125 Results
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Separado! trailer Separado! trailer
- From: Soda Pictures
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Description:
Star Trek meets Buena Vista Social Club in this psychedelic western musical as Welsh pop legend GRUFF RHYS (Super Furry Animals) takes us on a pan continental road trip in search of his long lost Patagonian uncle, the poncho wearing guitarist RENE GRIFFITHS. In 1880, following a controversial horse race that led to an unresolved death, Gruff Rhys’ family split as Dafydd Jones took his young family to join the burgeoning Welsh community in Patagonia, South America. There was to be no contact between the families for almost a century when in 1974 Rene Griffiths arrived in Wales with his Latin infused Welsh love songs and became an over night sensation. Director Dylan Goch follows Gruff Rhys on a tour that takes in the theatres, nightclubs and desert teahouses of Wales, Brazil and the Argentine Andes as he discovers what became of his family, the Welsh Diaspora and its musical legacy.
- 1 month ago
- Views: 6
- Not yet rated
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A young filmmaker trying to ma A young filmmaker trying to make his first feature
- From: sillyweefilms
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Description:
I like to keep a blog over at http://ecossefilmmaker.blogspot.com/ so here's an entry from earlier on in the Summer. If you guys like it I'll keep posting them here too. Enjoy!
I've made around four short films in my 4 year career, as well as two seasons of "Night is Day" as a web series, all with very little money, but this movie is tough. That's not a complaint - if it was easy then everybody would be doing it. It's just a lot of work and time goes into making sure everybody knows what they are doing, where to be, when to be, what to wear, etc etc. And then you need to make it look brilliant. We're shooting on two HD cameras, Sony WEX3 to be precise. We've not got a £50,000 or a £1 million budget, we've not even got £2,000!
Let's just say I'm very glad to have a fantastic production team and a wonderful cast around me - that keeps me going. I love making the film - it's a huge step for me - and I've got a lot further this time than I did with my first attempt at a feature in 2006 - so I am grateful.
The footage is looking great and three scenes have already been edited together and coloured - I am definitely very happy with how it's going.
On Saturday the 19th we filmed a LOT of scenes. We started at 8.30am outside the Pitt Street police station, waiting for Elaine C Smith to arrive to film her cameo scenes. In the movie she plays Rebecca Munro's mum. Rebecca is a new character to the Night is Day world, working with Superintendent Sloan and DCI Mullan in their F-Division group for the police.
(Clare Sheppard on set with Elaine C Smith)Elaine was lovely, a real pro and very, very funny. Her and Clare worked really hard on the scene together and we got the result we wanted in the end. It's only a shame Elaine is only in two scenes of the movie. I hope I can work with her again one day. We wrapped her scenes and headed back to the Base (aka my flat) and we filmed another scene with Clare before taking a break for the day.
(Fight director Sean Clancy takes the girls through the fight)Thanks to Glasgow City Council we've been given permission to film for three days in the Botanic Gardens, with two scenes shot over the two days, the first was a fight scene between Caitlyn (Anna Walseth) and Gwen (Kelly Love), which was directed by cage-fighter and fight director, Sean Clancy. Everybody worked really hard, and the last part of the scene was DAMN impressive. Well done to Anna and Chris for that brilliant scene.We wrapped just before 10pm and the next stay started at 9.30am again as we filmed two scenes with Mark Harvey and Tam Toye, who play villainous assassin Frank Stone and corrupt businessman, Mr. Philips respectively. Mr. Philips has genuinely no connection to our main villain, The Caillech, but that doesn't stop him from wanting to share in the havoc that she is creating. Leigh Butler, our makeup artist, did an amazing job on The Caillech. We are NOT releasing ANY photos of the Caillech at all, not until the next trailer is created, and even then we might not. All we can say is that she is really freaky. In a good way.
