Tag: film

What can the endurance of the messy, campy canon of James Bond theme songs tell us about contemporary popular music?

Jamie Tarabay explored Hollywood’s relationship with the Pentagon in a recent piece for Al Jazeera America. The Pentagon has a devoted “entertainment-liaison officer” who acts as a Hollywood point person and helps decide which projects get Pentagon support (in the form of expertise, equipment, and locations). According to scholar Lawrence Suid, the Hollywood military relationship relationship dates back to […]

John Crutchfield’s “Toward an Aesthetics of Failure” explains why he still loves the out-of-fashion western despite repetitive plots, one-dimension characters, and shoddy filmmaking — and why you should, too.

[Harmony] Korine, nineteen at the time, and [Larry] Clark, then over fifty, wrangled the troops from the skate clique, supplementing them with more non-actors from Washington Square Park and the club scene, and across downtown—including Chloë Sevigny, from tony Darien, Connecticut, who had been hanging out with the crew in Washington Square Park for years. They […]

[Allison] Jones began her career with the two-beats-and-a-punch-line sitcoms of the nineteen-eighties, but, in working with Feig and the director Judd Apatow, she was required to try something revolutionary: find comedic actors who, more than just delivering jokes, could improvise and riff on their lines, creating something altogether different from what was on the page. […]

“I have consciously tried to refocus my attention away from being a film critic and toward being a film historian.”

It doesn’t really seem to make much difference how the voting is done. The quality of the work is still only recognized in the context of success. A superb job in a flop picture would get you nothing, a routine job in a winner will be voted in. It is against this background of success-worship that the voting is done, with the incidental music supplied by a stream of advertising in the trade papers (which even intelligent people read in Hollywood) designed to put all other pictures than those advertised out of your head at balloting time.

It wasn’t the compendium of facts in the chapter “Water! Water! Water!” or indeed in the entire book. It was that Carey McWilliams wrote about Southern California with sensibilities my eye, ear, and nose recognized. Along with Chandler he made me feel that he’d not only walked down the same streets and into the same arroyo-he smelled the eucalyptus, heard the humming of high tension wires, saw the same bleeding Madras landscapes-and so a sense of deja vu was underlined by a sense of jamais vu: No writers had ever spoken as strongly to me about my home.

Mike Nichols, the beloved director of stage and screen—from Who’s Afraid of Virginia Woolf? and The Graduate, to Barefoot in the Park and Working Girl— died Nov. 19, 2014 at the age of 83. Here are four pieces on the life of the artist.

Fast Company has an excerpt from Creativity, Inc., the book by Pixar co-founder Ed Catmull (with Amy Wallace), which goes inside the creative process at the studio. Catmull attributes much of their creative success to their internal process for continually refining stories. It includes meetings with the Braintrust, a group of executives, directors and other […]

Of all of his collaborations with Bill Murray, Groundhog Day was his masterpiece.

After Michael Mann set out to direct Collateral, the story’s setting moved from New York to Los Angeles. This decision was in part motivated by the unique visual presence of the city — especially the way it looked at night. Mann shot a majority of the film in HD (this was 2004), feeling the format […]

“In my mid–20s, an actor told me, ‘Acting ain’t no puzzle,’ ” Hoffman said, after returning to his seat. “I thought: ‘Ain’t no puzzle?!?’ You must be bad!” He laughed. “You must be really bad, because it is a puzzle. Creating anything is hard. It’s a cliché thing to say, but every time you start […]

When I first started the film [“The Master”] — when I first read the script — there was a great deal of flashbacks where we actually saw all these injuries and these were things we were going to shoot; but as the film progressed we didn’t end up shooting those things so I’d kind of […]

Jason Fagone (@jfagone) is the author of Ingenious, a book about modern-day inventors; his stories this year appeared in Wired, Philadelphia, Grantland, Men’s Journal, and NewYorker.com. Here Is What Happens When You Cast Lindsay Lohan in Your Movie Stephen Rodrick | The New York Times Magazine | January 2013 | 31 minutes (7,752 words) Steve […]

“Our conversation turns to the movie Shrek. Nahal loves Shrek so much that she’s seen the first installment of the DreamWorks trilogy ‘at least thirty-six or thirty-seven times.’ Her obsession is, apparently, shared by many Iranians. The image of Shrek appears everywhere throughout Tehran: painted on the walls of DVD and electronics shops, featured in […]

“It was in the White House screening room and Reagan got up to thank me for bringing the film to show the President, the First Lady and all of their guests, which included Sandra Day O’Connor in her first week of as a Justice of the Supreme Court, and it included some astronauts… I think […]

“When Greg Mosher directed Glengarry we had a lot of salesmen come in to talk to the cast, guys who were making five million dollars a year selling airplanes or industrial equipment. These people were super closers. There’s a whole substratum of people who are the closer, like the Alec Baldwin character in the movie […]

“I must admit that it was intended consciously as a social document. … [but] the storyteller’s first duty is to the story.” -From the 1991 documentary “The Complete Citizen Kane,” on the Orson Welles masterpiece. The film features interviews with Welles from 1960 and 1982, as well as an interview with New Yorker film critic Pauline Kael, […]

“Film Studies.” — David Thomson, Narrative Magazine (Free/Login required)