News & Updates
November 29, 2020
Chadwick Boseman would’ve been 44 on Sunday, if his life weren’t cut unexpectedly short back on August 28 after a private, four-year battle with colon cancer. In tribute to the actor on his birthday, Disney+ has revealed a revised Marvel Cinematic Universe intro ahead of “Black Panther,” which is currently streaming on the Disney platform. Stream the film on Disney+, and watch the new intro below.
The Walt Disney Company executive chairman Bob Iger teased the new introduction on Saturday, tweeting, “To all fans of #BlackPanther: watch the film on #DisneyPlus late tonight, for a special tribute to someone that was and will always be near and dear to our hearts.”
The updated intro includes the classic page-turning design that opens all Marvel movies, but now with new concept art, and images and footage from “Black Panther.” As Boseman also starred as T’Challa/Black Panther in “Captain America: Civil War,” “Avengers: Infinity War,” and “Avengers: Endgame,” footage from those films is included in the spot as well.
Even posthumously, 2020 remains a major year for Boseman. His short but unforgettable screen time in Spike Lee’s Vietnam War epic “Da 5 Bloods” as “Stormin’” Norman Earl Holloway, defines the arc of the entire movie. As leader of the title squad, Norman is killed in an early flashback sequence, leaving his peers to fulfill his legacy in search of gold — a treasure Holloway suggested they bury to fund Black Liberation.
Meanwhile, Boseman is getting Academy Awards buzz not only for that film, but for his searing turn in “Ma Rainey’s Black Bottom” as a trumpeter scheming to steal the spotlight from Viola Davis’ title character. In his IndieWire review, Chief Film Critic Eric Kohn wrote that “he’s a natural as the movie’s central troublemaker, a sly source of entertainment until his subversive attitude becomes a liability.”
It was recently announced that the upcoming “Black Panther 2” will begin filming in July 2021.
— Marvel Entertainment (@Marvel) November 29, 2020
— Robert Iger (@RobertIger) November 28, 2020
Source: IndieWire film
November 29, 2020
As mysteriously as it was discovered in the Utah desert on November 18, the 10-foot-tall, silver monolith evoking one of the most potent images from Stanley Kubrick’s “2001: A Space Odyssey” has now vanished. According to a Facebook post from Utah’s Bureau of Land Management on Saturday, the puzzling structure was removed from “public lands by an unknown party.”
The Bureau added, “The BLM did not remove the structure which is considered private property. We do not investigate crimes involving private property which are handled by the local sheriff’s office. The structure has received international and national attention and we received reports that a person or group removed it on the evening of Nov. 27.”
The structure was discovered in the red rocks desert of southwestern Utah by helicopter pilot Bret Hutchings while on a sheep-counting mission. Hutchings told Salt Lake City broadcaster KSL-TV the object appeared to be planted by an anonymous person, with wildlife crew surmising the slab was constructed by an artist or fan of Kubrick’s science-fiction landmark. Hutchings quipped, “We were joking around that if one of us suddenly disappears, I guess the rest of us make a run for it…That’s been about the strangest thing that I’ve come across out there in all my years of flying.”
Hutchings added, “One of the biologists is the one who spotted it and we just happened to fly directly over the top of it. He was like, ‘Whoa, whoa, whoa, turn around, turn around!’ And I was like, ‘What.’ And he’s like, ‘There’s this thing back there — we’ve got to go look at it!’ We were thinking, is this something NASA stuck up there or something? Are they bouncing satellites off it?”
Though Utah originally opted not to disclose the location to avoid attracting inexperienced hikers, the coordinates were eventually discovered, by hiker David Surber, who observed on Instagram that the structure was aluminum, not magnetic, and made of three pieces riveted together, with two rivets missing on the top. See below.
“Apparently the monolith is gone,” Surber later said on Instagram. “Nature returned back to her natural state I suppose.”
The New York Times reported that some speculated the monolith to be the work of sculptor John McCracken, who died in 2011. According to Patrick McCracken, his father told him in 2002 that “he would like to leave his artwork in remote places to be discovered later.”
It’s source, and where it lives now, remain a mystery befitting of Kubrick’s beguiling sci-fi masterpiece.
