Harrison Ford confirmed to star in Blade Runner sequel http://www.gamesradar.com/harrison-ford-confirmed-blade-runner-sequel/?utm_source=facebook&utm_medium=social&utm_campaign=totalfilm
It’s been a bestseller and now a – I’m suspecting – very attended film. I loved Jamie Dornan in The Fall, but I’ve not yet seen any reason to go and see 50 Shades… The missus hasn’t asked as yet (mind you she was critical of the quality of writing in the novel).
It started life as fan fiction for Twilight and developed into a multimillion dollar sensation. Secretary on the other hand had a quieter run a over a decade ago (2002), featuring James Spader and Maggie Gyllenhaal.
Wanting 10 reasons why it’s better than 50 Shades, well here you go (via Sundance.tv)… http://www.sundance.tv/blog/2014/07/top-ten-reasons-secretary-beat-50-shades-of-grey
Great article from No Film School (again!)
That’s what I’ve been telling myself over the last couple of weeks… But the part of my brain that needs to work on it has been on a work-to-rule.
I have a play script that a director has asked me to re-work as a feature. Great. I mapped out key beats and realised that there was some bits to add as the play wasn’t 100% done anyway. This should be a breeze. But life and other bits have got in the way. Plus the fact that my subconscious has been feverishly working away on other tasks and schemes that I can get involved in to stop me from getting the work done.
I’m angry with myself, my better half would suggest that this is just laziness – she’s probably right. But it’s not that I don’t want to do it – it’s that I need to be in a particular frame of mind to maximise what I can do with the work. I feel it has the potential to be a good film, but – likely – I’m nervous about making that first incision.
So, the plan… Set a bit of time aside. Maybe an hour and begin. One hour only and then schedule time after that daily and stick to it… That’s the bargain.
A really interesting piece, well-worth a read. It covers a number of cinematography principles and had a few films which I’ve not seen, but will now have a look for.
This is Why Colorists Should Be the Most Appreciated People in Post Production via No Film School
The grade is sometimes the least of our worries during production or in pre-production. But it’s key that the director has an understanding of what he/she wants at grade stage and communicates this to the colorist (preferably well before the colorist gets the media landing on their desk!). A great grade can really help sell mood and/or tone, or cover up slight mistakes that you’ve no cover shot for – a poor grade can detract from great footage!