6:19
NOTHING BUT THE BEST English - 1964 - Alan Bates, Denholm Elliott, Harry Andrews
NOTHING BUT THE BEST English - 1964 - Alan Bates, Denholm Elliott, Harry Andrews, Millicen...
published: 06 Jun 2012
author: filmnoir2012
NOTHING BUT THE BEST English - 1964 - Alan Bates, Denholm Elliott, Harry Andrews
NOTHING BUT THE BEST English - 1964 - Alan Bates, Denholm Elliott, Harry Andrews, Millicent Martin, Ernest Clark, Nigel Stock - directed by Clive Donner Available by calling 1-800-440-2960 or 1-306-955-3763 or emailing robertsvideos@shaw.ca - mentioned in Leonard Maltin's Movie Guide & VideoHound's Golden Movie Retriever
published: 06 Jun 2012
views: 546
2:20
Millicent Martin - Nothing But The Best - 1964 45rpm
...
published: 19 Oct 2012
author: Sids60sSounds
Millicent Martin - Nothing But The Best - 1964 45rpm
6:13
The Pawnbroker Movie 1964 - Part 13 of 13
Based on a novel by Edward Lewis Wallant, this gritty story follows Sol (Rod Steiger in a ...
published: 18 Dec 2009
author: Bacmaster
The Pawnbroker Movie 1964 - Part 13 of 13
Based on a novel by Edward Lewis Wallant, this gritty story follows Sol (Rod Steiger in a breakout performance), a lonely camp survivor who has dealt with the destruction of his family by suppressing all emotion and cleaving to the philosophy that nothing matters except money. (His bedridden and dying friend Mendel describes him, to his face, as "the walking dead.") Sol cannot accept the friendship of his assistant, Ortiz (Jaime Sanchez), or of an equally lonely widow (Geraldine Fitzgerald). As the 25th anniversary of his wife's murder approaches, he starts to fall apart, and it becomes clear that what he really wants is to die. The film was considered shocking when first released, both because of its rawness and because of brief nudity. Time has made some of the dramatic touches seem melodramatic--especially the corny "blood on my hands!" final scene. But Steiger's performance is still remarkable, and, even after MTV, the sudden-flashback editing is a forceful technique. A high point of Sidney Lumet's career. Black and white, with lots of atmospheric trumpets by Quincy Jones. (1964)
published: 18 Dec 2009
author: Bacmaster
views: 10408
4:39
Grand Turismo Winning Camaro, 1969 Ford Mustang, and 1964 Mercury Comet Caliente at SEMA
SEMA Show 2010 was nothing but a playground for automotive enthusiasts like Bodie Stroud, ...
published: 11 Feb 2011
author: KNfilters
Grand Turismo Winning Camaro, 1969 Ford Mustang, and 1964 Mercury Comet Caliente at SEMA
SEMA Show 2010 was nothing but a playground for automotive enthusiasts like Bodie Stroud, Tommy Zondervan and Dale Snoke. Bodie Stroud tells us about his 1969 Ford Mustang that pushes 777 horsepower. After winning the Grand Turismo Award for Best Domestic, Tommy Zondervan explains the top mount twin turbos on his one-of-a-kind Chevy Camaro. Dale Snoke shares with us his re-creation of a 1960's vintage drag car; a 1964 Mercury Comet Caliente.
published: 11 Feb 2011
author: KNfilters
views: 749
3:21
The Ronettes - Walking In The Rain - 1964
I first heard "Walking In The Rain" in late 1964, I was just 12 years old, and from the mo...
published: 15 Sep 2010
author: boopkid
The Ronettes - Walking In The Rain - 1964
I first heard "Walking In The Rain" in late 1964, I was just 12 years old, and from the moment I heard it, I was blown away by the special effects, its incredibly beautiful melody, but most of all by THAT voice, Ronnie Spector's unique voice, and her tender phrasing on this song is nothing short of perfection. There is an elegance of orchestration, of melodic build up, that make it a majestic and memorable song; but it's the believability of Ronnie's poignant vocals that make it a CLASSIC. I have the 45, I have the Spector box set, and now the song lives in my i-pod, it has been with me all these years, and it was time to pay it the tribute it deserves- This is what this little video is all about, an audiovisual honor to the artist, writers and producer, for having given us this most perfect of records. About the song- In November 1964, the Ronettes released "Walking In the Rain" (Philles 123), their most dramatic song to date. The Mann/Weil/Spector written ballad reached number twenty three and won a Grammy for Best Sound Effects, the only Grammy Spector ever received. Ronnie Spector amazingly completed her vocals on the first take, and she did so beautifully- Her poignant phrasing and honest soulful singing is what makes this record so special and so believable. Add to that the haunting ethereal chorus by Estelle and Nedra and lush and dramatic "Wall of Sound" orchestration/production by Phil Spector and you have the perfect teen rock symphony.
