The Null Device

What the Star Wars movie titles would look like had they been designed by legendary 1950s/60s title designer Saul Bass (best known for his groovy animated titles). Awesome.

(via Boing Boing) ¶ design film retro saul bass star wars [no comments]

Apparently the next Coen Brothers film is going to be an adaptation of Michael Chabon's The Yiddish Policeman's Union, an intriguing-sounding book which recasts Alaska as a latter-day Birobidzhan:

The movie is set to be a noir thriller in the vein of Miller's Crossing. However, this is also an Alaska with a twist, as in the original book the state has been turned into a homeland for Jewish refugees displaced after the second world war, following the collapse of Israel. Decades later, the US government is considering displacing the Jewish settlers to return the land to Alaskan natives.

¶ birobidzhan coen brothers film jewish michael chabon yiddish [no comments]

This afternoon, I was walking through Notting Hill when I noticed that the fronts of various shops had changed. Jack Wills, the "geezer" couturier on the corner of Portobello Road and Talbot Road (near Rough Trade) had become "Fowler and Green Hardware", and had racks of old boxes out the front. Meanwhile, the café diagonally across the road had been transformed into an old radio shop, its windows full of black-and-white TVs and such. The First Floor bar was in the process of being done up to look like a no-nonsense old pub.

It turned out that they were filming some scenes from a film titled "Hippy Hippy Shake", which is set in London in the early 1960s. I'm not sure whether they were using Portobello Road to stand in for a generic street in early-60s London (which would presumably have been quite expensive), or whether they were actually filming a scene set in Portobello Road, and in which case, whether the shops they had reconstructed had actually once existed there. (Then again, there was someone carrying a Blenheim Crescent street sign, which presumably had been temporarily taken down, so perhaps they were actually reconstructing the intersection two blocks down circa 1962 or something?)

¶ film history life london notting hill [no comments]

Tonight I saw Control, Anton Corbijn's Ian Curtis biopic.

It was quite well done, I thought. As you'd expect from Corbijn, it had its starkly atmospheric shots (entirely in black and white), echoing some of the famous photos he took of Joy Division. The aesthetic of the film was quite sparse, with long shots of rooms and council estates, much said with no words but only expressions, and an equally sparse soundtrack, with the most sparing use of incidental music. (Parts of it had a German expressionist quality; it could have almost been a Fritz Lang film from the 1930s.)

The danger with this film was that it could have easily been just another exercise in style over substance, in capturing the legend of a mythical band in a time-capsule of stylised cool. However, thankfully, it wasn't; it seemed reasonably faithful (albeit from Deborah Curtis' point of view, leavened with an imagined view from Ian's perspective). Watching it, I got the feeling of Ian's predicament, the trap he was drawing into, the terrible forces tearing him (and those around him) apart. He wasn't some darkly romantic, tortured hero, just a lad from Macclesfield ill-equipped for what fate threw at him. And the film really carried across how young and unprepared he was.

The music was pretty good too; the actors playing Joy Division played all the music on stage, and did a bang-up job of it, pulling off intense performances. (I can imagine that the actual gigs would have been just like that.)

Having said that, the Killers' cover of Shadowplay in the closing credits was entirely unnecessary. Who signed off on that one?

¶ anton corbijn control film ian curtis joy division [1 comment]

Wired has an interview with Ridley Scott about the soon to be released final cut of Blade Runner:

It's the same as trying to do a monster movie. You know, Alien is a C film elevated to an A film, honestly, by a great monster. In this instance, my special effect was the world. That's why I put together people like [industrial designer] Syd Mead who were actually serious futurists. The big test is saying, Draw me a car in 30 years' time, without it looking like bad science fiction. Or, Draw me an electric iron that will be pressing shirts in 20 years without it looking silly. I wanted the world to be futuristic and yet feel — not familiar, because it won't be — but feel authentic. One of the hardest sets to design was the kitchen. It's easy to fantasize about Tyrell's giant neo-Egyptianesque boardroom, but imagining a bathroom and kitchen in those times, that's tricky. Nevertheless, fascinating. I love the problem.

J. Craig Venter, Geneticist:
"The movie has an underlying assumption that I just don't relate to: that people want a slave class. As I imagine the potential of engineering the human genome, I think, wouldn't it be nice if we could have 10 times the cognitive capabilities we do have? But people ask me whether I could engineer a stupid person to work as a servant. I've gotten letters from guys in prison asking me to engineer women they could keep in their cell. I don't see us, as a society, doing that."

