Robert Rodriguez, Colin Trevorrow, and Joseph Kosinski talked to Collider's Steven Weintraub about creative struggles they won and a few they lost, the technology that still blows them away, and the impact of the pandemic shutdown in the middle of their current projects.
An interview with director Gregory Nava about the re-release of his masterpiece, "El Norte," on Sunday, September 15th, courtesy of Fathom Events.
A look ahead at the films set to come out in the fall season, starring ten of our most anticipated titles.
A dispatch from the 2018 Karlovy Vary International Film Festival featuring reviews of Darya Zhuk's "Crystal Swan" and Beata Parkanová's "Moments," as well as an interview with Richard Linklater.
Matt writes: As Oscar season continues to heat up, the writers at RogerEbert.com are revealing their picks for the best films of 2017 this week. What makes the upcoming awards ceremonies all the more exciting is the number of female contenders in the mix. In a recent article, our site's publisher, Chaz Ebert, discussed how this season could turn out to be a historical one.
Robert Rodriguez adapts the George Clooney-Salma Hayek vampire thriller for his El Rey network.
Director David Gordon Green has had a remarkably eclectic career, from delicate indies like "George Washington" to stoner comedy "Your Highness," with stops along the way for the "Halftime in America" Chrysler ad and episodes of HBO's "Eastbound & Down." What keeps him going?
Marie writes: Behold an ivy covered house in Düsseldorf, Germany and the power of plants to transform stone, brick and mortar into a hotel for millions of spiders. To view an amazing collection of such images and showcasing a variety of buildings from around the world, visit The Most Colorful Houses Engulfed in Vegetation at io9.com.
An interview with Nicolas Winding Refn, director of "Valhalla Rising," "Drive" and "Only God Forgives," among other films. Simon Abrams talks to the filmmaker about midnight movies, meeting Alejandro Jodorowsky, and the possibility that he might day make a Wonder Woman movie.
Marie writes: Behold a truly rare sight. London in 1924 in color. "The Open Road" was shot by an early British pioneer of film named Claude Friese-Greene and who made a series of travelogues using the colour process his father William (a noted cinematographer) had been experimenting with. The travelogues were taken between 1924 and 1926 on a motor journey between Land's End and John O'Groats. You can find more footage from The Open Road at The British Film Institute's YouTube channel for the film. You can also explore their Archives collection over here.
Marie writes: Behold a truly inspired idea...Age 8: Eileen's pink creature It started with a simple idea: to make a recognizable comfort toy for her 4 year-old son Dani, based on one of his drawing. His school had asked the children to bring in a toy from home; an emergency measure in the event of a tantrum or crying fit. Fearing he might lose his favorite, Wendy Tsao decided to make Dani a new one. Using a drawing he often made as her guide, she improvised a plush toy snowman. Five years later, Wendy Tsao has her own thriving home-based craft business - Child's Own Studio - in which she transforms the imaginative drawings of children into plush and cloth dolls; each one handcrafted and one-of-a-kind. She receives requests from parents all over the world; there's 500 people on waiting list. Note: kudos to club member Sandy Kahn for submitting the piece.
Yeah, you saw "The Artist" so you know it was a big deal when sound technology took over the movies. (Except that really you don't, because "The Artist" is only interested in the arrival of talkies as an obstacle to its love story. You'll learn more about the ramifications of the transition from film to video in pornography from P.T. Anderson's "Boogie Nights" than you will about the technological and aesthetic consequences of the shift from silents to sound in "The Artist.") David Bordwell concludes his awe-inspiring, in-depth series on "Pandora's digital box: From films to files" with some observations about the myths, realities and possibilities of digital projection (something the vast majority of moviegoers have yet to notice, I'd bet, although it's having a huge effect on distribution and exhibition) and finds a fantastic quote from "hacker historian" George Dyson:
"A Pixar movie is just a very large number, sitting idle on a disc."
That's not to diss Pixar, it's just a vivid statement of digital reality.
The ongoing switch from analog to digital movie projection is indeed a big deal, but I was struck by this observation from DB: