Here’s a great collection of behind the scenes stills from such films as 2001: A Space Odyssey, A Clockwork Orange, Alien and numerous others. This is a really stunning set of stills, kicking off with some extremely rare stills from the set of Fritz Lang’s science fiction classic, Metropolis.
Archive for the ‘Pop Culture’ Category
As I write, “Some people get into the movie business because they have a passion for film. Some have dreams of creating the ‘great American movie,’ or rising to the top of the Hollywood Dream Factory. But as mainstream films become ever more expensive, routinely costing $100,000,000 or more simply to produce, and then under-performing at the box office – Pacific Rim and The Lone Ranger are two prime examples – it seems that the old system of making movies is broken.
The risks are simply too great – a few bad bets can sink a studio. Low budget films like The Purge and The Conjuring, both made for a pittance, rule the multiplexes. Spectacle and special effects just don’t bring in audiences anymore; people want something new, and outrageous, for their entertainment dollar. And a relatively new studio in Hollywood, The Asylum, is dedicated to doing just that; giving the viewer something the majors won’t. Something like Sharknado (2013).
The Asylum is following in a long line of low budget Hollywood production companies. Independent film studios, like American International Pictures in the 1950s and 60s, and Roger Corman’s New World Pictures and Concorde/New Horizons in the 1970s and 80s, offered viewers something the mainstream studios couldn’t; films aimed directly at their target audience – outlaw movies that made up their own rules as they went along.”
Here’s a blast from the past: filming the MGM lion roar used in the main title of every MGM film.
But to the trained eye, this is obviously a publicity shot, circa 1930 or so, because the camera is clearly not “blimped” – covered with sound proofing to prevent the noise of the camera from spoiling the sound track – or even “barneyed” – a more primitive method of sound proofing, effected by piling blankets or other material around the camera, again to prevent noise from leaking through. But the set-up itself seems real enough; here is Leo the Lion, ready to perform for the camera, and a typical sound-to-disc recording set up to capture the soundtrack, with technicians at the ready. Even if it is a staged publicity shot, it’s almost like seeing the real thing.
A fascinating tidbit of Hollywood history.
As Breia Brissey writes in today’s edition of Entertainment Weekly, “the paperback version of Starters, author Lissa Price’s debut novel, hits shelves tomorrow. In honor of the re-release—complete with a new look, and a never-been-seen short story “Portrait of a Spore”—we got our hands on the cover of Enders, the sequel to the 2012 YA novel, due out January 7, 2014.” Starters and Enders are the hot new young adult novels on the scene; the film versions of these books are a natural, because both novels offer something new and fresh for readers and viewers, rather than rehashing yet another tired franchise.
Lissa Price can really write page turning stuff, and these books are both really fast paced, absorbing reading, no matter what your age. Starters really impressed me — assured, fast moving, great characters, and an absolutely original plot. And to top it off, if you click here, or on the image above, you can see a brief preview from Enders – about ten compelling pages that will leave you wanting more, right now – at the bottom of the page.
I have always liked Francis Lawrence, the director of the forthcoming Catching Fire, even when his films aren’t completely successful, as is the case with both I Am Legend and his earlier film Constantine. The first forty minutes or so of I Am Legend, depicting Manhattan completely devoid of people, overgrown with trees and vines and populated by wild animals, as the iconic buildings of the metropolitan landscape rot in the distance, are absolutely memorable, made all the more so by the complete absence of music, which usually tells you exactly how to “feel” at any given moment.
At his best, Lawrence is an energetic action director with a surprising sense of subtlety, and here, working with the returning actor Donald Sutherland and series newcomer Philip Seymour Hoffman, he promises to deliver a much full full-blooded experience (no pun intended) than the Gary Ross original. While I’m certainly not sitting around waiting for the film to open on November 22nd — that’s a long way off — this first trailer seems to possess an altogether darker and more harrowing vision than The Hunger Games, and is well worth watching.
As Steven Zeitchik and Amy Kaufman of the Los Angeles Times observe, “Summer moviegoing is usually about the stars, the spectacle and the sizzle. But in a trend that’s mystifying Hollywood, this summer’s box office is being driven by films with modest ambitions, including relatively inexpensive comedies, lower budget animation and horror pictures. Call it the summer of the B-movie. Like the quickie flicks the studios used to crank out for the back end of double features, these new hits —The Purge, The Heat, Grown Ups 2, Despicable Me 2 and, as of this weekend, The Conjuring among them — are drumming up business while bigger-budgeted offerings such as The Lone Ranger and Pacific Rim struggle to sell tickets.
It’s these smaller films that have helped summer box-office receipts climb by 14% over last year, defying the conventional wisdom that summer is the time when audiences mainly want to see movies that are big, loud and laden with costly special effects. Several factors may be behind the turnabout, according to Hollywood analysts, including studios doing a better job of serving niche audiences and consumers experiencing blockbuster fatigue. ‘Everything looked watered down and the studios were left trying to distinguish their movies,’ said Ted Mundorff, chief executive of Landmark Theatres.