Ray Kurzweil, Futurist
"The scenario of humans hunting cyborgs doesn't wash because those entities won't be separate. Today, we treat Parkinson's with a pea-sized brain implant. Increase that device's capability by a billion and decrease its size by a hundred thousand, and you get some idea of what will be feasible in 25 years. It won't be, 'OK, cyborgs on the left, humans on the right.' The two will be all mixed up."

¶ blade runner film futurism ridley scott science fiction [no comments]

Last night, I went to see the film Hallam Foe. I quite enjoyed it.

The film concerns its eponymous protagonist, a teenaged boy in rural Scotland, who spends most of his time in a treehouse watching people through binoculars, can pick locks and is convinced that his stepmother murdered his beloved mother (who drowned in the loch some time earlier). After an argument, he leaves for Edinburgh, where he becomes fascinated with a woman who looks like his mother, follows her and gets a job at the hotel she works at; much of the film concerns the complicated relationship between Hallam and her. The main characters of this film were interestingly complex and the character development and plotting avoided the usual Hollywood clichés that weaken so many films; despite one or two improbable events, the film seemed like a plausibly realistic. One could call it a "modern-day fairytale", I suppose; or perhaps the offspring of Amélie and one of the Belle & Sebastian songs with a vaguely sinister subtext beneath its surface?

By the end, it was a bittersweet sort of film; optimistic though not saccharine. It was also beautifully shot (they made good use of the Scottish landscape and the central parts of Edinburgh where it is set), the soundtrack was superb, and the titles by David Shrigley (in all his eccentric glory) were a nice touch.

¶ film [no comments]

Belle and Sebastian are now working on a musical. Actually, it's not going to play in the West End alongside We Will Rock You, Mamma Mia and the numerous lesser much-loved-band-canon musicals, but is going to take the form of a feature film, apparently in the style of The Beatles' ventures in the genre.

Stuart, who recently turned up on the red carpet as a guest at Hallam Foe's launch in Edinburgh, said: "We're making a record because that's what we do. But when the time and mood are right, the record will become a film."

During summer, a girl who plays in a ladies football team (Gregory's Girl, anyone?) meets a boy who works at the local swimming pool. After getting the bedsit next door, they meet another girl and decide to make music together.

Stuart said: "The boy was kind of flexible as nobody had shown much interest in him for awhile. So he went along, prepared to teach girl two all he knew about the steel-strung acoustic guitar that he cradled.

(via xrrf) ¶ belle & sebastian film indiepop music [no comments]

Momus' latest blog post is a critique of the recent film Pan's Labyrinth. Other than being an exercise in the goring of sacred cows (an often useful exercise), it makes some good points:

The film bore all the hallmarks of COG screenwriting. COG screenwriting is the opposite of personal vision, the opposite of imagination. It's screenwriting as taught by "experts" in screenwriting class, a kind of brutal, plot-advancing writing style based around a Centre of Goodness (COG) who wins the audience's sympathy (usually by pure genetic superiority -- ie a very good-looking actor is cast -- but also by a series of sufferings overcome throughout the narrative). It takes no prisoners -- and no risks. COG screenwriting is the filmic equivalent of modern managerial techniques. It's brutally efficient -- yes, it can and will make you laugh and make you cry -- but the difference between a film made by a COG director like Guillermo del Toro and an artist like Jodorowsky or Arrabal is like the difference between a house designed by a Project Manager and one designed by an architect. I will not let del Toro pass for an artist. I'm sorry, critics. He is a cinematic Project Manager.

Complete absence of sensuality, the incidental, the non-programmatic. Appeal is made to our adrenal glands, but no sexual organs (del Toro has the nerve to talk about Pan, but read the antics of the original Greek Pan here then compare them to the sexless, boring Pan character in this movie). Shock and surprise and mawkish empathy dominate, but there's no moment in which a character senses the breeze blowing in from the woods, just for its own sake. No, everything is fire and death and danger and hatred and forward motion. No indirection allowed. Improbable chases, with a deus ex machina to save the COG and a fatal comeuppance for the COB.

This is a Mexican-US co-production. But its values are American -- it has the shiny blue lighting, the flashy special effects, and all the conventions, of a US blockbuster (and the director apparently turned down both Harry Potter and the Narnia film to make it). This, then, is "global" film-making as a kind of outsourced American filmmaking. We do not leave the technical nor the moral universe of the Americans. Nothing is imported, in the sense of a "foreign" worldview. The film has learned American ways, but American audiences will not learn anything they don't already know from it, either texturally or morally.

¶ art content film globalisation hollywood momus pan's labyrinth [no comments]

Control, Anton Corbijn's biographical drama about Ian Curtis and Joy Division, has just premièred at Cannes, and received critical acclaim.

