Kevin Wilson - Se7en

Some of our greatest art has to do with crime. People who commit it, people who fight it, people who study it, these are stories that very easily provide gripping emotion. Innumerable classic movies, music, television and more are based on crime and a new gallery exhibit celebrates it all.

The Hero Complex Gallery in Los Angeles presents an exhibit called I Am The Law/A Life of Crime opening Friday August 15. Dozens of artists from all over the world have dramatized their favorite movies and television shows where someone either breaks the laws or enforces them. That opens up a pretty wide spectrum, from Sherlock, The Wire, The Blues Brothers, Luther and Hannibal on TV to RoboCop, Lethal Weapon, The Killer, The Godfather, Se7en and Die Hard at the movies. They all are represented plus many more. Below, see just a tiny selection of art from I Am The Law/A Life of Crime. Read More »

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America isn’t the only place that can have a massive pop culture inspired art show. While Crazy 4 Cult 5 is going on in Los Angeles, Geek-Art.net has teamed up with Artoyz in Paris, France for Blockbusterz, an exhibit of work based on some of the biggest and best known films of all time: Batman, Ghostbusters, Iron Man, Lord of the Rings, Jurassic Park, Gladiator, you get the idea.

It runs through September 3 but many of the pieces are now available for sale online. Check out a select gallery of images and links to view the full show after the break. Read More »

Watch A Brief History of Movie Title Designs

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 »

Greg Berlanti is the co-writer/producer on The Green Lantern and The Flash, the latter of which he’s also a potential director. He recently directed his second film, Life as We Know It, and has been making the press rounds to promote it. Naturally, everyone is more interested to learn about his work on Green Lantern and Flash than Hollywood’s latest Katherine Heigl romantic comedy, so he’s being pressed for as much as info as he’s willing to divulge.

Some of what he had to say might surprise you. Read More »

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The Last AirbenderThis week, David Chen, Devindra Hardawar, and Adam Quigley celebrate the selection of Andrew Garfield as Spider-Man, reflect on the brilliance of Louis CK, and delve into the mysteries of The Girl with the Dragon Tattoo. Special guest Dan Trachtenberg joins us from the Totally Rad Show.

You can always e-mail us at slashfilmcast(AT)gmail(DOT)com, or call and leave a voicemail at 781-583-1993. Join us next week on Sunday night at Slashfilm’s live page as we review Predators.

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Do you remember those Little Golden Books? They were a staple from my childhood. Pixar Animation Story Artist Josh Cooley (Cars, Ratatouille, Up, George & AJ) is working on an awesome “Lil’ Inappropriate Golden Book” titled Movies R Fun.

Cooley has been working on this compilation of movie art for two years and will be publishing the collection in a book which will be available at Comic-Con this year and APE Expo San Francisco in November. And don’t worry, the books and prints will also be available on Cooley’s Blog. High quality, “classy” prints will also be available as well.

Illustrations reference film classics such as The Professional, Terminator 2, Godfather, Goodfellas, Apocalypse Now, Se7en, 2001: A Space Odyssey, The Graduate, Terminator, Silence of the Lambs, and The Big Lebowski. Check out some of the art embedded after the jump.

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It’s a crazy, mixed up world and we are thankful for movies, excluding The Spy Next Door and The Tooth Fairy, that offer proof. /Film’s Weekend Weirdness examines such flicks, whether in the form of a new trailer for a provocative indie, a mini review, or an interview. In this installment, new trailers and a review of the Red Riding Trilogy, a noirish triptych of serial killer dramas imported from British television and being released stateside in February by IFC Films.

During a screening of the entire Red Riding Trilogy, with one intermission allotted for lunch, I found myself pondering the irony in three directors, one screenwriter, one author, tens of actors and three separate crews realizing a project that depicts humanity and bureaucracy at its most foul and irreversibly corrupt. A recent poster for the trilogy forebodingly reads, “Evil Lives Here,” a tagline that would serve most of the work that exits Stephen King’s skull; instead the “here” in Red Riding is Northern England in the ’70s and early ’80s, when a serial killer known as the Yorkshire Ripper carved a trail of female victims and set a mood and mythos ripe for social reflection.

Read More »

Telluride: David Fincher Tribute

Last night the Telluride Film Festival held a tribute for director David Fincher. After an introduction by festival sponsor documentary filmmaker Ken Burns, and a package of clips spanning Fincher’s career from Music videos, commercials, to Se7en, The Game, Fight Club, Panic Room and Zodiac, Variety’s Todd McCarthy took the stage to do a 1:1 interview with the director. Here are some highlights from that conversation:

Fincher admitted that much of his early years discovering cinema consisted of Thrillers and scary movies. His favorites included Jaws, I Saw What You Did, and Rear Window.

