misc Archive for January, 2010

“Alice (Underground)”

Avril Lavigne’s new song, from the end credits of Alice in Wonderland.  Tripping out, spinning around I’m underground, I felt down, I felt down I’m freaking out to all am I now upside down and I can’t stop it now it can’t stop me now I’ll, I’ll get by I’ll, I’ll survive while the worlds…

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2010 Paramount Preview

Shutter Island –  Feb 19 Leonardo DiCaprio, Mark Ruffalo, Ben Kingsley, Michelle Williams, Max von Sydow U.S. Marshal Teddy Daniels is investigating the disappearance of a murderess who escaped from a hospital for the criminally insane and is presumed to be hiding on the remote Shutter Island. _________________________________________________ She’s Out of My League – March…

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Disney’s 2010 Preview

When in Rome – Jan 29 Kristen Bell, Josh Duhamel, Will Arnett, Alexis Dziena, Jon Heder, Dax Shepard, Kate Micucci, Bobby Moynihan, with Danny DeVito and Anjelica Huston An ambitious young New Yorker, disillusioned with romance, takes a whirlwind trip to Rome, where she defiantly plucks magic coins from a fountain of love, inexplicably igniting the…

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Avatar: 22 Minutes Behind The Scenes

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A Look at 2010 From Warner Bros.

Book of Eli – Jan 15 Denzel Washington, Gary Oldman, Mila Kunis, Ray Stevenson, Jennifer Beals, Frances de la Tour, Michael Gambon, Evan Jones, Joe Pingue, Tom Waits Action Adventure. In the not-too-distant future, across the wasteland of what was once America, a lone warrior must fight to bring civilization the knowledge that could be…

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In Honor of Martin Luther King, Jr.

I Have A Dream .. His Last Speech … And Walter Cronkite reports his assassination.  

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Poland v. Faraci on Avatar

MCN’s David Poland and CHUD’s Devin Faraci debate Avatar on G4.  Here’s the clip .. Video Games – E3 2010 – The Loop

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Prince of Persia: The Ability to Turn Back Time

“The holder of the dagger is the only person who can see the time go backwards …” Jerry Bruckheimer and Jake Gyllenhaal talk about sands and daggers.

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Quote Unquotesee all »

“When Bay keeps these absurd plot-gears spinning, he’s displaying his skill as a slick, professional entertainer. But then there are the images of motion—I hesitate to say, of things in motion, because it’s not clear how many things there are in the movie, instead of mere digital simulations of things. It doesn’t matter. What matters is that there’s a car chase through London, seen from the level of tires, that could have gone on for an hour, um, tirelessly. What matters is that the defenestrated Cade saves himself by leaping from drone to drone in midair like a frog skipping among lotus pads; that he and Vivian slide along the colossal, polished expanses of sharply tilting age-old fields of metal like luge Olympians. What matters is that, when this heroic duo find themselves thrust out into the void of inner space from a collapsing planet, it has a terrifyingly vast emptiness that Bay doesn’t dare hold for more than an instant lest he become the nightmare-master. What matters is that the enormous thing hurtling toward Earth is composed in a fanatical detail that would repay slow-motion viewing with near-geological patience. Bay has an authentic sense of the gigantic; beside the playful enormity of his Transformerized universe, the ostensibly heroic dimensions of Ridley Scott’s and Christopher Nolan’s massive visions seem like petulant vanities.”
~ Michael Bay Gives Richard Brody A Tingle

How do you see film evolving in this age of Netflix?

I thought the swing would be quicker and more violent. There have been two landmark moments in the history of French film. First in 1946, with the creation of the CNC under the aegis of Malraux. He saved French cinema by establishing the advance on receipts and support fund mechanisms. We’re all children of this political invention. Americans think that the State gives money to French films, but they’re wrong. Through this system, films fund themselves!

The other great turning point came by the hand of Jack Lang in the 1980s, after the creation of Canal+. While television was getting ready to become the nemesis of film, he created the decoder, and a specific broadcasting space between film and television, using new investments for film. That once again saved French film.

These political decisions are important. We’re once again facing big change. If our political masters don’t take control of the situation and new stakeholders like Netflix, Google and Amazon, we’re headed for disaster. We need to create obligations for Internet service providers. They can’t always be against film. They used to allow piracy, but now that they’ve become producers themselves, they’re starting to see things in a different light. This is a moment of transition, a strong political act needs to be put forward. And it can’t just be at national level, it has to happen at European level.

Filmmaker Cédric Klapisch