published: 15 Sep 2010
author: boopkid
views: 188602
0:58
1964 Buick Riviera Commercial Sexist
This particularly sexist commercial from Buick is actually nicely shot and has great music...
published: 08 Dec 2007
author: OsbornTramain
1964 Buick Riviera Commercial Sexist
This particularly sexist commercial from Buick is actually nicely shot and has great music. The car is fantastic too. Then they go over the top when they claim a woman can admire a Rivera but only a "Man" can understand it. lol. Boy, times have changed.
published: 08 Dec 2007
author: OsbornTramain
views: 92666
3:01
Brook Benton: A House is Not a Home (Bacharach, David, 1964)
Brook Benton (September 19, 1931 - April 9, 1988) was an American singer and songwriter wh...
published: 05 May 2010
author: classicvinylbiz
Brook Benton: A House is Not a Home (Bacharach, David, 1964)
Brook Benton (September 19, 1931 - April 9, 1988) was an American singer and songwriter who was popular with rock and roll, rhythm and blues, and pop music audiences during the late 1950s and early 1960s, when he scored hits such as "It's Just A Matter Of Time" and "Endlessly", many of which he co-wrote. He made a comeback in 1970 with the ballad "Rainy Night in Georgia." Benton scored over 50 Billboard chart hits as an artist, and also wrote hits for other performers. -------------------------------------------------------------- A chair is still a chair Even when there's no one sitting there But a chair is not a house And a house is not a home When there's no one there to hold you tight, And no one there you can kiss good night. A room is still a room Even when there's nothing there but gloom; But a room is not a house, And a house is not a home When the two of us are far apart And one of us has a broken heart. Now and then I call your name And suddenly your face appears But it's just a crazy game When it ends it ends in tears. Darling, have a heart, Don't let one mistake keep us apart. I'm not meant to live alone. Turn this house into a home. When I climb the stair and turn the key, Oh, please be there still in love with me.
published: 05 May 2010
author: classicvinylbiz
views: 18812
9:52
Naked Kiss pt. 1, Film Noir w/ Hookers, Crippled Kids & More!
Sam Fuller tells us a heart warming story of how a young woman is able to weather adversit...
published: 15 Apr 2009
author: MindsiMedia
Naked Kiss pt. 1, Film Noir w/ Hookers, Crippled Kids & More!
Sam Fuller tells us a heart warming story of how a young woman is able to weather adversity and transform herself. It is also a nasty little film noir / soap opera from 1963. In the opening sequence we meet Kelly a bald headed hooker who knocks a man out and takes $75 from him. Fast forward two years and run into Kelly again as she arrives at the bus station of a small town. She quickly meets Griff local captain of police and the film obligatory cynical veteran. We learn that Kelly is now operating as a traveling "champagne" saleswoman". Griff samples some of Kelly's wares and later as they are getting dressed he tells her that he runs a nice town and if she wants to set up shop she needs to go to the town on the other side of the river. Flash forward again a couple of years and Kelly is still in town but is now works in a hospital with cripple kids. She has made herself in to a new person. Or has she? From this point on the story goes off the rails as Kelly's past catches up with her. Just as she finds true love with the town's richest man. "Nothing but the buck, the bed and the bottle for the rest of my life." Just one example of the prose being dispensed by the hard bitten characters that populate this cinematic masterpiece. Oh there are a few slow spots but they are more than made up for by the high points. Like the line above, the opening scene, and when Kelly has been arrested there is a scene where she chats from her cell window with a group of kids playing in the ...
published: 15 Apr 2009
author: MindsiMedia
views: 20442
6:08
VALERIE PERRINE as Lilliane Lorraine in "NOTHING BUT A BUBBLE" ["Castles in the Air"] in ZIEGFELD
VALERIE PERRINE [Oscar and Golden Globe nominee, Cannes Film Festival and New York Film Cr...
