sabato 31 ottobre 2015
Tra i confini di un'era - Alessio Bonomo unisce grandi artisti nel segno del passaggio epocale
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venerdì 30 ottobre 2015
Mark Rylance, man of mystery
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Cineteca Nazionale. La programmazione al cinema Trevi novembre 2015
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What’s Happening on Hulu
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An Interview with David Lynch
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Crimson Peak
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Uscite al cinema: 29 ottobre - 4 novembre
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“Cattivi Ragazzi” di Veruska Rossi e Guido Governale
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giovedì 29 ottobre 2015
Repertory Pick: Screams and Laughs in Bloomington
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Justin Theroux on the Magical Mysteries of David Lynch
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Corti italiani al 13° Tirana Film Festival
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REAL! PARTE IL CROWDFUNDING DEL FAN MOVIE SUI GHOSTBUSTERS
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Ghosthunters - Gli acchiappafantasmi
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mercoledì 28 ottobre 2015
Composer Carl Davis on Creating a Theme
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Visions of Edith Head, Hollywood's Legendary Costume Designer
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Per i quarantanni dalla morte di Pier Paolo Pasolini, dal 1 al 6 novembre, al cinema Trevi, retrospettiva completa e un incontro con Alfonso Berardinelli, Goffredo Fofi, Franco Grattarola
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Ginger Snaps (2000)
“Out by sixteen or dead on the scene, but together forever.” — Ginger
“Too much blood. And I can see your gaunch!” says Brigitte, annoyed. Ginger, her body impaled on a white picket fence, sticky red blood sprayed across her middle, gives us the finger. “Just do it,” she says. Brigitte brings a 35mm camera to her eye and snaps the photo. An entire world in microcosm.
When Ginger Snaps, the cult horror-comedy directed by John Fawcett and written by Karen Walton, was released in 2000, it was an outlier among outliers. In a genre oozing with regressive and often outright sexist portrayals of women, Ginger Snaps was a monstrously funny film about two teenage girls whiling away the beige of suburban Bailey Downs. Ginger and Brigitte did this in their own special way: through elaborate tableaux of suicide and death, photographed and presented as a slideshow for a school assignment. These tableaux form the opening title sequence to Ginger Snaps, introducing the world to the Fitzgerald sisters through a masterpiece of title design.
These staged scenes are the girls’ ode to and rejection of suburbia, the sequence becoming a mini-text within the film that lays bare their whirling inner lives; their feelings of connection, nihilism, creativity, curiosity, and disillusionment are all there, laid out neatly among the peroxide and lace. The attention to detail in the grisly gestalts is astounding, with references to everything from children’s fairy tales (The Wizard of Oz, Alice in Wonderland) and classic literature (Paradise Lost) to obscure dead Russians (Pavel T. Shvetsov) and contemporary cinema (Se7en, Heathers). The music, composed by Mike Shields, features violin and cello and smatterings of giggles, deftly wielding a melancholy that manages to avoid dipping into cornball.
When the snaps of Ginger and Brigitte come to an end, a sense of sadness and nostalgia emerges, as if the show, and their innocence, has already come and gone.
A discussion with Director JOHN FAWCETT and Screenwriter KAREN WALTON.
Before we dive into Ginger Snaps, I wanted to ask a little bit about you both because you’ve worked on a lot of projects between you, especially in TV. Karen, how did you become a screenwriter?
Karen: I entered a contest because I needed some money! [laughs] Maybe that’s not the most responsible answer, but it’s true. I didn’t train in film, I trained in drama and theatre. I became a screenwriter after not being sure what I wanted to do and having lots of jobs. My last day job…
RSS & Email Subscribers: Check out the full Ginger Snaps article at Art of the Title.
