Let us fill your 1st week of August with some essential reads in World Cinema!
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No Film School’s Joe Marine illustrates how casting can change a movie:
This just shows (two videos shown) how many different interpretations one can have for a particular piece. Not only would different casting have probably changed the way the Shrek franchise was received, but if the film had been released with the first version that Myers had done, it very well might not have had the same response. It just goes to show how important casting is, and how important it is to let your actors have the space they need to find a character. It’s impossible to say which version would be better, but it’s clear that the Shrek franchise has been a complete hit.
AV Club’s Rob Dean shows a visual essay regarding the CGI bandwagon:
It’s in fashion to praise the practical effects of modern blockbusters today while spurning the CGI overload of bloated blockbusters past. One of the reasons that Mad Max: Fury Road resonated as much as it did with audiences was that so much of the stunts and action relied on practical, real life moments and not something churned out by a few ones and zeroes in a rendering program. Except…that’s not completely true. Yes, a lot of the stunts in the film were practically enacted, but George Miller still used CGI to add in cars and people, to render landscapes that weren’t actually there, and to help supplement his practical work. So is CGI bad? A new visual essay essentially states that audiences are only sick of CGI because they are sick of bad CGI (it makes more sense in the video).
The Telegraph’s Tim Stanley contemplates on why the cult film ‘Idiocracy’ is coming true:
‘Idiocracy’ lists the problems. American educational attainment is bad and declining. Popular culture is crass and filled with violent triumphalism. The news media approaches every political issue as a binary and often locks out centrist voices. Surveys of the young suggest cultural conservatism is out and hedonism is in. National debt mounts; the something for nothing attitude is prevalent. In ‘Idiocracy’, you can win free healthcare on a fruit machine.
The Guardian’s Colin Horgan points out why aren’t kids in kids’ films anymore:
The main reason for the disappearance of child protagonists appears to be the overall drop in live-action kids’ movies. When live-action kids’ movies are made, as they were in abundance in the mid-1990s (perhaps the real golden age of kids’ films), they’re more likely to feature a child as the main character than their animated counterparts. Yet, these days, it’s not so much that child exploration no longer occurs. There remains a world that exists for children to explore that’s separate from the world of adults. The difference is that now that exploration is done on phones or tablets, where an imaginary world requires no imagination at all. And, where cinema once reinforced the idea of the explorer child existing in a wider, tactile world, it now reinforces the non-reality of a pre-packaged computer simulation where children rarely exist at all.
THR’s Carolyn Giardina writes on why does Clay Animations Matter at Hollywood’s Annual CG Conference:
Stop-motion cartoons may seem a bit old school for a super-high-tech graphics event like SIGGRAPH. But the brains behind ‘Shaun the Sheep Movie’ are there to offer a warning: “Danger if you take technology to an extreme.” It can become a little bit too polished or too CG. The imperfections of stop-motion give it charm because you can sense the craftsmanship. And the other key thing about stop-motion is that the animators themselves have to be performers in their own right.
A few more to call it a week:
- Danish Cinema Heading for New Audience Records
- Warner Bros. is to finance Kim Jee-Woon’s new film ‘Secret Agent’ as its first Korean language movie
- Without competing full length, why still go to the 11th Cinemalaya?
- The Monkey King’s Popularity in China Leads to Multiple New Projects
- 40 Notable Films that where screened at the Toronto Film Festival since 1976
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