published: 06 Feb 2009
author: BroadwayGoldnAge
VALERIE PERRINE as Lilliane Lorraine in "NOTHING BUT A BUBBLE" ["Castles in the Air"] in ZIEGFELD
VALERIE PERRINE [Oscar and Golden Globe nominee, Cannes Film Festival and New York Film Critics Award winner for Lenny] performs the spectacular Nothing But a Bubble [aka Castles in the Air] as the artistically challenged Lillian Lorraine, who became a Ziegfeld star despite her lack of talent. After a night of passion, Lillian asks Ziegfeld to put her in his next show: But my dear, he asks, what would I do with you? You can neither sing, dance nor act? Thats easy, honey, Lillian replies, make me a star!=E 2 Which is exactly what he does, declaring: If the girl cant carry the show, then the show will have to carry the girl! The most elaborate musical number in the telemovie, shot on the largest soundstage on the studio lot, centered around a 60-foot staircase, topped by a 10-foot fountain which was spouting bubbles made by four machines, while 10000 balloons were floating in the air. There were also four six-foot swans made out of cotton batting, all created by Oscar Winning Production Designer John DeCuir [The King and I, Cleopatra, Hello,Dolly!]. Before moving to Hollywood and becoming an actress [Slaughterhouse-Five, The Last American Hero, The Couple Takes a Wife and the controversial Hollywood Television Theatre production of Steambath, in which she appeared nude], Valerie Perrine began her professional career as a showgirl in Las Vegas at the Desert Inn and later moved to the Lido de Paris revue at the Stardust Hotel as one of the three lead dancers, so she was ...
published: 06 Feb 2009
author: BroadwayGoldnAge
views: 26602
3:01
Shirley Bassey - No Regrets (Carnegie Hall - 1964)
1964 (This clip is a tribute to the wonderful Edith Piaf. Shirley delivers a powerful cove...
published: 02 Aug 2010
author: sas9023055
Shirley Bassey - No Regrets (Carnegie Hall - 1964)
1964 (This clip is a tribute to the wonderful Edith Piaf. Shirley delivers a powerful cover of one of Edith Piaf's big hits, 'No Regrets' at her 1964 Carnegie Hall Concert. Shirley sings the English lyrics) This song was recorded during Shirley Bassey's 1964 concert performance at Carnegie Hall. Although the technical equipment of the 1964 was not sophisticated as it is today, the mastery of Shirley's powerful vocals which were captured here on record are nothing short of breath taking! ABOUT this song: This song, 'No Regrets' was originally written as a French song titled, "Non, Je Ne regrette rien", translatted as, 'No, I Regret Nothing." French singer, Edit Piaf, who passed at the relatively young age of 47, was in poor physical and mental health during the late 50's. According to a recent film screen adaptation on her life, it was this song that she loved so much that it brought her back out of semi-retirement. She recorded the song in 1960. Edit Piaf is highly regarded as France's greatest POP ICON/Singer/Entertainer of all time! Most of the pictures in this clip are of the great Edith Piaf. LYRICS: No, no regrets No, we will have no regrets As you leave, I can say Love was king, but for only a day No, no regrets No, let there be no regrets Why explain? Why delay? Don't go away, simply call it a day Pleading moments we knew I will set them apart Every word, every sign Will be burned in my heart But no tears will be shed There'll be no one to blame Let it always be ...
published: 02 Aug 2010
author: sas9023055
views: 23877
2:25
Hello Dolly- Louis Armstrong- 1964
By Request.A Great You Tuber Said You Said You Would Do Hello Dolly,So Do It.I Am Obliging...
published: 22 Jul 2008
author: 74sodapop
Hello Dolly- Louis Armstrong- 1964
By Request.A Great You Tuber Said You Said You Would Do Hello Dolly,So Do It.I Am Obliging.This Song Always Had It.It Was Always Familiar To Me. I Was In This Hello Dolly Musical In High School.Nothing Is Worse Than Hearing 16 Year Old Kids Sing. We Were Terrible.Who Went To Those Dumb Musicals? No One But The Parents Just Like In Little League. All The Songs Stunk. When The Parade Was Lousy.It Takes A Woman Was Lousy.Everything Stunk Except One.The Title Song.The Song Always Had It. And It Takes The Great Louis Armstrong To Show Us 16 Year Old Brats How To Sing A Song.This Record Was A Smash In 1964 Knocked The Beatles Out Of Number One.Hear It On Your MP 3 Player.The Trumpets Rock.Thanks Louis.You And Stevie Wonder Are Some Of The Best Singers Ever.You Two Never Get The Notice For Such Great Singing.
