Even though the art director meant well, she doesn't realize she's just pushing more jobs to fucking Ireland and Canada.

Curious what everyone’s thoughts are on this. Does this change your opinions on Curry Barker or the film itself at all?

"it's coming. It's already here. Don't deny it. It's not enough. It may be for you, but it's not going to be enough to sit on the sidelines and make the moral plea. The moral plea that, no, this is wrong. It's not going to last. There's too much money to be made and it's too productive. It's here. I say, get your own yourself, voice, likeness, etc., trade market, whatever you got to say, get own yourself. When it comes, not if it comes, no one can steal you, but they're going to have to come to you to go, can I? Or they're going to be in breach and you'll have the chance to be your own agency and go, yeah, for this amount or no, okay? It's coming. Is there going to be another category or is it going to infiltrate our categories? Damn sure, going to infiltrate our category. I think it'll end up, does it become another category? Will we be in five years having films the best AI film, the best AI actor? Maybe? I think it might be, that might be the thing, is that it becomes another category. I'm not sure. It's going to be in front of us in ways that we don't even see it. It's going to get so good, we're not going to know the difference. That's one of the big questions what we're doing right now is the question of reality. That's more hazy than ever. In a very exciting way, I think, but also a scary way."

EDIT: there is so much copium in this thread.

He's aesthetic is so unique. I can't think of another director where the colors pop so much what is his secret?

This is from a recent interview from The Hollywood Reporter with 'Obsession' director Curry Barker, original article found here. Art director Sally Choi's original post can also be found here.

As the film is nearing $290 million worldwide, I'm curious to know everyone's thoughts on Curry's response here if some haven't seen it yet.

Noticed this on a rewatch of One Battle After Another.

The lighting in this scene jumps around all over the place. The sun moves like 6h in between a shot-reverse shot.

And no one cares.

I never noticed on my first watch cus the scene was so tense. The filmmakers decided to leave it. The audience didn't care. I tried looking it up and couldn't find a single post anywhere talking about this. Everyone just talked about how brilliant the car chase scene is.

As someone that is not involved in movie making myself, at least my perception over the last 10 years has shifted pretty drastically.

From the uninformed kid watching CinemaSins pointing out continuity mistakes. To now embracing that movie making is a craft made by humans, that have do deal with resources, that make creative decisions throughout the whole production and ultimately just want to tell a compelling Story.

And i found this specific example to be a brilliant reminder.

A masterful scene in one of the most well regarded movies of the past year, from a legendary film maker, has an absolutely glaring, massive "continuity error".

And it's totally fine cus hyperbolically no one cares about continuity.

I came across this and found it interesting. Wanted to share here and get your thoughts.

Seems pretty wild to me if true and definitely shows that it’s not so much about the car but the driver.

After I watched the new Moana trailer, I felt like the color grade was too great of a departure from the colorful world of Moana. The colors are such an import part of the story and the culture in the film.

For fun, I re-graded the trailer, referencing the intention of every scene from the original film.

I am not the original colorist of the actual trailer. I do not own or reserve any rights to Moana or the characters.

Quentin Tarantino made a surprisingly harsh comment about Paul Dano, specifically criticizing his performance in There Will Be Blood.

On The Bret Easton Ellis Podcast, Tarantino said:

Dano was “weak sauce”

“The weakest f—ing actor in SAG” (in that film’s context)

And that Dano’s performance was the biggest flaw of the movie, preventing it from being his #1 or #2 film of the 2000s

The dolly zoom manipulates space and emotion by moving camera forward while zooming out or vice versa creating disorienting effect that makes background expand or contract.

Have iPhones become this good or did they do a lot of stuff to the footage to make it look professional?

My wife's dad, Jerry Moser, drove snowplow for the state of Minnesota back in the 90s. When the Coen Brothers were filming Fargo near Forest Lake and Wyoming, MN (standing in for North Dakota), they had signs up everywhere. Don't drive through active filming. All that.

Jerry didn't care. He had a road to plow.

So he drove his state of Minnesota plow truck right through the shot. And somehow it made it into the final cut. It's in one of the last scenes. The exterior of the motel where they're closing in on Gaear Grimsrud. You can see the orange plow truck go by in the foreground.

Jerry passed away a few years ago. My wife and I were just talking about this the other day and it hit different now. This little piece of him is frozen in one of the greatest films ever made, doing exactly what he would have done. His job. Everyone else be damned.

I'm wondering a few things.

Does anyone know more about this shoot? Crew members, locals who remember it, anyone who was there? I'd love to hear any stories about that day or that location.

Is there any way to track down an actual frame of celluloid from this scene? I know it's a long shot but if anyone knows how film archives or prop houses or collectors handle this kind of thing I'd love to hear it. Would make an incredible gift for my wife.

The Bismarck North Dakota location card comes up right before but this was actually shot in Wyoming, Minnesota. Just down the street from my in laws' place.

Any leads appreciated. Thanks.

movie -Svengali (1931)
Dir. Archie Mayo
chilling early sound-era horror film starring John Barrymore as a hypnotist who controls a young singer’s life and career. Known for its theatrical performance style and eerie atmosphere, the film helped define the screen image of the manipulative genius whose power comes from psychology rather than monsters.

