PAN'S LABYRINTH—Interview With Guillermo Del Toro - ScreenAnarchy. I met up with Guillermo Del Toro at the Ritz Carlton for a brief chat about his latest film Pan's Labyrinth.
Without question, Del Toro has been one of the individuals I have most wanted to talk with all year. I didn't have access at Toronto and wasn't able to attend San Diego's Comicon as originally planned and so the opportunity to hook up today felt very much like a gift for the holiday season. Guillermo is friendly, down-to-earth and charmingly cusses a blue streak. Not for the prudish nor the spoiler-wary. Michael Guillén: First and foremost, congratulations on winning the San Francisco Film Critics Circle award for Best Foreign Language film earlier this week. Guillermo Del Toro: I love it. MG: As well as comparable accolades and nominations across the board, including the recently-announced Golden Globe nomination for Best Foreign Language Film.
American Cinematographer: Fear and Fantasy. Stoker: Colour the Narrative. Here is a brief extract from editor Chris Laverty’s third ‘Fabric of Cinema’ column for international periodical Arts Illustrated.
The main reason for a plug is the subject matter discussed: colour, without doubt one of the most fascinating aspects of theoretical costume study. Colour is so open to interpretation that any occasion costume designers dare to use it with intentional meaning constitutes a brave move. One of the finest costume events of the year so far, Stoker, provides just such an example. Stoker director Park Chan-wook: 'In knowing yourself, you can liberate yourself' Park Chan-wook is clearly in a very dark place.
His head is bowed, his mood blue. Neon Demon’s Natasha Braier On Working With Nicholas Winding Refn. When cinematographer Natasha Braier first read “Neon Demon,” she didn’t particularly like writer-director Nicolas Winding Refn’s script.
“When we met at his house he asked what I thought of the script and I was honest about what wasn’t working for me,” Braier told IndieWire in a recent interview. “Nicolas smiled, ‘Oh, you got the fake script.’ Apparently he is very cautious about sending his real scripts out into the world.” On her drive home from Refn’s, Braier’s agent called saying she’d been offered job. Wong Kar-wai. After five years in production, dozens of interruptions, numerous cast changes, multiple cinematographers, the reconstruction of a half-million-dollar set, the completion of three major side projects, an eleventh-hour world premiere at Cannes, two radically different edits, a thousand import DVDs, endless rumors, infinite expectations—the phenomenon known as 2046 has finally arrived.
What does it all add up to? First, what it is not: a science-fiction film by Wong Kar Wai. 'It was like being in jail' The Edinburgh film festival's loss has turned out to be London's gain: the UK premiere of Hong Kong director Wong Kar-wai's 2046.
After the film's debut in Cannes in May, Edinburgh, with the blessing of UK distributor (and 2046 pre-buyer) Tartan Films, announced that it would be the closing night presentation. The news came as a surprise to the movie's sales agent, Fortissimo, which had been turning down festival invitations in other territories. "Edinburgh was never planned by us or Wong Kar-wai," says Fortissimo co-president Wouter Barendrecht. "We always knew that the film would be delivered just before the opening in Asia in early October. " The use of black and white segments within modern colour films. An essay for 'Case Studies in Media Production and Interpretation' MA in History of Film and Visual Media David Mitchell November 2001 Note: Halfway through writing this essay, I came across the text of a lecture by Adrienne Redd that covers somewhat similar ground.
Robert Mills » Colour and Storytelling in Films. Colour can have political, religious and cultural connotations, represent gender and as believed by Kandisnky, have emotional and physical effects on us.
Colour can also improve our memory, influence buying decisions, indicate meaning and tell stories. It’s that very last one that interests me most. In this post I want to focus on the use of colour as a storytelling device in films. My inspiration for this post came when I recently watched Oz the Great and Powerful. This film was released earlier this year and IMDB sums the story up nicely: 10. Color Design in the Cinema of Wong Kar-wai. Ibfilmassessment. The Auteur Theory and Women Directors. The Auteur Theory and Women Directors “Traditionally, in any art, the personalities of all those involved in a production have been a factor in judgment, but that the distinguishability of personality should in itself be a criterion of value completely confuses normal judgment.
The smell of a skunk is more distinguishable than the perfume of a rose; does that make it better?” (Kael, 1979) In this essay I will put forward the argument that the Auteur Theory only exists because white European and American male film critics have created it. Furthermore, the intention is to support this argument, with evidence that female critics are not taken seriously and that female directors always have and continue to struggle to be recognised in a patriarchal male dominated industry. Film criticism has been influenced by the Auteur theory since the 1950s, with film critic Francois Truffaut leading the way. According to Ramanathan, 2006, the views of the female critic are virtually irrelevant. Film Guide 2010%5B1%5D. Ontheroad29 - Production Portfolio. Top 200 films (directed by women) - a list by minalex. IB Film Resources. Rubrics & Exemplars - IB Film.