published: 22 Jul 2008
author: 74sodapop
views: 23685
3:10
Dionne Warwick Anyone Who Had A Heart 1964 Original Top 10 Hit
Dionne Warwick's 1963 "Anyone Who Had A Heart" hit the Billboard Top Ten in January 1964 a...
published: 31 Jul 2010
author: dibotis
Dionne Warwick Anyone Who Had A Heart 1964 Original Top 10 Hit
Dionne Warwick's 1963 "Anyone Who Had A Heart" hit the Billboard Top Ten in January 1964 and peaked at #8 on the Billboard Hot 100. The tune was a crossover smash and hit #6 on the Billboard R&B; Chart and #2 on the Billboard AC Chart. The tune was also a Top 10 hit in Australia, Belgium, Canada and South Africa. Written by Burt Bacharach and Hal David, the tune was presented to Dionne in unfinished form while she, Hal and Burt were rehearsing in Burt's Manhattan apartment for a recording session a few days hence at Bell Sound. Bacharach had finished the score but Hal had written only about a third of the lyric and was struggling with what Hal regarded a bad accent in the sixth line of the first stanza, which he could not resolve. Burt played a snippet of the tune for Dionne, and she fell in love with the tune and begged Hal to finish it. Hal, according to his wonderful 1968 book "What the World Needs Now and Other Love Lyrics", went to Burt's bedroom while Burt and Dionne rehearsed in the living room and finished the lyric. The tune was recorded at Bell Sound Studios in Manhattan in November 1963, days after the assassination of JFK, in the same session as Bacharach and David's "Walk On By" and "In the Land of Make Believe". Rumor has it Warwick nailed the tune in only one take. Cilla Black, a top female recording artist in the Uk but little known outside the UK recorded a cover version released in the UK in January 1964 before Scepter licensee Pye records could release ...
published: 31 Jul 2010
author: dibotis
views: 339072
2:39
The Shangri-Las - Leader Of The Pack (I've Got A Secret TV Show - October 1964)
PLEASE NOTE: I divided my uploads between multiple channels, Bookmark this link in your br...
published: 01 Nov 2009
author: John1948ElevenB
The Shangri-Las - Leader Of The Pack (I've Got A Secret TV Show - October 1964)
PLEASE NOTE: I divided my uploads between multiple channels, Bookmark this link in your browser for instant access to an index with links to all of John1948's oldies classics. LINK: tinyurl.com Along with the Shirelles and the Ronettes, the Shangri-Las were among the greatest girl groups; if judged solely on the basis of attitude, they were the greatest of them all. They combined an innocent adolescent charm with more than a hint of darkness, singing about dead bikers, teenage runaways, and doomed love affairs as well as ebullient high-school crushes. These could be delivered with either infectious, handclapping harmonies or melodramatic, almost operatic recitatives that were contrived but utterly effective. Tying it all together in the studio was Shadow Morton, a mad genius of a producer who may have been second in eccentric imagination only to Phil Spector in the mid-'60s. Originally the Shangri-Las were comprised of two pairs of sisters from Queens, NY (identical twins Marge and Mary Anne Ganser and siblings Mary and Betty Weiss). They had already recorded a couple of obscure singles when they were hired by George "Shadow" Morton to demo a song he had recently written, "Remember (Walkin' in the Sand)." The haunting ballad, with its doomy "Moonlight Sonata"-like piano riffs, wailing lead vocal, and thunderous background harmonies, seguing into an a cappella chorus backed by nothing except handclaps and seagull cries, made the Top Five in late 1964. It also began their ...
published: 01 Nov 2009
author: John1948ElevenB
views: 412459
15:09
Wiener Sängerknaben(1964) - Music of the Imperial Court Chapel(Isaac).wmv
Heinrich Isaac: 1 - ''Imperil proceres''; 2 - ''Innsbruck, ich muss dich lassen''; 3 - ''A...