The film is shot in black and white, and has a characteristically 1980s Corbijn look; the production stills look promisingly stark. I'm eagerly awaiting the release of this one.

(via M+N) ¶ anton corbijn art culture film joy division music [no comments]

It has emerged that the version of the recent James Bond film Casino Royale shown on British Airways flights has been edited to remove references to rival airline Virgin Atlantic:

British Airways has removed a shot of Virgin Atlantic boss Sir Richard Branson from the in-flight version of the James Bond movie Casino Royale.

The British Airways edit also obscures the tail fin of a Virgin plane that was seen in the original.

(via Boing Boing) ¶ airlines british airways censorship film marketing product placement richard branson virgin [1 comment]

I just watched Sticky Carpet, a recent (2006) documentary on the Melbourne music scene. It was quite interesting, interviewing musicians and scene figures about various aspects of it, such as the interplay between the mainstream and the alternative (most of them were very anti-mainstream), art and commercialism (the consensus was that when money becomes a consideration, the range of allowable creative decisions narrows severely), Melbourne's profusion of band venues and community radio stations, and even the theory that Melbourne's preeminence in the Australian music scene has to do with the cold winter days encouraging musicians to go indoors and rehearse.

Sticky Carpet's main flaw was its fairly heavy rockist bias, though, which it didn't seem to question. The majority of the music presented in it was either primal 3-chord blues-rock or heavier versions of such (metal, hardcore, punk). The concession to non-rock music consisted of extreme experimental music (a metalworker who makes his own instruments, a bloke playing a theremin and breaking sheets of glass over his head, atonal "sound art" with laser displays). In short, trading one form of machismo (that of primal rock) for another (that of strenuous experimentalism). This ignored a lot of other (usually less testosterone-charged) genres of music just as prevalent in Melbourne: virtually the entire spectrum of indie-pop was omitted (this was a world where the Lucksmiths, Chapter Music, Library Records and such never existed, it seems), or indeed the Country'n'Preston scene, or local hip-hop or electronica, and so on. (This was, in a sense, the opposite of a documentary on the Melbourne indie scene aired the Swedish TV programme Musikbyrån last year, which focussed on Architecture In Helsinki, New Buffalo, The Avalanches and Cut Copy, and didn't show anyone wielding a guitar; if one were to view both side by side, there would be little evidence of them referring to the same city.)

I was surprised to find that the frontman of Eddy Current Suppression Ring wasn't wearing a blue singlet or sporting a rat's tail mullet. I sort of placed them as part of a Bodgie revival.

Another interesting thing that was said in the documentary: Tony Biggs (who presents the talk-radio segment on 3RRR) made the claim that the fact that 99% of commercial music consists of love songs might contribute to depression and mental illness, as such songs instill unreasonably optimistic expectations in listeners.

¶ art culture dvd film indie melbourne music rockism [6 comments]

I have just read Hallgrímur Helgason's 101 Reykjavík, of which I found a copy (in English) recently. This novel is probably best known for having been adapted into a film (one of the best-known Icelandic films of recent years in the English-speaking world, partly undoubtedly due to Damon Albarn having done part of the score).

101 Reykjavík is the story of Hlynur, a thirtysomething slacker who lives with his exceedingly indulgent mother in the central postal district the title is taken from. However, beyond that, the book and the film are quite different; the film is much lighter, fluffier, more stylised and cooler, almost like a tourist ad for hip young people, whereas the book goes into darker territory; where the movie is Human Traffic, the book is Trainspotting.

The movie Hlynur is a lovable hipster doofus, a comical flightless bird, an adorably bumbling geek-chic Everyman plucked out of a Jarvis Cocker impersonation contest at Kaffibarinn. The book's Hlynur, however, is a much darker figure; a pathetic, sociopathic nihilist, destructive and self-destructive. In both, he ends up possibly fathering his mother's lesbian lover Lolla's child, and angsting considerably about it and his relationship to the lover and the child. In the book, he does a number of un-cuddly things like sexually molesting the mother of a girl he picked up, stealing one of his sister's birth control pills (and causing her to fall pregnant), and deliberately attempting to contract AIDS in a fit of self-pity, in between the numerous somewhat unflattering observations in his narration. The narrative voice of the book goes into long, poetic monologues (perhaps this is typical of Icelandic literature?) expounding jaded views of the human condition and contemporary Icelandic society, and (with one exception) betraying no empathy with any person other than the narrator. The Hlynur in the book is not a likeable or sympathetic character.

