Mao, same for me. Jurassic Park and Hook. It was magical.
Many Disney films too, especially Robin Hood with the animals, Pinocchio, Merlin l’enchanteur.
Batman… the animated series (they an animated movie too and it was good ! The mask of the Phantom I think)
[Sorry, I’ve written it in french only, maybe one day I’ll translate it, but enjoy!]
J’ai eu une vision, l’idée d’un film au rythme ridiculement lent, mais tellement beau et coloré, que chaque instant se perdait dans les fresques, pour en oublier le temps.
Ceux qui ont apprécié le film ont perdus la notion du temps, pour les autres, c’était un film horriblement long. 15 minutes et 34 secondes de torture. 1534, Jacques Cartier posait le pied au Canada. Le film fait d’ailleurs allusion à la colonisation et le côté instinctivement mauvais et malhonnête de l’homme.
Lors de son troisième voyage, Jacques Cartier n’était pas le commandant. C’était plutôt Roberval qui commandait l’exploration. Dans Diamant Rouge, Hans n’est pas le commandant et c’est son coéquipier qui commande l’exploration. Déjà à ce point, Hans hait son commandant. Lorsqu’ils arrivent sur la lune mystérieuse, ils découvrent le Diamant Rouge qui attise instantanément leurs désirs, leurs passions et dans le cas de Hans, ses vices. C’est pourquoi Hans abandonne son coéquipier sur la lune et fuit la lune avec le Diamant Rouge. Malheureusement pour lui, le Diamant Rouge ne lui apporta pas fortune et il mourut lors du décollage avec son vaisseau.
Tout comme Hans, Jacques Cartier découvrit le quartz et la pyrite qui lui semblait être des diamants et de l’or. Vous pouvez remarquer l’allusion du Diamant Rouge aux quartz et la pyrite. À première vue, ces pierres semblent très précieuses mais en réalité, elles n’ont aucunes valeurs. Cela montre que le Diamant Rouge ne vaut rien, ce n’est que l’homme qui est attiré par sa lueur, tel un corbeau attiré par les objets brillants. Or, Jacques Cartier abandonna Roberval et s’enfuit vers la France avec les pierres. Contrairement à Jacques Cartier, Hans ne survit pas au voyage.
Il mourut et monta le grand escalier du «paradis», pour rencontrer Dieu, un vieil homme paisible. Hans lui donna le Diamant Rouge, qui au fond n’était qu’une pierre grise. Hans s’assoit et se repose pour l’éternité. A-t-il été pardonné? À vous de savoir.
Vous avez pu constater que le film est au fond, une allusion plus ou moins complexe au troisième voyage de Jacques Cartier. Le film, en général, ressemble bien à ce que je m’étais imaginé au début, sauf pour les problèmes techniques et le montage nébuleux vers la fin du film.
Un bel exercice technique, rien de plus. N’hésitez pas à laisser vos commentaires ou vos interprétations du film.
I’d like to say hello to all the cinephiles on the website! What a great community.
The order means absolutely nothing, I will not give a mark on ten for any film and each of them has a little something that makes me believe that it is a masterpiece
La Nuit Américaine (Truffaut)
Chinatown (Polanski)
The Return (Zvyagintsev)
The Good, The Bad and The Ugly (Leone)
Once Upon a Time in the West (Leone)
Eraserhead (Lynch)
2001: A Space Odyssey (Kubrick)
Barry Lyndon (Kubrick)
M (Lang)
Metropolis (Lang)
Paris,Texas (Wenders)
À Bout de Souffle (Godard)
Mon Oncle Antoine (Jutra)
Pour la suite du monde (Brault et Carrière)
Pulp Fiction (Tarantino)
No Country for Old Men (Coen x2)
The Kid (Chaplin)
Citizen Kane (Welles)
I saw Cruising Bar 2 tonight….. it was a funny film… that’s about it for my critique, I don’t have any substance to analyze in that movie anyway! haha
I ordered The Return, I will receive it within a month.
I recently saw The Darjeeling Limited.