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martedì 27 ottobre 2015
Chantal Akerman's Film Art on View in London
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Mostra fotografica "Pasolini sul set"
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Il bilancio della Festa del Cinema di Roma 2015
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Roma 2015 - The end of the tour - Selezione Ufficiale
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Roma 2015 - Girls Lost - Selezione ufficiale
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Roma 2015 - Grandma - Alice nella città
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Torna da stasera a Roma "A qualcuno piace classico" a ingresso gratuito
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Progetto “Il resto di niente” a 10 anni dall'uscita del film di Antonietta De Lillo
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Roma, 21-26 novembre, torna il PITIGLIANI KOLNO'A FESTIVAL
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Catania, 7 novembre: presentazione del libro "Le contraddizioni del mentre", racconti di Ornella Sgroi
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lunedì 26 ottobre 2015
The World’s First Horror-Film Theme Park
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Inaugura il 27 ottobre, al Palazzo delle Esposizioni, la rassegna "A qualcuno piace classico", arrivata alla sua 5a edizione
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Il CSC - Cineteca Nazionale collabora con Fondazione Ente dello Spettacolo per la mostra fotografica "Italian Film Food Storie"
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Festa del Cinema di Roma-Tanya Khabarova: "Sorrentino, un ladro geniale di bellezza"
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Priscilla la Regina del Deserto
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Reversal - La fuga è solo l'inizio
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Roma 2015 - Alaska
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Artisti italiani emergenti nella Grande Mela: Valentina Marino.
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Roma 2015 - Legend
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Artisti italiani emergenti nella Grande Mela: Valentina Marino.
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domenica 25 ottobre 2015
Roma 2015 - Freeheld
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Roma 2015 - EVA NO DUERME
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Roma 2015 - Lo chiamavano Jeeg Robot
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Roma 2015 - Lo chiamavano Jeeg Robot
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Tensione superficiale
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Roma 2015 - Junun
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sabato 24 ottobre 2015
SANCTIS SUBITO! - DAL 27 OTTOBRE AL 1° NOVEMBRE 2015 CASA DELLA CULTURA VILLA DE SANCTIS
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Roma 2015 - Amama (When a tree falls)
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Roma 2015 - Amama - Intervista ad Asier Altuna e Marian Fernandez
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Roma 2015-Swinging Roma
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Distancias Cortas
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Roma 2015 - Ouragan, l'odyssée d'un vent. 3D
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Roma 2015 - Experimenter
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venerdì 23 ottobre 2015
What’s Happening on Hulu
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Silent frame rates and DCP: A guest essay by Nicola Mazzanti
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Sweden Cashes In on Ingmar Bergman
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Dheepan. Vivere in fuga
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Roma 2015 - Hitchcock/Truffaut - Omaggi
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Roma 2015 - Full contact
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giovedì 22 ottobre 2015
Repertory Pick: Moviemaking in Detroit
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Laurie Anderson Keeps It Cool in the Closet
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To Catherine Deneuve on Her Seventy-Second Birthday
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Amama di Asier Altuna presentato alla festa del Cinema di Roma
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Il CSC - Cineteca Nazionale presenta alla 10. Festa del Cinema di Roma il restauro de "La terrazza", capolavoro di Ettore Scola
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Il CSC-Cineteca Nazionale ha presentato due volumi alla 10. Festa del Cinema di Roma, dedicati, rispettivamente, ad Antonio Pietrangeli e Gian Luigi Rondi
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Roma 2015 - Land of mine
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Romaeuropa Festival - I prossimi appuntamenti
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Roma 2015 - Dobbiamo parlare
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Roma 2015 - Monogamish
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mercoledì 21 ottobre 2015
Kwaidan: No Way Out
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The Timeless Costumes of Solaris
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Roma 2015 - Showbiz
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Roma 2015 - Ville-Marie
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Roma 2015 - Le confessioni di Thomas Quick
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Roma 2015 - Conferenza stampa - Showbiz
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Roma 2015 - Little Bird
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Crimson Peak (2015)
“Ghosts are real, that much I know. I've seen them all my life...” — Edith Cushing
Take a postmortem tour of the imposing Allerdale Hall, the decaying English estate also known as Crimson Peak due to the blood-red clay that stains the snow in wintertime. This is a place possessed by its past. The walls bleed. The building breathes. Its residents, both living and dead, haunt its endless hallways and rooms.
The sumptuous main-on-end titles for Guillermo del Toro’s Crimson Peak are a lepidopterologist’s dream. Butterflies and moths – one of the film’s key motifs – are the viewers’ guide, filling every room, every corner of every frame; fragile and fluttering, pinned and mounted, witness to countless horrors. The camera glides through the manor on a ghostly journey, passing through a series of strikingly arranged tableaux, various objects and ephemera arrayed to reflect the players in this Gothic romance.
