Marshall McLuhan’s The Medium is the Massage famously posited that the way something is presented to us is as important if not more important than the information itself. Darren Aronofsky’s first feature film, Pi, offers an excellent example of an auteur using the physical medium of film to help tell a story, rather than be hindered by it.
My 48 Hour Film Project team, Shoot the Moon Films, participated in the first Providence 48 Hour Horror Film Project last year, but had never entered the regular 48 hour festival in Providence, so we decided to give it a shot. This is my critical analysis of the processes used to create “Buck’s Bed & Breakfast” (IMDb).
WARNING: There are some details of the film which may function as spoilers, so don’t read below the fold if you haven’t seen it yet.
This argument originated in a rather unconventional way: it was dropped in my lap. The AV Club’s Scott Eric Kaufmann (or “SEK” for short) dropped this on me in a particularly interesting Facebook thread; in his words:
Because I just can’t with today anymore, I’m just going to say that Batman Begins is the greatest origin film ever, and let the brilliant Jeff Buchbinder defend my position. Did he ask me to do this? No. Did he want me to do this? Probably not. But can he do it? Without a doubt.
The Jenji Kohan series “Orange is the New Black” has been lauded for its portrayal of a Connecticut womens’ prison, including a cast of diversified characters. Less attention has been given to its excellent and intricate camerawork. I’m going to examine a scene from the last episode of the third season, entitled “Trust No Bitch”.
Warning: There be spoilers here (albiet relatively small ones).
Mad Men’s highly anticipated final season’s second half began with an interesting sequence which uses the expectations we have about the kind of man Donald Draper is to set up one of the best paraprosdokian scenes in the series.
(Apart from potentially spoiling this single sequence, this writeup does not give away any plot points from the last season.)
I wouldn’t normally associate the 1993 Schumacher film Falling Down with the Netflix/Marvel Daredevil series, especially since Schumacher didn’t astound me, given the source material he had to work with. However, there is a common thread between the two properties besides their antagonists’ initials – the descent of their characters and how they perceive themselves.
Before film became possible through Edison and the Lumière Brothers’ fantastical inventions, theater had reigned as the primary dramatic performance artform for thousands of years. Though sharing much of the same lineage, there are fundamental differences in the way that film and theater are conceived, planned, acted, and consumed.
Whereas it it true that gear matters much less than a good eye and a good set of camera skills, a decent rig can help that good eye translate into great output. People spend thousands of dollars on their starter rigs – but a great professional rig can be had for under $1500 if you have a few decent photography lenses laying around. It also includes a great audio capture solution.
For the second time, my 48 Hour Film Project team, Shoot the Moon Films, decided to enter the Boston 48 Hour Film Project for the 2015 event – along with 89 other teams. What follows is my record of both the timetable/process we used and a post-mortem analysis of the flaws and potential improvements in our processes in creating “Acceptance”.
If you’re like me, you churn out a pretty hefty load of both digital film negatives (camera RAW images) and film footage (RAW or ProRes for me, but you may use a different format). This has always posed an issue for backing up original footage and photographs.