The book also doesn't have the redemptory ending of the movie; the tragic narrator of the novel does not magically find his feet, experience personal growth and come out a better person like the once cynical hero of an American romantic comedy, but continues much as he has ever done. A number of other elements (Hlynur's Hungarian penpal, a trip to Amsterdam and Paris, and the whacked-out barfly mystic who follows the teachings of white limousine-riding guru "Waldorf") were inevitably cut along the way from book to movie. And, in case you were wondering, making Lolla Spanish (so that she could be played by Victoria Abril) was the filmmaker's invention.

The book is interesting, though those who have been to Reykjavík, or are familiar with Icelandic society, would probably get the most out of it. (If a trip to Iceland is out of the question, at least read The Xenophobe's Guide to the Icelanders).

¶ books film iceland reading [1 comment]

Last night, I visited the local video library a rather good one in Stoke Newington Church St., which has a lot of art-house/foreign films) and rented a copy of C.S.A.: The Confederate States of America.

This is a mockumentary, presenting an alternate history in which the slave-holding South, rather than the abolitionist North, won the American Civil War, and formed what we know as America. It presents this history from the Civil War (in which the South managed to get British and French support for its cause, in the interest of "private property rights"), through the reconstruction (in which the values of the slave-holders are imposed on the North, successfully, and all non-whites become slaves), wars of conquest across South America (forming a "tropical empire", of the sort envisioned by Confederate leaders, governed under a policy of racial "apartness"), through to the present day CSA. The documentary is framed as an imported British documentary being presented on a CSA TV channel; it is preceded by a disclaimer as to its "controversial nature" and interspersed with ads, which shed some light on life in an early-21st-century Confederate America; these include advertisements for cable-TV slave-shopping programmes and electronic tracking bracelets, Cops-style TV programmes about federal agents hunting down runaway slaves, and public-service announcements urging citizens to beware of the disease of homosexuality and report suspected racially-impure people passing as white to the government.

What does the C.S.A. circa 2004 look like? Well, people with any non-white blood are, by law, slaves, Christianity is the state religion (generously, and narrowly, allowing Catholicism to be considered Christian), women are not allowed to vote, Jews are confined to Long Island, and there is a cold war with "Red Canada", which harbours abolitionist "terrorists" and is the home of rock'n'roll and "race music". (Canada is not alone; virtually everyone but South Africa has imposed sanctions on the C.S.A.) Those are the obvious and spectacular differences; on a more subtle level, the C.S.A. is a much more conformistic and authoritarian culture. The mindset which allows ordinary people, who see themselves as good and decent, to tolerate and participate in slavery is one in which society is organised along strong chains of authority and hierarchy, which are seen as part of the order of nature. (One example of this is in an ad early in the film, for an insurance company, which mentions that the father is "master of the house".) With acceptance of arbitrary authority comes the acceptance of beliefs on the basis of faith in authority, and unsurprisingly, the values of the religious right are dominant in the C.S.A. (in one scene, there is a shot of the front page of "CSA Today", which includes a story about scientists disproving evolution). Not surprisingly, this mindset and the focus on "purity" creates a stagnant, homogeneous culture, one seeming in some ways quaintly archaic (one example is music and entertainment programming on its television stations, where, of course, all black influences are banned). Quoting from a friend, it is Pleasantville meets Triumph Of The Will.

C.S.A. has its lighter moments as well; artistic licence is employed to ensure that the history doesn't diverge too wildly from the world we know, but instead parallels it, mirroring and counterpointing. For example, the C.S.A. enters World War 2 after launching a surprise attack on a Japanese naval base; John F. Kennedy is assassinated, right on cue, for having suspected abolitionist sympathies, and the Clinton sex scandal is echoed, quote for quote, in the investigation into a politician's racial make-up.

All in all, C.S.A. was quite an interesting and thought-provoking film, and is worth a look.

¶ alternate history authoritarianism culture film history politics racism slavery usa [no comments]

This looks like a potentially interesting film:

"Heartbroken by a break-up with his girlfriend Desiree, twentysomething Zia (Almost Famous' Patrick Fugit) kills himself - only to wake up in the afterlife: a purgatory populated exclusively by other suicides, where the jukeboxes only play Joy Division and Nirvana, all the colours seem desaturated, and life is more or less the same as back in the real world - 'just a little worse'. Learning that his beloved ex has also taken her life, he hooks up with a Russian misfit (whose final moments, seen in flashback, provide one of the film's funniest scenes), and a moody Goth hitchhiker (Shannyn Sossamon), and sets off in a battered station wagon to find her; the resulting road-trip - including a scene-stealing cameo by Tom Waits - forms the basis of this ruefully funny road movie."