I bought Blow Up from Antonioni and In the Mood for Love from Wong Kar-Wai.
Olivier Bélanger inspired me, I think I will go the theater and watch Four Minutes. haha
(PS…..Why are the best films with Criterion and WHY are all the Criterion films EXTREMELY EXPENSIVE… Ok, I’ve read they remaster every film… but I mean, it is very dangerous for a student to buy 60$ DVD’S….) = The solution, renting or mortgage on DVD.
Des DVD Criterion a un prix abordable, c’est impossible!
Criterion DVD at an abordable price, that’s impossible!
DVD criterio ha un prezzo ragionevole è impossibile!
Die DVD-Kriterium hat einen angemessenen Preis, das ist unmöglich!
DVDs κριτήριο έχει μια λογική τιμή είναι αδύνατον!
المعيار أقراص فيديو رقمية بسعر معقول من المستحيل
を基準には、合理的な価格は不可能だ！
DVDs критерий разумной цене невозможно!
When you say Four Minutes, you are talking about the song, right? (looool it’s a joke, what a dull subject : Hey let’s talk about the new song from Madonna on a Cinephile’s website!)
I recently saw Le Caporal Épinglé from Jean Renoir, I was surprised to notice that the whole storyline strangely looks like the one of La Grande Illusion… This is a 1962 film, Jean Renoir’s style has not changed, the characters are very charismatic and realistic… the film was essentially good because of the performance of the actors… the story was not very original.
Citizen Kane, Mon Oncle Antoine, 2001: A Space Odyssey, Chinatown, Fantasia, L’été Dernier à Marienbad, Persona, La Source, Clockwork Orange and especially Paris,Texas & The Return.
These are the films that left me completely silent after a showing, still trying to understand the feeling I had.
The feeling of perfection maybe, but who knows what is a perfect film.
I’d rather say that A Bug’s Life and Cars are their weakest films…
But all the other films are exceptional! IF it wasn’t of Pixar, Disney would have some problems. I mean, look at the films they make… Pixar is doing most of the job right now.
Do you think they will make a Toys Story 3 ?…. I heard some rumours about it.
http://en.wikipedia.org/wiki/Toy_Story_3
According to the terms of Pixar’s original deal with Disney, all characters created by Pixar for their films were owned by Disney. Furthermore, Disney retained the rights to make sequels to any Pixar film, regardless of whether Pixar chose to work on the films or not. However, there had been a gentlemen’s agreement between Disney and Pixar that Disney would not go ahead with sequels to films without Pixar’s involvement. But in 2004, when the contentious negotiations between the two companies made it look like a split was likely, Disney Chairman Michael Eisner put in motion plans to produce Toy Story 3 at a new Disney studio, Circle 7 Animation. Tim Allen, the voice of Buzz Lightyear, indicated a willingness to return even if Pixar was not on board.
In January 2006, Disney bought Pixar in a deal that put Pixar chiefs Ed Catmull and John Lasseter in charge of all Disney Animation. Shortly thereafter, Circle 7 Animation was shut down and its version of Toy Story 3 was shelved.4 The following month, Disney CEO Robert Iger confirmed that Disney was in the process of transferring the production to Pixar.5 John Lasseter, Andrew Stanton, Pete Docter, and Lee Unkrich visited the house where they first pitched Toy Story and came up with the story for the film over a weekend. Stanton then wrote a treatment.1 On February 8, 2007, Ed Catmull announced Toy Story 2’s co-director, Lee Unkrich, as the sole director of the film instead of John Lasseter, and Michael Arndt as screenwriter.6 Unkrich later confirmed the release date as 2010.7
Les Tendances du Cinémas Contemporain by Henri-Paul Chevrier, great book about the contemporary tendancies since La Nouvelle Vague, from the Interiorisation with Bergman, Dedramatisation with Antonionni, Minimalism with Wenders, Abstract filmmaking from Bunuel and many more. It is a MUST (ONLY IN FRENCH).
