dirtystylus + filmmaking   161

Lulu Wang’s Grub Street Diet
During the afternoon, I went to Hugh, a Korean spa. I love it so much that I almost don’t want to name it because I’d hate for it to get overrun with people. I don’t think it will though because it’s very specific and probably not everyone’s cup of tea. I guess for me, it feels like being in the family room of my parents house while my mother cooks for me. There’s one Korean woman who cooks everything in the kitchen, and her steamed dumplings are handmade. It’s an all-women’s spa, so I sit in the kitchen in nothing but a robe eating dumplings. It’s very, very chill.
food  film  luluwang  asianamerica  losangeles  filmmaking  grubstreetdiet  interview 
24 days ago by dirtystylus
Present Tense: Kristen Stewart
When people complain about her, they tend to call her acting “flat,” or “boring.” It doesn’t seem to be “acting” at all. Well, yes, exactly. People take acting classes for years to try to do what she does naturally. Does she have a huge range? No, I don’t think so (and I also think “range” is overrated.) Range or no, Stewart is able to bring forth different shadings and energies depending on what is needed, without pushing. The woman in Personal Shopper is not the same as the one in Certain Women. Or Clouds of Sils Maria. She is so aware of what she is doing I have no doubt she could stroll through a crowded Times Square and decide to “mute” her beauty, mute her Kristen-Stewart-ness—and she would not be recognized. (Famously, Marilyn Monroe was able to do the same thing and douse her own inner key light.)
acting  kristenstewart  film  criticism  filmmaking  by:sheilaomalley 
11 weeks ago by dirtystylus
The Marvel Juggernaut: With Great Power Comes Zero Responsibility - Cinemalogue
By invoking Coogler’s name in response to criticism, Iger positioned BLACK PANTHER as representative of a pattern instead of an outlier in Marvel’s track record.  Out of 23 male directors hired leading up to ENDGAME, 21 are white men; the studio’s ratios of non-white male screenwriters and producers are likewise bleak.  It’s also reflected in ENDGAME’s condescending, slapdash battlefield moment featuring all-female characters— largely interchangeable and with negligible prior interaction —and co-director Joe Russo’s small cameo as a gay man—a demeaning footnote to a parade of heteronormality, with its ad nauseam “no homo” inserts of nuclear families meant to symbolize a return to normalcy.  Superficial inclusion means nothing if the underlying message is ignorant.
marvel  disney  film  filmmaking  MCU  cinema  martinscorsese  diversity  representation 
november 2019 by dirtystylus
How Marvel films like Captain America: Civil War became the world's biggest TV show - Vox
Once you start to think about the MCU as a TV show, a lot of the common criticisms people tend to level at it take on a new context. For instance, you don't have to look far to find complaints that Marvel's films are formulaic, or lack the visual spark of other blockbusters, or shoehorn in story elements that don't exactly fit but are necessary to set up future films. But all these characteristics are fairly typical on television, where a director's influence is much lower than that of the showrunner.

In the case of Marvel's films, the showrunner is probably producer Kevin Feige, though he's hired others to take on the sorts of supervisory roles a co-executive producer might hold on a TV series. For instance, Joss Whedon — a great TV showrunner himself — oversaw much of Marvel's so-called "Phase Two," while Christopher Markus and Stephen McFeely have written many of the company's recent releases. (For more on how Fiege, Markus, and McFeely collaborate, read this piece by Vox contributor Peter Suderman on Marvel's approach to connecting all of its films.)