This weekend the trend seems to be hitting its apex. R.I.P.D., a supernatural science fiction comedy starring household names Ryan Reynolds and Jeff Bridges that cost at least $130 million to make, is projected to take in less than $15 million at the box office. Meanwhile, The Conjuring, a paranormal-themed film made for the horror faithful at one-seventh the budget, is expected to collect as much as $35 million.”
None of this surprises me; when I look at my own viewing, the unexpected hits are the ones I’ve been seeing, and blogging about, and the other films strike me as boring and unimaginative. When you have too much money, you take fewer creative risks because too much is at stake. Too many people become involved, and you just keep throwing money at the film until it’s finished, as with The Lone Ranger, even if the entire project has gone off the rails.
When you have $4 million, as with The Purge – I heard $3 million, actually – you have to use your creativity and improvise on the spot, because you don’t have the time or the money – you have to get it and move on. All the money in the world, and all the empty spectacle in the world, can’t make up for original ideas, craft, passion, and energy, which usually comes from having less to fall back on.
The studios need to rethink their strategy, which is a throwback to the 1950s, when television threatened theater attendance. 20th Century Fox decreed that all future films would be made in CinemaScope, Warner Bros. rushed House of Wax into theaters in 3-D, and Cinerama was born. It worked for a few years, and then burned out. And after the fall, what was the Academy Award winner for Best Film of 1955? Marty, a small little film that could just as easily have worked on television, but audiences wanted to see it, so they went out to theaters in droves, making the modest little film a hit.
Marty even won the Palme d’Or at the Cannes Film Festival. But Hollywood still thinks bigger is always better, and that bombastic CGI effects will always stun audiences into submission, but that strategy is beginning to play to diminishing returns: the “wow” or dazzle factor has worn off. People are getting tired of destruction. The studios always want to cash in on the past, as if by simply remaking a hit film, the same thing will work in the future. Sometimes it will, as with the Bond franchise, but sometimes it doesn’t — and a little bit of creative energy is more than welcomed by both audiences and critics. I hope it’s the start of a trend.
As I note, “The Conjuring is a remarkably traditional film in both style and content; once again exorcism and possession are ramped up for the usual thrill ride, complete with objects flying around the house, children in peril, a possessed mother, ghosts from the past tormenting the living, with special effects that seem remarkably similar to William Friedkin’s The Exorcist (1973), the film that really kicked off the whole trend nearly half a century ago. Indeed, the film itself is set in the early 1970s, and everything about it seems linked to the past; one might easily imagine that it was shot in the 1970s, as well. And, of course, it’s based on a true story!
Roger and Carolyn Perron (Ron Livingston and Lili Taylor) and their five daughters move into a crumbling isolated house in the middle of nowhere because it’s the best deal they can get; they don’t have much money, and the house is a real fixer-upper. Having gotten the property from the bank in a foreclosure proceeding for a song, they haven’t really inquired too closely into the house’s past – like, for example, the fact that it has a walled off cellar that apparently no one ever told them about, or that several murders and suicides have taken place on the grounds, but hey – a bargain is a bargain.”
Most of the chatter on this film centers on the sheer implausibility of its premise, and that’s certainly a factor here. But it seems to me that in the end, Sharknado is no better or worse than 2012, War of the Worlds, White House Down, Olympus Has Fallen, Paranormal Activity, Transformers: Revenge of the Fallen or any number of big budget multiplex movies that have been flooding theaters in recent years. The studio behind this cheerfully insane project, aptly named The Asylum, has been cranking out “mockbusters” (or cheap copies of major studio films) for quite some time — most recently Asylum released Atlantic Rim as a response to Pacific Rim, and in the past has created such films as Snakes on a Train (yes, Train), The Day The Earth Stopped (or Stood Still), and numerous other unorthodox projects.
But for films that are made for a pittance — anywhere from $500,000 to $1,000,000 all in, and then released either through the SyFy Channel, or as On Demand streaming video, or even on DVDs and Blu-Rays, The Asylum’s projects are the essence of action movies; fast moving, shamelessly designed to appeal to audiences, utterly poker-faced no matter how outrageous the concept, and most of all economical – they move along at a rapid clip, and thanks to the legions of interns working for little or no money, have surprisingly high production values. Add a few stars on the way down, some recognizable faces from the soaps or reality shows, and a whole lot of CGI effects, and you have the Asylum formula.
In the end, it seems to me that Sharknado is altogether a better dumb genre action movie than many films currently in release – think of The Lone Ranger, for example – and that film cost $225,000,000 (!!) just to shoot, before promotion and DCP print costs. It’s staggering to think that a film can still be made these days for as little as $500,000, and at that price, The Asylum could make a stunning 450 full-length features – amazing when you think about it even for a moment. There’s so much wastage in Hollywood now, in both above and below the line costs — critics and the majors deride The Asylum’s films, but they’re the essence of crowd-engineered responsive genre filmmaking.
