Pants of Exceeding Consequence, a short film by Aaron Beckum.
WHAT DAVID LYNCH IS REALLY LIKE
I HAVE NO IDEA. I rarely got closer than five feet away from him and never talked to him. You should probably know this up front. One of the minor reasons Asymmetrical Productions let me onto the set is that I don’t even pretend to be a journalist and have no idea how to interview somebody, which turned out perversely to be an advantage, because Lynch emphatically didn’t want to be interviewed, because when he’s actually shooting a movie he’s incredibly busy and preoccupied and immersed and has very little attention or brain space available for anything other than the movie. This may sound like PR bullshit, but it turns out to be true, e.g.:
The first time I lay actual eyes on the real David Lynch on the set of his movie, he’s peeing on a tree. This is on 8 January in L.A.’s Griffith Park, where some of Lost Highway’s exteriors and driving scenes are being shot. He is standing in the bristly underbrush off the dirt road between the base camp’s trailers and the set, peeing on a stunted pine. Mr. David Lynch, a prodigious coffee drinker, apparently pees hard and often, and neither he nor the production can afford the time it’d take to run down the base camp’s long line of trailers to the trailer where the bathrooms are every time he needs to pee. So my first (and generally representative) sight of Lynch is from the back, and (understandably) from a distance. Lost Highway’s cast and crew pretty much ignore Lynch’s urinating in public, (though I never did see anybody else relieving themselves on the set again, Lynch really was exponentially busier than everybody else.) and they ignore it in a relaxed rather than a tense or uncomfortable way, sort of the way you’d ignore a child’s alfresco peeing.
SHORT FILM: PLOT DEVICE
On a whim, a young filmmaker decides to buy something called “Plot Device” off of Amazon, hoping that it will improve his filmmaking skills, but he has no idea what it does. It is in fact, a physical plot device button, inserting the protagonist into all kinds of stereotypical situations like the runaway brides, zombies and alien invasion flicks.
The whole thing was made with the new Magic Bullet software, which is probably like Photoshop filters on crack. The video does look pretty real, I mean I can’t imagine that they had that much of a budget to work with. If this kind of stuff interests you be sure to check out the making of video here.
via Fox Is Black
Submarine (2010), Directed by Richard Ayoade
15-year-old Oliver Tate has two objectives: To lose his virginity before his next birthday, and to extinguish the flame between his mother and an ex-lover who has resurfaced in her life.
This UK film came out last year but is seeing it’s U.S. debut on June 3rd.
11”x17” 3-color, hand-pulled screen print on French Lemon-Drop Poptone 100lb. cover by Ronlewhorn (Aaron Scamihorn). In conjunction with Roving Cinema and The Indianapolis International Film Festival.
Prints are $20 here.
For anyone in NYC tonight, go check out a free screening of David Byrne’s wonderfully strange film, True Stories.
Screening at 7:00pm sharp (Doors 6:30)
FREE Admission (2 dollar donation suggested)
21+ (Cash Bar)
Disjecta hosts a screening of David Byrne’s criminally under-seen True Stories, which is best described as a magical-surrealist-comedy-musical. Made in the mid 80s, True Stories is an eerie prediction of where we are today. The film observes the emergence of computer chips, shopping malls, and modern advertising, as well as comments on how these relate to, and often intrude on, human interaction. However, instead of doing so with pessimism, it does so with such a curiosity that the film could almost be considered joyful, according to promoter Nate Wey. “This is our humble way of helping more people discover this magical work,” says Wey.
This movie does what some painters try to do: It recasts ordinary images into strange new shapes. There is hardly a moment in ‘True Stories’ that doesn’t seem everyday to anyone who has grown up in Middle America, and not a moment that doesn’t seem haunted with secrets, evasions, loneliness, depravity or hidden joy - sometimes all at once. This is almost like a science-fiction movie: Everyone on screen looks so normal and behaves so oddly, they could be pod people.
- Roger Ebert
(Source: theokbb)
Heath Killen is a freelance designer and illustrator with a great eye. His work combines hand done work with the computer fluidly and presents a great balance despite it’s rather colorful and often experimental nature.
His site is definitely something you can get lost in (due to the amount of work he’s done) so if you’re willing and interested check out more of his work over at his website.
You may not know Neil Kellerhouse but he is behind some of the most ubiquitous designs in the film industry. He created the logo for Finding Nemo & Up, the poster for The Social Network and the Bob Dylan biopic I’m Not There, as well as many others. Above is a selection of my favorites in his portfolio. You can view the whole thing here on his site.
