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Global horror takes a new "Road" - Horror Is there any country on earth — at least any country with its own cinema tradition — that doesn’t produce its own homegrown horror films, spiced up with a little local gruesomeness? Every time I write about horror, I get at least a couple of letters from people who see the cruelty, bloodlust, misogyny and so forth found in many such movies as a symptom of contemporary culture’s descent into depravity and brutality. On one hand, I always want to leave room for divergent tastes and opinions, but on the other — that’s just not true. The appetite for gore and terror that finds its modern expression in horror movies is nothing new: Check out the uproarious Brothers Grimm tale “How Some Children Played at Slaughtering,” in which an entire family is destroyed in a pointless orgy of violence. Furthermore, the relationship between violent and horrifying entertainment and actual violence is ambiguous, to say the least.
Transmédia marketing : Prometheus · annabelroux Pour Jeff Gomez, expert s'il en est du marketing transmédia, Prometheus, prequel qui n'en est pas un de la franchise Alien, réalisé par Ridley Scott, qui sortira courant juin 2012, a accouché d'une campagne transmédia réussie là où d'autres se sont magistralement plantés. La 20th Century Fox, Ridley Scott (Blade Runner, Alien I, Gladiator...) et Damon Lindelof (Lost) y ont mis les moyens et l'ingéniosité tant dans la forme que dans la stratégie de dévoilement, pour capter l'attention d'un public de fans qui après de longues années de rumeurs et de rebondissements... n'attendait que ça. La recette : Un contenu très bien scénarisé qui 1. établit le lien avec la tetralogie originale, 2. campe les bases thématiques et visuelles d'une nouvelle mythologie, 3. met en scène des personnages qui pour être secondaires n'en sont pas moins centraux (enrichissant ainsi ce que les trailers permettent de comprendre de l'intrigue et de ses protagonistes).
Pick of the week: Childhood adventure from a Japanese master - Our Picks “I Wish” is an old-fashioned kind of movie about a subject that might sound, at first, both worn-out and a little retrograde: the dislocating and disorienting effects of a family breakup. It’s also a movie whose principal actors and characters are children, that tries to view the world from a child’s point of view — and that’s an enterprise so perilous, so prone to easy gags, cheap tears and nauseating sentimentality, that hardly anyone ever gets it right. But “I Wish” is a wonderful adventure film that’s no less thrilling for its modest scale, and a film whose emotional power and intelligence sneak up on you. Thoroughly accessible and rewarding, it might finally mark the mainstream breakthrough (relatively speaking) of Hirokazu Kore-eda, one of the finest living Japanese directors. I should add that “I Wish” is that rarest of fauna in the international art-house market, a genuine family movie that will charm both adults and children, albeit for somewhat different reasons.
Prometheus : Anatomie d'une campagne de marketing transmédia partie pour faire date. Pour Jeff Gomez, expert s’il en est du marketing transmedia, Prometheus, prequel qui n’en est pas un de la franchise Alien, réalisé par Ridley Scott (sortie juin 2012), a accouché d’une campagne transmedia réussie là où d’autres se sont magistralement plantées. La 20th Century Fox, Ridley Scott (Blade Runner, Alien I, Gladiator…) et Damon Lindelof (Lost) y ont mis les moyens et l’ingéniosité tant dans la forme que dans la stratégie de dévoilement, pour capter l’attention d’un public de fans qui après de longues années de rumeurs et de rebondissements… n’attendait que ça. 1La recette Un contenu très bien scénarisé qui: 1.1. 1.2. campe les bases thématiques et visuelles d’une nouvelle mythologie, 1.3. met en scène des personnages qui pour être secondaires n’en sont pas moins centraux (enrichissant ainsi ce que les trailers permettent de comprendre de l’intrigue et de ses protagonistes). 22006 – 2011 : l’ADN d’Alien donne naissance à une nouvelle mythologie Ridley Scott persiste et signe.