The sequence, created by Toronto-based design studio IAMSTATIC, is a cover-to-cover review of the film, literally and figuratively closing the book on the tale that precedes it – a conscious nod to the storybook movie openings and endings popular in the 1930s and 40s. Del Toro’s film is a tough act to follow, particularly when it comes to matching the film’s lavish production design. But aided by Fernando Velázquez’s score, a whisper of moths, trinkets, tools, and a whole lot of atmosphere, the end titles perfectly capture the broad brush strokes of this dark tale, sending the audience home to ruminate on their time at Crimson Peak.
A discussion with title designers RON GERVAIS and DAVE GREENE of IAMSTATIC.
Give us a little background on yourselves and your company.
Ron: We are Ron Gervais and David Greene, creative and directing partners at IAMSTATIC in Toronto. We started in university as a web-based art collective at the dawn of Flash animation in the early 2000s. We would create code-based interfaces and animations and curate online and offline exhibitions of similar work. After a couple years working agency-side, we evolved into a production and design studio and directing duo.
So how did you become involved with Crimson Peak?
Ron:…
RSS & Email Subscribers: Check out the full Crimson Peak article at Art of the Title.
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martedì 20 ottobre 2015
IL CENTRO SPERIMENTALE DI CINEMATOGRAFIA FESTEGGIA 80 ANNI
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Hou Hsiao-hsien on the Films That Changed His Life
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Roma 2015 - The Thin Yellow Line
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Roma 2015 – Incontri ravvicinati: William Friedkin e Dario Argento
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Star Wars - Il risveglio della forza: il definitivo full trailer in italiano!
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Roma 2015 - Incontri Ravvicinati: Donna Tartt e Wes Anderson
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Roma 2015 - These Daughters of Mine
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Roma 2015 - Angry Indian Goddesses
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Un'amicizia a prima vista: Morando Morandini
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Uscite al cinema: 19-22 ottobre 2015
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lunedì 19 ottobre 2015
Memories of Mulholland
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Roma 2015 - Mistress America - Selezione ufficiale
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Roma 2015 - Registro di classe
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Story Time with T Bone and the Coens
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Gaeta, 22 ottobre: presentazione del romanzo 'Il respiro delle onde', di Alessandro Izzi
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Roma 2015 - Masterclass con Kelsey Mann - Il mondo Pixar e Il viaggio di Arlo
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Roma 2015 - The Walk
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Roma 2015 - Une enfance/A childhood
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Sudori freddi
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Incontri ravvicinati: Paolo Sorrentino
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domenica 18 ottobre 2015
Roma 2015 - Pan
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Roma 2015 - Office 3D
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S is for Stanley
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Roma 2015-Rio I Love You (La fortuna)
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Roma 2015-Room-Selezione ufficiale
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sabato 17 ottobre 2015
Roma 2015-The whispering star-Selezione ufficiale
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Roma 2015-Truth
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Roma 2015-Joel Coen e Frances McDormand
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venerdì 16 ottobre 2015
Roma 2015-Monster hunt-Selezione ufficiale
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Roma 2015-Truth-Selezione ufficiale
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Roma 2015-The Wolfpack-Alice nella Città
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THE PRESTIGE, one way or another
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What’s Happening on Hulu
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Watch This! Arnaud Desplechin Recommends . . .
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Radio Revivals
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Per la Festa del Cinema di Roma, al cinema Trevi, una retrospettiva dedicata ad Antonio Pietrangeli, che sarà replicata al MOMA di New York a novembre
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La Suburra di Sollima è raffinata ma poco generosa con lo spettatore
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giovedì 15 ottobre 2015
A Special Day: Small Victories
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Repertory Pick: Halloween in Hawaii
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Annie Baker Goes to the Movies
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Kitchen Conversations: Arnaud Desplechin
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Io sono Ingrid
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mercoledì 14 ottobre 2015
Sophia Loren on Working with Marcello Mastroianni
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Get a Degree in David Lynch
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Showbiz di Luca Ferrari presentato alla Festa del Cinema di Roma
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AVVISO INDAGINE DI MERCATO del 14.10.2015
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La Cineteca Nazionale presenta alla 10. Festa di Roma, alla presenza di Isabella Rossellini, il restauro dell'episodio "Ingrid Bergman" di "Siamo donne", nel centenario della nascita della grande attrice svedese
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Woman in Gold
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Lo stagista inaspettato
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martedì 13 ottobre 2015
The Forbidden Room (2015)
“Dream the molten dream of justice!” — Organizer
If a film is lost, can it be remade?
