misc Archive for February, 2010

Oscar Winning Shorts: 1965 The Dot and the Line

The story details a straight line who falls in love with a dot. The dot, finding the line to be stiff, dull, and conventional, turns her affections toward a wild and unkempt squiggle. The line, unable to fall out of love and willing to do whatever it takes to win the dot’s affection, manages to bend…

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Toy Story 3: A Few of the New Guys

Saddle up for fun and let Buttercup lead your child away on a magical adventure! This cuddly unicorn features velvety-soft, snow-colored fur with sparkly gold and pink accents. He sports a signature mythical golden horn and a fun-to-comb mane and tail. Buttercup’s durable plastic eyes are both charming and scratch-resistant. Hypo-allergenic. Ages 3 and up….

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“Any time a movie causes a country to threaten nuclear retaliation, the higher-ups wanna get in a room with you… In terms of getting the word out about the movie, it’s not bad. If they actually make good on it, it would be bad for the world—but luckily that doesn’t seem like their style… We’ll make a movie that maybe for two seconds will make some 18-year-old think about North Korea in a way he never would have otherwise. Or who knows? We were told one of the reasons they’re so against the movie is that they’re afraid it’ll actually get into North Korea. They do have bootlegs and stuff. Maybe the tapes will make their way to North Korea and cause a fucking revolution. At best, it will cause a country to be free, and at worst, it will cause a nuclear war. Big margin with this movie.”
~ Seth Rogen In Rolling Stone 1224

“Yes, good movies sprout up, inevitably, in the cracks and seams between the tectonic plates on which all of these franchises stay balanced, and we are reassured of their hardiness. But we don’t see what we don’t see; we don’t see the effort, or the cost of the effort, or the movies of which we’re deprived because of the cost of the effort. Paul Thomas Anderson’s Inherent Vice may have come from a studio, but it still required a substantial chunk of outside financing, and at $35 million, it’s not even that expensive. No studio could find the $8.5 million it cost Dan Gilroy to make Nightcrawler. Birdman cost a mere $18 million and still had to scrape that together at the last minute. Imagine American movie culture for the last few years without Her or Foxcatcher or American Hustle or The Master or Zero Dark Thirty and it suddenly looks markedly more frail—and those movies exist only because of the fairy godmothership of independent producer Megan Ellison. The grace of billionaires is not a great business model on which to hang the hopes of an art form.”
~ Mark Harris On The State Of The Movies