What makes ’Borgen’ and ’The Killing’ special? The most popular female police officer in Danish fiction has to be Sarah Lund from ’The Killing’, who in addition to her fascinating character has also immortalised the Faroese jumper (Photo: Tine Harden/DR) ’Borgen’ and ’The Killing 2’ have both been nominated for the prestigious BAFTA award, which is the British equivalent to the Oscars. The Danish series are fighting it out in the ‘Best International Series’ category, which the first season of ‘The Killing’ won last year ahead of successes such as the US series ‘Mad Men’. Both series have triumphed in Britain, where Sarah Lund from ’The Killing’ and her Faroese jumper have become something of a national treasure. ’Borgen’ and ’The Killing’ build upon the distinguished tradition that Danish public broadcaster DR’s drama station has developed over the past 15 years, But what is it that places just these two series among the best in the world? Popular series are multilayered This is the subject of a study carried out by Lynge A. Gunhild Agger
Prometheus, un scénario transmedia déjà culte Prometheus, le film de science-fiction le plus attendu de l'année, sort demain dans les salles de cinéma. Réalisé par Ridley Scott (Alien, Blade Runner...), son intrigue se déroule dans un univers un univers antérieur à celui de la saga Alien, à laquelle il se rattache indirectement. Pour les fans de la saga, cela marquera la fin d'un insoutenable suspens, qui dure depuis des mois. En effet, par le biais d'internet, l'équipe du film et le studio ont tout fait pour entretenir le désir et la curiosité des aficionados. Un supplice bien plus délectable que celui de Prométhée, à qui un aigle dévorait le foie chaque jour : pour Prometheus, les scénaristes et les marketeurs ont réussi à faire du teasing autre chose qu'un panneau publicitaire, avec une campagne apportant à la fois divertissement, contenu et interactivité. La bande annonce de Prometheus La campagne en ligne de Prometheus reprend les classiques du genre : un site du film, plusieurs bandes-annonces, etc.
New Dolby Technology to Make Horror Movies Scarier FilmDistrict If you don’t like the sounds in scary movies but sometimes get dragged along to the theater anyway, you’re not going to be a big fan of the latest technology from Dolby Laboratories. The company announced a new sound system Monday called Dolby Atmos, which can move sounds around a theater in an entirely new and realistic way. During a demonstration at Dolby’s San Francisco headquarters, Stuart Bowling, senior technical marketing manager for Dolby Laboratories, said the Atmos system was one of the most advanced technical jumps the company had made in 20 years and would create an entirely new viewing experience for theatergoers. “You can imagine watching a scary movie, and it’s a scene when someone is hiding in a basement and there are footsteps on the floorboards above,” Mr. The new sound system is incredibly realistic. Dolby said the new system would use 64 speaker feeds and would begin rolling out to select theaters later this year.
‘Prometheus’ Viral Continues, Peter Weyland Gets Ready For TED Talk And What Is 10-11-12? Usually when a film opens, its viral campaign is over. Not the case with Prometheus. Ridley Scott‘s latest film is one that encourages a lot of conversation (obviously) and, if you stay to the end of the credits, the conversation continues online. One of the first sites to figure this out was AVP Galaxy, but Movies.com and others have since expanded on it. Weyland’s quote in the video is ““I am a law only for my kind, I am no law for all” and the cover of Thus Spake Zarathustra on the original site says “What is great in man is that he is a bridge and not the end.” Back on planet viral video though, the more specific and answerable question is the same as the URL – What is 10.11.12? Cool Posts From Around the Web:
Todd Solondz: I'm Judd Apatow's dark side - Interviews At one point in my conversation with filmmaker Todd Solondz — which was very friendly and funny overall — he accused me of using big words and having gone to graduate school. (Only for one semester, I protested.) This from a guy who describes his own movies as “a kind of crucible” designed to force the audience to confront uncomfortable truths. That’s not the only evident contradiction in the life and work of Solondz, a writer and director who burst to prominence in the late ’90s with the art-house hits “Welcome to the Dollhouse” and “Happiness,” but since then has pursued an ever more individual and idiosyncratic path. Solondz insists on referring to his movies as comedies, despite the fact that they have often dealt with the darkest possible themes, including child abuse, rape and suicide, and almost universally refuse to provide a conventional happy ending. Todd, one of the things that’s almost universal in your films is that you offer us a protagonist that we may not like. Right.