I’ve recently bought Le Plaisir des Yeux, it is a book containing many articles written by François Truffaut, from the early years until the late years, including some articles and prefaces concerning his collaboration with Spielberg on Close Encounters of the Third Kind. It was a very good book, many many many underlined quotes. I mean, Truffaut’s a real genius.
And, I’m starting a book entitled La Nouvelle Vague. I want to learn more and more about that incredible Wave. It includes interviews with Rohmer, Godard, Truffaut and Resnais. There is also some articles from Bazin.
QUOTE FROM MEZMORIZED
I really enjoy the essay compilation books (there is a great series released by Harvard University Press the categorizes Cahiers Du Cinema ex. The 1950s: Neo-Realism, Hollywood, New Wave and they are just a collection of essays and discussions of films, theories, trends, etc.).
I think the book entitled LA NOUVELLE VAGUE is from that collection, from Cahiers du Cinéma. There was also Mai 68.
+ Notes sur le cinématographe par Robert Bresson. Ce lit rapidement, mais à plusieurs reprises. Le livre est remplis de belles notes, homme très poétique.
Dave McDougall read that book, but I read it in french.
Norman McLaren’s work is, for me, one of the most interesting of all. OF course, there is so many films and directors-animators actually that do beautiful things, but I strongly think that what McLaren achieved in his career is incredible and inspiring. I also like his work simply because he tried new techniques and way of animating in 2D, he experimented. He would have been a ‘’good Garager’’, haha. His films always has something different but somehow the same, his style was evident and his hand meticulous. He is a known around the world and is considered one of the most innovative animator.
After all, I love what the NFB’s artists do. There is a part of political and/or cultural integration. There is also a huge part of experimentation, of creation. I admire the National Film Board (Canada).
When I was a child (still now… haha) I feld in love with Toy Story (and PIXAR!). There is many Walt Disney’s animated films which I like. (Pinocchio, Robin’s Hood, The Lion King, Aladdin)
Stop-Motion . Mr. Burton? Nightmare Before Christmas? Juke-Bar par Martin Barry! Co-Hoedeman’s ‘’The Sand Castle’’, La Planète sauvage by René Laloux is MAGNIFICIENT (http://en.wikipedia.org/wiki/Fantastic_Planet)!
We’ve seen «les frères Lumières» with there invention, a form of documentary filmmaking that amazed and impressed the world of art and representation. Then Méliès came out of nowhere and introduced a different approach of Cinema : fiction, mise en scène, stylistic representation. (Voyage dans la Lune). He developed marginal and unique techniques to enhance the Visual Illusion.
Considering all the progressive and innovating waves/tendancies of Cinema since it’s beginning… (Originaly I’ve spoke of waves and tendancies such as Classical Cinema (sub-categories such as Impressionism, Expressionism), Sovietic (Eisenstein, Verthov) New Wave, Interiorisation, Post-Modernism, Manierism)
WHERE ARE WE NOW ?
Knowing that the medium of Filmmaking is reaching a possible limit in his form, that auteurs and geniuses around the world developed new ways of telling stories – either on a poetic approach and and realistic approaches; being aware that technology is in a constant evolution, a constant and exponential progression, in a world where technology itself is taking over the spirituality, what are the new boundaries of Filmmaking and Cinema, are there boundaries at all?
I know one thing, we’re on a cyber-community that offers great vision of Cinema, we’ve seen it with Tobias and Garage. I just want to diversify the Forum, which actually doesn’t offer many argumentative topics concerning Cinema itself.
Your approach of the question is the most clear I have ever read.
The Brick Wall ; maybe we’ll need to destroy everything we’ve learned since the very beginning of Filmmaking and Cinema in order to progress and pass through that wall. Reconstructing and deconstructing what have been teached. Rediscover the purposes and efficacity of esthetics and story-telling.
I remember a quote from Ingmar Bergman, saying that he felt very bad about the fact the he was playing with the human’s eye imperfection. We cannot separate the flying pictures passing at a certain speed, we create the movement with our own eyes. It’s the art of illusion.
Maybe we need to go back to the roots in order to rewrite the principles of filmmaking.