published: 03 Sep 2012
author: treblechoir99
Wiener Sängerknaben(1964) - Music of the Imperial Court Chapel(Isaac).wmv
Heinrich Isaac: 1 - ''Imperil proceres''; 2 - ''Innsbruck, ich muss dich lassen''; 3 - ''A la bataglia''(instrument); 4 - ''Sancti spiritus assit nobis gratia'' Nikolaus Harnoncourt, director. Concentus Musicus, Vienna Heinrich Isaac was born in Flanders c. 1450 and died in Florence 26 March 1517. Beyond the fact that he was writing music in the mid-1470s, almost nothing is known about him until July 1485, when he became one of the singers at the baptistry of S. Giovanni in Florence. The position brought him into the orbit of the Medici, whose patronage he enjoyed for the next eight years. By November 1496 he had moved into the service of Emperor Maximilian I, as court composer and a member of the chapel choir. In 1502 he was considered for a post at the Este court of Ferrara, but the position was given instead to Josquin des Prez. Between 1505 and 1508 Isaac was resident in Konstanz, where the cathedral chapter commissioned him to write a cycle of liturgical works. He returned to Florence for his last years, possibly acting as a diplomat to Maximilian. Isaac was one of the most prolific and influential composers of his time, and is unusual for having been employed principally for his compositional skills rather than as a performer. 36 masses by him survive, based variously on secular material—songs, dances, and mottoes—or on plainchant; in many of the latter settings, Isaac set only portions of the liturgical texts to music, these to be sung in alternation with either ...
published: 03 Sep 2012
author: treblechoir99
views: 605
Vimeo results:
4:44
Yosemite Range of Light
I am a destination visual artist who specializes in photography, timelapse cinematography,...
published: 22 Apr 2012
author: Shawn Reeder
Yosemite Range of Light
I am a destination visual artist who specializes in photography, timelapse cinematography, & filmmaking. I love to travel, so if you have a project in some far flung location, lets talk.
Yosemite National Park, the High Sierra, and the Eastern Sierra are some of the most beautiful places on earth. Ever since I serendipitously won a trip to Yosemite when I was 18, the beautiful Range of Light has captured my heart and become my home. Nothing brings me more joy than to share this life changing beauty with others.
Ever since I became fascinated with timelapse photography almost 2 years ago, after seeing the work of Tom Lowe, I’ve wanted to do a piece on Yosemite and the Sierra. Now after almost 2 years of shooting, I'm thrilled to share. I hope you enjoy my vision of my home, the majestic Yosemite & Sierra. Best viewed Full Screen with Sound :)
If you would like to license any of my clips or hire me to shoot for you, please be in touch. I do have 4k footage available for licensing.
Web: http://shawnreeder.com
Email: shawn at shawnreeder dot com
Facebook: facebook.com/shawnreeder
Twitter: twitter.com/shawnreeder
Music licensed and used with permission by: http://shaunpaul.com
Composition used: Sounds of Peace
Huge thanks to Kessler Crane and Lens Pro To Go. Without their help this piece would not have been nearly as good.
http://kesslercrane.com
http://lensprotogo.com
Also a huge thanks to all of you who help support me with your warm comments and continuing encouragement. It means more to me than you know.
I hope this inspires everyone to get outside and explore the beautiful outdoors, especially magical places like Yosemite National Park and the High Sierra. It's National Parks week and all of our national parks are free this week, so get outside and explore!
*So it seems like a lot of people are asking what gear I used. I'm not going to detail every little thing, but here's the core of what I used: (Shot at 5k in Canon RAW)
Canon 5D Mark II
Canon 5D Mark III
Canon 14L II & 16-35L II (rented from LensProToGo)
Canon 17-40L, 24-105L, 50L, 70-200L IS
KesslerCrane 5 foot Cineslider, Revolution Head, Oracle's & Basic controller, Elektra Motors, AT Outrigger Feet
6:22
OFFF Barcelona 2011 Main Titles
Still shocked and excited from last night, it's an honor for us to show you this absolutel...
published: 12 Jun 2011
author: OFFF, let's feed the future
OFFF Barcelona 2011 Main Titles
Still shocked and excited from last night, it's an honor for us to show you this absolutely MINDBLOWING TITLES made for OFFF by PostPanic.
Thank you so much to PostPanic, and specially to Mischa Rozema, Ania Markham and Si Scott, simply epic!!!
