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By DP30 david@thehotbuttonl.com

DP/30: Project X, actor Kirby Bliss Blanton

9 Responses to “DP/30: Project X, actor Kirby Bliss Blanton”

  1. sanj says:

    Kirby is keeping it real – this went pretty fast – i want 10 more minutes .

  2. Foamy Squirrel says:

    This doesn’t appear to be the same preview picture from when you first uploaded – someone contact you and ask to change?

  3. David Poland says:

    no, Foamy… YouTube only offers 3 screenshots. When I looked at the one that posted, I went in and picked another… takes time for it to be changed.

    This one’s better, no?

  4. Foamy Squirrel says:

    Much better. But being contacted by PR agents is also a better narrative. 😉

  5. sanj says:

    people sure notice the minor things – like the first 10 seconds there is something on the ceiling but nobody knows

    this could have been shot outside – you were 5 seconds away
    from that window.

  6. Josh M says:

    Great interview – she’s holding onto some serious starpower. I hope she’s given the chance.

  7. sanj says:

    she got feature in Maxim magazine – the girls of Project X
    its not that risky …

  8. MoretzRules says:

    LOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOK

    AT

    HEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEER.

    The only flaw in the magical Project X is that kid has THIS chick as his BEST FRIEND but doesn’t seem to notice for half the movie?

  9. The Pope says:

    Am I the only one having flashbacks to 1988 when I’m looking at some new actress from a movie called Dangerous Liaisons?

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DP/30

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“We don’t defy the laws of physics: There are no flying men or cars in this movie. So it made sense to do it old-school: real vehicles and real human beings in the desert. We shot the movie more or less in continuity, because the cars and the characters get really banged up along the way. The biggest benefit of digital technology for me was that the cameras were smaller and much more agile, so you could put them anywhere. We also spent a huge amount of time on spatial awareness—making sure the viewer could follow the action and understand what was happening. There has to be a strong causal connection from one shot to the next, just the same way that in music, there has to be a connection from one note to the next. Otherwise it’s just noise. Too often, if you just cram a lot of stuff into the frame, you get the illusion of a fast pace. But there’s no coherence. It doesn’t flow. It comes off as headbanging music, and it can be exhausting. We storyboarded the movie before we had a script: We had 3,500 boards, which helps the cast and crew understand how everything is going to fit together. Movies are getting faster and faster. The Road Warrior had 1,200 cuts. This one has 2,700 cuts. You have to treat it like a symphony.”
~ George Miller

“I was having issues with my script for It’s All About Love, so I called Ingmar Bergman and we ended up talking about everything but the script. He said, “Well, Festen is a masterpiece, so what are you going to do now?” At that point, I had not decided if I was going to make It’s All About Love, so I answered, “Hmmm, I don’t know. Maybe this, maybe that.” There was just a long pause, and then he said, “You’re fucked.” I said, “Well, how can you know?” “Well, Thomas, you always have to decide your next movie before the movie you’re doing presently opens.” And I said, “Why is that?” “Well, two things can happen. One thing is that you fail, and then you’ll feel scared and humiliated. It’ll get into your head. Second, and even worse, you have success, and then you’ll want more of it, or you’ll want to maintain it. But if you decide on your next film while you’re in the middle of editing, it becomes a very nonchalant choice. And then it’s shorter from the heart to the hand.”
~ Thomas Vinterberg

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