« How have they changed, what does the new audience expect from film (experience, the visceral experience), and why? The history of film is intimately bound up with the history of social change: and the history of social change in the last 100 years has in turn been deeply affected (in many countries anyway) by the work of filmmakers, in all forms and genres »
What is the new audience ? Are we talking about the hungry and brainless audience that is expecting the next Michael Bay film? (* funny exemple, because nobody expects the next Michael Bay film… )
So, considering the high accessibility in this decade of high-tech entertaining… is the NEW AUDIENCE TAKING A ROLE IN THE EVOLUTION OF CINEMA? We should define that new audience, because what are people expecting ? What are the problematics that inspires the young filmmaking around the world ? We haven’t seen much social changes this decades, in comparaison to the last 90 years (it’s a large scale, I’m aware). Individualitsm seems to take an important place in our society.
Is there a lack of inspiration ? Should we turn our back to…. ourselves, into a miroir, making films about, us.
The discussion isn’t much about the directors that were originaly in the first post, so I just decided to remove them, since it’s seems pretty subjective to classify some directors, especially when we talk about artistic work here.
We are discussing about NOW and the FUTURE…
( You’ll have to forgive me, I’m originaly french-speaking, so I may translate some words that doesn’t exists in english! Sorry for the mistakes)
He want back to the basics, reconstructing. Primary colors + 360 (the representation). Alvin Lucier with visuals. Innovating with what we already know sounds like post-modernism, of course. 0500 est le «recueil-repère» d’un nouveau mouvement, peut-être, qui sait. Je suis prêt à produire. I’m ready.
THOUGHTS
The limits to innovation could be the boundaries of our knowledge…
But since our knowledge is constantly increasing, there is therefore no limits nor boundaries to innovation in filmmaking.
« L’animation est construite autour de l’idée de déformation et d’élasticité. »
The animation is constructed around the idea of deformation and elasticity.
TOP 5 Childhood Films almost 4 years ago
Mao, same for me. Jurassic Park and Hook. It was magical.
Many Disney films too, especially Robin Hood with the animals, Pinocchio, Merlin l’enchanteur.
Batman… the animated series (they an animated movie too and it was good ! The mask of the Phantom I think)
Euh… The Gremlins? haha, it was ’’scary’’.
That’s about it!
Go to Comment
Diamant Rouge (Une certaine analyse personelle) almost 4 years ago
[Sorry, I’ve written it in french only, maybe one day I’ll translate it, but enjoy!]
J’ai eu une vision, l’idée d’un film au rythme ridiculement lent, mais tellement beau et coloré, que chaque instant se perdait dans les fresques, pour en oublier le temps.
Ceux qui ont apprécié le film ont perdus la notion du temps, pour les autres, c’était un film horriblement long. 15 minutes et 34 secondes de torture. 1534, Jacques Cartier posait le pied au Canada. Le film fait d’ailleurs allusion à la colonisation et le côté instinctivement mauvais et malhonnête de l’homme.
Lors de son troisième voyage, Jacques Cartier n’était pas le commandant. C’était plutôt Roberval qui commandait l’exploration. Dans Diamant Rouge, Hans n’est pas le commandant et c’est son coéquipier qui commande l’exploration. Déjà à ce point, Hans hait son commandant. Lorsqu’ils arrivent sur la lune mystérieuse, ils découvrent le Diamant Rouge qui attise instantanément leurs désirs, leurs passions et dans le cas de Hans, ses vices. C’est pourquoi Hans abandonne son coéquipier sur la lune et fuit la lune avec le Diamant Rouge. Malheureusement pour lui, le Diamant Rouge ne lui apporta pas fortune et il mourut lors du décollage avec son vaisseau.
Tout comme Hans, Jacques Cartier découvrit le quartz et la pyrite qui lui semblait être des diamants et de l’or. Vous pouvez remarquer l’allusion du Diamant Rouge aux quartz et la pyrite. À première vue, ces pierres semblent très précieuses mais en réalité, elles n’ont aucunes valeurs. Cela montre que le Diamant Rouge ne vaut rien, ce n’est que l’homme qui est attiré par sa lueur, tel un corbeau attiré par les objets brillants. Or, Jacques Cartier abandonna Roberval et s’enfuit vers la France avec les pierres. Contrairement à Jacques Cartier, Hans ne survit pas au voyage.