Written by Mischa Rozema and British graphic designer, Si Scott, the opening titles reflect their dark thoughts on a possible future. Directed by Mischa and shot on location in Prague, the film guides the viewer through a grim scenario embedded with the names of artists appearing at this year’s OFFF festival. The live action was brought back to Amsterdam for post, primarily carried out by PostPanic’s in-house team of artists but also with the additional help of freelancers and partner companies that we have enjoyed strong creative relationships with over the years. It’s really fair to say that this was a labour of love by a passionate crew of people.
Says Ania Markham, Executive Producer at PostPanic:
“The images created by the crew of people working on the titles has been unbelievable, with nationalities represented including Dutch, Czech, English, American, Polish, German, Swedish and Belgian. It’s been a great opportunity for all of us to work together on a non-commercial project we’re passionate about and we’re so proud of the combined effort and final result.”
DIRECTORS NOTES (Mischa Rozema)
This project started out as a collaboration between myself and Si Scott. Right from the start, we decided that it should be the darkest thing we could make. I think it just felt natural to the both of us; if we had to nail the future, it would not be a nice place.
This idea evolved into a clash of times. Inspired by an idea from the late Arthur C. Clarke. He wrote about different historical civilizations meeting in a single point in time. So what happens when civilizations meet? The 'weaker' one gets eaten by the 'stronger'. You only have to look at history to see the destructive power of civilizations.
So the main underlying idea is: what would happen if the future lands on our doorstep today? Let's take mankind, add perhaps 100 years and then let them show up on our doorstep today. The future would pretty much devour the present. Probably in a matter of, let's say, 7 days… So that's what we're looking at. But every ending also means a new beginning, hence Year Zero.
There's all kinds of hidden messages in there. Like the virus eating away at reality, buildings and people, even at the viewers brain. It's behaving off course much like a computer virus. And the network of wires represents the future of social networking. I just made it physical and let it 'catch' the city and it's people like a net. All these ideas just serve as inspiration for us to create a future that worked for this concept. They're not meant to be deciphered by the audience. It's still meant to be just a title sequence and not an actual movie.
Now what makes a good title sequence? Personally, I think it's something that gets you in the mood, warms you up for what you're about to experience, be it a film, tv series or in our case, the OFFF festival. We decided to treat the OFFF festival as a feature film experience. So all we had to do was get the viewer into the right state of mind. Without, of course, being too narrative led. The best title sequences out there are nothing but a random collection of images/scenes that don't tell a lot if you watch them on their own. But edit them together and a new context is created. A context that matters, a feeling that gets the viewer ready for the main event, in our case, the festival.
To get started, the next thing we did was make a collection of ideas that would scare me and Si. So, anything drawn from our youth, right through to stuff that's inspired us over the years as well as seemingly random compositions that trigger the imagination of the viewer. For example, when we show you the aesthetics of a car explosion, it's carefully constructed. Why a car and not something else? Because an exploding car brings extra content to an otherwise simple aesthetic display of violence. A car doesn't explode by itself so instantly the brain tries to formulate the background behind it. It adds an either political or criminal edge to the violence. To me it felt appropriate because of the sense of protest and rebellion the shot has. And maybe the biggest question; was there someone in the car and if so, who was it? For me, every idea should provoke these kind of questions; from a girl in a prom dress holding a rocket launcher to a riot cop standing in the kitchen. All scenes have a pre and post story to them. In no time you're actually trying to connect these seemingly random scenes and boom; you've just created your own strange context. You now have a feeling, a taste and lots of questions probably. Questions that normally would be answered by watching the actual movie. But since there's no actual movie here we'll leave stranded with, hopefully,
6:22
Year Zero - OFFF Barcelona 2011 Main Titles
Following in the footsteps of Prologue Films and The Mill, PostPanic have created this yea...
published: 09 Jun 2011
author: PostPanic
Year Zero - OFFF Barcelona 2011 Main Titles
Following in the footsteps of Prologue Films and The Mill, PostPanic have created this year’s prestigious opening titles 'Year Zero' for OFFF Festival 2011 in Barcelona http://offf.ws/bcn2011/
Written by Mischa Rozema and British graphic designer, Si Scott, the opening titles reflect their dark thoughts on a possible future. Directed by Mischa and shot on location in Prague, the film guides the viewer through a grim scenario embedded with the names of artists appearing at this year’s OFFF festival. The live action was brought back to Amsterdam for post, primarily carried out by PostPanic’s in-house team of artists but also with the additional help of freelancers and partner companies that we have enjoyed strong creative relationships with over the years. It’s really fair to say that this was a labour of love by a passionate crew of people.
