(Gore) Kaptainkristian highlights what David Fincher so deftly hides: the director’s extensive use of CGI and other digital effects in his films. From the Winklevoss twins to digitally perfected hair, Fincher stealthily bends reality in service of the story.
Blade Runner is one of the most visually influential films of all time, but there’s also much to be said about the film’s sound design, which seamlessly blends Vangelis’ score with atmospheric audio. Nerdwriter1 points out just how integral sound is to this 1982 masterpiece.
Film Radar digs into the techniques that director Michel Gondry used to create The White Stripes‘ most classic videos. Gondry’s sense of whimsy and effective use of simple visual effects were the perfect accompaniment to Jack and Meg’s reductive sound. (Thanks Daniel!)
“Time is the story and we are the characters.” The Royal Ocean Film of Society looks back at Michael Apted’s Up Series. Arguably the best reality show ever, its 48-year (and counting) span, grounded perspective and willing cast make for a fragmented mirror of our lives.
(Spoilers/PG-13: Language) The Showtime series Shameless is one of our favorite TV shows. The writing and acting is top notch, and its ability to blend laugh-out-loud comedy and tragedy is unmatched. CrackerJacked looks at just a small bit of what makes it work so well.
(PG-13: Language, SPOILERS) Wisecrack argues that Rick’s obsession with szechuan sauce is no bombshell. Instead, it’s merely another display of the show’s advocacy of Albert Camus’ brand of absurdism: existence is meaningless, and trying to find meaning is a fool’s errand.
“A man whose fear is greater than his desire… cannot be a pivotal character.” Lessons from the Screenplay breaks down the basics of a TV pilot – the episode that is used to sell the show to networks – and how Vince Gilligan pulled it off for Breaking Bad.
(PG-13: Language) Throughout Jack Nicholson’s 60+ years on the big screen, he’s wowed us with his ability to put the fear of god into other characters, and us as moviegoers. Nerdwriter1 explores Jack’s special gift for using hostility and fear to tell his characters’ stories.
Wisecrack convincingly argues that the Nolan brothers bit off way more than they could chew for the Dark Knight trilogy’s finale. Despite being nearly 3 hours long, the movie didn’t have enough time to be both a remake of A Tale of Two Cities and a conclusion to the trilogy.
We’ve sure come a long way since the cheesy opening titles of the ’60s, ’70s, and ’80s, and now the title sequences are as artfully made as the shows themselves. WIRED takes a look at what happened to get us from there to here. Be sure to check out Art of the Title too.
The Fast & Furious series banks on beautiful cars, beautiful people and beautiful stunts. But it wouldn’t be around if its filmmakers didn’t nail the basics of car chase scenes, which mainly involve giving viewers a consistent direction to contextualize the action.
Lessons from the Screenplay uses the script for the opening scene in Inglorious Basterds to explain how suspense works in films. Unlike plot twists, suspense works best when you reveal the twist early, then milk it for as long as you can. And when you’ve cast Christoph Waltz.
Sales middleman CostFixed hawks its services with… a movie essay? It’s well done though, and stands on its own. It uses Ben Affleck’s famous speech from Boiler Room to analyze how those with the gift of gab can hook people in using only their words and our desires.
The Royal Ocean Film Society tips his hat to the people who restore and repair old movies. Restoring and repairing film negatives requires tons of research, patience and steady hands. Thankfully, high quality digital formats and the Internet is making it easier to save movies.