With those scenes filmed we wrapped until the evening when we had a few problems with timing. We needed to film a scene where The Caillech summons her soldiers, vicious Scavenger Demons (Cat Joss, who plays the Caillech, referred to them as "her puppies"). The makeup for the scavengers is long and complicated, but scary and fantastic at the same time. Back to the Botanic Gardens we went to the abandoned train station there to film that scene before heading up the road to film a scene where Sloan, Mullan and Rebecca are confronted by the Scavenger demons for the first time. I can't wait to see the footage!We wrapped at 11pm, which totally wiped me out and I'm sure the cast and crew are exhausted too.Sunday the 27th sees the next day of filming until the 3rd of July - we'll be in Muse near Queen Street to film 5 scenes of the movie - some involving The Caillech again. Can't wait to get started! - Blog post
- 2 months ago
- Views: 27
- Not yet rated
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YouTube: Now in a Curated Form YouTube: Now in a Curated Form
- From: gailtolley
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Description:
Image: jonsson under creative commons
It wasn't long ago that I was chatting to a film director about his frustrations with the internet as a place to find items of cultural worth. He felt that there was just too much 'stuff' out there which was of poor quality and of no interest to him. What was needed, he said, was some form of curatorship in order to sieve the good and relevant bits from all the rest.
In light of this conversation I was interested today to come across this collection of film clips (thanks to Stuart Cosgrove for posting the link this morning). I haven't quite got my head around the details (it's in Spanish) but the gist is that the very wonderful film director Pedro Almodovar (who made All About My Mother, Volver and most recently Broken Embraces) has selected his favourite film clips on YouTube. They include the trailer for Godard's Le Mepris, a glitzy duet by Raquel Welch and Cher and a video of Jacques Brel singing 'ne me quitte'.
What a brilliant idea! YouTube has to be one of the places on the internet which contains such a high proportion of dross that a curatorial approach, even on this small scale, seems a breath of fresh air. Here's hoping that a whole host of other artists follow suit. (I, for one, really want to see what David Lynch's highlights of YouTube could possibly be.)
- Blog post
- 2 months ago
- Views: 160
- Not yet rated
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Breathless? Breathless?
- From: Aldo Palumbo
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Description:
Breathless (À Bout de Souffle) (1960)
“Every time I succumb anew to this film's fresh sexiness, playful style and icy cool, I think it must surely have been made yesterday. The new digital restoration only enhances that impression and there isn't much left to be said except: joyeux cinquantième anniversaire.”
- Jason Solomons in The Guardian 2010
Once again I see this film. Why? Each time I see it I understand better its appeal and my frustrations.
This is a seminal work; one that must have sent ripples through anyone who saw its first release and wanted the world to be a different; and above all wanted cinema to be different. À Bout de Souffle takes the mythic magic of Bogart and Bacall and relocates it for a new age in a new film grammar. It confers power to make meaning to an audience that had rarely enjoyed such power. In short, it treated film as art.
It also took the industrial filmmaking means out of the studio and onto the street: 16mm, available light, no location sound, no shooting permits, no traffic control: just get out and shoot. In fact, there’s not much of a pre-written script. Story changes are abrupt, dialogue meanders, cuts, for the first time, jump. This is what freedom looks and feels like: sexual, moral, financial, cinematic freedom. Exciting.
“The film of tomorrow will not be directed by civil servants of the camera, but by artists for whom shooting a film constitutes a wonderful and thrilling adventure.”
- Francois Truffaut in Arts, 1957.
But who exactly is thrilled? The barely-considered script does not really empower its audience quite as much as it ignores that audience; the dialogue is at times interminable; and the hatchet techniques grate rather than illuminate. Acting under these conditions is tested beyond usefulness to the point that emotional turning points are missed; not in a way that feels deliberate, pointed or ironic; but rather as though no-one understands what’s going on. Consider the moment Patricia tells Michel she’s ratted on him to the police. Are we afforded a distant Brechtian perspective on this pivotal moment or do we feel simply that something has been left unacknowledged? Are we in the throes of the kicking dream or following the insights of a polemic essay? It would seem neither is the case given such inconsequential events. Life may not be like Hollywood movies, but it’s not like this either, and so the effect is both unemotional and apolitical. Is this not bourgeois art-for-art’s-sake?
Indeed, in this same scene we are beaten over the head with the fact that they’re shooting handheld, as the camera follows each character around from living room to hall and back again. Richard Lester are you taking notes?
