Screenwriter Gary Whitta (Book of Eli, After Earth) is about to release his first novel, Abomination. To promote the pre-order of the historical fantasy novel, Whitta sat down with us for an extensive interview spanning his career thus far. Over the course of this week we will be posting all of the parts of this interview broken up into digestible thematic bites — we’re calling it “/Film’s Week Of Whitta”.
In the first installment we wanted to cut to the chase and present the meatiest Gary Whitta Star Wars comments. As you know, Whitta wrote for a year on the first Star Wars spin-off film being directed by Gareth Edwards (Godzilla), which will hit theaters on December 16th 2016. We talked to Whitta about growing up with movies, which includes the original Star Wars trilogy. We also discuss the controversy over comments he’s made about the Star Wars prequels and special editions. (I’m not sure how the comments are controversial, considering most everyone I know shares a similar viewpoint.) And, of course, we talk to Gary about working on the upcoming Star Wars spin-off film, and while his Lucasfilm NDA prevents him from revealing any details, its worth reading. Read the Gary Whitta Star Wars interview after the jump.
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They say opposites attract, and in art, the idea of mixing “cute” and “violent” helps prove the saying. 100% Soft, a California based artist, has a very distinct, very “cute” style where all the characters are small, sweet and cherubic. He’s had many pieces in lots of different shows but this week, he’s having his first solo show and the work is absolutely incredible.
The show is called Mass Hysteria and it’s a collection of art featuring massive gatherings and action scenes from your favorite movies, TV and music. It opens at 7 p.m. February 6 at Gallery 1988 East in Los Angeles.
Some examples of this “Mass Hysteria” is the end of The Avengers, the Crazy 88 in Kill Bill, the hallway in Oldboy, the finale of Raiders of the Lost Ark and many other mass gatherings in pop culture, all viewed through that cute little filter. The results are just beautiful and gory and awesome. In a phrase: mind-blowing. Check out a small sample of the 30 + images in the Mass Hysteria art show below. Read More »
Raiders of the Lost Art, Jaws, Star Wars, Jurassic Park, Ghostbusters, Die Hard — these are some of the most popular films ever made. They also have some of the most recognizable posters of all time. So, as an artist, attempting to make a poster for one is no easy feat. Do you just put everyone’s face in the frame? Maybe you try to sum up the story with one image? The options are endless, and sometimes not that appealing.
Artist Anthony Petrie has quietly been perfecting a unique, very cool way to approach well-known films. Over the past year or so, he’s been making posters for iconic movies that look like charts or maps of each movie. So, for example, he did Ghostbusters as a New York City subway map, filled with references. Die Hard became a set of Nakatomi Tower blueprints and Aliens became a readout on a motion tracker. Each poster represent these amazing movies in subtle ways, specific to the movie, without going overboard on character likenesses. They showed something more artistic and fun.
January 9 at Gallery 1988 West in Los Angeles, Petrie is presenting a whole new exhibit of new work in that mode. It’s called Charts, and he’s doing maps for some of the movies mentioned above and many more. Below, check out just a few of the Anthony Petrie Gallery 1988 Charts including an exclusive from a galaxy far, far away. Read More »
With the invention of computers, it’s almost comical to think about filmmakers using paintings to fill in the backgrounds of their movies. These days, you slap a green screen in back of the action and fill it in digitally. But for the majority of the history of filmmaking, that obviously wasn’t the practice. Massive matte paintings were originally used and as special effects and refined miniature techniques started to become more prevalent, smaller paintings could be made with live action inserted into them using multiple exposures.
Some of your favorite movies of all time used this tactic. In a video recently unearthed from 1985, you can watch the practice used to create films like Indiana Jones and the Temple of Doom, Raiders of the Lost Ark and Return of the Jedi. Read More »
Posted on Tuesday, September 23rd, 2014 by Angie Han
Steven Soderbergh‘s “retirement” has been a delight to follow. Freed of the demands of film directing, he’s found time to do all sorts of other things, from an Off-Broadway stage play to a Cinemax TV series to a Twitter novella to a Gus Van Sant / Alfred Hitchcock Psychos mash-up. His latest endeavor, released today, is a silent, black-and-white version of Raiders of the Lost Ark.
In an accompanying statement, Soderbergh explains that he undertook the exercise in an attempt to better understand staging. But of course the real reason this happened is “because Steven Soderbergh.” Hit the jump to see the Steven Soderbergh Raiders of the Lost Ark cut.
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Star Wars: Episode V – The Empire Strikes Back has been voted the greatest movie of all time in a poll conducted by the British film publication Empire Magazine. More than 250,000 film fans voted in this latest poll, resulting in a list of the 301 greatest movies of all time. When the poll was last conducted six years ago in 2008 with 10,200 voters, The Godfather took the top honors. This year the Star Wars sequel displaced the Francis Ford Coppola adaptation for the top spot. Who else did Empire Strikes Back beat for the top slot? How has the list changed in the last six years? Find out after the jump.
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It’s one of the better stories in film fandom: two kids, Chris Strompolos and Eric Zala, with cinematographer Jayson Lamb, were such huge fans of Steven Spielberg’s Raiders of the Lost Ark that they remade the film, shot for shot. It took seven years, but eventually Raiders of the Lost Ark: The Adaptation was complete enough for people to watch, and years later even got the attention of Spielberg himself. The creators are not kids any longer, actually; the guys weren’t even teens when they started to shoot the Raiders remake, and the project got going in 1982.
But while many people have seen The Adaptation, the creators never really considered it as 100% finished as they were never able to shoot the airplane scene. You know the one, with the giant propellor, and the bald Nazi mechanic, and all that blood.
Now, as a documentary about The Adaptation and a dramatic film about its creation both get into gear, the original three creators are trying to raise money to shoot that one final scene. Read More »
Next week, New York gets a taste of Los Angeles as Gallery 1988 brings their signature event, Crazy 4 Cult, back to the Big Apple. The show opens December 13 and while we’ll have much more on the event in the upcoming days, two pieces in particular deserve to be called out.
They’re paintings by Jason Edmiston, who recently had a solo gallery show at Mondo in Austin, TX. Edmiston captured the climax of Steven Spielberg‘s Raiders of the Lost Ark with two paintings showing Colonel Dietrich and Major Arnold Toht in the horrific final moments. These works aren’t for the faint of heart, but they will find a place in the heart of any Indiana Jones fan. Check them out below. Read More »
In 1981, PBS aired a terrific, in-depth “making-of” special about Raiders of the Lost Ark. Some of the material here has been, er, raided for other docs about the creation of the movie, but you can watch the full special below.
There’s a lot of great stuff in here, as the special goes into great detail about some elements of the production. But my fave bits might be when the cameras catch Harrison Ford at his most sardonic. The actor comments on being dragged behind a truck as “just one more useless experience,” before saying “I’m sure it’s not dangerous. If it was dangerous they would have waited until we’d got more of the movie done.”
There is also a lot of excellent footage of Steven Spielberg at work directing, and it’s useful to see how he gets performances out of different situations. Directing can be a different job not just from movie to movie, but shot to shot, and you’ll see that illuminated here. Read More »