(via Mind Hacks) ¶ film media suicide [1 comment]

This evening, I went to see Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan. I found it quite amusing, despite having read about most of the highlights in advance. There was enough there that the online chatter doesn't quite prepare you for.

The basic concept involves, as you've undoubtedly heard, Sacha Baron-Cohen (with the assistance of a team of "producers") gulling various Americans into believing that he is, in fact, a somewhat out-of-touch Kazakh journalist making a documentary for Kazakh consumption only, asking them a few basic questions about life in America, easing them into more and more absurd territory, and then keeping just the last bits (having made sure that they signed a release form well in advance) and editing them into a road movie recounting a journey from New York to Los Angeles. Already he's possibly being sued by a group of fratboys who claim that they were induced to make arses of themselves under false pretenses (good luck with that one!) and the residents of a dirt-poor Romanian village that stood in for Borat's hometown, who didn't like being paid £3 each and then described as rapists, not to mention former unintentional internet celebrity Mahir Cagri who's pissed off that Cohen took his shtick and made it profitable.

Fact: Borat's "Kazakh" greetings are in fact Polish ("Jagshemash" = "jak sie masz", or "how do you do"), though the longer dialogue is in Hebrew, Yiddish and Armenian.

I'm still not sure how much of the scene at the end with Pamela Anderson was staged.

¶ borat cinema comedy film kazakhstan usa [no comments]

Last night, I went to see A Scanner Darkly, Richard Linklater's rotoscoped/animated adaptation of the Philip K. Dick novel. I was impressed.

The bizarre psychological dystopias of Philip K. Dick have, in recent years, provided ample fodder for Hollywood. Unfortunately, though, the usual treatment accorded to them involved dumbing them down, cutting out the thought-provoking elements that might annoy the average viewer who just came to see fights and explosions and stuff, "rationalising" the characters into a set that follow the Hollywood scripting rules, grafting in the usual action clichés, adding a romantic subplot so the action fans don't feel bad about bringing their girlfriends (extra revenue, you see), and hanging the whole garment on the shoulders of a larger-than-life star. Thankfully, though, Richard Linklater got to A Scanner Darkly before someone could make it into a Tom Cruise vehicle about a future dystopia run by evil psychiatrists or something, and he did a fine job with it, keeping it disorientingly true to the spirit of the book.

One of Linklater's previous films was Waking Life, a small art-house film consisting of people talking about the nature of dreams and consciousness. It was shot on video and then traced over by animators, resulting in a realistic yet stylised animation. Linklater ended up using the same effect for A Scanner Darkly, and it worked rather well. The story is darker, with its pervasive paranoia (some induced by highly addictive hallucinogenic drugs, and some by an intense war on drugs), and involves a government agent masquerading as a drug dealer (and user), who is then assigned to spy on himself (his supervisor doesn't know who he is, as all the agents wear "scramble suits" which disguise their appearances), and is soon wondering who exactly he is, and whether his confusion is a result of the institutional paranoia of the drug war or drug-induced psychosis.

The animation was of a higher quality than in Waking Life, which in some ways seemed like a rough sketch for this, and works rather well in the context of the film. Whilst some commentators doubt the point of animation that incorporates live-action detail rather than simplifying and caricaturing, it works rather well here (though one could argue that, much of the time, it isn't so much animation as a rather labour-intensive image-processing effect). The use of Thom Yorke's music in the closing credits was also an inspired move; Yorke's left-of-the-Guardian visions of a Blairite/corporatist hell aren't too far away from PKD's Orange County dystopias. And who would have guessed that it is possible for Keanu Reeves to not be annoying, at least when he's traced over by animators and furthermore placed in a scramble suit?

¶ a scanner darkly film philip k. dick review richard linklater [no comments]

Filming has commenced on Control, Anton Corbijn's film about Joy Division frontman Ian Curtis:

Control deals with Curtis' romantic conflicts with his wife, Deborah, and his mistress, Annik Honore, his increasingly debilitating epileptic seizures, and his performances with Joy Division. Filming will take place in the English towns of Nottingham and Macclesfield (where Curtis lived and is now buried). The film will be released in the UK by Momentum Pictures sometime in 2007.

Sam Riley, who played Mark E. Smith in 24 Hour Party People, stars as Curtis, Academy Award-nominated actress Samantha Morton plays Deborah Curtis, Alexandra Maria Lara is Honore, James Anthony Pearson is Joy Division/New Order guitarist Bernard Sumner, Joe Anderson is bassist Peter Hook, Harry Treadaway is drummer Stephen Morris, Toby Kebbell is Factory Records partner and Joy Division manager Rob Gretton, and Craig Parkinson is Wilson.

