There are not many film directors who I admire and whose films I look forward to seeing more than Andrew Niccol. In the world within his upcoming film In Time starring Justin Timberlake and Amanda Seyfried, people stop aging at age 25, and have to keep working to earn themselves more time. Purchases are measured not in dollars but in minutes that are debited against a person’s remaining life. Want a coffee? That is four minutes debited off your life clock. The corollary to this is that if you’re obscenely wealthy you could live indefinitely as long as you have money left on your clock. Timberlake’s character receives a boon of over 100 years of life from an old man, the unfortunate effect of which makes it seem that he’s responsible for the stranger’s subsequent death. Off he goes running, being chased by bad guys, somehow dragging Seyfried’s character along for the ride.

The stories in Niccol’s films works in the same way that many of the great works of science fiction does; that is, they ask mind-provoking “what if” questions.

Consider Gattaca, the excellent first movie he wrote and directed, in which he asks the question, “what happens when discrimination based on your genetic code is the societal norm?” In The Truman Show, the question is “what if your life is nothing more than part of a staged TV show?” In S1m0ne he asks “what if you could create a lifelike movie star entirely within the computer”?

In Time poses this interesting question: “What if time literally is money?” I’m really curious to find out what his answer might look like.

 

Brandon McCormick directed The Candy Shop, a well-executed, beautiful allegory for child sex trafficking. It stars Doug Jones (Hellboy) as the villainous candymaker who lures little girls into his shop, transforms them into lollipops and sells them to adult men.

Also check out his brilliant earlier film Heartless: The Story of the Tin Man

Via Boing Boing

 

It’s just another Friday morning, clicking through my RSS feeds while nursing a slight hangover, when I came upon this vid.

Eye-popping brilliance. It may be a bit over the top and borderline bombastic, but it you can’t argue with the impact it makes especially on the initial viewing. I like the intensity of the animal expressions in slow motion, and the minimalist lighting and B&W look works for me. Only problem that bothers me is the “meteor” smoke trails that appear in the background, appear to be sharper and more in focus than the people that are in the foreground. Anyway, it doesn’t make it any less inspiring.

Woodkid – Iron via Boing Boing

Mar 292011
 

In this darkly fantastic new futuristic short film by Ruairi (pronounced “Rory”) Robinson, we follow what happens to a domestic household robot named Blinky when its young owner (played by Max Records of Where the Wild Things Are) longing to bring his family closer together, eventually gets bored of it.

The dreamy cinematography by MacGregor is nothing short of wonderful, and the special effects Robinson used to create Blinky are top-notch and for the most part fairly seamless and does not call attention to itself. The only place where the effects took me out of the story is the scene where you could see the futuristic skyline of the city. Other than that, it’s hard to tell if Blinky was a CG creation or a puppet practical. But none of that matters. The story and the emotional connection the director makes with Records’ character is what makes this film work. I look forward to seeing Robinson’s name on a big screen feature one day, hopefully not too far, far in the future.



Blinky™ via Short of the Week

 

If there’s one person that always looks great in front of the camera, it’s Willem Dafoe. In this Jim Beam spot, he plays a man from a small town that has to make a choice: take a bus either to Milwaukee or New York (obviously). We’re then presented with a series of possible futures for him, from circus pooper-scooper, a fashion designer, to even a sumo wrestler (hmm, the wrestler’s face replacement seems to drift a little). Several of the scenes are beautifully edited to show him as different incarnations of himself within the same scene.

This compelling spot makes you re-examine the many decisions you make in life and encourages you to take more risks, as the payoff can be gratifying.

Vimeo via If It’s Hip, It’s Here

 

I have never learned to skateboard, so it’s awesome to find this clip from Zack McTee. Cool stuff, but have your vomit bag close by. Footage filmed using a shoulder-mounted DSLR.

Link on Vimeo

 

If you thought your health insurer is bad now…

The 3rd Letter is a brilliant short film by Grzegorz Jonkajtys about a future dystopian world where a desperate man at the end of his resources is forced to deal with the bureaucracy of an insurance company.

There’s a lot to like in this film, such as the high production value in realizing the director’s vision of the future world. The director has leveraged his experience working as a VFX artist on several high-profile projects in the past such as Pan’s Labyrinth and Hellboy, to create the many effects used to visualize the exterior shots in this film.

The lead actor Rodrigo Lopresti did a magnificent job of making his downtrodden character someone you could really sympathize with as his situation goes from dire to worse.

Link to Vimeo via Short of the Week

 


[googlead]

The writer of Wednesday’s issue on Salon really doesn’t like the character designs in the upcoming Gnomeo and Juliet film. He talks to character designer Shannon Tindle to figure out why some character designs work, and others fail.

You want to have a lot of contrast in your lineup, and “Kung Fu Panda,” “How to Train Your Dragon” and “The Incredibles” all have a lot of different, broadly different silhouettes and shapes of characters. Looking at very different shapes is automatically more interesting than characters with the same height and same shape

I don’t particularly care for most of the character designs coming out of DreamWorks (where I, like Tindle, happen to work). The stock human characters in the Shrek franchise are grotesque. I do appreciate their willingness to go with edgier designs, but the more out there your characters appear, the more you limit the mainstream appeal of your films.

You only have a split second to attract the attention of someone who happens to glance up at your billboards or pass by the bus stop. In that brief time that person will have to decide between “Yes, that’s an appealing character that I’d like to connect with” or “Ew, what is that thing, get it away from me.”

Here’s another example, with two recent movies about villains:

Roxanne and Megamind (left) are all about sharp angles, while Gru and the kids from Despicable Me (right) are more rounded and approachable. If you know nothing about the plot of either film and happen to see these two posters next to each other, which one would you choose to see?

 

Check out the facial animation in this in-game clip from Rockstar Games’ upcoming game L.A. Noire. It conveys an amazing amount of emotional information, despite the crude rendering and the overly shiny skin texture.


[googlead]

Contrast that with the effects used to generate the younger version of Jeff Bridges’ character in Tron Legacy. This is state-of-the-art performance capture that was used to alter Brad Pitt’s character in The Curious Case of Benjamin Buttons. Still, Jeff’s performance looks very muted, as if he’s wearing an inch-thick latex mask.

I think we’re getting a lot closer to bridging the uncanny valley.

Feb 072011
 

Wonderfully done short film from Marko Slavnic.

A couple at a Chinese restaurant is unaware that their conversation is being closely monitored.

Via Short of the Week

© 2012 Onny Carr Suffusion theme by Sayontan Sinha