The sound-design-film-music Daily. Thinfilms. Royalty Free Music - from 300 Monks « 300 Monks Visionary Music. A literate passion: Anais Nin & Henry Miller | Articulos Para Pensar. “I want to both combat you and submit to you, because as a woman I adore your courage, I adore the pain in engenders, I adore the struggle you carry in yourself, which I alone fully realize, I adore your terrifying sincerity. I adore your strength. You are right. The world is to be caricatured, but I know, too, how much you can love what you caricature.
How much passion there is in you! It is that I feel in you. “Come closer to me, come closer. You keep your promise. Listen, I do not believe that I alone feel that we are living something new because it is new to me. You carry your vision, and I mine, and they have mingled. A Literate Passion: Letters of Anaïs Nin and Henry Miller, 1932-1953 Henry Miller & Anaïs Nin on Death and Dreams Anais and Henry corresponded for nearly twenty years. Film: Anaïs & June (1/3) This, the first of currently four volumes of unexpurgated diaries, concentrates on her passionate involvement with the writer Henry Miller and his wife June Miller. Like this: Salvador Dalí Creates a Dream Sequence for Spellbound, Hitchcock’s Psychoanalytic Thriller. 'The Hobbit': Douglas Trumbull on the 48 frames debate. Douglas Trumbull knows a little bit about movie visual effects.
In his mid-20s, he worked with Stanley Kubrick to create the look and feel of the final frontier in 2001: A Space Odyssey. He later helped craft the effects for Steven Spielberg’s Close Encounters of the Third Kind and the gorgeous futuristic visuals of Ridley Scott’s Blade Runner. Last year, after nearly 30 years away from the Hollywood business, he collaborated with Terrence Malick for the symphonic visuals in The Tree of Life. Trumbull has always been an innovator. For decades, he’s been tinkering with technology to enhance the audience experience, and he knows all about the recent hubbub over frame-rate after Peter Jackson unveiled the first extended footage of The Hobbit — An Unexpected Journey last week at CinemaCon.
Jackson is shooting his Lord of the Ring prequels at 48 frames per second, twice the industry standard since the advent of talkies. Trumbull must be chuckling a little to himself. François Truffaut’s Big Interview with Alfred Hitchcock (Free Audio) The Mind & Art of Maurice Sendak: A Video Sketch. Martin Scorsese on Oliver Stone.
Mathematics in Movies: Harvard Prof Curates 150+ Scenes. Stanley Kubrick's Fan Letter to Ingmar Bergman. Was Stephen King right to hate Stanley Kubrick's Shining? | Film. Werner Herzog on Death, Danger and the Abyss. Hitchcock’s "Rear Window," Recut Into An Amazing Panoramic View. Rear Window is, in my book, Hitchcock’s best film. It hooks you in immediately, trapped in the same sense of voyeuristic helplessness as Jimmy Stewart’s wheelchair-bound character who finds himself the witness to a murder in his own backyard. It’s also a film that draws much of its suspense from limited perspective--shots cropped by a telephoto lens, tiny snippets of isolated characters going about their days.
So what would happen if someone came in and showed us the whole scene at once? How would the story change? Powered by After Effects and the patience of Job, Jeff Desom recut (and reshaped) Rear Window into one giant panorama. “I was asked by a local (Luxembourg) venue to create a projection that could be looped on a very wide screen,” Desom tells Co.Design. It was a moment of inspiration that would prove punishing to actualize. Once his proof-of-concept was complete, Desom had to map an intersecting storyline for each of Rear Window ’s characters that appeared in the POV clips. Hitchcock cameos. The Brain in Film | BrainWorld. ■ It’s true that movies—and all art—is about what the artist intends and what the mind interprets. But films about the mind—the tricks it plays, the depths it sinks to and the feats it’s capable of—are guides to the zeitgeist of their era, as well as a window into the future.
For example, George Orwell’s book 1984 predicted fantastical concepts that are now commonplace (doublespeak=politics?). Similarly, in Steven Spielberg’s 2002 Minority Report (based on the short story by sci-fi writer Philip K. Dick), the focus on a new justice system in which prophets (“pre-cogs”) could predict when someone was thinking of committing a crime so that law enforcement could arrest them before the crime occurred, spoke to an existing fear that increasing technology would lead us to a police state with little free will. From Frankenstein in 1931 to Alfred Hitchcock’s Spellbound in 1945, films—even when they are based on books—bring to life our best and worst moments in the mind. [bw]
Weird movies. Pedro Almodóvar Blog. Every time I get up to go on a trip I feel an irresistible need to stay at home. As if every trip signified the end of a stage in my life, which the journey turns into an irreparable loss. It doesn’t matter if the reason for the trip is pleasure and enjoyment. That sensation, a mixture of failure, melancholy and anticipated nostalgia, always accompanies me when I set out on a trip. On the way to Torrejón airport, I read El País and Les Inrocks. And I feel a sudden, urgent need to read all the books that are reviewed in Babelia, the literary supplement.
(“El asombroso vieje de Pomponio Flato” by Eduardo Mendoza, “God isn’t Great” by Christopher Hitchens, etc.), to see all that shows that are recommended, buy all the CDs that attract me at first sight in Les Inrocks, listen to all of them and choose the ones that seduce me immediately. Every time I go to an airport I think I’m abandoning my own life, that I’m adrift. Federico Fellini. Federico Fellini (Italian: [fedeˈriːko felˈliːni]; January 20, 1920 – October 31, 1993) was an Italian film director and scriptwriter.
Known for his distinct style that blends fantasy and baroque images with earthiness, he is considered one of the greatest and most influential filmmakers of the 20th century.[1] In a career spanning almost fifty years, Fellini won the Palme d'Or for La Dolce Vita, was nominated for twelve Academy Awards, and directed four motion pictures that won Oscars in the category of Best Foreign Language Film. In 1993, he was awarded an honorary Oscar for Lifetime Achievement at the 65th Annual Academy Awards in Los Angeles.[2] Early life and education[edit] Rimini (1920–1938)[edit] Fellini was born on January 20, 1920 to middle-class parents in Rimini, then a small town on the Adriatic Sea. Enrolled at the Ginnasio Giulio Cesare in 1929, he made friends with Luigi ‘Titta’ Benzi, later a prominent Rimini lawyer (and the model for young Titta in Amarcord (1973)).