Here is our official statement on the rumors surrounding the “#Monolith:” We have received credible reports that the…
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Source: IndieWire film
November 29, 2020
“It’s with great regret and heart-wrenching sadness for us and million of fans around the world, to announce that our client Dave Prowse MBE has passed away at the age of 85,” Prowse’s agents Bowington Management tweeted on Sunday.
Other fans and cast members took to Twitter to pay tribute to Prowse, including Luke Skywalker actor Mark Hamill (“He was a kind man and much more than Darth Vader”) to “Star Wars” superfan Edgar Wright, who wrote, “As a kid Dave Prowse couldn’t be more famous to me; stalking along corridors as evil incarnate in the part of Darth Vader & stopping a whole generation of kiddies from being mown down in street as the Green Cross Code man. Rest in Peace, Bristol’s finest.”
“It was a great gift to work with him and an honor to call him my friend,” Billy Dee Williams wrote. “The Mandalorian” cast member Rosario Dawson, and “Star Trek” lead William Shatner, also paid tribute. See below.
Born in 1935, Prowse was a weightlifting champion in his early days, winning the British championship in 1962 and representing England at the Commonwealth Games in Brisbane that year.
Other film roles included Frankenstein’s monster in 1967’s “Casino Royale,” and again “The Horror of Frankenstein” in 1970 and “Frankenstein and the Monster from Hell” in 1974. He had a small role in Stanley Kubrick’s “A Clockwork Orange” in 1971, which earned the attention of George Lucas, who reportedly auditioned Prowse for both the roles of Darth Vader and Chewbacca before Prowse eventually went to the Darkside. Because of Prowse’s accent, however, the voice was performed by James Earl Jones.
Prowse had another major spotlight in British culture beginning in 1975 with his debut as “Green Cross Cod Man,” a superhero starring in a British road safety campagin for kids. In 2000, he earned the Most Excellent Order of the British Empire award.
So sad to hear David Prowse has passed. He was a kind man & much more than Darth Vader. Actor-Husband-Father-Member of the Order of the British Empire-3 time British Weightlifting Champion & Safety Icon the Green Cross Code Man. He loved his fans as much as they loved him. #RIP pic.twitter.com/VbDrGu6iBz
— Mark Hamill (@HamillHimself) November 29, 2020
— Billy Dee Williams (@realbdw) November 29, 2020
Saddened to wake up to the news that my Twitter friend David Prowse passed away. David, a literal giant among men, played many roles in his career. His most famous role was being the misunderstood father who tried to give the universe to his very disobedient twins. #DarthVader
— William Shatner (@WilliamShatner) November 29, 2020
— Rosario Dawson (@rosariodawson) November 29, 2020
As a kid Dave Prowse couldn’t be more famous to me; stalking along corridors as evil incarnate in the part of Darth Vader & stopping a whole generation of kiddies from being mown down in street as the Green Cross Code man. Rest in Peace, Bristol’s finest. https://t.co/VYdxM37JWb
— edgarwright (@edgarwright) November 29, 2020
Source: IndieWire film
November 28, 2020
Seven-time Academy Award-nominee Glenn Close is back in the Oscar mix for her turn in Ron Howard’s “Hillbilly Elegy,” now streaming on Netflix. All eyes were on Close last year to finally take home Best Actress for “The Wife,” but alas that honor went to Olivia Colman for “The Favourite.” Speaking with film critic Peter Travers for his ABC News special “Popcorn,” Close had some candid thoughts about the Oscars, pointing to the Best Actress race in 1999 as an example that didn’t “make sense.”
“I honestly feel that to be nominated by your peers is about as good as it gets,” Close said. “And then, I’ve never understood how you could honestly compare performances, you know? I remember the year Gwyneth Paltrow won over that incredible actress who was in ‘Central Station’ and I thought, ‘What?’ It doesn’t make sense.” (The “incredible actress” was Brazilian legend Fernanda Montenegro, who won prizes from the Berlin International Film Festival, the Los Angeles Film Critics Association, and more for the film.)
The year Paltrow won, she was also up against Cate Blanchett in “Elizabeth,” Meryl Streep in “One True Thing,” and Emily Watson in “Hilary and Jackie.” Miramax-backed “Shakespeare in Love” was, ultimately, the toast of the night, winning Best Picture in what many considered an upset over “Saving Private Ryan.”
Close added, “So I think who wins has a lot of things to do with how things have been, you know, whether it has traction or whatever. Publicity, how much money did they have to put it out in front of everybody’s sight. I have to be philosophical about it, if I was upset about it.”