When asked why he creates a lot of films under morbid ideas, Fincher said that he makes whatever scripts that interest him. Plus, “They haven’t offered a lot of romantic comedies,” he joked.

Fincher remembers the exact moment when he realized that he wanted to make movies for a living. He was eight years old, probably cutting school, when he came across a documentary on the making of Butch Cassidy and the Sundance Kid. Fincher said that before that documentary, it had never occurred to him that movies weren’t made in real time, and he came away amazed at all the work that was involved behind the scenes. After watching the doc, he got into his father’ car and said “I want to make movies.”

McCarthy asked if Fincher would every make a western. “There’s animals in westerns right?” Fincher joked, before answering probably not.

Growing up in Marin County, George Lucas was his neighbor. American Graffiti was shot on the street near his house, and Fincher watched them film some scenes off to the side. Other films that came through his neighborhood included Godfather and Invasion of the Body Snatchers. Most of Fincher’s friends had their heads shaved to be in Lucas’ THX-1138. His roommate, who was working at Lucasfilm painting matte paintings, recommended Fincher for a job. Fincher was hired to load cameras on what was then titled Star Wars: Revenge of the Jedi. He worked a bunch of other productions which included Steven Spielberg’s Indiana Jones and the Temple of Doom.

“It was great film school,” said Fincher. “You could spend $30,000 on film school, then spend another $30,000 on your films. I wanted to work on Star Wars movies.”

But he eventually left to do television commercials. However, he quickly found out that no one would hire a young guy like him to direct commercials. Thankfully a thing called MTV came along, and music videos were a thing that he had made all through his high school years. He actually admitted that aside from a couple commercials, he didn’t make a narrative film until his first Hollywood feature.

On who he enjoyed working with over his music video career, Fincher said that “the most famous people are usually very good at what they are.” Fincher said that with the music videos he always tried to have fun while making them. “They’re like making toilet paper, here today gone tomorrow… so lets have fun making em.”

He recalls a piece of advice from Joel Schumacher, who early into his feature career told him that he was giving the movie studios too much power. Joel taught him that he should be ready, everyday, to walk off a project, to quit, in order to fight for the vision he believes in.

When he got the script for Se7en, he told Mike Deluca that he needed to work on it some more before going into production. Duluca told Fincher “If we give anyone the time to realize the kind of movie we want to make for $30 million, they won’t want to make it.” So with that Fincher rushed Se7en into production.

On the controversy behind Fight Club: “I always though of it as ridiculous,” Fincher said about the plot of the book. “So I never got what everyone was upset about. But I’m an Asshole,” Fincher concluded, who admitted that he was laughing out loud while he read the book the film was based on.

About making movies in San Francisco: “It’s too hard to make films in San Francisco. It’s like making films in Paris. Paris looks beautiful because film crews didn’t have the chance to mess it up.” He said that when he made Zodiac, San Francisco wanted him to film in the city, but as is very typical of the city, they weren’t willing to accommodate any changes (I think Fincher joked that a SF official said to him “You can’t turn that street light out”) which lead him back to filming in-front of green screens on a sound stage.

Fincher’s favorite San Francisco films include: Vertigo, Bullet and Dirty Hairy, even though Fincher admits that film could have taken place in any city.

When asked about how he usually makes films with multiple layers and long running times, Fincher admitted “I have a problem with keeping things simple.”

Talking about Robert Downey Jr.’s recent fame, Fincher said “I think it’s great that Marvel comes in and eats Hollywood’s lunch.” When a friend of his told him the news that Downey had been cast as Iron Man, Fincher said “That’s genius.”

On working with Robert, Fincher said “There are actors who are worth taking everyone’s time and energy from moving on.” And Robert is one of them. If he has an idea, you need to get in on film, no matter how many takes.

He first got to read the script for Benjamin Button eight years ago. The screenplay was incredible but it required the audience to have a love and knowledge of Jazz. The project didn’t get made for years, and then one day Fincher received a call from his friend Spike Jonze who had good news, he was going to direct Ben Button. “Great! Fuck You!” Fincher said in reply. Jonze apparently quit because he had a specific vision and the studio wanted to go to writer Eric Roth to redraft the script. So Fincher was asked to come in and do a pitch to Paramount, but he refused, even though he wanted the project. The studio went to another director, but that didn’t work out. Roth called Fincher and begged him to come into Paramount and do his “tap dance” for the studio. He came in and explained his vision. They wanted test footage, so Fincher produced footage of Ben Button using the aging effects. The studio decided that the film would cost too much money and it fell into development heck That is until Brad Grey took over Paramount and asked “do we have any Brad Pitt projects laying around?” Fincher described the film as about the “dents people make in your life.”

They then screened 20 minutes of The Curious Case of Benjamin Button. Most of the people I talked to following the screening were underwhelmed or disappointed. You can read my first impressions of the footage in my previous posting.

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