Behind The Innovative Social/Content-Driven Campaign For "Prometheus" The plot of Ridley Scott’s sci-fi film Prometheus--a sprawling exploration of the origins of man--may have raised some questions but the movie’s marketing campaign was, unquestionably, one of the most original and absorbing in recent memory. Ignition Interactive, the creative agency behind much of the Hunger Games’ online campaign (previously profiled on Co.Create), designed and executed a similarly complex and bar-raising effort that aimed to engage potential moviegoers in the mysterious world of Prometheus by utilizing bespoke content and some previously unexploited avenues for marketing. While The Hunger Games had a rabid and active fanbase from the books long before that movie came along, Prometheus’ pre-existing fanbase was much smaller and less obvious. Film geeks and fans of Scott’s 1979 film, Alien (for which Prometheus is a prequel of sorts) form a dedicated core that Ignition was charged with expanding. Surprise! An Online Hub Gives Fans a Role Linking In Influencers
“Whores’ Glory”: A riveting, humane prostitution documentary Prostitution isn’t just the world’s oldest profession. It’s also a longtime focus of cultural obsession, across many historical periods and on every continent, from the poetry of Catullus to the woodblock prints of 19th-century Japan. There’s such a long history of male artists, writers and filmmakers who depict prostitution in erotic, romantic and sentimental terms that it’s only natural to approach Austrian documentarian Michael Glawogger’s “Whores’ Glory” with suspicion. If “Whores’ Glory” successfully resists romanticizing the lives of women who sell their bodies to make a living, Glawogger also does not surrender to what you might call the vulgar Marxist alternative, in which such women are interchangeable victims in a vast, mechanistic sexual economy, stripped of any agency or personality. It’s details like those that make “Whores’ Glory” both a wrenching journalistic exploration of real life and something close to great cinema.
Michael Fassbender’s David in Prometheus is just the latest great robot performance. Still from the Prometheus promotional video "Meet David." For all the blood and tentacles in Ridley Scott’s new sci-fi horror film Prometheus, the creepiest part may be Michael Fassbender’s wonderfully uncanny performance as the robot David. Many actors have leapt into the discomfiting chasm between the human and the inhuman, known as the uncanny valley, but few actors have as gracefully danced to-and-fro across the divide. Of course, Fassbender isn’t the first actor to stake his claim on the uncanny valley. But in the treacherous territory of the uncanny valley, there are many pitfalls. To explore the art of robot acting, we’ve rounded up ten of the most notable performances, and ranked them on a binary scale. 1. There are few better examples of how to construct a robot character who is at once expressive and robotic as the scene below. 1. Gigolo Joe isn’t the only movie android to steal his moves from the movies. And David has a sense of humor. 1. 1. 1. 1. 0. 0. 0. 0.
Human Rights Watch Film Festival at Lincoln Center Sundance Selects The artist Ai Weiwei, left, in “Ai Weiwei: Never Sorry,” in the Human Rights Watch Film Festival at Lincoln Center. James Helmer/Cinedigm Entertainment and Docurama Films Lieut. Katherine Fairfax Wright/Call Me Kuchu The gay-rights activist David Kato in “Call Me Kuchu.” This unsettling exposé, which won the audience award at the 2012 , may be the most outraged film in the annual Human Rights Watch Film Festival, which opened on Thursday and continues at the Walter Reade Theater in Lincoln Center through June 28. Last week the Pentagon reported that there had been 154 suicides among active-duty troops this year, a rate of nearly one a day. “The Invisible War” is one of three festival films devoted to women’s rights. In addition to villains, many of this year’s films feature heroes who stand up to power and injustice. Mr. The film is less a career survey than an admiring political portrait of a stubborn dissident playing a risky cat-and-mouse game with the government. Mr.