Close said she’s taken her Oscar losses in stride. “I’m very proud of the times that my peers have felt that my performance was worthy of attention,” she said.
Along with “The Wife,” Close has also been nominated in acting categories for “Albert Nobbs,” “Dangerous Liaisons,” “Fatal Attraction,” “The Natural,” “The Big Chill,” and “The World According to Garp.”
In the Peter Travers interview, below, she also revealed a film version of stage turn in “Sunset Boulevard” is also still in the works, and that it could begin production next summer.
Source: IndieWire film
November 28, 2020
In the early days of Hollywood’s adaptation of digital cinematography, there were those artists, like Michael Mann and cinematographer Dion Bebe, or David Fincher and Harris Savides, who explored the unique properties of the medium, rather than simply try to make it look like celluloid. Even in 1080 HD-shot movies like “Zodiac” we saw how in low light and a night setting we could peer into this low contrast edge of exposure. While digital couldn’t, and still doesn’t, approach the incredible dynamic range that film negative can produce in rounding out an image’s highlights, there was incredible latitude filmmakers could find in the “toe” of exposure of a digital file.
There is one cinematographer, in particular, who has not only continued to explore the dark edges of the digital image, but used it as a canvas to paint. Bradford Young’s remarkable body of work this decade started off shooting on film, hardly a medium he’s sworn off, with staggering-looking indies like David Lowery’s “Ain’t Them Bodies Saints” and Dee Rees’ “Pariah.” It was Rees’ portrait of a 17-year-old African American embracing her identity as a lesbian, where we see how Young comes alive in night — not in some “Blade Runner” neon-lit way or low-key noir contrast, but in depth, color and texture. In both films, Young pushed himself to experiment with under-exposure and low-con filters, searching for his own flavor of the milky blacks of Savides’ best work. It’s a look so many DPs tried to imitate, especially in commercials, but few made it their own like Young.
On “Mother of George,” due to budget constraints, he found himself shooting on the Red One camera. One of the most striking and unique-looking low-budget films ever made, Young tried doing some of the same things, but with an incredible overhead lighting scheme he found ways to make colors pop and dark skin glimmer. The glowing beauty and life radiating from inside the darkness of the immigrant characters’ struggle was pure Young.
Young has talked about how shooting digital has given him the confidence to go further, having a calibrated monitor and carefully pre-planned LUT he knows just how far he can push it and etch out glowing pockets of light. In many ways digital has become as much a mindset as a medium for him.
Donald Glover has remarked how so often on film sets there is a disconnect between what one experiences on set with the bright cinema lights, and what ends up on camera, at which point, looking at the final image, that artificially lit-world in retrospect makes sense. Yet when Glover walked onto Young’s set for the first-time the world felt like “real life” to him. What’s remarkable is that set was “Solo,” a Star Wars movie.
Young’s evolving practice has meant pulling, as much as possible, the apparatus of filmmaking off the stage — if actors fall in and out of the often practically lit set, so be it. Yet, while the set of “Solo” might have felt realistically lit, there is an endless array of pockets of light give the film a sense of night-time wonder in the otherwise bleak setting. Young’s images maybe dark, both in look, and sometimes emotional content, but they are alive. Those glowing pockets he and his long-time colorist Joe Gawler have learned they can etch out of a RAW digital file.
“I would say Brad has the most committed negative of any DP that I get to work with, there’s not a lot of latitude, but he and I have found this fun space to play in the dark that most people won’t go,” Gawler told IndieWire. “People that are familiar with my work with Brad come to me, ‘Oh, I want you to do what you do with Brad,’ and I start to go there on their footage and they all get scared. They can’t do it and end up back off. Brad’s not afraid of anything, so he makes these bold choices, but as an overall piece everyone responds to it. It’s a gift.”
That boldness is not simply aesthetic, it’s personal. Young is committed to the vision of long-time collaborators like Ava DuVernay (“Selma,” “When They See Us”) and Andrew Dosunmu (“Mother of George,” “Where Is Kyra?”), but more than most cinematographers he doesn’t hide that his cinematography is a form of self-expression. For example the one light-bulb lit apartment in which we are forced to search the frame for Kyra (Michelle Pfeiffer) is as much about Young creating “a more antagonistic relationship with the system” at a dark time in America, as it was Dosunmu’s exploration of how the system has worn out his depressed protagonist.