Il mourut et monta le grand escalier du «paradis», pour rencontrer Dieu, un vieil homme paisible. Hans lui donna le Diamant Rouge, qui au fond n’était qu’une pierre grise. Hans s’assoit et se repose pour l’éternité. A-t-il été pardonné? À vous de savoir.
Vous avez pu constater que le film est au fond, une allusion plus ou moins complexe au troisième voyage de Jacques Cartier. Le film, en général, ressemble bien à ce que je m’étais imaginé au début, sauf pour les problèmes techniques et le montage nébuleux vers la fin du film.
Un bel exercice technique, rien de plus. N’hésitez pas à laisser vos commentaires ou vos interprétations du film.
Go to Comment
favorite films? almost 4 years ago
I’d like to say hello to all the cinephiles on the website! What a great community.
The order means absolutely nothing, I will not give a mark on ten for any film and each of them has a little something that makes me believe that it is a masterpiece
La Nuit Américaine (Truffaut)
Chinatown (Polanski)
The Return (Zvyagintsev)
The Good, The Bad and The Ugly (Leone)
Once Upon a Time in the West (Leone)
Eraserhead (Lynch)
2001: A Space Odyssey (Kubrick)
Barry Lyndon (Kubrick)
M (Lang)
Metropolis (Lang)
Paris,Texas (Wenders)
À Bout de Souffle (Godard)
Mon Oncle Antoine (Jutra)
Pour la suite du monde (Brault et Carrière)
Pulp Fiction (Tarantino)
No Country for Old Men (Coen x2)
The Kid (Chaplin)
Citizen Kane (Welles)
Fantasia
Go to Comment
What are you watching now? almost 4 years ago
I saw Cruising Bar 2 tonight….. it was a funny film… that’s about it for my critique, I don’t have any substance to analyze in that movie anyway! haha
I ordered The Return, I will receive it within a month.
I recently saw The Darjeeling Limited.
I bought Blow Up from Antonioni and In the Mood for Love from Wong Kar-Wai.
Olivier Bélanger inspired me, I think I will go the theater and watch Four Minutes. haha
(PS…..Why are the best films with Criterion and WHY are all the Criterion films EXTREMELY EXPENSIVE… Ok, I’ve read they remaster every film… but I mean, it is very dangerous for a student to buy 60$ DVD’S….) = The solution, renting or mortgage on DVD.
Go to Comment
What are you watching now? almost 4 years ago
Des DVD Criterion a un prix abordable, c’est impossible!
Criterion DVD at an abordable price, that’s impossible!
DVD criterio ha un prezzo ragionevole è impossibile!
Die DVD-Kriterium hat einen angemessenen Preis, das ist unmöglich!
DVDs κριτήριο έχει μια λογική τιμή είναι αδύνατον!
المعيار أقراص فيديو رقمية بسعر معقول من المستحيل
を基準には、合理的な価格は不可能だ！
DVDs критерий разумной цене невозможно!
When you say Four Minutes, you are talking about the song, right? (looool it’s a joke, what a dull subject : Hey let’s talk about the new song from Madonna on a Cinephile’s website!)
I recently saw Le Caporal Épinglé from Jean Renoir, I was surprised to notice that the whole storyline strangely looks like the one of La Grande Illusion… This is a 1962 film, Jean Renoir’s style has not changed, the characters are very charismatic and realistic… the film was essentially good because of the performance of the actors… the story was not very original.
Go to Comment
What are you watching now? almost 4 years ago
I’m watching Persona right now! I’ll give you a critic in 1 hour and 23 minutes, stay tuned! haha
Oh, I bought les Trois Couleurs from Krzysztof Kieslowski.
Go to Comment
Fall at Film Forum/Big Screen Dreams almost 4 years ago
Well, I have been waiting to see Paris,Texas, but it played a few weeks ago (Cinema du Parc, Montreal) and I saw it… splendid.
