It’s been a while since I’ve stumbled across these funny forays into the Criterion Collection‘s backroom.
Director Ben Wheatley gets to dig into the Blu-ray collection in this one. I haven’t seen his KILL LIST or HIGH RISE, but our cinematographer Shane Daly continues to champion KILL LIST for its unorthodox structure. It keeps rising up on in the queue (which gets reshuffled or over-stacked based upon recommendations… most recently Tarkovsky’s STALKER was added to one of the top spots… from way down in 50s).
I’m still a huge fan of Blu-ray over streaming because I don’t like the color and contrast reproduction in most streaming services — even Netflix’s 4K. They is still and unacceptable amount of compression that is greater than a Blu-ray’s compression.
And it’s fucking impossible to easily and accurately rewind a movie from a streaming platform, which is sort of critical when you’re looking at a film with a filmmaker’s eye.
Here are some production stills from the TV pilot sizzle we directed in March 2017.
Directing has to be the most intense rush one can get in the entertainment world. You prepare for weeks, if not months, for a few lightning quick days. Days that are filled with joy, exasperation, and revelation.
We’re not the first to post Pixar‘s 22 Writing Laws and we certainly won’t be the last, but bare in mind — it is always good to review story fundamentals to stay sharp.
Jazz giant John Coltrane would practice scales EVERY DAY for hours, why? To keep his craft at the utmost sharpness. In the film & TV game, the competition is entirely too fierce for one not to strive for the very best each and every time. And the Pixar Brain Trust has an unbelievably impressive track record of winners at the box office and at Oscar time. And each PIxar film’s success came down to an impressive, driving story.
As Bryan Tracy advises: find out what the best are doing and do what they do.
One of the things that weigh on screenwriters is the number of people who actually read your material. Unless it’s getting made, perhaps 30 people TOPS will read the work you’ve spent countless hours on. Such is the vagaries and frustrating aspects of the business.
What is doubly irksome is a screenplay isn’t a work that is supposed to be “read”, it’s a document that is designed to be performed and to marshall resources and personnel so it can be filmed.
What subtextual value the filmmaker assigns to a given color.
What specific color palette is used.
Filmmaker’s Color Tools
In cinema, color comes in two forms – light and production design (which includes costumes, hair, make-up, props, and set design); top-of-their game filmmakers utilize both to fit the characters and the themes of their stories.
There’s a fascinating and informative book called “If It’s Purple, Someone’s Going To Die” by Patti Bellantoni. She dissects how color is employed in a film’s production design to elevate, spotlight, or suggest various themes, emotions, and foreshadowing.
The Vimeo video below will give you an idea of how certain directors have implemented some form of color theory in their work.
The Criterion Collection has a new feature called UNDER THE INFLUENCE… which, as you can imagine if it is from Criterion, is a smart and compelling discussion of what films have influenced en vogue or stalwart film auteurs.
Barry Jenkins, director of the knockout MOONLIGHT, discusses his thoughts and feelings on the two WKW films Criterion has the license for – CHUNGKING EXPRESS (this is now out of print) and IN THE MOOD FOR LOVE.
WKW is one of my favorite directors, his films are like intimate visual novels with great expanses of poetry interspersed within the scintillating narrative.
On Roger Deakins’ Instagram, he recently posted a quote from the incomparable Conrad L. Hall: Connie used to say he wanted his films to look ugly, to capture something that we [cinematographers] shy away from [beautifully lit images] in making movies. Ugliness can have a certain beauty as well. There’s a strange dichotomy going on there.”
What is Ugly Cinematography?
What Hall was championing is eschewing the most flattering and revealing lighting set-ups; withholding visual information is just as important as withholding narrative information. And “ugly” cinematography by a Deakins or a Hall or a Libatique or a Debie won’t be ugly-ugly (which for most means poorly composed and lit), but where harshness overrides the glamor.
Take a look at this clip from IN COLD BLOOD (shot by Hall) and notice the high contrast lighting doesn’t illuminate Robert Blake (yes, that Robert Blake) in a way that makes him look agreeable or even handsome. But the beauty of the image is sublime.
When you watch a film that you absolutely fall in love with five minutes in, and you know it’s going to change the way you appreciate “movies” from then on out, when you sense in your gut that “movies” will become “cinema”, and you are destined to become a “cinephile” and to sacrifice a typical existence for one that is constantly seeking the brass ring of cultural immortality through cinema… you probably, at some point, ask yourself — many times over and over — how did those guys create that piece of entertainment?
Indiana Jones and his swashbuckling tale of derring-do exploded upon the cultural landscape in the summer of 1981 and irrevocably changed everyone’s expectations and appreciations for the action-adventure film. It gave George Lucas his second extra-lucrative franchise… and gave us the man in the hat with the whip.
So LucasFilm drops the newest trailer for ROGUE ONE: A Star Wars Story
ROGUE ONE, the first off-shoot movie in the Star Wars cinematic tapestry; by off-shoot I mean a non-Skywalker clan story. It still bothers me that nine films will be made chronicling two generations of the Skywalkers… has any fictional family received as much screen time?