(via Bowlie) ¶ anton corbijn control film joy division [no comments]

Robin Guthrie, the guitar-pedal wizard from the Cocteau Twins and pioneer of all things swirly and æthereal, has now had a hand at filmmaking. You may not be surprised to find that his first film appears to be the visual equivalent of his music:

It has been exhaustively assembled with the same craft which Robin has used in the sonic world for years, an interweaving and layering of images, creating distinct moods which are reflected by the music being played - "improvised within the framework; dictated by the visuals", relying on layers of treated guitars, textures and sumptuously cyclic melodies"

(via addedentry) ¶ art cocteau twins film robin guthrie shoegazer [no comments]

The latest cinematic art movement in Paris is the "pocket film" movement, which involves footage shot spontaneously on mobile phones and edited into short films, of which there was a festival last year:

Pocket movies are often intimate and engaging, and because mobile phones can go anywhere the camera gets a licence to roam. You can film on a bike, or shoot the rush-hour crush; one director has even filmed herself voting.

Film director Jean-Claude Taki says: "These days the process is more after the fact. By that I mean that we don't make out a storyboard and organise the filming beforehand, but we start with the filming which is something which becomes part of your life that you do whenever you want, then we edit. And all the time you can film stuff for the edit and that's how the film is constructed."

(via BBC) ¶ art cinema film lofi paris pocket film [no comments]

The Top Ten Sci-Fi Films That Never Existed takes apart what went wrong with various sci-fi films which did exist:

There was a movie that perfectly captured the Douglas Adams experience, the combination of bitter sarcasm and sharp imagination, the droll British wit and whale-exploding slapstick that infused his novels. And that movie was Shaun of the Dead. That movie was not, unfortunately, The Hitchhiker's Guide to the Galaxy, a movie that floated around Hollywood for about 20 years before it finally appeared in theaters as a flat, lifeless, americanized lump that was mostly hated by people who liked the book and loathed by people who hated the book.

Everyone remembers the exact moment when they realized that their Phanom Menace sandwich was filled with shit. For me, it was the scene on Tatooine where Qui-Gon is talking and Jar Jar is snatching fruit from the bowl with his tongue, eating like an insect. Annoyed, Qui-Gon reaches out and snatches his tongue out of the air and holds it in his fist while he talks. That was when I realized I was watching a cartoon.

So what happened? The Chicago Cubs, that's what. The Cubs haven't won a World Series since 1908. Why? Because Cub fans sell out Wrigley Field every game, regardless of how bad the team is. Management makes money regardless of whether or not the team is winning, so why bother? Likewise, studios think video game fans will pile into the theater on opening weekend regardless of whether or not any effort was put into the film. Will that change? Come ask me after I've seen the Peter Jackson-produced Halo.

I have a theory. There are two eras for the Hacker Movie genre. Pre-Matrix, hacker movies were always horrible and always box office poison (see Hackers and Johnny Mnemonic) that only appealed to a tiny segment of geeks. After The Matrix in 1999, every hacker movie was unfairly compared to The Matrix (incuding that film's own sequels, but we'll get to that in a moment). In neither era could you get the money to make a movie like Snow Crash. If you want your $150 million monster to get made, it'd had better be something with such universal appeal that even grandmothers will go see it. No hacker movie will have that and Snow Crash least of all:

(via /.) ¶ disappointment douglas adams film hollywood scifi snow crash star wars the matrix [no comments]

I finally got around to watching the Hitchhiker's Guide to the Galaxy movie.

For the most part, I enjoyed it. The new parts of the script, in many places did seem rather Douglas Adamsesque. The visual design and effects also worked rather nicely, giving the whole film a slightly cartoonish, Monty Pythonesque look. For the most part, the obvious concessions to the Hollywood story (the vogons becoming the main bad guys, as a film needs a villain, for example) were relatively unobstrusive, and the casting was quite apt. Except for two glaring flaws.

Firstly, the character of Trillian. In the books and other material, she was somewhat intelligent and rounded as a character. In the film, she is a vacuous bimbo; a shiny American-TV-show female character who looks and behaves as if she should have canned laughter after each of her one-liners, and, in actual personality, is little more than a plot device.

Which brings me to the second flaw: the way that Arthur's history with Trillian was fleshed out into a standard Hollywood romcom plotline, complete with schmaltzy dialogue (the scene about "the real answer" was cringeworthy), undoubtedly at the behest of some studio bean-counter insistent on following proven formulas to maximise audience appeal. I think the DVD should have come with an option to view a cut with the studio hacks' commercially-driven additions edited out (much like the Criterion box set of Brazil).

