Category: Film

Oh, my: Tony Long watches Star Wars for the first time:

I watched it with a friend, a veteran of many viewings. She knew I wanted to approach this with fresh eyes and an open mind, so she was careful to keep her opinions to herself. Still, I knew where she stood. The fact that she owned the DVD told me what she thought of the movie. Every now and then as we watched, when I’d turn to her with a bemused expression, she’d simply smile and say nothing.

A pity that Princess Leia didn’t show my friend’s restraint. Geez Louise, what a harpy.

Via kottke.org, David S. Cohen notes that the technological transition from film to digital video is having an unexpected effect on acting styles, one that may prove as revolutionary as the introduction of sound in the late 1920s.

For actors, that additional experimentation means an entirely new way of working, says thesp Marley Shelton.

Shelton appears in both parts of Grindhouse: Robert Rodriguez’s Planet Terror was shot digitally, while Quentin Tarantino’s Death Proof was shot on film.

With film, says Shelton, “there’s a beginning, middle and an end between ‘action’ and ‘cut.’ As an actor, one is trained to listen for cues such as ‘roll sound’ and slate, and you use that moment to prepare and go on a journey as your character for a few minutes or seconds. You use that time to suspend disbelief for yourself. In that 10 seconds, you’re sort of going into a zone.”

But, Shelton says, when shooting digital, the freedom to keep rolling means “you’re sort of sifting for diamonds. It’s great in that you can probe deeper in certain moments, but it’s less conducive to riding the impulses your character is having chronologically.”

Steven Soderbergh recovers 1940s-era moviemaking techniques to film his postwar noir The Good German.

By reproducing the conditions of an actual studio shoot from the late 1940s, he hoped to enter the mind of a filmmaker like [Michael] Curtiz, to explore the strengths and limitations of a classical style that has now largely been lost.

* * *

If there is a single word that sums up the difference between filmmaking at the middle of the 20th century and the filmmaking of today, it is “coverage.” Derived from television, it refers to the increasingly common practice of using multiple cameras for a scene (just as television would cover a football game) and having the actors run through a complete sequence in a few different registers. The lighting tends to be bright and diffused, without shadows, which makes it easier for the different cameras to capture matching images.

* * *

“That kind of staging is a lost art,” Mr. Soderbergh said, “which is too bad. The reason they no longer work that way is because it means making choices, real choices, and sticking to them. It means shooting things in a way that basically only cut together in one order. That’s not what people do now. They want all the options they can get in the editing room.”

Via wood s lot, Todd McEwen deconstructs Cary Grant’s suit in North by Northwest:

This is what’s ingenious about this picture, at least as far as the SUIT goes—Cary’s able to travel all over the country in just this one beautiful suit…. It’s so well cut you can’t tell if he’s even carrying a wallet (turns out he is). Here’s what he’s got in that suit! He goes all the way from New York to Chicago to the face of Mount Rushmore with: a monogrammed book of matches, his wallet and some nickels, a pencil stub, a hanky, a newspaper clipping and his sunglasses—but these are shortly to be demolished when Eva Marie Saint folds him into the upper berth in her compartment. (Really this is a good thing, because Cary Grant in dark glasses looks appallingly GUILTY.)