Diamant Rouge and La Lune Synthétique on the big screen would be great. Ha ha
I’d like to see Stanley Kubrick’s film on big screen!
Go to Comment
What are you watching now? almost 4 years ago
Pixar’s film have changed my childhood! I’m sad to see Wall-E wasn’t that great, like you people say. I’d rather go see it myself as soon as possible.
Go to Comment
When I say "A Perfect Film", What One Film Pops Into Your Head First? almost 4 years ago
Citizen Kane, Mon Oncle Antoine, 2001: A Space Odyssey, Chinatown, Fantasia, L’été Dernier à Marienbad, Persona, La Source, Clockwork Orange and especially Paris,Texas & The Return.
These are the films that left me completely silent after a showing, still trying to understand the feeling I had.
The feeling of perfection maybe, but who knows what is a perfect film.
Subjectivity of the Art.
Go to Comment
Which movies would you like to see on The Auteurs? almost 4 years ago
La Source from Bergman, It would be very interesting.
David Lynch’s films? Especially Eraserhead and Blue Velvet.
Go to Comment
What are you watching now? almost 4 years ago
I’d rather say that A Bug’s Life and Cars are their weakest films…
But all the other films are exceptional! IF it wasn’t of Pixar, Disney would have some problems. I mean, look at the films they make… Pixar is doing most of the job right now.
Do you think they will make a Toys Story 3 ?…. I heard some rumours about it.
http://en.wikipedia.org/wiki/Toy_Story_3
According to the terms of Pixar’s original deal with Disney, all characters created by Pixar for their films were owned by Disney. Furthermore, Disney retained the rights to make sequels to any Pixar film, regardless of whether Pixar chose to work on the films or not. However, there had been a gentlemen’s agreement between Disney and Pixar that Disney would not go ahead with sequels to films without Pixar’s involvement. But in 2004, when the contentious negotiations between the two companies made it look like a split was likely, Disney Chairman Michael Eisner put in motion plans to produce Toy Story 3 at a new Disney studio, Circle 7 Animation. Tim Allen, the voice of Buzz Lightyear, indicated a willingness to return even if Pixar was not on board.
In January 2006, Disney bought Pixar in a deal that put Pixar chiefs Ed Catmull and John Lasseter in charge of all Disney Animation. Shortly thereafter, Circle 7 Animation was shut down and its version of Toy Story 3 was shelved.4 The following month, Disney CEO Robert Iger confirmed that Disney was in the process of transferring the production to Pixar.5 John Lasseter, Andrew Stanton, Pete Docter, and Lee Unkrich visited the house where they first pitched Toy Story and came up with the story for the film over a weekend. Stanton then wrote a treatment.1 On February 8, 2007, Ed Catmull announced Toy Story 2’s co-director, Lee Unkrich, as the sole director of the film instead of John Lasseter, and Michael Arndt as screenwriter.6 Unkrich later confirmed the release date as 2010.7
See! It’s official after all!
Go to Comment
Fall at Film Forum/Big Screen Dreams almost 4 years ago
I agree with you. If you hear something about a screening concerning one of the films you mentionned, contact me.
2001 must be a incredible experience in theater.
Go to Comment
What are you watching now? almost 4 years ago
No! I bought the Trilogy at la boîte noire, 23$.
Go to Comment
Books on Film almost 4 years ago
Les Tendances du Cinémas Contemporain by Henri-Paul Chevrier, great book about the contemporary tendancies since La Nouvelle Vague, from the Interiorisation with Bergman, Dedramatisation with Antonionni, Minimalism with Wenders, Abstract filmmaking from Bunuel and many more. It is a MUST (ONLY IN FRENCH).
I’ve recently bought Le Plaisir des Yeux, it is a book containing many articles written by François Truffaut, from the early years until the late years, including some articles and prefaces concerning his collaboration with Spielberg on Close Encounters of the Third Kind. It was a very good book, many many many underlined quotes. I mean, Truffaut’s a real genius.
