Razno

[Ravanelli]

tek sad

[kobni zelaya]

Meni je posebno koristan jer mi je on jedini kontakt sa 90% filmova koje recenzuje. Nema šanse da ću ikada pogledati Hansel and Gretel Witch Hunters, na primer. Otprilike mi je njegova recenzija dovoljna.

[Ravanelli]

haha, da. meni je sada uštedeo vreme za prometheusa i igre gladi, a mislio sam već neko vreme da im dam šansu

[Hippie]

http://www.youtube.com/watch?v=Gdv55pki5As

[MocaVukotic]

sumo za hustlera

[Sludge Factory]

Read Martin Scorsese's open letter to his daughter about the future of filmJan. 8, 2014by: Paul ShireyDirector Martin Scorsese has already created a legacy of films that will long be remembered, revered, studied, and admired for a long time. He's crafted some of the finest films ever made, without question, and continues to ply his trade, most recently with THE WOLF OF WALL STREET. With the ever-changing landscape of film seemingly at a crossroads of change, particularly in the mass affordability and availability of filmmaking tools, the world of cinema is entering a revolutionary period, which Scorsese has taken heed of. As such, the director has penned an open letter to his youngest daughter, Francesca, about his optimism for the art of film, but with the caveat of rememebering what's most important in applying the craft. It's an inspiring and thoughtful piece, especially for budding filmmakers.

Dearest Francesca,

I’m writing this letter to you about the future. I’m looking at it through the lens of my world. Through the lens of cinema, which has been at the center of that world.

For the last few years, I’ve realized that the idea of cinema that I grew up with, that’s there in the movies I’ve been showing you since you were a child, and that was thriving when I started making pictures, is coming to a close. I’m not referring to the films that have already been made. I’m referring to the ones that are to come.

I don’t mean to be despairing. I’m not writing these words in a spirit of defeat. On the contrary, I think the future is bright.

We always knew that the movies were a business, and that the art of cinema was made possible because it aligned with business conditions. None of us who started in the 60s and 70s had any illusions on that front. We knew that we would have to work hard to protect what we loved. We also knew that we might have to go through some rough periods. And I suppose we realized, on some level, that we might face a time when every inconvenient or unpredictable element in the moviemaking process would be minimized, maybe even eliminated. The most unpredictable element of all? Cinema. And the people who make it.

I don’t want to repeat what has been said and written by so many others before me, about all the changes in the business, and I’m heartened by the exceptions to the overall trend in moviemaking – Wes Anderson, Richard Linklater, David Fincher, Alexander Payne, the Coen Brothers, James Gray and Paul Thomas Anderson are all managing to get pictures made, and Paul not only got The Master made in 70mm, he even got it shown that way in a few cities. Anyone who cares about cinema should be thankful.

And I’m also moved by the artists who are continuing to get their pictures made all over the world, in France, in South Korea, in England, in Japan, in Africa. It’s getting harder all the time, but they’re getting the films done.

But I don’t think I’m being pessimistic when I say that the art of cinema and the movie business are now at a crossroads. Audio-visual entertainment and what we know as cinema – moving pictures conceived by individuals – appear to be headed in different directions. In the future, you’ll probably see less and less of what we recognize as cinema on multiplex screens and more and more of it in smaller theaters, online, and, I suppose, in spaces and circumstances that I can’t predict.

So why is the future so bright? Because for the very first time in the history of the art form, movies really can be made for very little money. This was unheard of when I was growing up, and extremely low budget movies have always been the exception rather than the rule. Now, it’s the reverse. You can get beautiful images with affordable cameras. You can record sound. You can edit and mix and color-correct at home. This has all come to pass.

But with all the attention paid to the machinery of making movies and to the advances in technology that have led to this revolution in moviemaking, there is one important thing to remember: the tools don’t make the movie, you make the movie. It’s freeing to pick up a camera and start shooting and then put it together with Final Cut Pro. Making a movie – the one you need to make - is something else. There are no shortcuts.

If John Cassavetes, my friend and mentor, were alive today, he would certainly be using all the equipment that’s available. But he would be saying the same things he always said – you have to be absolutely dedicated to the work, you have to give everything of yourself, and you have to protect the spark of connection that drove you to make the picture in the first place. You have to protect it with your life. In the past, because making movies was so expensive, we had to protect against exhaustion and compromise. In the future, you’ll have to steel yourself against something else: the temptation to go with the flow, and allow the movie to drift and float away.

This isn’t just a matter of cinema. There are no shortcuts to anything. I’m not saying that everything has to be difficult. I’m saying that the voice that sparks you is your voice – that’s the inner light, as the Quakers put it.

That’s you. That’s the truth.

All my love,

Dad

[Jimmy Kowalski]

Kako je pocetak Shininga postao kraj Blade Runnerahttp://www.youtube.com/watch?v=KaQ233PdiIQ

http://www.youtube.com/watch?v=4fCeH-WnJYM

[Ajant23]

E, jeste vragolan taj Ridli Didli Skot...

[Sludge Factory]

http://youtu.be/mjqkQlvCs-M

[Sludge Factory]

Dreams of Don Quixote have begun again. Dave Warren has started doodling. Will we get the old bastard back on his horse this year? Human sacrifices welcomed. Stay tuned.

[Ajant23]

Ma kolika besmislica bila da se ekranizuje Don Kihot, taman prilika da barem amer iz Monti Pajtona zaokruži tu celinu koju je zamislio u svom opusu...

[hoffnung]

koliko novca moze da dobije za pojavljivanje u sceni koja ne traje duze od pet sekundi + da li to zavisi od budzeta filma npr? ako je film skuplji, dobije vise?

[đorđe geprat]

maločas naleteh na ovu stranicu b92. valjda je ovde mesto za njenu prezentaciju.http://www.b92.net/kultura/vesti.php?nav_category=268&yyyy=2014&mm=01&dd=14&nav_id=799904šta mislite o ovoj listi? neki od onih koji su komentarisali nisu skontali razliku između kontroverznog i lošeg. šta bi ste dodali? ja sam se setio jednog filma koga sam gledao vrlo mlad. možda 15 godinahttp://www.imdb.com/title/tt0057318/?ref_=fn_al_tt_4

[I*m with the pilots]

Posteri na ceski nacin http://instagram.com/p/fJk1snscNL/# Anime | Real life http://9gag.com/gag/aBK64PQ

[steins]

Aukcija rekvizita u Krnjacinisam znao da su se Chernobyl Diaries i Okrug 13 snimali u Srbiji :unsure:PS evo šta se još snimalo kod nas....LINK Edited January 18, 2014 by steins