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Billy Woodberry’s Return to Form | Film Quarterly
A long-view interview with filmmaker Billy Woodberry conducted by screenwriter and scholar Josslyn Luckett gives the filmmaker his due and reflects on his prolific career as an independent filmmaker.
long.read  billy.woodberry  film  interview 
yesterday by morgen.ruff
The DCEU has a problem — everybody likes Wonder Woman
That’s more or less the elevator pitch for superheroes as a concept, but it’s strangely at odds with everything we’ve seen from the DCEU thus far. Prior to Wonder Woman, DC’s output included two grim deconstructions of Superman and a third film about supervillains. All three have been skeptical of altruism as a concept, as if the most implausible thing about superhero movies is the hero’s willingness to help other people. [...]
The sequence is absurd to the point of parody, but it informs much of the DCEU. Man of Steel, Batman vs. Superman, and Suicide Squad all espouse a fundamentally selfish worldview — where heroism is a test of self, not a service performed for other people. [...]
It’s telling only because it indicates that the audience doesn’t have a place in Snyder’s DCEU. He wants to see Batman have a dustup with Superman, and he’s not overly concerned about how mere mortals relate to the personal struggles of gods. Metropolis and Gotham are not densely populated urban centers. They’re backdrops for a test of wills, a one-on-one contest to determine who has suffered more.[...]
wonderwoman  superheroes  superman  batman  comics  movies  film  DCEU 
2 days ago by winekitteh
'Predator': Oral History of the Arnold Schwarzenegger film | Hollywood Reporter
"The dozen Rashomon-like accounts of why Van Damme got fired alone are worth a click"
history  filmmaking  film  interview  from:hollywoodreporter 
2 days ago by mechazoidal
Rain is sizzling bacon, cars are lions roaring: the art of sound in movies • The Guardian
Jordan Kisner on the amazing work of creating sound for films:
<p>[Skip] Lievsay pulled up a cue and played one three-second clip again and again. On screen, Cheadle lit a cigarette: the metal lighter zipped and rung; the skin of his fingers shifted on the cigarette; there was an intake of breath; paper and tobacco crackled as he inhaled, music played in the background. Lievsay rewound. Zip, ring, shift, breath, slightly more crackle, music. Lievsay rewound again. No one spoke. The real Cheadle had not yet arrived.

Sound mixes are notoriously stressful, in part because they come at the very end of a film’s production. “As a mixer you’re the midwife to the director who is at this moment giving final birth to the film,” says Walter Murch, the groundbreaking editor and sound designer, known for his work on Apocalypse Now, The English Patient, and The Godfather: Parts II & III. “[Mixing] is the last inch of the diving board. After this there’s little that’s done to the film. You have to feel where the director is sensitive and what are the unresolved questions and how can I help through sound to moderate it? There’s a great deal of psychoanalytics.”

Directors are not the only stressed-out people who may need attending to: mixing rooms also contain picture editors under pressure to put the finishing touches on their work, producers arguing over logistics such as credit reels, actors floating through for last-minute dubbing and assistants trying hard not to get fired.

In this environment, Skip’s laid-back demeanour, his nearly inaudible jokes, his uniform of T-shirts and jeans, his consummate just-a-nice-dudeness – the Coens joke that Lievsay was part of the inspiration for Lebowski’s The Dude – has a palliative effect. “To do this job,” Lievsay told me, leaning back in his swivel chair, “you need to be the kind of person that people aren’t going to mind being stuck in a room with for four to six weeks.”</p>
sound  film 
2 days ago by charlesarthur

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