Garfunkel Is A Genius

Anything. Everything. Nothing.
cinephilearchive: Philip Lathrop, DP Russell Metty’s camera operator on one of the most famous boom shots in the history of cinema: the spectacular opening of Orson Welles’ Touch of Evil, goes over the next setup with star-director Orson Welles. Charlton Heston has something to drink. Jeff Boortz, creative director at 3 ring circus at the time, explained how “everything in the frame has meaning” making a systematic analysis of Orson Welles’ Touch of Evil initial sequence. Boortz explained the parallelism between a film director and a motion graphic artist: The director must tell the actors and camera what to do, the motion graphic artist must do the same, it just that there are no actors, just graphic elements, but the narrative challenges are the same. Each element, frame and camera movement “everything in the frame” must work in harmony to reinforce the cinematographic narrative, and be able to successfully tell the story. This is our take on that analysis. The best way to understand this, is to watch first the original movie sequence and then watch the analysis. Otherwise can be overwhelming and confusing. One of the best motion graphic classes that we have ever received. Thank you Mr. Boortz. —Deconstructing Motion Graphics (Touch Of Evil, 1958) The following notes were received from Orson Welles after he viewed the re-cut version of the entire picture which included the new close-up shots directed by Harry Keller: DATE: December 5, 1957TO: Edward I. Muhl, Vice-President in charge of production Universal-International PicturesFROM: Orson Welles, writer and director of TOUCH OF EVIL Touch of Evil, revised final screenplay by Orson Welles [pdf]. (NOTE: For educational purposes only) Tweet // Follow @LaFamiliaFilm //

cinephilearchive:

Philip Lathrop, DP Russell Metty’s camera operator on one of the most famous boom shots in the history of cinema: the spectacular opening of Orson Welles’ Touch of Evil, goes over the next setup with star-director Orson Welles. Charlton Heston has something to drink.

Jeff Boortz, creative director at 3 ring circus at the time, explained how “everything in the frame has meaning” making a systematic analysis of Orson Welles’ Touch of Evil initial sequence. Boortz explained the parallelism between a film director and a motion graphic artist: The director must tell the actors and camera what to do, the motion graphic artist must do the same, it just that there are no actors, just graphic elements, but the narrative challenges are the same. Each element, frame and camera movement “everything in the frame” must work in harmony to reinforce the cinematographic narrative, and be able to successfully tell the story. This is our take on that analysis. The best way to understand this, is to watch first the original movie sequence and then watch the analysis. Otherwise can be overwhelming and confusing. One of the best motion graphic classes that we have ever received. Thank you Mr. Boortz. —Deconstructing Motion Graphics (Touch Of Evil, 1958)

The following notes were received from Orson Welles after he viewed the re-cut version of the entire picture which included the new close-up shots directed by Harry Keller:

DATE: December 5, 1957
TO: Edward I. Muhl, Vice-President in charge of production Universal-International Pictures
FROM: Orson Welles, writer and director of TOUCH OF EVIL

Touch of Evil, revised final screenplay by Orson Welles [pdf]. (NOTE: For educational purposes only)

Henry Ford And His Worldwbur.org The con­tro­ver­sial and bril­liant Henry Ford and the world he invent­ed.We all know the bare-bones story of Henry Ford. And it’s incred­i­ble enough. The stern, dri­ven man who brought us the assem­ …

Henry Ford And His World
wbur.org

The con­tro­ver­sial and bril­liant Henry Ford and the world he invent­ed.

We all know the bare-bones story of Henry Ford. And it’s incred­i­ble enough. The stern, dri­ven man who brought us the assem­ …

Deaf Actors Play Tribute to Oliver Sacksstudio360.org Deaf Actors Play Tribute to Oliver Sacks Studio 360Oliv­er Sacks’ book Awak­en­ings tells the story of how, as a young doc­tor in the 1960s, Sacks “woke up” a hos­pi­tal ward full of peo­ple with a rare type of par­a­lyz­ing encephali­ti…

Deaf Actors Play Tribute to Oliver Sacks
studio360.org

Deaf Actors Play Tribute to Oliver Sacks Studio 360

Oliv­er Sacks’ book Awak­en­ings tells the story of how, as a young doc­tor in the 1960s, Sacks “woke up” a hos­pi­tal ward full of peo­ple with a rare type of par­a­lyz­ing encephali­ti…

Tool gives hi-def origin of Syrian artifacts Amy Stone-Sheffield, futurity.org U. SHEFFIELD (UK) — Magnetic analysis lets archaeologists match obsidian artifacts from Syria to the specific quarry—not just the volcano—of origin. While at the University of Sheffield from 1965 until 1972, Professor Lord Colin Renfrew…

Tool gives hi-def origin of Syrian artifacts
Amy Stone-Sheffield, futurity.org

U. SHEFFIELD (UK) — Magnetic analysis lets archaeologists match obsidian artifacts from Syria to the specific quarry—not just the volcano—of origin. While at the University of Sheffield from 1965 until 1972, Professor Lord Colin Renfrew…

fromdirectorstevenspielberg:

Wonderful making of documentary about the Indiana Jones Adventure Temple of the Forbidden Eye attraction at Disneyland.

The video was released when the ride was unveiled in 1995.

Source: Disney and More

cinephilearchive:

Another gem from the utterly brilliant the edit room floor: unseen photos from Taxi Driver part 2

Actor Robert De Niro (as Travis Bickle) practicing with his guns in front of the mirror are the most famous shots/scenes from Martin Scorsese’s 1976 masterpiece, “Taxi Driver.” What most people don’t know is that the interiors of Travis’s apartment and Iris’s room/apartment hallways were actually shot in the very same building, 586 Columbus Avenue. The building was condemned and it has long since been demolished. I own a couple of original contact sheets from the film, this one features some great poses of De Niro in front of the mirror in his apartment. —the edit room floor

“Jean-Luc Godard once said that all the great movies are successful for the wrong reasons. There were a lot of wrong reasons why Taxi Driver was successful.” —Paul Schrader: Notes On Taxi Driver

Always make your work be personal. And you never have to lie. If you lie, you will only trip yourself up. You will always get caught in a lie. It is very important for an artist not to lie, and most important is not to lie to yourself…So when you get into a habit of not lying when you are writing, directing, or making a film, that will carry your personal conviction into your work. And, in a society where you say you are very free but you’re not entirely free, you have to try. There is something we know that’s connected with beauty and truth. There is something ancient. We know that art is about beauty, and therefore it has to be about truth.