DIRECTOR'S NOTES (By Mischa Rozema)
This project started out as a collaboration between myself and Si Scott. Right from the start, we decided that it should be the darkest thing we could make. I think it just felt natural to the both of us; if we had to nail the future, it would not be a nice place.
This idea evolved into a clash of times. Inspired by an idea from the late Arthur C. Clarke. He wrote about different historical civilizations meeting in a single point in time. So what happens when civilizations meet? The 'weaker' one gets eaten by the 'stronger'. You only have to look at history to see the destructive power of civilizations.
So the main underlying idea is: what would happen if the future lands on our doorstep today? Let's take mankind, add perhaps 100 years and then let them show up on our doorstep today. The future would pretty much devour the present. Probably in a matter of, let's say, 7 days… So that's what we're looking at. But every ending also means a new beginning, hence Year Zero.
There's all kinds of hidden messages in there. Like the virus eating away at reality, buildings and people, even at the viewers brain. It's behaving off course much like a computer virus. And the network of wires represents the future of social networking. I just made it physical and let it 'catch' the city and it's people like a net. All these ideas just serve as inspiration for us to create a future that worked for this concept. They're not meant to be deciphered by the audience. It's still meant to be just a title sequence and not an actual movie.
Now what makes a good title sequence? Personally, I think it's something that gets you in the mood, warms you up for what you're about to experience, be it a film, tv series or in our case, the OFFF festival. We decided to treat the OFFF festival as a feature film experience. So all we had to do was get the viewer into the right state of mind. Without, of course, being too narrative led. The best title sequences out there are nothing but a random collection of images/scenes that don't tell a lot if you watch them on their own. But edit them together and a new context is created. A context that matters, a feeling that gets the viewer ready for the main event, in our case, the festival.
To get started, the next thing we did was make a collection of ideas that would scare me and Si. So, anything drawn from our youth, right through to stuff that's inspired us over the years as well as seemingly random compositions that trigger the imagination of the viewer. For example, when we show you the aesthetics of a car explosion, it's carefully constructed. Why a car and not something else? Because an exploding car brings extra content to an otherwise simple aesthetic display of violence. A car doesn't explode by itself so instantly the brain tries to formulate the background behind it. It adds an either political or criminal edge to the violence. To me it felt appropriate because of the sense of protest and rebellion the shot has. And maybe the biggest question; was there someone in the car and if so, who was it? For me, every idea should provoke these kind of questions; from a girl in a prom dress holding a rocket launcher to a riot cop standing in the kitchen. All scenes have a pre and post story to them. In no time you're actually trying to connect these seemingly random scenes and boom; you've just created your own strange context. You now have a feeling, a taste and lots of questions probably. Questions that normally would be answered by watching the actual movie. But since there's no actual movie here we'll leave stranded with, hopefully, an uncomfortable feeling and lots of questions - some might feel unsatisfied and wondering why. Just like a nightmare.
We also wanted the actual titles to be different this time. Most of the time festival titles are driven by the idea on how to show titles. A mechanism that displays titles in a creative way. We actually thought to bring the festival theme to the foreground and have the titles play a part in it. Incorporate them so they become the actual fiber/texture of the
29:57
The Bridge
The Vision:
Back in October of 2009, I set out to make a film that would push my talents ...
published: 10 Sep 2010
author: Marlon Torres
The Bridge
The Vision:
Back in October of 2009, I set out to make a film that would push my talents as both a storyteller and a filmmaker. I wanted to create a film that would challenge myself and my audience, meshing both classical and experimental storytelling techniques from music, books, & films that have inspired me in one way or another. I wanted to make a film that didn’t do any spoon-feeding, where my audience would leave with questions as well as answers. It was a long a difficult road to get to this point and there were days where I felt that I was in way over my head but eight months later, I can proudly say I’ve finally completed my film “The Bridge” and it was an experience I would never forget.
The Inspiration:
The story of The Bridge was a story a cousin had told me when I was eight years old. It was a ghost story about two siblings on a bridge. I remember it haunting me for weeks and causing many sleepless nights under my sheets. Obviously, it had a lasting influence in my life. It had always been one of those stories that I wanted to adapt into a short film so when the opportunity finally came one day, I decided to pull to trigger.
