Last night became movie night; I watched The Old Guard. It was diverting enough, but not particularly special. The one thing that popped for me was the teamwork elements in their fighting style: e.g., one person grabs and disarms a bad guy but sets up the person behind them to take the kill shot. I’d watch a sequel.
The next two Comic-Con@Home panels on my schedule today are the Gender, Race, and Comic Book Coloring panel; and the Women Rocking Hollywood 2000 (“Supporting Female-Helmed Film and TV”) panel.
Having finally gotten to sit down with the other panel on my Comic-Con@Home schedule today, I wanted to pass along a great bit from Charlize Theron discussing action editing.
I don’t know historically, but I think that there was a real attempt to do a first which was a spliced-together take which really played as one, which meant that logistically we had to shoot seven to ten minutes of action continuously, and I know that sounds like nothing but as a performer that means that you have to get everything right in seven to ten minutes, and that is an incredibly difficult thing to do, especially for actors. For myself, I’m not a martial arts fighter, I’ve never trained in martial arts, but it’s possible [plausible?], and that’s what’s so incredible. And I was really proud of the action we accomplished in Atomic Blonde. It felt to me like we were pushing the envelope. […] What’s great is that there is no one way, but that we are definitely pushing it. You know, you look at a film like Fury Road, and there’s definitely more edits in that film. George Miller’s style in shooting his action is fast-paced, but it’s done in a way that doesn’t feel like a cheat. I think editorially we’ve always cheated action, and when you don’t cheat it people really know, they can feel it, and that authenticity has really I think been celebrated in the last decade.
This morning over late breakfast my Comic-Con@Home schedule is the “Crazy” Talk (“Mental Health, Pop Culture, and the Pandemic”) panel and the Charlize Theron (“Evolution of a Badass – An Action Hero Career Retrospective”) panel.
Today is all about Scott Pilgrim vs. the World Water Crisis, and I needed this right now, more than I realized. An exclusive Entertainment Weekly table read fundraiser for Water for People, it couldn’t come at a better time; I’ve been so brittle lately. Despite a couple of cast absences, it’s glorious, and I am in tears, and they had so much fun cheering for certain moments when they come. Thanks to Edgar Wright et al.
What original Netflix movies should I add to my queue? I haven’t done a run of watching Netflix movies in awhile and I think I ought to. I’ve already just added The Old Guard and Project Powers. I still have to get to Bird Box and See You Yesterday. There’s a bunch of other random stuff I added to my queue at some point that I never got around to watching.
My plans for Monday are set, even though I literally just rewatched Scott Pilgrim a couple weeks ago. Unlike bread, you could eat this movie all day and not get fat.
The Scott Pilgrim vs. the World reunion brings back nearly the entire all-star cast, including Michael Cera, Mary Elizabeth Winstead, Chris Evans, Aubrey Plaza, Ellen Wong, Kieran Culkin, Mark Webber, Johnny Simmons, Alison Pill, Satya Bhabha, Mae Whitman, Brandon Routh, Jason Schwartzman. The cast is celebrating with a reading of its screenplay, joined by writer-director Edgar Wright, co-writer Michael Bacall, and author-artist responsible for the original Scott Pilgrim graphic novels Bryan Lee O’Malley.
Ian Forrester looks back at Inception ten years on, and passes along one argument regarding the spinning top. I’m still partial to mine.
Miraz Jordan revealed to me the existence of Radioactive, a biopic of my purported relative Marie Curie who, per Kottke, “was the first woman to win a Nobel Prize, the first person to win two Nobel Prizes, and the only person to ever win Nobel Prizes in two different scientific disciplines”. It streams on Amazon starting July 24.
Remember when this time last year was all about ScarJo “clarifying” some comments about playing “any person, or any tree, or any animal” by making them even worse? Lately I kept expecting her to pop up in that story about Halle Berry seeking to play a trans man because “who this woman was is so interesting to me”.
Two years ago today, when I was writing on Medium instead of blogging, I reposted my look at an unfilmed Joss Whedon project, which I’d originally posted on a short-lived blog incarnation almost exactly a year prior. It’s among the posts I’ve imported here at their original dates. If you’ve ever wondered about Goners, here you go. Comments are closed on that original post, but open here; if you’ve any questions that aren’t answered there, feel free to ask.
This thing that Robin Rendle says product designers need to do is a thing I’ve always thought anyone and everyone should do, pretty much.
In the early stages, solving the problem isn’t important. In fact, the first round of design that you show anyone should be focused on setting the stage for a discussion. It’s about gathering all the ideas and giving enough space for weirder, better ideas. Early designs should not try so damn hard to solve the problem, instead they should define and push the scope of the project into a frightening new territory.
Admittedly, I’ve mostly thought about it sometimes when listening to writers talk about how this or that show or movie happened, and I cringe whenever I get the sense that for the original pitch they tried preemptively to imagine feedback and notes and incorporate them in from the get-go.
Thing is, in any creative process, the client is going to want to feel they have control and input. If you have an idea you consider a 10 but you pitch it as a 7 because you think that’s where the notes will push it anyway, you could end up with a 4, and then everybody loses.
Interesting: Movies Anywhere (the studio-backed platform that lets you “merge” the digital movie collections you might have scattered across various services) now has a thing called Screen Pass that lets people borrow your movies, up to three each month — although it looks like in order to lend out movies you have to “purchase a Movies Anywhere-eligible movie or redeem a digital code every 6 months”. If anyone wants to try it out, my eligible movies are Desk Set, Fury Road: Blood and Chrome, Inception, A Knight’s Tale, and Scott Pilgrim vs. the World.
Ferris Bueller’s Day Off is on, and has me wondering if anyone has ever done this concept but with people of a different class and/or race — and if so, did they do it essentially as-is, which would make a statement satirically, or did they have it play out very differently, which would make a statement (maybe technically the same one?) tragically.