As I note in the interview, “I’ve watched film change and morph for more than half a century. As I grew up, everything was being shown in theaters in 35mm, and at colleges, universities and libraries in 16mm, and there was, of course, no such thing as home video, VHS or DVD. Films screened on television were really ’streaming’ – they were broadcast at a certain date and time, and you had to be present at that time to see them.
I remember vividly setting my alarm clock for 1 a.m. or later to see films on WCBS TV’s The Late Show, and then The Late, Late Show, and even The Late, Late, Late Show, which is how I saw most of the classics growing up. I would also haunt revival theaters in New York City, such as the Thalia and the New Yorker, to see the classics projected in their proper format.
Video, of course, has been around since the early 1950s, but I don’t think anyone, even professional archivists, ever thought it would completely replace film, but it has. 16mm is completely defunct as a production medium, except in the case of Super 16mm which is used sometimes in features (such as The Hurt Locker) to save costs, but then blown up to 35mm, or now, skipping that step entirely and moving straight to a DCP.
Film is finished. It’s simply a fact. 35mm and 16mm projection are now a completely rarity, and screenings on actual film are becoming ‘events,’ rather than the norm. This is simply a platform shift, and it comes with various problems, mainly archiving the digital image, which is much more unstable than film.
But with the image quality of RED cameras for production, and digital projection taking over, it’s an inescapable fact that shooting on film is now the moving image equivalent of stone lithography. So now, my own viewing habits have moved to DVD and Blu-Ray, and I have a ridiculously large collection of DVDs in my home library, some 10,000 or more.
I have to have them in this format, because I can’t count on the quality of streaming videos from Netflix, Amazon, or other online sources. Blu-Ray, in particular, yields a truly remarkable image. So that’s how I watch films now, and in any event, the revival houses, even in major cities, are all now pretty much a thing of the past.”
As I note at the beginning of my essay, “in the early 1960s, director Roger Corman was on fire. Coming off a wave of ultra-exploitational titles for the fledgling film production/distribution company American International Pictures (AIP), which arguably defined late 1950s teen cinema, with such titles to his credit as Premature Burial, Pit and the Pendulum, Creature from the Haunted Sea (all 1961), Last Woman on Earth, The Little Shop of Horrors, House of Usher (all 1960), The Wasp Woman and A Bucket of Blood (both 1959), as well as She Gods of Shark Reef, Teenage Cave Man, Machine-Gun Kelly, War of the Satellites, I Mobster (all 1958), and Sorority Girl, Teenage Doll, Rock All Night, The Undead, Attack of the Crab Monsters and Not of This Earth (all 1957), Corman had mastered genre filmmaking, and was looking around for a new challenge.
The range of Corman’s work during this period is astounding; Pit and the Pendulum and House of Usher were the first two Gothic horror films in Corman’s long-running and highly influential series based on the works of Edgar Allan Poe; A Bucket of Blood and The Little Shop of Horrors were two of the first truly ’sick’ comedies, both shot in a matter of days; Machine-Gun Kelly introduced a young Charles Bronson to audiences, in a period piece designed as a nod to the Warner Bros. gangster films of the 1930s; Teenage Doll and Sorority Girl were pure teen exploitation; and Attack of the Crab Monsters, War of the Satellites and Not of This Earth were clear-cut science fiction.
Most of Corman’s films during this formative period were shot in a week, on budgets of $100,000 or less – The Little Shop of Horrors was famously shot in two days and a night, for roughly $40,000 – although the Poe films represented a real step up for the young director, at least in terms of physical production values. With 15-day schedules, budgets in the $300,000 to $400,000 range, Panavision and Pathécolor, Corman could relax a little, and take some more time with the material.
But even on these films, he often finished ahead of schedule, and he seemed driven to make one film after another, all of them incorporating thematic concerns outside the realm of conventional genre cinema; teen crime, peer pressure, consumerist materialism, even humanist parables, as in Teenage Cave Man, in which the ‘Stone Age’ the protagonists are living in is revealed in the film’s final moments as actually being a post-apocalyptic world after the Third World War has destroyed most of the planet.
While Corman could dabble in social commentary in these films in a rather light and tangential fashion, as a lifelong liberal filmmaker he longed to do something utterly uncompromising. Bolstered by the continuing commercial success of all of his previous films, he decided to direct a film on the racial tensions of the 1960s, shot on location in the American South. And so, right in the middle of his run of commercially successful films for AIP, Corman went off on his own and, with his own money and no studio support, made The Intruder (1962) for a mere $80,000, creating one of the most brutal, honest, and unflinching examinations of American racism in cinema history.”
About the Author
Wheeler Winston Dixon, Ryan Professor of Film Studies at the University of Nebraska-Lincoln, is an internationally recognized scholar and writer of film history, theory and criticism. He is the author of numerous books and more than 70 articles on film and appears regularly in national media outlets discussing film and culture trends. Frame by Frame is a collection of his thoughts on a number of those topics. To contact Prof. Dixon for an interview, reach him at 402.472.6064 or firstname.lastname@example.org.
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