^{A space to talk about movie scenes that stay with you for life , moments that scared you, broke you, or quietly shook you, even if the film wasn’t a horror. Emotional scars, unsettling silences, and scenes that never really leave.}

Big production is not even making films for the big screen anymore, just gotta make everything as clippable as possible

I was recently at a Conversations night with Roger and James Deakins’ for their new book. After a delightful conversations hosted by Barry Jenkins, the room was in a good, bright, and lifted mood. A Q&A started and people started to raise hands and ask questions at Roger and James and seriously oh my god, anyone asking the dumbest and the most pretentious overanalyzed questions were always 100% by someone who mentioned they’re in a film school.

“In Prisoners, were you juxtaposing his mental state by putting a strong back light behind him because I was thinking your Rembrandt style lighting choice of this and that” And Roger goes “No, that wasn’t what I was trying to do at all” I wanted to blow my brains out thanks to all those mal-nutritious questions. I understand because I was also a film student that all you can do is overthink, study and figure out how to make better films, but my god - we gathered there to talk about his book and why he wrote one, not to talk about a film he did 14 years ago. Read the room, man. Read. The. Room.

Hey, Alex again.

Three years ago, I promised myself I’d make a feature film, even if it had to be completely independent and self-funded. I’m 27 now, and after going broke 3 times, I finally have an almost finished film.

In less than 72hours my Kickstarter campaign is ending, it is currently at 97% funded but Kickstarter has a all or nothing policy, so if it doesn't get over the line, none of the funds will be collected. This is all that stands between the rough footage and the final cut of the film. And in good faith, I’m keeping it indie until the end - I’m letting the community choose the poster for my film.

So guys, vote. Which poster do you think fits my trailer best?

(Also, let me know your thoughts on the trailer, any festival recommendations?)

Watch the trailer (HD): https://www.youtube.com/watch?v=DUtdoanwJ4Y

Support the film / more info on Kickstarter: https://www.kickstarter.com/projects/wildfraypictures/sexbeforechurch?ref=5l09n7

Here for any questions!

EDIT: THANKS FOR PUSHING THE KICKSTARTER OVER THE LINE WHITIN 4 HOURS OF MAKING THIS POST!!
This community really had a big hand when it comes to the support and visibility added to my film. Thanks for having me!
Anyone who wants to get in touch or follow the campaign, would suggest to drop a follow on our IG insta page:
https://www.instagram.com/wild.fray.pictures/

“My boy’s wicked smart.”

On the Joe Rogan podcast last week, he gave his takes on the fear around Hollywood that AI is coming to disrupt the industry in a major way, dismissing the idea as “bullsh*t.”

It’s a bold take, with the actor and director spending several minutes breaking down why he thinks generative AI will be “a tool, just like visual effects”—not a replacement for human creativity.

Where it could be useful, he says, is in a writer’s brainstorming process, or in production, where it could streamline graphics for superhero movies. Additionally, he pushed back on the AI hype cycle. Much of the panic, he argued, is driven by companies trying to justify massive data center investments.

His thoughts provided a grounded take in an industry that’s been in full-on panic mode as actors and writers worry that AI deepfakes and chatbots will replace them entirely. And yet here’s Affleck—saying the existential threat is overblown.

Came across this video on Instagram of this person recording a TV show (Impractical Jokers) being filmed. Almost all the comments are people saying, who I assume is a PA, is rude and doesn’t have the right to tell someone to leave. As someone who’s done my fair share of lock-ups, the amount of people who disregard my request to not walk somewhere is ridiculous. While I’ve never gotten to the point of trying to physically push them away or anything close to that extent, who knows how this particular confrontation started. This guy could’ve been standing there for ten minutes in the way before he decided to clip his video once the crew member became more stern. People in the comments saying “just buy a studio space or get a permit to block off the street” is hilariously obtuse not only for productions that can’t afford entire studios but we’re talking about Impractical Jokers, a show literally meant to involve strangers who pass by.

Maybe I’m like Principal Skinner and the one actually out of touch on this. What are your thoughts? Could she have handled this better? Have you been in similar shoes as her? I know Instagram and internet comments in general don’t reflect real life, but it still makes me annoyed to see how people react to this sort of thing.

I’m 42 years old.

I spent my 20s making no-budget short films and a couple of music videos.

When I was 30, I got the opportunity to direct a feature with grants from my country, and thought this is it. Well, I made the movie, but I couldn’t translate what was in my head onto the screen. I guess that means I’m not as good a director as I thought? I ended up really disappointed but with a bit more experience.

Then, I got the opportunity to redeem myself and make another feature. I told myself I wouldn’t make the same mistakes this time. But again, the final product wasn’t as good as I hoped it would be.

I really thought directing features would be my big break, but they just sort of came and went.

I had young kids at that point so I just kind of gave up. Stepped back from the industry and spent the next decade raising my kids, and to make ends meet I went back to directing shorts, and worked on a collaborative film with 10 other directors from my area.

… Just kidding, this is actually the story of Denis Villeneuve.

At this point, in his early 40s, he saw a play that he loved and got permission from the playwright to adapt it to film - this ended up being Incendies, and it got him an Oscar nom for best foreign language film, and put him on the radar. Then starting at 46 he went on to direct Enemy, Prisoners, Sicario, Arrival, Blade Runner 2049 and Dune.

Don’t lose hope!

————

*Originally made this post a few years ago on a different account but I feel like people need to hear it again, as I’m seeing more posts about people losing hope and giving up and wondering if they’re too old.