99 second hand smartphones are transported in a handcart to generate virtual traffic jam in Google Maps.Through this activity, it is possible to turn a green street red which has an impact in the physical world by navigating cars on another route to avoid being stuck in traffic.
Chris O’Falt interviews Bong Joon Ho and production designer Lee Ha Jun about Parasite’s brilliant set design:
According to Bong, the challenge he gave his “Snowpiercer” production designer was not only to create a believably “visually beautiful” set, but a stage that served the precise needs of his camera, compositions, and characters, while embodying his film’s rich themes. In an interview with IndieWire, Bong described the home as “its own universe inside this film.” He added that he took pleasure in hearing that the famous directors on this year’s Cannes jury — which included Alejandro Gonzalez Iñarritu, Yorgos Lanthimos, and Kelly Reichardt — were all convinced that the movie took place in a real home. In truth, Bong asked his production designer to create an “open set,” built on an outdoor lot.
Toy Story 4 looks incredible, almost hyper-realistic. And it’s not a simple matter of technology getting better; there is artistic intent in the imperfections that give it that edge. Among other techniques, Pixar is simulating real-world camera lenses (along with their limitations). Evan Puschak explains:
Animation has always drawn from the lessons of live action film, from the visual language of cinematic storytelling. Everyone who worked on Toy Story 4 understands that the imperfections — the way a lens distorts, or a camera operator shakes, or a light bounces — contain their own expressive potential. And when you combine these with the limitless world of animation, the results can be stunningly tactile.
I hadn’t noticed that split diopter shot — it’s brilliant.
This is packed with great quotes from filmmakers that I hadn’t heard before.
I never talk about themes. It’s a very big shame when something is finished and then people want you to translate it back into words. It never will work. It never will go back into words and be what the film is. It’s like describing a piece of music; you don’t hear the music, you just see the words. It’s better to let people conjure up their own ideas, having seen and experienced the film.
Kubrick on explaining the ending of 2001:
I tried to avoid doing this ever since the picture came out because when you just say the ideas they sound foolish, whereas if they’re dramatized one feels it.
A look at the 12 principles of animation developed by Disney to give life to an image.
Explainers about Disney’s animation techniques have been done to death, but Kristian’s stellar editing and compositing make this one worth watching. He uses some great examples that I hadn’t seen before.
Walter Chaw feeds into my obsession with this weird, wonderful film:
What’s impressive is Annihilation’s willingness and ability to evoke the soul-sickness that leads to great moments of art, great moments of self-destruction, and an equation of the two. Its heroes suffer from cinematic time: years can pass and outside the theatre it’s a mere two hours. They suffer, too, from this idea that you can enter into a space, experience something that is entirely alien, and then re-emerge struggling to articulate the crucible of your experience. How many versions of your old selves have you left behind in a museum, a theatre, a concert hall, a book? Is it a thousand? How many new versions have emerged into the uncanny bright of the day outside?