Posted on Tuesday, February 5th, 2013 by David Chen
I had the pleasure of helping to facilitate a special event at the SIFF Uptown Cinema in Seattle this past weekend: a double feature of Groundhog Day (with itself), featuring an intro and Q&A with Stephen Tobolowsky. Since Seattle’s KUOW was the first major public radio station to air The Tobolowsky Files, we really felt at home here as SIFF sold out the 500-seat theater with many fans of the podcast in attendance.
As usual, Stephen was lively and fascinating with this stories on the making of the film. I cut together a rough video of the event, which you can find after the jump.
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No one goes into a time travel movie expecting all the answers. Time travel films are often filled with unanswerable mysteries, because the idea of moving characters against the normal flow of time creates problems and paradoxes. Bending your mind around the layers and repetition of time travel is part of the fun, even in a bad time travel movie. Writer/director Rian Johnson loves time travel movies too, even the bad ones. Thankfully, he made a great one in Looper, now in theaters. (Read our review right here.)
Even after you walk out of Looper, though, you’re bound to have questions that need answering. In a recent 15 minute interview with Johnson, that’s all we focused on. Spoilers, spoilers and more spoilers. Questions that the movie doesn’t answer, ideas the movie hints at, character motivations, all of it. On Monday, we’ll run the full video interview but, for now, we provide answers to ten unexplained mysteries from the film with the help of Johnson himself.
Beware, MASSIVE SPOILERS for Looper after the jump. Read More »
Save for a few of the original directors, few people can give you a better snapshot of what’s going on at Pixar than Katherine Sarafian. The production coordinator turned director of marketing and now producer has been with the company since 1994 and their first film, Toy Story. For the past five plus years, she’s been working on Brave, Pixar’s upcoming feature about a wild Scottish princess whose fate is tied to the family kingdom. Sarafian has been with the production from its inception and has intimate knowledge on the controversial directional change, massive story rewrites, cast changes and more.
Recently, I was at Pixar to see the gorgeous first thirty minutes of the film (read about that here) and spoke to Sarafian not only about those things, but the surprising power of being a producer at Pixar, the marketing of the film (including when we might see a new trailer) as well as the company’s feeling facing their first critical disappointment: Cars 2. Check out the interview below. Read More »
Lets face it, 3D movies are not going away any time soon. Every year we’re seeing more and more films being released and re-released in 3D. So why not experience the 3D in the best way possible?
There are several 3D formats. RealD? Dolby 3D? IMAX 3D? XpanD 3D? Which is the best 3D format? I attempt to answer that question in this weeks edition of Q&A. We’ll take a look at the technical differences, and the advantages and disadvantages between the four big choices. We’ll show you why your local multiplex picked one format over another, and we even got some of the top 3D filmmakers and 3d experts to comment.
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Amongst bloggers, Sundance interviews can be a controversial topic. On one hand, you’re given unprecedented access to the stars and filmmakers behind what are potentially some of the biggest films of the year. Doing so, however, means seeing fewer movies, because huge chunks of time must be devoted to traveling to and from interview locations, which are often remote and incredibly loud.
Generally, we here at /Film let the movies do the talking when it comes to Sundance. But as a huge fan of the comedy duo known as Tim and Eric, I knew I’d probably never, ever get the chance to speak to them one on one ever again. So I did. And I filmed it.
After the jump, watch a ten minute video interview with not only Tim Heidecker and Eric Wareheim but their friend Will Forte too. We discuss Tim and Eric’s Billion Dollar Movie, which hits video on demand January 27 and theaters on March 2 (watch the review here), as well as their sense of humor, process, the likelihood they’ll return to television and more. Read More »
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As Hollywood has gone 3D crazy, some filmmakers are embracing an entirely different experience — IMAX. Brad Bird‘s Mission: Impossible — Ghost Protocol, in theaters now, features 23-minutes shot with 15-perf 70mm IMAX cameras. The much anticipated The Dark Knight Rises will feature nearly 50 minutes of full IMAX footage. There is no denying that the IMAX shot footage looks breathtaking, and having the image expand to the full IMAX screen results in an experience unlike anything else.
So the question is: Do you know where to experience these films in full 70mm IMAX? Or have you been watching Digital IMAX, known to most film geeks as “LIEmax”? Because the difference can be EVERYTHING. We will explain the difference, chronicle the history, and answer the question in this week’s edition of Q&A!
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Over the years, we’ve learned a lot about how Pixar develops and produces their feature animated films, but we’ve learned very little about how the beloved short films get created. So I decided it was time we find out. I shot a message over to Enrico Casarosa, the director of Pixar’s next short film La Luna, who was happy to shed some light on the process. “How Does A Pixar Short Film Get Made?” Find out, after the jump.
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This is the first edition in a new regular series where I attempt to answer your questions about the film industry. We’ll be taking a look at the box office, forgotten Hollywood landmarks, the marketing process and more. Sometimes I’ll attempt to answer the question myself, and other times I will contact experts in the particular field to give a more detailed answer. Please feel free to send your questions to firstname.lastname@example.org. I decided to start off this series with an easier question, and use it as a jumping-off point to delve into the more complex world of screen credits.
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