Director Alfonso Cuaron is back with a teaser for Gravity, his first film since Children of Men. Watch it here.
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However, [the robots] must be programmed well in advance. So the entire picture would have to be pre-planned and pre-visualized in fine detail: all of the blocking for the actors and the camera, every angle, every zoom, all the digital sets and backgrounds, the color and position of every light source.
‘Gravity’ review: try not to scream
There’s a moment in Gravity when you suddenly realize you’re not safe. Sandra Bullock’s Dr. Ryan Stone is installing a component for the Hubble space telescope, wrapped in her bulky spacesuit. Mission Commander Kowalski (George Clooney) loops around her, showboating while he makes small talk with Mission Control. The camera circles in one of director Alfonso Cuarón’s signature long takes, framing up Bullock with just the blue orb of planet Earth behind her. The 3D pulls you in, and then it hits you. One wrong move could pitch you right out of your theater seat, sending you hurtling through the IMAX screen and toward the planet far, far below.
And that’s just three minutes in.
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How the sound masters of ‘Gravity’ broke the rules to make noise in a vacuum
3D and IMAX may receive top billing, but the secret weapon of Alfonso Cuarón’s Gravity is something the audience will never even see. From the sound design to the score, Gravity features one of the most innovative and inventive sound mixes to make its way to theaters — one that breaks with modern movie convention in significant ways. It’s a film where space is actually silent, touch is the best way to hear, and dialogue whirls around the audience in an immersive 360-degree cyclone.
Gravity Rush review: the upside of down
Flawed and occasionally repetitive, Gravity Rush still manages to sell the thrill of falling.
Noir to near-future: ‘Looper’ director Rian Johnson talks sci-fi, Twitter, and the fate of film
Bryan Bishop interview Rian Johnson:
I mean for me, I’ve shot film, I’ll hopefully shoot the next one on film, because I just feel that film is still the highest-quality capturing format that we have, and it’s just the best looking. I tend to bristle a little bit when film gets put in the realm of nostalgia, where that ends up being assigned as its main merit. I think digital is moving forward at a very fast pace and it will overtake film, just in terms of quality I think, and luckily it’s moving very quickly because film is going away very quickly. You know the [Arri] Alexa is a great camera, and the stuff shot on it looks fantastic. But it’s still, I just don’t think it looks as good as film.
BUT THE POINT IS THAT IN HAVING A CLASS DISCUSSION YOU CAN’T JUST LET PEOPLE BE JERKS. IT RUINS THE CONVERSATION AND SERVES AS A BLOCK FOR EVERYONE. SO YOU HAVE TO DO WHAT TEACHERS DO EVERY DAY. YOU HAVE TO DEAL WITH DISRUPTIVE STUDENTS AND ENGAGE THEM. YOU HAVE TO DISARM THEM.
Losing it at the movies with Film Crit Hulk | The Verge
Film Crit Hulk on dealing with commenters, 48fps, and an eternal optimism for film.
They considered creating a “CG Sandra,” but “the fluid in the eyes, the mouth, the soul—there’s something that doesn’t work yet,” Lubezki says.
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