The last time we heard from Spike Lee he was bemoaning his inability to get a film financed. After Miracle at St. Anna flopped three years ago, he couldn’t even get moneymen interested in a sequel to his most successful film, Inside Man, despite having stars like Clive Owen ready to go. There’s the report that Spike might direct the Oldboy remake that has been in development for quite some time, but that isn’t likely to happen soon. So when the director tweeted this morning that he was on the way to the first day of shooting for “the new Spike Lee joint,” what was he talking about? Perhaps a film called Red Hook Summer, in which he will reportedly revive one of his most famous characters: Mookie, from Do the Right Thing. Read More »
As part of the screening put together in relation to the SXSW Title Design Competition, Ian Albinson from the website The Art of the Title Sequence put together a nice two and a half minute compendium of excellent film titles. (That features an occasional piece of television, too.) For any long-time film lover, this little video will probably elicit quite a few responses simply on the strength of the title cards on display. I queued several films to re-watch after exposure to just a few seconds of their titles.
Check out the collection after the jump. Read More »
Sitting opposite Ed Norton in an empty conference room in a skyrise, one can’t avoid thinking about the hyper-charged situations he’s glared down on film. Clad in a black shirt and noticeably relaxed, he takes a moment before responding to a question, pressing a small washer-like object into the table and letting it spring back. It allows a brief window to search for the chiseled Nazi skinhead who forced a thug to tooth a curb in American History X. And for the office drone who scaled barbwire fences late at night to steal the excess fat of women and absorbed grueling punches in Fight Club. And for the smack dealer in 25th Hour who walked man’s best friend by a World Trade Center-less horizon, as unprepared for a future in the clink as the U.S. was for its uncertain present.
Norton is obsessively drawn to characters whose scariest adversary is in the mirror. It doesn’t matter if the playing field is a study in madness or a testy, possibly concluded, stint in the Marvel Universe as Bruce Banner. His latest film, a thoughtful thriller entitled Leaves of Grass, puts a literal spin on his interest in duality. He plays formerly estranged, highly intelligent twins—one a respected and reserved philosophy professor, the other a shaggy distributor of hydroponic marijuana.
Read More »