It’s very self-consciously cool, but it is also cold. The sexiness - and they are a very good looking, nicely-styled, freewheelin’ couple - is undermined by the lack of narrative substance; drowned in undisciplined techniques; and overwhelmed by authorial intrusion: 'le camera stylo'; the camera as pen.
“The style is everything, a calculated destruction and remaking of traditional film grammar, and Godard formulated his much-quoted idea that ‘a film should have a beginning, a middle and an end, but not necessarily in that order’.”
- Philip French, The Guardian
But does it feel like a film? Well, it documents its world, which puts us in a privileged cinematic position - all cinema is voyeurism after all - and you feel like you could have gone to Paris and just stepped into that world, which must have been an amazing feeling back in 1960, but 50 years later, its overly loose narrative, and its collagist’s approach to an argument make it a bit of a chore to watch.
Film is not photo-montage, neither is it a journal: it’s too full of life for the mere collision of images or ideas. Time passes, and we can all feel that time passing. For this reason, film, whether dreamlike or distant, needs an emotional heartbeat that is something close to music; and dynamic music at that. Miss those evolving pulses and beats, and we may miss your point.
À Bout de Souffle is a seminal work, no doubt; this film marks a change, and doubtlessly changed filmmaking everywhere - it’s hard to imagine the likes of Easy Rider being made ten years and ten thousand kilometres away without it – but this is the new cinema in its infancy: showy and brash and needing to go up to its room until it’s ready to behave.
It should be said that À Bout de Souffle is far from alone in achieving extraordinary acclaim through showing off the sexy-cool of its faces whilst disregarding its audience’s desire for a coherent script: Bogart and Bacall had done just that for Howard Hawks in The Big Sleep only 14 years earlier. But that’s another story.
I wasn’t there when À Bout de Souffle first opened. I wish I had been. I first saw it in the Edinburgh Filmhouse as a schoolboy (was thrilled) and last saw it in the GFT three weeks ago. I’ve seen it on TV since then, and I even have the DVD. If you haven’t seen this film, I recommend that you do (along with many other Godard films). Give your heart to it, but don’t forget your head or be afraid to admit you don’t like it as much as you feel you ought to.
Above all, if you’re about to make a film, please be very careful what you take from Godard.
The restored version of À Bout de Souffle gets its DVD release on 13 September.
Superb trailer for À Bout de Souffle:
http://www.youtube.com/watch?v=w2hDR_e1o1M
Cinematographer Raoul Coutard reflects on shooting À Bout de Souffle:
http://www.guardian.co.uk/film/2010/jun/06/raoul-coutard-jean-luc-godard-breathless
For a highly-informed, in-depth appraisal of À Bout de Souffle as well as Godard through the years, read Philip French (he was there):
Jason Solomons:
http://www.guardian.co.uk/film/2010/jun/27/a-bout-de-souffle-godard
- Blog post
- 2 months ago
- Views: 196
- Not yet rated
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The Movie Trailer The Movie Trailer
- From: MitchMiller
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Description:
- 2 months ago
- Views: 7
- Not yet rated
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Time Dabblers Trailer WEB.mov Time Dabblers Trailer WEB.mov
- From: iamrollo
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Description:
- 3 months ago
- Views: 16
- Not yet rated
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EIFF: The last gasp EIFF: The last gasp
- From: benwerd
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Description:
I saw it, out of the corner of my eye: a white badge hanging from the neck of an unknown by a tell-tale red strap.
Could it be? My face pulled up into a grin. I raced down Bread Street, feet hitting the pavement. There were more badge-holders now; I followed them like a trail of breadcrumbs, running up towards the familiar glass-fronted building. Storefront of dreams! Badge-holders, even the odd programme book tucked under an arm. Maybe I'd been mistaken; perhaps it wasn't really over after all.
I pulled up to the Delegates' Centre and, at once, my face fell again. Boxes. Folded-up signs. A team of people, badge-wearers all, packing it away, done with us for another year. Turncoats!
I rejoined my companion and, together, we sauntered off to the Best of the Fest: the last wheezing gasp of an emotional rollercoaster of a film festival.
