I ran across this video a few years ago and found it very prescient of the landscape of today’s media technology . I forgot about it until I heard Gene Youngblood died. He and George talk about how hard it is to get into “Hollywood” and that technology will allow everybody to make films, with […]
Recently TCM played two of the Gordon Parks films, Shaft (1971) and The Super Cops (1974). Both held up very well and you could see many creative influences they had on other early 70’s movies like Dog Day Afternoon and French Connection. Among his other talents he also wrote songs and poetry. Like Stanley Kubrick […]
Kubrick: I read Eisenstein’s books at the time, and to this day I still don’t really understand them. The most instructive book on film aesthetics I came across was Pudovkin’s Film Technique, which simply explained that editing was the aspect of film art form which was completely unique, and which separated it from all other art forms.
Here are some audio and video clips showing how theme park sound is done.
My recent interview with the LA Times about Disney Imagineering.
The director of “The French Connection,” “The Exorcist,” “Sorcerer,” “Cruising,” “To Live and Die in L.A.,” “Bug,” and “Killer Joe,” to name just a few, William Friedkin is one of the greats to emerge from the 1970s brat pack director’s scene that included Martin Scorsese, Francis Ford Coppola, Peter Bogdanovich, and more.
Director Joe Dante (Gremlins) talks about the time he developed a film about Golden Age Hollywood animators called Termite Terrace, the unglamorous nickname of the Warner Bros. animation studio in the 1930s.
Oscar-winning cinematographer Robert Richardson ASC digs into the technical nitty-gritty of the large-format anamorphic film process that hasn’t been used in nearly 50 years.
Interview with Walter Murch who received the Camerimage festival’s Special Award to Editor with Unique Visual Sensitivity. He edited sound on American Graffiti and The Godfather: Part II, won his first Academy Award nomination for The Conversation, won his first Oscar for Apocalypse Now, and won an unprecedented double Oscar for Best Sound and Best Film Editing for his work on The English Patient.
ARRI IIC and lenses from the LACMA Kubrick exhibit. Some of the questions are in French. Click on the arrows in the lower right to make full screen.