All in all, if one cauterises those memories from one's brain Zaphod-fashion, the film is quite enjoyable. I enjoyed it more than Willy Wonka and the Chocolate Factory, the other (and weaker) cool-stylised-pictures film of this year.

¶ douglas adams film hitchhiker's guide to the galaxy hollywood [5 comments]

The grim story of the next Superman film, which has remained in development hell for 10 years, while armies of hacks, egomaniacs and philistinic studio types battled over the details, is an eye-opening example of the horrible things that happen to a property once a Hollywood studio buys the rights to it. Read about the dozen or so different scripts, tacked-on merchandising opportunities, plot elements shamelessly lifted from the most recent blockbuster, the many forms of Lex Luthor (rogue CIA agent, mutated shoe salesman, member of the Illuminati), Tim Burton's darker, gothic Superman, and even the studio's plans to cast Justin Timberlake and Beyonce Knowles as Superman and Lois Lane. Read it, laugh uncomfortably, and then pray to whatever gods you have that the studios never get their hands on your favourite stories.

Peters then told Smith to have Brainiac fight polar bears at the Fortress of Solitude, demanding that the film be wall-to-wall action. Smith thought it was a stupid idea, so Peters said, "Then have Brainiac fight Supermans bodyguards!" Smith responded, "Why the hell would Superman need bodyguards?" Peters wouldnt let up, so Smith caved in and had Brainiac fight the polar bears. Then Peters demanded that Brainiac give Luthor a hostile space dog as a gift, arguing that the movie needed a cuddly Chewbacca character that could be turned into a toy. Then, after watching Chasing Amy, Peters liked the gay black character in the film so much that he ordered Smith to make Brainiacs robot servant L-Ron gay, asserting that the film needed a gay R2-D2 with attitude. Then Peters demanded that Superman fight a huge spider at the end of the film, which Smith refused to dohe used a "Thanagarian Snare Beast" instead. (However, Peters did manage to recycle his spider idea and use it in Wild Wild West.)

1. Krypton doesnt explode. Instead its a Naboo rip-off overrun by robot soldiers, walking war machines, and civil war (can you say, Star Wars: Episode I?). Jor-El is literally the king of Krypton and leader of the Kryptonian Senate (thus Superman is a prince), and he and Lara send Kal-El to Earth because he is "the One" whom a prophecy states will save Krypton from destruction (rip-off of The Matrix). The villains, Jor-El's evil brother and nephew Kata-Zor and Ty-Zor, take Jor-El prisoner and send probe pods out to find and kill the baby Kal-El. 14 years later, Lara and her shell-less turtle servant Taga (shades of Jar Jar Binks) are found by Ty-Zor, and Lara gets tortured to death.

5. An aerial kung-fu fight between Superman and Ty-Zor results in Superman being lured into a trap: Lois is drowning in a tank filled with kryptonite. (This begs the question of how there can be kryptonite when Krypton didnt even explode, but.) Superman is given a choice: save her and die from radiation poisoning in the act, or stand by and watch her drown. So he goes in, saves her, and dies. Jor-El magically senses Supermans death from across the galaxy, commits hara-kiri with a rock he sharpens in his prison cell, goes to Heaven, and talks Superman into coming back to life so he can fulfill the prophecy of saving Krypton from its civil war. So Supermans soul returns to his body, and he proceeds to trash Ty-Zor and his cronies. And at the end of the film, Superman flies off in a rocket to save Krypton (which is where the second film is planned to take place).

(via /.) ¶ commercialism film hollywood marketinc merchandising superman [3 comments]

The latest instalment in the drawn-out death of film photography: veteran German photographic film company Agfa has declared bankruptcy, and is expected to stop operating by the end of the year.

Agfa has its origins in Germany in 1867 marketing its first colour film in 1936. Until Fuji became a market force, Agfa was the alternative to the dominant player, Kodak. Unlike Ilford, which has reacted to the change in photographic technology by using its paper-making expertise to move into the production of superior inkjet papers, Agfa appears to have misjudged the size and permanence of the digital tidal wave.

¶ agfa business film oops photography [no comments]

In an attempt to cash in on the lucrative Christian-fundamentalist market, Murdoch's 20th Century Fox studio has announced a film adaptation of Milton's Paradise Lost. It's not going to be in Aramaic, but for most audiences, 17^th-century English in iambic pentameter would undoubtedly be as much of a a party-killer.

The whole project raises some interesting questions. Are they going to aim it squarely at cultural-separatist Christians in the US red states, or put Mason Serif on the posters and try to sell it to goths and Neil Gaiman fans and such? If the former, would they keep Milton's representation of Lucifer or edit it to make it less sympathetic? And what other decisions would be taken to encompass the moral and aesthetic values of contemporary American Christian-conservative culture. I imagine the production design could end up looking very Franklin Mint.