But Feige is essentially the visionary behind Marvel's entire slate. And from his perspective, many of the complaints occasionally lobbed at Marvel's films become strengths of the MCU as a whole. The idea that Marvel's films are less artistic expressions and more pieces of corporate product — though I would push back against that criticism — makes less sense if you view the MCU as one big TV series.
marvel  by:emilyvanderwerff  film  filmmaking  tv  culture  criticism 
november 2019 by dirtystylus
Rian Johnson ‘Brick’ and ‘Knives Out’ Interview
We weren’t going to be able to create expressive sets. We weren’t going to be able to go to town with production design. It was just going to look like a high-school movie, until somebody opened their mouth. Once they did, you then knew this was something different. You had to prick up your ears and figure out what this world was. It was making sure that the audience felt secure in that disconnect of being in a fantasy land. This is more Blue Velvet than The River’s Edge.
film  rianjohnson  filmmaking  interview  film:brick  director 
october 2019 by dirtystylus
Fleabag breaks the fourth wall and then breaks our hearts.
But then the scene changes. The Priest’s eyebrows furrow in surprise. “What was that?” he asks, looking at Fleabag. “You just went somewhere,” he tells her accusingly, glancing in the same direction she turns when she looks at the camera. Fleabag claims to not understand, and, panicked, she looks at the viewer once again, this time with alarm on her face. “There!” he says. “Where did you just go?” Fleabag tries to shake it off. “Nowhere,” she tells him. He only sort of accepts this, shrugging. Fleabag turns to the camera once again, this time in shock. He’s seen her. He’s seen us.


Reader, I gasped.
tv  tv:fleabag  phoebewallerbridge  screenwriting  filmmaking 
may 2019 by dirtystylus
(6) Someone’s daughter on Twitter: "One thing I love about The Last Jedi was how much the symbolic imagery told its own story. The writing/direction/set design were all so carefully curated and layered. Especially how they handled Rey’s coming-of-age
One thing I love about The Last Jedi was how much the symbolic imagery told its own story. The writing/direction/set design were all so carefully curated and layered. Especially how they handled Rey’s coming-of-age and her journey of self discovery/exploring her own sexuality.
twitterthread  starwars  starwars:thelastjedi  symbolism  screenwriting  filmmaking  rey  desire  sexuality  sex 
may 2019 by dirtystylus
Reference and shot comparison on Vimeo
Some behind the scenes video from Emma Shih an animator on SpiderVerse, focusing on Peter Parker’s expressions
by:emmashih  animation  video  process  spiderman  spiderman:intothespiderverse  film  filmmaking  asianamerica 
may 2019 by dirtystylus
For Cinephiles, Netflix Is Less and Less an Option | KQED Arts
Netflix didn’t want to talk to me about their movie catalogue, leaving me to rely on the speculation of a couple of video store folks that the company’s DVD selection is shrinking most likely because it is not replacing damaged disks.
film  filmstudies  filmmaking  dvd  streaming  netflix  library 
april 2019 by dirtystylus
How Guillermo del Toro Convinced Alfonso Cuarón to Direct Harry Potter | IndieWire
Del Toro then launched into a explicative-filled rant in order to convince Cuarón not to underestimate “Potter” just because it was a hugely popular film and book series. “He says, ‘Fuckin’ skinny, you’re such a fuckin’ arrogant bastard. You are going right now to the fuckin’ bookshop and get the books and you’re going to read them and you call me right away,'” Cuarón said. “When he talks to you like that, well, you have to go to the bookshop.”
film  harrypotter  alfonsocuaron  guillermodeltoro  books  movies  culture  friendship  director  filmmaking 
september 2018 by dirtystylus
Clara Mae on Twitter: "Watching a WETA workshop vid about GitS & they kind of answered what Rila Fukushima's role was: a face cast for the animatronic geisha… https://t.co/XBFsILmrSq"
At the very least this reminds me a lot of what we saw in Ex Machina. White presenting android walks out looking human. Asian one does not

& in Ex Machina as well, it's the Asian looking robot that's defaced/destroyed while the white looking robot benefits from her destruction

This is interesting to me because people say race doesn't matter with androids. But if you look at numerous sci-fi films, it does, actually.

It matters in what the writers do to the body of the AI/android/cyborg that's presenting as a POC versus the ones presenting as white

If one (non human) character is coded as more human than the others, tendency is often to gravitate to that one with human characteristics
twitterthread  robots  filmmaking  acting  representation  asia  race 
july 2018 by dirtystylus
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