Dissecting a Trailer: The Parts of the Film That Make the Cut
Fantastic NYTimes infographics showing how “how scenes from five of the nine best picture nominees were reassembled to promote the films.”
If you look closely, there’s a line for shots that aren’t actually in the film, which immediately made me think of the trailers for the The Master, which featured a lot of cutting room floor footage that PT Anderson left out…
These infographics also remind me a lot of of the graphics picking apart famous speeches in Nancy Duarte’s Resonate.
Pre-Code Hollywood refers to the era in the American film industry between the introduction of sound in the late 1920s and the enforcement of the Motion Picture Production Code (usually labeled, albeit inaccurately after 1934, as the “Hays Code”) censorship guidelines. Although the Code was adopted in 1930, oversight was poor and it did not become rigorously enforced until July 1, 1934. Before that date, movie content was restricted more by local laws, negotiations between the Studio Relations Committee (SRC) and the major studios, and popular opinion than strict adherence to the Hays Code, which was often ignored by Hollywood filmmakers.
As a result, films in the late 1920s and early 1930s included sexual innuendo, miscegenation, profanity, illegal drug use, promiscuity, prostitution, infidelity, abortion, intense violence and homosexuality.A Pre-code Primer with Pictures!
(via oldfilmsflicker)
Source: missavagardner
movie magic
This is the best.
In a previous life I was a model-builder.
I would have liked to be one in this life too, but, yannow.
Photos like theses will be lost. I love movie models and seeing old school practical effects. My love of practicals know no bounds. Miniature cities and small versions of things to be destroyed, I love it and I love seeing behind the curtain.
(via swegener)
Source: towritelesbiansonherarms
Watch it.
If I watch it, it’ll be the second thing I’ve watched because of Portlandia. First was Battlestar Galatica, which I need to sit down and finish, I have two seasons to go.
Source: richardbunkall.com
Directors Martin Scorsese and James Cameron have different ideas about the use of CGI in film:
“My big concern is that the image, ultimately, with CGI, I don’t know if our younger generation is believing anything anymore on screen. It’s not real.” - Martin Scorsese
“When was it ever real? There was kind of a wall there and nothing over there. There are 30 people standing around. There’s a guy with a boom mic, there’s another guy up on a ladder with his ass crack hanging out. There’s fake rain. Your ‘street, night exterior New York’ was a ‘day, interior Burbank’. What was ever real?” - James Cameron
the thing is, James Cameron, you are wrong. what Scorsese means, is like how Spielberg used animatronic dinosaurs aka SOMETHING TANGIBLE and then enhanced them with CGI, so they could do more than the puppets could actually do. that way, you had something REAL at the core of the image, enhanced by the CGI and that is why the dinosaurs in Jurassic Park still look so much better than anything that has been done solely on the computer.
I agree with Oldfilmsflicker, i like the tangibility of practical effects, they’re something the actors play against and respond to as opposed it all being done in post. Amazing things can be done in post and I have a huge amount of respect for CGI effects studios but it isn’t and doesn’t feel the same.
Source: thefilmfatale
Criterion’s Catalog Free on Hulu All Weekend | /Film
…what? I might be leaving my apartment this weekend…by ‘might’ I mean ‘I will’
(via salesonfilm)
Source: popculturebrain
In 1915, the Biograph Company gave comedian Bert Williams authority to produce, write, direct, and star in two films for them (1915’s A Natural Born Gambler and 1916’s Fish)—making him the first African-American to 1. Have complete control over his films and 2. Produce his films for mainstream audiences.
(via diasporicroots)
Source: classicmenofcolor
“Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is non-existent. And don’t bother concealing your thievery - celebrate it if you feel like it. In any case, always remember what Jean-Luc Godard said: “It’s not where you take things from - it’s where you take them to.” ― Jim Jarmusch (born January 22nd, 1953)
(via keyframedaily)
Source: oldfilmsflicker
Episode 43- Year End Wrap Up 2012 Part 1: An Unexpected Journey
Holy crap! This is our epic Year End Wrap Up of 2012 and boy is it EPIC. So epic that we have decided to break it into 3 parts. Dave and I (Scott) are joined by past guests DC Pierson (DERRICK Comedy), Zack Pearlman (The Inbetweeners) and Codi Fischer (Web Soup) and we share our thoughts on the year in movies including our Top Movies of 2012 lists. In part one we discuss our biggest disappointments of the year and wonder why Guy Pearce was in Prometheus.
Click the link above to listen or subscribe in iTunes. You can also now find us on StitcherRadio! Please rate and review if you have a moment.
Theme song by March Fourth Marching Band and Robin Jackson.
535 puppets were made for the film.
Fantastic Mr. Fox (2009)
Episode 42- Anti-Fracking: Luka Jones and Rene Gube
Scott flies solo in this episode with wonderful guests Luka Jones (Up All Night, Best Friends Forever) and Rene Gube (writer on Up All Night). We discuss the 2013 Razzie nominations, John Krasinski’s movie career, the porn in Tokyo and Kristen Stewart’s Mini Cooper. We also hear Luka’s Oscar picks, and ONLY Luka’s!
Send your top movie list of 2012 to onephotoreviews@gmail.com for next week’s episode!
This episode is brought to you by PABST BLUE RIBBON!!!
Click the link above to listen or subscribe in iTunes. You can also now find us on StitcherRadio! Please rate and review if you have a moment.
Theme song by March Fourth Marching Band and Robin Jackson.
Episode 41- Kissing Them Softly: Erin McGathy and Matty Smith
In our first episode of 2013 we talk with guests Erin McGathy (This Feels Terrible) and Matty Smith (Up, Up, Up, UCB Theatre). We give some love to Quentin Tarantino, we give some non-love to Cloud Atlas, talk about our high school reunions and start making our top 10 lists. Also: Halle Berry’s side boob!
This episode is brought to you by PABST BLUE RIBBON!!!
Click the link above to listen or subscribe in iTunes. You can also now find us on StitcherRadio! Please rate and review if you have a moment.
Theme song by March Fourth Marching Band and Robin Jackson.