¶ culture film marketing paradise lost usa [no comments]

An article in The Times takes apart the genre of Feel-Good Brit Flicks:

The Germans have given us the paranoid depths of Expressionism, the Italians created Neo-Realism, the French have perfected brooding Melodramatic Existentialism, while the British bask in the bathetic glow of a plucky little yokel, a couple of nude scenes and a happy-clappy sing-song finale.

It's no wonder, then, that the FGBF is terrified by modern realities. It tentatively flirts with difficult issues such as race, gender roles and sexuality, yet it does so merely for narrative frisson and is quick to reassert the power of tradition and to subsume all unresolved conflicts into the high-spirits finale. Thus the miners' strike in Billy Elliot is forgotten in the face of Billy's closing Swan Lake stage dive. In The Full Monty the strippers are still unemployed even as their thongs fly through the air. And at the end of Kinky Boots, conflicted transvestite Lola/Simon (Chiwetel Ejiofor) is no less enlightened about his identity crisis, but he gets to perform some infectious show tunes. In each case cinemagoers leave with smiles on their faces and the entirely erroneous belief that they've just witnessed a film about modern British life.

¶ culture film uk working title [no comments]

It looks like the Wicker Man remake is going to be rubbish:

...In the original, Woodward's character was a virgin, making him ideal for sacrifice. That element has been ditched from the remake, because it was thought that while audiences would accept the idea of an American community that practised human sacrifice, the idea of a grown-up virgin was just too farfetched.

Anyway, it looks like the Wicker Man remake will take its rightful place next to the Sylvester Stallone Get Carter (with its all-American message of redemption) and the Californian-set Italian Job. It'll probably eclipse the original more than in the previous cases, though, because of the poor quality of the surviving prints of the original.

(via alecm) ¶ commercialisation crap film hollywood the wicker man [2 comments]

Guerilla Drive-Ins are a cross between a drive-in cinema revival, illegal raves and Make-style improvisational techno-larrikinism. Some people in Santa Cruz are reviving the mid-20^th-century American custom of drive-in movies, only this time reclaiming public space using a car fitted with a video projector, a FM transmitter and a movie; those in the know are notified in advance by email.

Films scheduled include cult classics (Dawn Of The Dead, Harold and Maude, Delicatessen) and worthy documentaries and dramas (The Take, The Yes Men, City Of God). It's an interesting idea, though, IMHO, it would have been more ideologically sound if they used bicycles instead of cars.

(via gizmodo) ¶ détournement diy film larrikinism public space punk [no comments]

The 9/11 films are coming; Oliver Stone (best known for the steaming turd that was Alexander) is working on one, and now there's one about Flight 93. It's going to be a Working Title film, so perhaps they'll have Hugh Grant doing a cameo as Tony Blair or something. No word on whether either Jerry Bruckheimer or the Independence Day guy is going to do a 9/11-themed gung-ho patriotic thriller.

There should be 9/11 movie drinking game. Drink one shot for each scene with a US flag. Drain the bottle for footage of an eagle soaring against a blue sky.

(via substitute) ¶ 9/11 film oliver stone [no comments]

A look at English subtitles on a Chinese pirate version of Revenge of the Sith. Curiously enough, the subtitles seem to have been translated from the Chinese translation by someone with All-Your-Base-level English-language proficiency, who somehow didn't think of checking them against the spoken dialogue. Which is how we end up with "Revenge of the Sith" becoming "Backstroke of the West", a fighter pilot saying "He is in my behind", characters using the word "fuck" randomly, and, best of all, "Jedi Council" translating as "Presbyterian Church".

(via dropsafe) ¶ amusing chinglish film language star wars [3 comments]

Bloody hell; they're remaking The Wicker Man. They are, of course, relocating it to the US (as all today's stories happen in America); though for some reason, they're setting it off the coast of Maine (presumably because the climate is like Scotland's). IMHO, a US-set Wicker Man would have worked better somewhere around the Old Testament heartland of the south, where people take fire and brimstone absolutism in with their mother's milk, good Christian folk believe that Satan is real and walking among them, black-clad teenage outcasts believe that Satan is way cool and drinking blood will give them super powers; they could have made Lord Summerisle into a David Koresh-like figure, a mullet-haired leader of a devout Christian community that's really a weird pagan cult. Moving it to Maine, in contrast, sounds somewhat unimaginative.

¶ film hollywood the wicker man why? [4 comments]