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Movie City Indie Archive for September, 2008

[PR] Transformers 2 gets iMichael IMAX treatment

IFOX-transformers-35.jpgMICHAEL BAY TO SHOOT SELECT SCENES OF TRANSFORMERS: REVENGE OF THE FALLEN WITH IMAX® CAMERAS
LOS ANGELES, CA, September 30, 2008 – IMAX Corporation (NASDAQ: IMAX; TSX: IMX), DreamWorks Pictures and Paramount Pictures today announced that director Michael Bay will shoot key sequences of Transformers: Revenge of the Fallen with IMAX® cameras. Bay will integrate the IMAX footage with state of the art CGI to create an unprecedented look and feel for the highly anticipated sequel to last year’s box office hit, Transformers. As previously announced, Transformers: Revenge of the Fallen will be released to IMAX® theatres simultaneously with the movie’s wide release on June 26, 2009.
The movie sequences shot in traditional 35mm will be digitally re-mastered into the unparalleled image and sound quality of The IMAX Experience® with IMAX DMR® (Digital Re-mastering) technology. The IMAX DMR scenes will appear in the traditional “letterbox” shape, while scenes shot with IMAX’s cameras will expand vertically to fill the entire IMAX screen.
“The extraordinary level of detail and intensity captured by the IMAX camera creates many exciting possibilities for us with this film,” said Michael Bay, the film’s director. “IMAX’s all-encompassing format will take this story to a new level, and I am once again very excited to share The IMAX Experience with Transformers fans around the world.”

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[NSFW] Full Metal Debate



Was John McCain saying things under his breath during the first debate? This is how rumors get started.

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"50 eggs…"

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For Mr. Newman, via Hobotopia.

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Paul Newman for Ned Lamont (2004)



Ned Lamont talks about the lifelong progressive.

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Newman's own popcorn

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Paul Newman by Dennis Hopper, 1964

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Paul Newman, James Dean screen test

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Paul Newman in Slap Shot



Trailer. [Bonus below: Slap Shot en Québécois.]

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Postering Synecdoche, New York

Needs more airship.

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Sacha Baron Cohen crashes Milan catwalk

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Trailering W.: Based On A True Story's latest incarnation

[If you’re reading this from Indie’s front page, to view in proper ratio, click below on the time stamp link.]


As apt needle-drops go for placing a song to footage, this is splendid. On the nose a bit? Yup.

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Filmmaker Todd Sklar on working in Columbia, Missouri



Earlier this week, I traveled to Columbia, Missouri to present two Olivier Assayas films (Irma Vep; Late August, Early September) in the first installment of Ragtag Cinema’s Critic’s Series. It was the first time I met filmmaker Todd Sklar, although I had reviewed his self-distributed feature comedy debut, Box Elder, earlier this year. (It’s still out there, including a scheduled return engagement at Chicago’s Siskel.) Afterwards, we stepped out onto Hitt Street to talk about why Columbia’s good for him and for filmmaking. [The trailer for Box Elder is below; here’s a good making-of piece. Website.]

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Three Days Of The Condor: "We play games"

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Movie City Indie

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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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