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  2. "Whatever you now find weird, ugly, uncomfortable and nasty about a new medium will surely become its signature. CD distortion, the jitteriness of digital video, the crap sound of 8-bit - all of these will be cherished and emulated as soon as they can be avoided. It’s the sound of failure: so much modern art is the sound of things going out of control, of a medium pushing to its limits and breaking apart. The distorted guitar sound is the sound of something too loud for the medium supposed to carry it. The blues singer with the cracked voice is the sound of an emotional cry too powerful for the throat that releases it. The excitement of grainy film, of bleached-out black and white, is the excitement of witnessing events too momentous for the medium assigned to record them."
    — 

    — Brian Eno, A Year With Swollen Appendices (via holyfuckingshittt)

    Why the sound of failure is beautiful.

    (via zadi)

    (Source: sincerely-rebekah, via kmgrace)

     
  3. justin:

    Huge news. Get a first look at @erikwbeck and my first feature - an inspiring documentary about an ultra-DIY filmmaker in Kansas: Http://kck.st/1cVf2LK

     
  4. cinephilearchive:

    On the Trail of the Iguana — John Huston’s behind-the-scenes look at the making of Tennessee Williams’ The Night of the Iguana in 1964. [thanks to Ben Volchok]

    “The directing of a film, to me, is simply an extension of the process of writing. It’s the process of rendering the thing you have written. You’re still writing when you’re directing. Of course you’re not composing words, but a gesture, the way you make somebody raise his eyes or shake his head is also writing for films. Nor can I answer precisely what the relative importance, to me, of the various aspects of filmmaking is, I mean, whether I pay more attention to writing, directing, editing, or what—have—you.”

    “The most important element to me is always the idea that I’m trying to express, and everything technical is only a method to make the idea into clear form. I’m always working on the idea: whether I am writing, directing, choosing music or cutting. Everything must revert back to the idea; when it gets away from the idea it becomes a labyrinth of rococo.”

    “Occasionally one tends to forget the idea, but I have always had reason to regret this whenever it happened. Sometimes you fall in love with a shot, for example. Maybe it is a tour de force as a shot. This is one of the great dangers of directing: to let the camera take over. Audiences very often do not understand this danger, and it is not unusual that camerawork is appreciated in cases where it really has no business in the film, simply because it is decorative or in itself exhibitionistic.”

    “I would say that there are maybe half a dozen directors who really know their camera—how to move their camera. It’s a pity that critics often do not appreciate this. On the other hand I think it’s OK that audiences should not be aware of this. In fact, when the camera is in motion, in the best-directed scenes, the audiences should not be aware of what the camera is doing. They should be following the action and the road of the idea so closely, that they shouldn’t be aware of what’s going on technically.” —How I Make Films: Interview with John Huston, Film Quarterly, Fall 1965

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    (via lettertojane)

     
  5. newyorker:

    More than ninety per cent of cinema screens in the U.S. have converted from film to digital projectors. What does the costly conversion mean for independent theaters? In this video, industry professionals weigh in: http://nyr.kr/JK3ItX

    (Source: newyorker.com)

     
     
  6. Manhattan (1979), dir. Woody Allen | Chapter One. “He adored New York City. He idolized it all out of proportion.” Uh, no, make that: “He romanticized it all out of proportion. To him, no matter what the season was, this was still a town that existed in black-and-white and pulsated to the great tunes of George Gershwin. […] New York was his town, and it always would be.”

    (Source: nobodyreallywantsus, via togetyoung)

     
  7. Behind the scenes of The Godfather x

    (Source: martinscorsaucy, via thenotoriousdop)

     
  8. cinephilearchive:

    Vittorio Storaro, ASC, AlC recalls the photographic challenges he confronted during the tumultuous production of Francis Ford Coppola's hallucinatory Vietnam War epic Apocalypse Now. Interview by Stephen Burum, ASC and Stephen Pizzello [pdf].

    Speaking of Writing with Light, here’s masterclass in lighting from Oscar-winning cinematographer Dean Semler, who won the Academy Award for his cinematography on Dances With Wolves. [thanks to refocusedmedia]

    Also recommended viewing:

    The following is required viewing: 110 of the world’s top cinematographers discuss the art of how and why films look the way they do. Cinematographer Style is about the Art and Craft of Cinematography. It is about how everything, from life experiences to technology, influences and shapes an individual’s visual style. Because of the powerful impact that the visual style of a movie can have, this documentary may offer contemporaries valuable insights into the dramatic choices Cinematographers make. And, it is expected that the material will have significant historic value as well.

    Roger Deakins in Cinematographer Style: “Lenses are really important to me,” says Deakins, after which we get an in-depth discussion on working with the Coen Brothers and how to shoot with the audience in mind. A great conversationalist, how can one not listen to this man speak about film?

    In The Mood for Doyle (2007). Christopher Doyle is one of the best known and most acclaimed directors of photography in world cinema. Born in Australia, he sees himself as an Asian citizen rather than a Westerner. His artistic contribution to the films of Wong Kar-wai, Zhang Jimou and Fruit Chan films, among others, is indisputable. Filmed in DV and Super8, this documentary is a kind of wild and stylized road movie — from Bangkok to Hong Kong, via New York. The camera follows this eccentric and outrageous artist as he gives us his thoughts on his past and present work. From the recent sets of Invisible Waves by Thailand’s Pen ek Ratanaruang, and M. Night Shyamalan’s Lady in the Water, to the locations in Hong Kong where he shot some of his most famous pictures, such as In The Mood for Love and Dumplings, Chris Doyle talks about his cinematic fascination for Asian culture.

    “You see the world, you end up in jail three or four times, you accumulate experience. And it gives you something to say. If you don’t have anything to say then you shouldn’t be making films. It [has] nothing to do with what lens you’re using”. —Christopher Doyle

    (Source: cinephilearchive, via lettertojane)

     

  9. CREATING THE COSMOS | SHANKS FXS D

    Digital Studios

     

     
  10. fuckyeahbehindthescenes:

    The production ultimately used three real DeLoreans.

    Back To The Future (1985)