It just wouldn't go away. It was this thing that kept nagging at me. I thought: can I tell it as a documentary? I got a filmmaker residency in Zurich in 2012. It was a fourteen week paid residency where I could work on a project. I had to give some masterclasses but I had a lot of time. I suddenly had this brainwave. I've been making films since the 1970's, and I've often drawn on my story to create images or construct characters. I'd literally re-created some images from my...
- 4/21/2016
- by Harry Windsor
- IF.com.au
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Should there be a 'ground zero' of knowledge for movie criticism? And what makes a critic effective at their job?
When I sat down to watch It Follows for the first time at the start of last year, I had no idea what I was getting. I'm increasingly an avoider of trailers, and try as much as possible to see films cold. It doesn't always work, but in the case of It Follows, it very much did.
As I’ve written before, the film had a very primal effect on me, in that it had me backing further and further into my seat, genuinely unnerved and more than a little scared by what was happening on screen. I hadn't felt like that watching a film for a long time, and my eventual write-up reflected that. Aside from the subtexts of the movie, which I, in truth, only came to later,...
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Should there be a 'ground zero' of knowledge for movie criticism? And what makes a critic effective at their job?
When I sat down to watch It Follows for the first time at the start of last year, I had no idea what I was getting. I'm increasingly an avoider of trailers, and try as much as possible to see films cold. It doesn't always work, but in the case of It Follows, it very much did.
As I’ve written before, the film had a very primal effect on me, in that it had me backing further and further into my seat, genuinely unnerved and more than a little scared by what was happening on screen. I hadn't felt like that watching a film for a long time, and my eventual write-up reflected that. Aside from the subtexts of the movie, which I, in truth, only came to later,...
- 4/17/2016
- Den of Geek
Is it too soon to call Jeff Nichols' "Take Shelter" a modern masterpiece? I certainly won't stop anyone who makes that claim, and for the organizers of the Cannes Critics' Week, a parallel event to the Cannes Film Festival, they've decided that the film, which was selected for the 2011 festival, should grace the poster of the 2016 edition. “To have 'Take Shelter' included really was a career high at the time. I started to believe in the reality of this amazing career trajectory I've been on since 2011. The Nespresso Grand Prize most definitely influenced my career, it elevated both the film, and my reputation as a filmmaker, to a level that would have taken years to achieve through other avenues," Nichols said in a statement. Read More: Interview: Jeff Nichols Talks Making 'Midnight Special,' Working With Warner Bros., The Trouble With Final Cut, And More The...
- 3/31/2016
- by Kevin Jagernauth
- The Playlist
Joseph Sims-Dennett's feature Observance has been steadily building buzz since it premiered at Fantasia Film Festival last year.
The reception has been everything a young director in his 20's would want from a first film - only Observance isn't.
Way back in 2009, when Sims-Dennett was nineteen, he was a film student at Griffith in Queensland, working part time as a bookkeeper for Subway.
After "going and talking to some of our clients", the tyro filmmaker was able to assemble a budget of $100,000 for his first feature, Bad Behaviour.
After dropping out of film school, which the director found "too theory based", he moved to Sydney and worked for an ad company doing TVCs, shadowing directors on "massive shoots. You learn a lot in terms of how they compress shooting periods and knock things over really quickly".
At the agency, Sims Dennett also met Josh Zammit, the co-screenwriter of Observance.
The reception has been everything a young director in his 20's would want from a first film - only Observance isn't.
Way back in 2009, when Sims-Dennett was nineteen, he was a film student at Griffith in Queensland, working part time as a bookkeeper for Subway.
After "going and talking to some of our clients", the tyro filmmaker was able to assemble a budget of $100,000 for his first feature, Bad Behaviour.
After dropping out of film school, which the director found "too theory based", he moved to Sydney and worked for an ad company doing TVCs, shadowing directors on "massive shoots. You learn a lot in terms of how they compress shooting periods and knock things over really quickly".
At the agency, Sims Dennett also met Josh Zammit, the co-screenwriter of Observance.
- 3/8/2016
- by Harry Windsor
- IF.com.au
Joseph Sims-Dennett's feature Observance has been steadily building buzz since it premiered at Fantasia Film Festival last year.
The reception has been everything a young director in his 20's would want from a first film - only Observance isn't.
Way back in 2009, when Sims-Dennett was nineteen, he was a film student at Griffith in Queensland, working part time as a bookkeeper for Subway.
After "going and talking to some of our clients", the tyro filmmaker was able to assemble a budget of $100,000 for his first feature, Bad Behaviour.
After dropping out of film school, which the director found "too theory based", he moved to Sydney and worked for an ad company doing TVCs, shadowing directors on "massive shoots. You learn a lot in terms of how they compress shooting periods and knock things over really quickly".
At the agency, Sims Dennett also met Josh Zammit, the co-screenwriter of Observance.
The reception has been everything a young director in his 20's would want from a first film - only Observance isn't.
Way back in 2009, when Sims-Dennett was nineteen, he was a film student at Griffith in Queensland, working part time as a bookkeeper for Subway.
After "going and talking to some of our clients", the tyro filmmaker was able to assemble a budget of $100,000 for his first feature, Bad Behaviour.
After dropping out of film school, which the director found "too theory based", he moved to Sydney and worked for an ad company doing TVCs, shadowing directors on "massive shoots. You learn a lot in terms of how they compress shooting periods and knock things over really quickly".
At the agency, Sims Dennett also met Josh Zammit, the co-screenwriter of Observance.