Following its debut at the Göteborg International Film Festival earlier this year, Skeletons was this year's winner of the Michael Powell award for Best New British Feature. (Powell, you will recall, was the legendary British director of The Red Shoes and A Matter of Life and Death.) Will Adamsdale (fresh from The Boat That Rocked) and Andrew Buckley (Gobbler from Extras's sitcom-within-a-sitcom, When the Whistle Blows) are exorcists of a kind: they make a living by exhuming the skeletons from peoples' closets.
Skeletons deftly defies expectations: it comes across, on paper and in its trailer, as a faintly low-key surrealist comedy, and that's what you sit down expecting to be shown. Indeed, for the first half hour or so, it ably delivers some genuinely hilarious moments. It's when we dive into our exorcists' lives, however, that it comes into its own, eventually delivering an emotional wallop that it has no business being capable of.
It's clear that the budget here is through the floor, but the production values are high. The supporting cast are surprising in themselves: Harry Potter's Jason Isaacs plays the exorcists' boss, while Paprika Steen - Danish alumnus of Lars Von Trier films like Dancer in the Dark and The Idiots - is a woman who hires them to find her husband. Disparate as they are, the players pull together to create a seamlessly offbeat journey that's hard to find fault with.
And so, Toy Story 3. Somehow this feels like a fitting end for my Edinburgh International Film Festival coverage: sure, it's yet another film about loss, but it's also one about moving on and fondly remembering what was so good about what we left behind.
Sequels are never a particularly attractive proposition, but Toy Story 2 defied expectations. It was a well-rounded, accomplished film that in many ways eclipsed the original. Ten years have passed since then, though, and fifteen since Toy Story. Back then, its position as the first ever full-length CG film was enough to blow us away; where do you go now that 3D animated toys are old hat?
There's no need to worry: we're in safe hands here. After all, Pixar's films have always been more about heart than visuals; last year's Up had me tearing up before the ten minute mark. Indeed, Ratatouille, The Incredibles and Finding Nemo all managed to pull off something new, and despite being the third part in a series that has endeared its way into popular culture, Toy Story 3 does the same.
From the opening reference to Indiana Jones, it feels like it's been pitched a little bit older than the previous two. There's a laugh-out-loud subtitled segment, some body horror courtesy of Mr Potato Head and a tortilla, and even a shared touchpoint with eighties cult horror flick The Devil's Gift. That's not to say that it's not suitable for children - this is still very much a kids' film - but Pixar aren't afraid to push the envelope a little bit.
The new actors all hint at the tone. Michael Keaton - you know, from Batman, Beetlejuice and Pacific Heights - is Ken (as in Barbie's boyfriend). Ned Beatty - Network - is Lotso, a southern bear who smells of strawberries but secretly rules his daycare centre home as a sick kind of prison. Meanwhile, less threateningly, Timothy Dalton has a hilarious turn as a luvvie hedgehog, and Kristen Schaal (familiar to regular Flight of the Conchords and Daily Show viewers) is a chatroom-obsessed triceratops.
Toy Story 3 is fun, exciting and emotive: in other words, everything you'd expect from a Pixar film. It's out here in the UK in July, and I recommend you go seek it out - with or without children.
On a final note, I'd like you to open this song in another tab. It's mood music; a little background atmospherics for what I want to say. I'll wait.
Done? Okay, good.
I'd like to thank Central Station for giving me the opportunity to cover this year's Edinburgh International Film Festival. It's been fun, exhausting and extremely satisfying. I hope my pieces have given you a little hint of the atmosphere here, as well as an insight into the kinds of films we've been seeing. This is one of the world's most interesting arts events, and while there's been the odd hiccup behind the scenes here and there, this year's programme has been educational, challenging, diverse, surprising and incredibly entertaining. I'll miss covering it for you.
I'll continue to pop up on Central Station from time to time, but this marks the end of my official engagement. If you're interested in web technology, my regular home is over at benwerd.com - but I'll also be writing more along these lines at Off Topic. (I'm also always interested in new places to write, so if you've liked what I've written here and would like some content over at your place, please get in touch with me here at Central Station or at ben [at] benwerd.com.) Finally, you can always find me on Twitter as @benwerd.
Thanks for reading; hopefully I'll catch you soon.
Oh, and you can turn the Celine Dion off now.
