Saul Bass was one of the greatest graphic designers who ever lived. He created the logos for such ubiquitous organizations as AT&T, United Airlines and the Girl Scouts of America. He revolutionized the art of movie titles in such films as The Man with the Golden Arm, Vertigo and West Side Story.[...]
You have to give the Russian Futurists this: those guys didn’t mince words.[...]
Many filmmakers have tried to adapt Lewis Carroll’s Alice’s Adventures in Wonderland, but none, in the estimation of most enthusiasts of either Alice or animation, have fully succeeded.[...]
The beginning of the 1972 documentary Future Shock, directed by Alex Grasshof, shows Orson Welles, bearded and chomping on a cigar, standing on an airport people mover. He turns to the camera and delivers a monologue in his trademark silken baritone.[...]
In 1967, Stanley Kubrick commissioned Spartacus composer Alex North to compose a score for 2001: A Space Odyssey. Yet, while at the editing bay, he fell in love with the movie’s temporary soundtrack consisting of a bunch of existing works of classical music. So in an unprecedented move, he chose those works in favor of North’s composition.[...]
Richard Linklater’s latest film Boyhood has earned quite a lot of press by accomplishing the unprecedented cinematic feat of telling a story over a decade long with a production over a decade long, following the same characters, played by the same growing and aging actors, the whole time through.[...]
There’s never been a bad time to revisit Blade Runner, but now, with all the news about the in-development Blade Runner 2 breaking even as you read this, it seems like an especially appropriate time to go deeper into Ridley Scott’s piece of groundbreaking, Philip K. Dick-adapting cyberpunk cinema.[...]
A friend recently told me about a screening of Andrei Tarkovsky’s Solaris he attended in a state of, er, expanded perception. The vivid sci-fi trip he’d expected turned into the most harrowing emotional experience of his life.[...]
Some of us get our education at film school. More of us get it from The Criterion Collection, that formidably cinephilic restorer, curator, and packager of classic motion pictures from every era.[...]
How do you follow up on making a children’s movie classic? If you’re Tim Burton, you spin a tale of sex, murder and conceptual art.
On the heels of his feature debut Pee-Wee’s Big Adventure, Tim Burton adapted Ray Bradbury’s “The Jar” (1944) for an episode of the ‘80s reboot of Alfred Hitchcock Presents.