“There’s something about his work, there’s a spirituality to it and what he’s trying to communicate, what he’s trying to create as an artist,” Dosunma told IndieWire. “Brad got into this because he wanted to use those tools to express something personal for him. He’s very adamant about being on a job or shooting things that he’s able to communicate with his community of filmmakers and beyond, it’s absolutely necessary for him.”
For Young, the first African American to be nominated for Best Cinematography for his work on “Arrival,” his work is not simply artistic expression, but exploration of the form and how it has been used to portray minorities by a dominant white culture. His practice, at the moment not simply being about finding a style in the dark side of digital, but deconstructing and repurposing the extreme power, that has been use historically both for good and bad, of the tools of his trade. —Chris O’Falt
Source: IndieWire film
November 27, 2020
Some days, things get heavy… so get inspired to make cinema again!
This year has weighed heavily on all of us, and getting and staying inspired has not been easy. When pursuing a career as a filmmaker, you need to find the things that keep you on track.
What are some things you go back to that make you feel like creating?
This video from Slyfer2812 comes with this emotional journey tied to it.
“This year,” Slyfer2812 writes, “I took the huge decision to do cinema for a living. I wanted to put this video online now so I will always have a memory of what is cinema to me, how I see it, and what it makes me feel. I have no pretension with this video, nothing to teach you, just to share my love for this art. “
Hopefully, it inspires you too.
Let’s talk more after the jump.
Get Inspired to Make Cinema
Making movies and TV shows is an uphill battle. You’re constantly hearing “no,” and even the times you hear “yes,” you have to compromise to make your vision come alive. But still, there’s something about being on set that is intoxicating.
November 27, 2020
How director/writer/camera operator Gavin Michael Booth made two simultaneous feature-length single-shot takes, and why.
Shot in two 80-minute single takes, filmed simultaneously in two different parts of a city, and presented in split screen, Last Call is groundbreaking. It has pushed realtime filmmaking to new levels.
Directed and co-written by Canadian filmmaker Gavin Michael Booth on a micro-budget, the technical feat is all the more remarkable for sustaining a genuinely potent narrative about shared humanity.
Last Call follows a suicidal alcoholic (played by the film’s co-writer Daved Wilkins) on the anniversary of his son’s death. When he attempts to call a crisis hotline, a mis-dial connects him with Beth, a single mother working as the night janitor (Sarah Booth) at a local community college. The split screen feature showcases both characters in real-time as they navigate a life-changing conversation.
November 27, 2020
Make your script look and feel professional.
I feel like everyone is always so excited to write their story that they forget formatting their screenplay matters.
Sure, what you write is just a blueprint for what happens on the screen, but there are some accepted ways for how to get that blueprint across to people.
Check out this video from Tyler Mowery and let’s talk after the jump.
That was a fun and informative video, and I think Tyler’s channel is great, but all you need is this page from The Writer’s Store and some screenwriting software.
Seriously, that’s it. Don’t make this complicated.
You can learn all you need to know about formatting here.
November 27, 2020
Be thankful: we tell you how you can get the most bang for your buck.
This week we are joined by both Oakley Anderson-Moore and Michelle DeLateur! We talk about what the new deal struck between Cinemark and Universal means for the industry and how to support theaters when they are closed. And, this just in: Quentin Tarantino writes books (including a novelization of Once Upon A Time in Hollywood)?? In Tech News, we tell you about our hands-on experience with the new Apple Silicon. For Ask No Film School: what is the best entry-level cinema camera to invest in for music videos and corporate work? And lastly, our theme for Deep Cuts is thanksgiving and gratitude. We hope you enjoy… and Happy Thanksgiving!
Please email us any questions at firstname.lastname@example.org!
November 26, 2020
Would Christopher Nolan’s Gotham be the same without inspiration from Michael Mann?
Even the best directors in the world take inspiration from one another. Take Christopher Nolan. Since Michael Mann’s Heat came out, he’s been citing the movie as an inspiration for the work he did in The Dark Knight.
Connections have been drawn between the visuals, the interrogation scene, and even cast member William Fitchner, who is in both films.
But the comparisons were not just visual or fun casting Easter eggs. They also had to do with the location.