- Blog post
- 3 months ago
- Views: 393
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Faheem in Toyland Faheem in Toyland
- From: Eileenor
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Description:
My part in another group project for Uni. We made a Quantum Leap style trailer where Faheem transports to different worlds and environments. Made using 3ds Max, Final Cut Pro, Photoshop, After Effects and Green Screen filming.
- 3 months ago
- Views: 3
- Not yet rated
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Battenberg trailer Battenberg trailer
- From: DigiCult
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Description:
Colliding with the window of an abandoned guesthouse, an unwitting bird fails to realise the curious horror lurking within. Winner of the New Talent Award for Best Animation, BAFTA Scotland 2010 and the Jim Poole Scottish Short Film Award.
Director/Screenwriter/Animation: Stewart Comrie
Producer: Anna Odell
Executive Producers: David Smith, Paul Welsh, Julia Caithness, Becky Lloyd
Art Director: Jenny Hood
Editor: Rachel Tunnard
Sound: Romano Valerio at Arc
Music: Raydale Dower, Jamie Bolland
Production Company: DigiCult
- 3 months ago
- Views: 325
- Not yet rated
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Moving Image Blog #7 Moving Image Blog #7
- From: STEWARTCOMRIE
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Description:
At the beginning of 2010 I completed my first funded short animation - Battenburg under the Digicult development initiative. The film has found success at both the Scottish BAFTA New Talent Awards and most recently, the Jim Poole Awards. This week it will also be premiering at the Edinburgh International Film Festival under the Mclaren2 animation program. Each following success for the film was less expected than the previous and greatly appreciated. I only hope more are to come.
The experience of working on a small budget film of this nature has given me rather a better idea of what helps a director or film maker produce something 'successful'. While I was squirreled away in my parents' shed filming Battenberg, I paid close attention to other films with similar production time-scales and budgets. Further research revealed many film makers working with similar parameters whilst creating - unhindered by such constraints - fantastic pieces of story telling. Initially I thought of these parameters as restricting, however since finishing the film I have come to recognise that each and every hurdle which forced me to jump higher and higher to finish the film within budget and on time was integral to its success.
What I have realised is that too much time and money can spoil a director by letting them go wild in the sweetie shop and rotting their little creative teeth away. Budgetary restraints and a feverish desperation to have my film selected for funding, inadvertantly set the boundaries that helped Battenberg retain a consistent visual aesthetic and production philosphy which I now believe is key to a films' visual success when time and money are not a liberty. By sourcing the majority of the props from found, second-hand objects, the set and puppet build cost very little. I found myself unhappy with the objects I contrived for the set and puppets, preferring the freedom of finding something just right and not having to sacrifice time or money in the process. The entire films visual essence was subsequently displayed as a found object. This in turn let me very quickly rearange sets and test out scenes all in the same two metre squared set. If somthing didnt work out as I had hoped, or fit the script, it was easily rearranged or manipulated to suit, allowing for greater scope for improvisation. These ideals then seeped into the the technical equipment, resulting in a highley succesful camera dolly manufactured from one of my childhood rollerskates, which gave the camera movements a special touch.
This was the ingenuity bred by my parameters, but it has shown me how setting rules for the tools you use in animation can help the universe you create become more believable. Computer film makers such as David Oriely and Nina Palay, creator of feature animation Sita Sings The Blues, have also shown this. Sita Sings The Blues' 1:21 minutes was animated by one person over 3 years. The independent spirit of the project is what I believe nurtured its ingenious and elegant story telling. Similarly, David Oriely has built his success on his restrained use of 3d animation, but this is not solely an economy of style, but rather an awareness of the bare essentials of story telling and what animation really is: the potential that exists in two sequential but shrewdly looped frames. Similar to commercially successful televised animation series such as Dragon Ball Z. This awareness of how simple, pared-down aesthetics can tell a captivating and emotional story has allowed many animators to move beyond what you would expect, in terms of the length and quality of films made by an individual. As a result, right now, my heros are the lone animators and film makers who find ways to make work with very little – the ingenuity of finding a way to create something bigger than themselves.
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The mechanical shark used in Jaws kept breaking down and they were only able to utilise it in a small amount of shots.