The answer to that question is waiting to be unearthed in The Forbidden Room, a feverish experimental feature from Canadian auteur Guy Maddin and longtime collaborator Evan Johnson. At once a gleeful throwback to the silent movie era and incomprehensible love letter the “lost movie,” the film’s narrative cannot be easily parsed. It suffices to say that the proceedings involve submarines and amnesia, lumberjacks and lobotomies, bathing tutorials and women skeletons, and like much of Maddin’s absurdist work it invariably leaves most people scratching their heads.
The opening moments of The Forbidden Room are a muddy and melted statement of intent, assailing the viewer with a barrage of old-timey title cards, all badly degraded either physically or digitally, many changing style and typeface mid-credit. Full of half-heard musical overtures and opening notes, this clamourous introduction sets the stage for a chain of seemingly unrelated vignettes based upon silent films both real and imagined. The whole experience feels as though someone exhumed a box of tattered film reels from a partially submerged basement, hastily spliced them together, and projected the strange results out into the world for all to see.
In reality, though, the opening of The Forbidden Room was a far more deliberate affair. Mostly. Maddin charged production designer Galen Johnson with the behemoth task of creating the hundreds and hundreds of intertitles needed for the film (and eventually its opening and closing title sequences), each one specially designed to reflect the story it was a part of and the information being communicated. The final product is a remarkable pastiche of early title design that would be almost indistinguishable from the real thing if not for Maddin’s distinctive sensibilities.
A discussion with Production Designer and Title Designer GALEN JOHNSON
Give us a little background on yourself and your work. You went to school for architecture but then moved into graphic design, right?
I went into architecture school right out of high school. I thought it would be a good compromise between what I liked doing – art – and what I could realistically get a job doing. But to be an architect you need more than just an undergraduate degree – you need to get a masters, to pass registration exams. By the time I graduated I think I…
RSS & Email Subscribers: Check out the full The Forbidden Room article at Art of the Title.
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The Brood: Separation Trials
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Wim Wenders: Photographs Along the Road
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lunedì 12 ottobre 2015
Uscite al cinema: 12-16 ottobre 2015
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...Aspettando il red carpet...mostra fotografica a Roma
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SHUNA: un nuovo spaghetti western su Rai cinema Channel con Alessandro Parrello e Enzo G. Castellari
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Salvatore Tassa e i suoi Sogni
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Academy SenzaBarcode, per diventare Blogger professionista della rete!
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domenica 11 ottobre 2015
L'Opera Q e il nuovo Teatro della Comunità con Tanya Khabarova
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Workshop di comunicazione teatrale al Teatro Vascello di Roma
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Hotel Transilvania 2
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Primo trailer italiano per "Ave, Cesare!", il nuovo film dei fratelli Coen
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Uscite al cinema: 8-11 ottobre 2015
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Sopravvissuto - The martian
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Talking THE WALK
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sabato 10 ottobre 2015
A Narni il 26 ottobre la seconda edizione del Narnia Terror Night
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venerdì 9 ottobre 2015
What’s Happening on Hulu
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Happy Seventy-Fifth, John Lennon!
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Kitchen Conversations: Guy Maddin and Evan Johnson
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Agnès Varda Is Everywhere!
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Anche un doc di Syusy Blady alla Rassegna Internazionale del Cinema Archeologico domani a Rovereto
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Un progetto multimediale sul cinema italiano censurato, nascosto, rimosso e dimenticato...