And, I’m starting a book entitled La Nouvelle Vague. I want to learn more and more about that incredible Wave. It includes interviews with Rohmer, Godard, Truffaut and Resnais. There is also some articles from Bazin.
QUOTE FROM MEZMORIZED
I really enjoy the essay compilation books (there is a great series released by Harvard University Press the categorizes Cahiers Du Cinema ex. The 1950s: Neo-Realism, Hollywood, New Wave and they are just a collection of essays and discussions of films, theories, trends, etc.).
I think the book entitled LA NOUVELLE VAGUE is from that collection, from Cahiers du Cinéma. There was also Mai 68.
+ Notes sur le cinématographe par Robert Bresson. Ce lit rapidement, mais à plusieurs reprises. Le livre est remplis de belles notes, homme très poétique.
Dave McDougall read that book, but I read it in french.
Go to Comment
What constitutes an Auteur? almost 4 years ago
Une personne capable d’innover son art tout en restant fidèle à soi-même, sa vision et à son style.
I’d like to see more personal definitions, this topic is very interesting.
Go to Comment
Disturbing Movies that You Love... almost 4 years ago
Eraserhead disturbed me, Persona too…
Go to Comment
Best of Animation almost 4 years ago
Norman McLaren’s work is, for me, one of the most interesting of all. OF course, there is so many films and directors-animators actually that do beautiful things, but I strongly think that what McLaren achieved in his career is incredible and inspiring. I also like his work simply because he tried new techniques and way of animating in 2D, he experimented. He would have been a ‘’good Garager’’, haha. His films always has something different but somehow the same, his style was evident and his hand meticulous. He is a known around the world and is considered one of the most innovative animator.
After all, I love what the NFB’s artists do. There is a part of political and/or cultural integration. There is also a huge part of experimentation, of creation. I admire the National Film Board (Canada).
When I was a child (still now… haha) I feld in love with Toy Story (and PIXAR!). There is many Walt Disney’s animated films which I like. (Pinocchio, Robin’s Hood, The Lion King, Aladdin)
Stop-Motion . Mr. Burton? Nightmare Before Christmas? Juke-Bar par Martin Barry! Co-Hoedeman’s ‘’The Sand Castle’’, La Planète sauvage by René Laloux is MAGNIFICIENT (http://en.wikipedia.org/wiki/Fantastic_Planet)!
Go to Comment
What are you watching now? over 3 years ago
This week, I saw these film.
SOLARIS – Tarkovsky
BLOW UP – Antonioni
MANHATTAN – Allen
STARDUST MEMORIES – Allen
INTERIORS – Allen
I’d like to see Dosky’s films, how is it possible ? Is there a DVD ?
Go to Comment
newbie intro thread over 3 years ago
I’m Colin L. Racicot and I approve MAO’s message.
Go to Comment
00:00 > 05:00 over 3 years ago
What will happen after those 20 spots are filled ? What’s the next step of the project?
AGAINST MR BOO thanks for the comment! ;)
Go to Comment
Boundaries of Filmmaking over 3 years ago
We’ve seen «les frères Lumières» with there invention, a form of documentary filmmaking that amazed and impressed the world of art and representation. Then Méliès came out of nowhere and introduced a different approach of Cinema : fiction, mise en scène, stylistic representation. (Voyage dans la Lune). He developed marginal and unique techniques to enhance the Visual Illusion.
Considering all the progressive and innovating waves/tendancies of Cinema since it’s beginning… (Originaly I’ve spoke of waves and tendancies such as Classical Cinema (sub-categories such as Impressionism, Expressionism), Sovietic (Eisenstein, Verthov) New Wave, Interiorisation, Post-Modernism, Manierism)
WHERE ARE WE NOW ?
Knowing that the medium of Filmmaking is reaching a possible limit in his form, that auteurs and geniuses around the world developed new ways of telling stories – either on a poetic approach and and realistic approaches; being aware that technology is in a constant evolution, a constant and exponential progression, in a world where technology itself is taking over the spirituality, what are the new boundaries of Filmmaking and Cinema, are there boundaries at all?