'Who strive - you don't know how the others strive
To paint a little thing like that you smeared
Carelessly passing with your robes afloat,-
Yet do much less, so much less, Someone says,
(I know his name, no matter) - so much less!
Well, less is more, Lucrezia: I am judged'
Andrea del Sarto, Robert BrowningOther heroes include:
Bruce Bickford – Monster Road, Prometheus' Garden.
Adam Elliot - Mary & Max, Harvie Krumpet.
During the EIFF I will be part of an animation panel chaired by Melanie Coombes - the producer of Harvey Krumpet and Mary and Max - which should provide great ideas and insights into the film making process, I hope some of you can join us for the discussion.
Red or Dead: Creative Choices in Short Filmmaking
Sunday 20th June
Playhouse Suite, Novotel Hotel, 80 Lauriston Place
14:00 -14:45Battenberg Screening times at EIFF
Thursday 17 June 11:30 Filmhouse 3 (Press & Industry Screening:McLaren Animation 2)
Friday 18 June 18:30 Filmhouse 3 (Public Screening: McLaren Animation 2)
Sunday 20 June 11:45 Filmhouse 3 (Public Screening: McLaren Animation 2)
Monday 21 June 13:30 Filmhouse 2 (Public Screening: Digicult Shorts) - Blog post
- 3 months ago
- Views: 75
- Not yet rated
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Cannes: Money, Sex & Occasiona Cannes: Money, Sex & Occasionally ...
- From: paulwelsh
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Description:
come and stare. come and watch. but don't touch (if you can't afford it).
wandering these sun-kissed streets of glory and shame, it's clear to anybody with a pulse, cannes is all about desire. and it's all about the other. a fantasy island floating about our psychic ocean. in a town of mixed metaphors, his/her fingers play with our most private parts ...
i think Mike Leigh knows what i'm talking about. He's the early leader in the race for the Palm D'Or with a touching story about some very happy and some desperately sad people meeting round a kitchen table: Another Year.
Yes indeed Mike, another year in Cannes.
- Blog post
- 4 months ago
- Views: 284
- Not yet rated
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Tim's Nightmare Trailer - Cano Tim's Nightmare Trailer - Canon 7d/Nikon Primes
- From: Grant McPhee
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Description:
Trailer for short film - Tim's Birthday. Shot with Canon 7d and Nikon Primes with coating removed. Shot through candles, tennis rackets, bottles, knives, forks, beer taps, into lights etc
- 4 months ago
- Views: 15
- Not yet rated
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Trailer | Always Now Slowly - Trailer | Always Now Slowly - entire show
- From: jeannette.ginslov
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Description:
Always Now Slowly final trailer for Running Sculptures. Inspired by the writings of Gertrude Stein. Choreographed by Lars Dahl Pedersen. Camera and edit by Jeannette Ginslov. For more info see http://www.runningsculptures.dk
- 4 months ago
- Views: 92
- Not yet rated
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Decommissioned Trailer Decommissioned Trailer
- From: JackieDonachie
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Description:
Performance piece at the Glasgow Sculpture Studios
- 5 months ago
- Views: 28
- Not yet rated
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Decommissioned Trailer Decommissioned Trailer
- From: JackieDonachie
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Description:
Performance piece at the Glasgow Sculpture Studios.
- 5 months ago
- Views: 18
- Not yet rated
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Marketing Culture Marketing Culture
- From: gailtolley
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Description:
Image credit: itroy
Unexpectedly I found myself at the ballet on Saturday night. The last time I went to the ballet was as a teenager when I saw the Nutcracker in London and I can honestly say I failed entirely to engage with what appeared to be people dressed as liquorice allsorts prancing in front of me. This time, however, I enjoyed the performance - it was Scottish Ballet’s Romeo and Juliet, a stylish adaptation of the story which starts off in the 1920s before jumping to the 50s and finishing in the present day.
What I found surprising, however, was when I caught a glimpse of the poster for the event as I left the theatre. In big bold letters it said:
Team Capulet
vs
Team Montague
You decide
It was rather reminiscent of the recent marketing strategy for the Twilight movies which also set up two teams, based on the two male characters in the story, that audiences could choose to align themselves with. Whilst I can understand the desire to make a performance such as Romeo and Juliet appeal to a younger age group, such a brazen approach seemed to me to be completely at odds with the stylish and minimalist show.