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Al cinema Trevi la rassegna "Tognazzi: di padre in figli" prosegue fino al 15 ottobre. Ecco i film del weekend
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giovedì 8 ottobre 2015
Domani, 9 ottobre, i tappeti di Bijar e di Tabriz, la moglie di Dio e il viaggio della scrittura alla Rassegna Internazionale del Cinema Archeologico di Rovereto
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Su Kickstarter al via la campagna di adesione e prevendita di biglietti del festival N.I.C.E. New Italian Cinema Events
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Roma, 8 ottobre: presentazione del libro "Roma degli scrittori"
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mercoledì 7 ottobre 2015
Ancora pochi giorni per iscriversi al workshop di critica cinematografica della rivista Marla al Reggio Film Festival
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Fino al 25 ottobre al Teatro Agorà "Il brevetto dell'anima" di Luciano Capponi
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Rovereto: da un intrigo biblico alla terra del Mustang, passando per Palermo: il programma di domani della Rassegna Internazionale del Cinema Archeologico
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Roma, 7 e 8 novembre - Festival Cinema Vintage "Il Gusto della Memoria" con tema: La Storia dal basso. Con Gianni Amelio - Ingresso gratuito
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AL VIA IL BANDO GRATUITO DI 'TERZO TEMPO' FILMFESTIVAL DEL CALCIO SOLIDALE PER CORTI E LUNGOMETRAGGI
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martedì 6 ottobre 2015
Chantal Akerman, 1950–2015
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CineSexy: i classici del proibito in DVD dall'8 ottobre
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Weird Simpsons VHS (2015)
“D'oh!” — Homer
The cumulus clouds part, that big yellow type pushes towards the screen, and a heavenly choir announces a refrain known throughout the world:“The Simpsons”. The opening moments of WEIRD SIMPSONS VHS are familiar territory for any fan of The Simpsons, until they’re not. French animator Yoann Hervo sours the fanfare to set the mood immediately, taking a page out of David Fincher’s playbook, using a surreal cartooning style and a worn-out video cassette aesthetic to twist the Simpson family and the town of Springfield into something that is at once bizarre, funny, and deeply unpleasant.
As a reclusive superfan looks on, Bart hammers at a chalkboard like a deranged cymbal-banging monkey, an array of Lisas destroy Mr. Largo’s mind with a symphony of saxamaphones, an impossibly rotund Homer and his car become one on the commute home, and Marge finally lets Maggie take the wheel with predictable results. Matt Groening’s face is ever-present, eggplants hide in plain sight. This was recognizable at some point, before it was recorded over a precious home video and played one too many times. The sequence ends with a desolate take on the famed “couch gag.” Often used to fill time when an episode runs short and insert one last laugh, here the empty living room only fills the viewer with dread and confusion.
With WEIRD SIMPSONS VHS Hervo makes a name for himself and adds it to a growing list of artists and filmmakers who’ve reimagined the opening sequence of the longest-running prime-time animated series in the United States (both officially and unofficially), all putting their own distinct – and oft-times disturbing – spin on America’s favourite animated family.
A discussion with Character Designer and Animator YOANN HERVO and Composer VALENTIN DECLOUX.
Give us some background on yourself and the work you do.
Yoann: After passing a baccalaureate in applied arts in Brittany, I was accepted to L’École des Gobelins, in the animated filmmaking program in Paris. Upon graduation, I had the opportunity to be a character designer on the french show Hubert & Takako by Hugo Gittard at Xilam Studio.
A few contracts later, I‘m still a character designer, now on Amazing World of Gumball at Cartoon Network.
I also make animated films in my bedroom, in the hope…
RSS & Email Subscribers: Check out the full Weird Simpsons VHS article at Art of the Title.
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lunedì 5 ottobre 2015
Wes Anderson’s Patch Work
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Dal 6 al 15 ottobre, al cinema Trevi, la retrospettiva "Tognazzi: di padre in figli"
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I PREMI DELLA TREDICESIMA EDIZIONE DEL TRAILERS FILMFEST DI CATANIA
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Roma, 17 ottobre, al teatro Greco 'The Vanity Monsters'
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Al via domani, martedì 6 ottobre 2015, la XXVI Rassegna Internazionale del Cinema Archeologico
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Ritorno alla vita. Dramma della ritrosia
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domenica 4 ottobre 2015
Intervista a Andrea De Liberato
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sabato 3 ottobre 2015
The Rhapsodes return
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Festa del Cinema di Roma 2015 - Conferenza stampa
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Uscite al cinema: 1-5 ottobre
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venerdì 2 ottobre 2015
Kitchen Conversations: Yorgos Lanthimos and Ariane Labed
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What’s Happening on Hulu
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Disorient Express
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Nausicaä della Valle del vento
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giovedì 1 ottobre 2015
The Pope’s Movie Picks
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Repertory Pick: Diabolical Cinema in Minneapolis
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Cineteca Nazionale. La programmazione al cinema Trevi ottobre 2015
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Errol Morris’s Ten Documentaries to Watch
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Mi sono molto divertito
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Padri e figlie - Fathers & Daughters
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#CinemaDays: dal 12 al 15 ottobre al cinema con soli 3 euro
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