I know one thing, we’re on a cyber-community that offers great vision of Cinema, we’ve seen it with Tobias and Garage. I just want to diversify the Forum, which actually doesn’t offer many argumentative topics concerning Cinema itself.
Go to Comment
Boundaries of Filmmaking over 3 years ago
Your approach of the question is the most clear I have ever read.
The Brick Wall ; maybe we’ll need to destroy everything we’ve learned since the very beginning of Filmmaking and Cinema in order to progress and pass through that wall. Reconstructing and deconstructing what have been teached. Rediscover the purposes and efficacity of esthetics and story-telling.
I remember a quote from Ingmar Bergman, saying that he felt very bad about the fact the he was playing with the human’s eye imperfection. We cannot separate the flying pictures passing at a certain speed, we create the movement with our own eyes. It’s the art of illusion.
Maybe we need to go back to the roots in order to rewrite the principles of filmmaking.
Go to Comment
Boundaries of Filmmaking over 3 years ago
« How have they changed, what does the new audience expect from film (experience, the visceral experience), and why? The history of film is intimately bound up with the history of social change: and the history of social change in the last 100 years has in turn been deeply affected (in many countries anyway) by the work of filmmakers, in all forms and genres »
What is the new audience ? Are we talking about the hungry and brainless audience that is expecting the next Michael Bay film? (* funny exemple, because nobody expects the next Michael Bay film… )
So, considering the high accessibility in this decade of high-tech entertaining… is the NEW AUDIENCE TAKING A ROLE IN THE EVOLUTION OF CINEMA? We should define that new audience, because what are people expecting ? What are the problematics that inspires the young filmmaking around the world ? We haven’t seen much social changes this decades, in comparaison to the last 90 years (it’s a large scale, I’m aware). Individualitsm seems to take an important place in our society.
Is there a lack of inspiration ? Should we turn our back to…. ourselves, into a miroir, making films about, us.
Go to Comment
Boundaries of Filmmaking over 3 years ago
The discussion isn’t much about the directors that were originaly in the first post, so I just decided to remove them, since it’s seems pretty subjective to classify some directors, especially when we talk about artistic work here.
We are discussing about NOW and the FUTURE…
( You’ll have to forgive me, I’m originaly french-speaking, so I may translate some words that doesn’t exists in english! Sorry for the mistakes)
Let’s focus on the question.
Go to Comment
Boundaries of Filmmaking over 3 years ago
Exactly.
Go to Comment
Best title over 3 years ago
Why are we discussing about this? It’s the same thing as saying :
Who has the best haircut?
TheAuteurs.com…. come on.
(Paris,Texas
À Bout de Souffle
Bleu
Vozvrashcheniye)
It’s a funny topic… but there’s too many of them on the forum.
Go to Comment
Buñuel recommendations? over 3 years ago
Nate the Movie Mate told you the cream of the cream:
The Milky Way + The Discreet Charm of the Bourgeois are my favorite.
Go to Comment
Who do you think the most overrated director is? over 3 years ago
«I haven’t seen a single Robert Altman film that I’ve liked, and that includes Nashville and Short Cuts.»
The player is very good, see it.
Go to Comment
Boundaries of Filmmaking over 3 years ago
He want back to the basics, reconstructing. Primary colors + 360 (the representation). Alvin Lucier with visuals. Innovating with what we already know sounds like post-modernism, of course. 0500 est le «recueil-repère» d’un nouveau mouvement, peut-être, qui sait. Je suis prêt à produire. I’m ready.
THOUGHTS
The limits to innovation could be the boundaries of our knowledge…
But since our knowledge is constantly increasing, there is therefore no limits nor boundaries to innovation in filmmaking.
http://www.sml-studio.com/index.php?idProjet=parmegianni
-Voir l’animation “Etudes élastiques”
« L’animation est construite autour de l’idée de déformation et d’élasticité. »
The animation is constructed around the idea of deformation and elasticity.
Go to Comment
PROJECT 05 over 3 years ago
It’s alive.
Go to Comment