This incongruence between the marketing of a cultural event and the actual event is seen constantly at the cinema - trailers which package a film to hit specific markets or latch on to hot buzz words are the norm. My favourite was an American trailer for Ken Loach’s Sweet Sixteen which came complete with a gravelly voiceover that made the film out to be be a dramatic Hollywood-style family drama. It makes me wonder how many people find themselves taken aback by what they end up experiencing or, in the opposite case, choose to see something hoping it is a world away from what the marketing strategy suggests.
When it comes to marketing visual art I think this issue takes another form and I was interested to read Neil McGuire’s recent blog about On-Brand Art. He highlights the need for intelligent and alternative design and looks at this in relation to the GI Festival brand guidelines. I think what Neil is getting at is very similar to my point, albeit we're both coming from different angles, and put simply it's that a marketing campaign has an obligation to reflect the essence of the event in question. Effective marketing is without doubt essential in the arts, but it seems that across the board there’s ample opportunity for it to be both smarter and more truthful. - Blog post
- 5 months ago
- Views: 185
- Not yet rated
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NBCQ #1: 1234 NBCQ #1: 1234
- From: NBCQ
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Description:
1234 tells the story of bespectacled Stevie, who endures a job he despises alongside and call center colleague/drummer extraordinaire Neil. When they persuade the ambitious Billy and talented Emily to start a new band, the possibility they might be onto something good presents itself. With a demo to tout, they set off to beat the well-trodden path of record companies and gig venues in hopes of conquering the British indie music scene. In addition to the assembling the requisite fantastic soundtrack, Giles brought together a talented cast of up-and-coming young British actors, including Ian Bonar (Atonement, Starter for Ten), Lyndsey Marshal (The Hours), Kieron Bew (The Street) and Mathew Baynton (Gavin & Stacey). 1234 will be released in cinemas on March 5 as part of New British Cinema Quarterly. A brand new touring programme of distinctive and original films from British filmmakers, New British Cinema Quarterly will showcase 1234 in independent cinemas nationwide before its DVD release on May 24 2010.
- 5 months ago
- Views: 9
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Double Take Double Take
- From: Soda Pictures
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Description:
Universal Studios California, 1962. Alfred Hitchcock, on the set of THE BIRDS, is called to the production office for an urgent message. When he arrives, he's shocked to be confronted by his doppelganger, claiming to be the real Alfred Hitchcock and who declares: 'If you meet your double, you should kill him. Or he will kill you. Two of you is one too many. By the end of the script, one of you must die' Alfred Hitchcock stars in DOUBLE TAKE, a tale of intrigue, personal paranoia and deception. Using archive footage, the film uses Hitchcock's own sardonic wit to explore his preoccupation with doubles - a recurring theme in his films - to virtuoso and entertaining effect. Positioned against the backdrop of the Cold War and inspired by Jorge Luis Borges novella "The Other", best-selling British author Tom McCarthy writes a plot to mirror the political intrigue in which Hitchcock and his elusive double increasingly obsess over the perfect murder of each other.
- 5 months ago
- Views: 22
- Not yet rated
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No Greater Love No Greater Love
- From: Soda Pictures
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Description:
"You cannot put a value on prayer, like you can a product, it still remains a mystery" After ten years of correspondence, Michael Whyte was given unprecedented access to the monastery of the Most Holy Trinity, in London's Notting Hill. The monastery, which was founded in 1878, is home to the Discalced Order of Carmelite Nuns. The nuns lead a cloistered life dedicated to prayer and contemplation, rarely leaving the monastery except to visit a doctor or dentist. Silence is maintained throughout the day with the exception of two periods of recreation. No Greater Love gives a unique insight into this closed world where the modern world's materialism is rejected; they have no television, radio or newspapers. The film interweaves a year in the life of the monastery with the daily rhythms of Divine Office and work. Centred in Holy Week, it follows a year in which a novice is professed and one of the senior nuns dies. Though mainly an observational film there are several interviews, which offer insights into their life, faith, moments of doubt and their belief in the power of prayer in the heart of the community.
- 5 months ago
- Views: 7
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