- 3/8/2016
- by Harry Windsor
- IF.com.au
You can do whatever you want in the sewers," Animals co-creator Phil Matarese says. "When we're making episodes about rats, you can tell loose, crazy stories. You can tell a really fucked-up story about a rat hiding his boner from a girl, but it's mostly about this kid who just likes a girl a lot."
"The boner is his heart," executive producer Mark Duplass counters matter-of-factly.
"The boner is his heart," Matarese rejoins, laughing. "He's got a heart boner."
Ever since the animated series premiered on HBO earlier this month,...
"The boner is his heart," executive producer Mark Duplass counters matter-of-factly.
"The boner is his heart," Matarese rejoins, laughing. "He's got a heart boner."
Ever since the animated series premiered on HBO earlier this month,...
- 2/19/2016
- Rollingstone.com
"That's how it starts - the fever, the rage... That turns good men cruel." It's a New Year and that means a new set of movies across the next 12 months to get excited about. 2016's line-up of cinematic adventures includes Marvel's Doctor Strange, DC's Suicide Squad, plus Gambit, X-Men: Apocalypse, Captain America: Civil War, as well as Steven Spielberg's The Bfg, Paul Fieg's Ghostbusters, Duncan Jones' Warcraft, Tim Miller's Deadpool, and Pixar's Finding Dory. This new 2016 mashup video from Nick Bosworth (who makes the Final Cut videos) is just a very quick tease but it's a nice preview of what's ahead. Description from YouTube: "2016 has finally arrived everybody and holy crap are [we] in for one hell of a year when it comes to anticipated movies. So as per tradition, yours truly (Nick Bosworth) put together a special preview of what's to come this year with a new movie trailer mashup.
- 1/6/2016
- by Alex Billington
- firstshowing.net
It's been a full decade since "Star Wars: Episode III — Revenge Of The Sith" arrived, and while it's considered the best of George Lucas' prequels, that's a fairly low bar to clear. While there is a small minority of apologists for Lucas' second trilogy, majority consensus is that they were everything the original films weren't, and that's including the finale, 'Revenge Of The Sith.' Read More: J.J. Abrams Confirms Final Cut On 'The Force Awakens,' Says 'Star Wars' Is Not Being Disney-fied Screen Junkies have taken a lightsaber to 'Sith' in their latest Honest Trailers installment. And the biggest crime the film makes? Building up the Darth Vader reveal, but giving the character a fairly ridiculous setup to sell his turn to the Dark Side. Meanwhile, the acting also gets roasted (along with an acknowledgment that it's hard for anybody to sell Lucas...
- 12/15/2015
- by Kevin Jagernauth
- The Playlist
Dubai-based investment fund Fortress Film Clinic has boarded Zombie Gozombie, Egypt’s first zombie comedy, which is set to be directed by award-winning filmmaker Ahmad Abdalla.
Set against the backdrop of a provincial Egyptian town, the picture will revolve around a zombie breakout during a soccer match between the local squad and a top Egyptian team.
Up and coming Egyptian actor Ahmed El Feshawy is set to star as a local man who fights to keep the zombies in the stadium.
“There’s a political subtext but ultimately it’s a comedy,” said Fortress Film Clinic co-founder Mohamed Hefzy. “It will be Egypt’s first zombie comedy and marks quite a departure for Ahmad who has never done a genre movie before.”
Hefzy and Abdalla previously collaborated on Rags And Tatters and Microphone, set against Alexandria’s hip-hop scene just prior to the Arab Spring.
Film and TV investment fund Fortress Film Clinic – a joint venture between...
Set against the backdrop of a provincial Egyptian town, the picture will revolve around a zombie breakout during a soccer match between the local squad and a top Egyptian team.
Up and coming Egyptian actor Ahmed El Feshawy is set to star as a local man who fights to keep the zombies in the stadium.
“There’s a political subtext but ultimately it’s a comedy,” said Fortress Film Clinic co-founder Mohamed Hefzy. “It will be Egypt’s first zombie comedy and marks quite a departure for Ahmad who has never done a genre movie before.”
Hefzy and Abdalla previously collaborated on Rags And Tatters and Microphone, set against Alexandria’s hip-hop scene just prior to the Arab Spring.
Film and TV investment fund Fortress Film Clinic – a joint venture between...
- 12/10/2015
- ScreenDaily
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Looking for good books about the movies to read? We've got a bumper selection of recommendations right here...
A confession. I actually started writing this article in 2013, and the reason you've only reading it now is that I've made sure I've read every book on this list, save for one or two where I've marked otherwise. As such, what you're getting is a very personal list of recommendations. Each of these books has at least something to it that I think is of interest to someone wanting to learn more about film - or just enjoy stories of movie making.
I've tended to avoid picture books, with one exception, as these ones I've chosen are all intended to be chock-full of words, to relax with at the end of a long day. Which is what I did. There are one or two notable omissions, as I'm still...
google+
Looking for good books about the movies to read? We've got a bumper selection of recommendations right here...
A confession. I actually started writing this article in 2013, and the reason you've only reading it now is that I've made sure I've read every book on this list, save for one or two where I've marked otherwise. As such, what you're getting is a very personal list of recommendations. Each of these books has at least something to it that I think is of interest to someone wanting to learn more about film - or just enjoy stories of movie making.
I've tended to avoid picture books, with one exception, as these ones I've chosen are all intended to be chock-full of words, to relax with at the end of a long day. Which is what I did. There are one or two notable omissions, as I'm still...
- 12/10/2015
- by simonbrew
- Den of Geek
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