When I was in film school, I would constantly fantasize about making some sort of epic period piece, especially one that took place during WW2. So when I decided I was going to make The Bridge, I instantly followed it up with “hell, why not make it into a WW2 movie”? I could have easily made this film as a contemporary piece but where would the fun be in that? I never do things because it’s easy; I do it because it’s hard. I love a challenge. I figured I could keep the same characters, themes, motifs, style, and wrap it around a WW2 setting. So I did.
Pre-production:
So it began. After a quick outline, I started writing the screenplay and, being a one-man crew at the time, I also started doing work on costumes and props. I lived and breathed WW2 24/7. I watched every WW2 movie and documentary I could get my hands on. I even got my hands some real WW2 letters to get a grasp on the era’s language. I felt like a student again and I loved it. I scoured eBay for every WW2 field gear I could afford to buy and the stuff I couldn’t get, I had them custom made cheaply in China. I wanted it to be detailed and authentic as possible while keeping my almost non-existing budget down. I remember coming home one day and having almost a couple dozen eBay packages on front door. It looked like the front door of the post office.
Casting:
The casting of The Bridge was actually one of the smoothest aspects of the entire process. I first went to my good friend Amy and asked her if she would like to help me produce the film. Having worked with each other before, I didn’t really have to ask twice. She was happy to be my first recruit.
For the leading role, I asked my good friend Pablo Soriano to take the part. Having worked with him before, we have a good understanding of each other. He is just a naturally gifted actor and he makes my job as a director so much easier. Plus, his puppy dog eyes make him a perfect protagonist.
For the leading female role, I went looking for a girl who had beautiful, almost hypnotic eyes. That’s when I spotted Leah in one my good friend’s music video. I called up Carlos and basically told him, “I need to have that girl for movie”. A few days later, she was on board.
I owe the discovery of Mike, the character who plays James Connolly, to my producer Amy. She had read the script and recommended him. I remember her telling me “Mike IS James”. Words that any director would love to hear and as usual, Amy was right.
So a couple months later, the script was complete, the costumes and props were ready, and the cast was cast. We were ready to shoot!
Production:
With our extremely limited budget, I knew right from day one that we were going to shoot “The Bridge” on DSLRs, specifically the Canon 7D and 5D Mark II. With this in mind, I knew (as also the DP of the film), I was going to push these cameras to its limits. I wasn’t going to let my equipment limit my vision of the film. I knew at the very beginning that I may or may not have a crappy movie in the end but hell, it’s gonna look damn good! We all know about the camera’s limitations but I wasn’t going to bitch and moan about it, I was going to work around it. I took it as a personal challenge to make these cameras work and I did.
About 75% of the film was shot with the 7D and the rest with the 5DM2. The main reason I shot with the 7D more was the 24p firmware update wasn’t available for the 5DM2 during the bulk of the shooting. I prefer the 5DM2’s full frame sensor the 7D cropped sensor.
Production, like any other shoot, had its ups and downs. Ours was mainly San Francisco’s unpredictable weather. You can blink and the bay area can go from miserable foggy weather (which is what I wanted for the film) to perfect summer beach party weather.
Also, being
Youtube results:
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Geoffrey Jones "Trinidad & Tobago" (1964) 1/2
Since the 1950s, Geoffrey R. Llewellyn Jones has been making multi-award-winning short fil...
published: 19 Jul 2010
author: badmovie
Geoffrey Jones "Trinidad & Tobago" (1964) 1/2
Since the 1950s, Geoffrey R. Llewellyn Jones has been making multi-award-winning short films that look, sound and feel like nothing else. With his extraordinary marriage of images, music and rhythm, he ranks alongside such luminaries as Norman McLaren and Len Lye, and remains one of Britain's true film artists. Born in London in 1931, of Welsh parents, Geoffrey Jones trained at Central School of Art in interior design, graphic design and photography. Mesmerised by cinema since he was a child and later inspired by Dziga Vertov and Luciano Emmer, his first film project, a satire on the commuter society, envisaged images cut to very rhythmic music, a technique that became his hallmark. Although the film was never actually made, the drawings led to work, when he was just 24 as a one man band: 'The Experimental Film and TV Department' of advertising agency Crawford International, where early work included an acclaimed commercial for Martini. He went on to make films for global companies like Shell and BP, and innovative animated shorts. Geoffrey Jones is best known as the director of three seminal films for British Transport Films; Snow (1963), which was nominated for an Oscar, Rail (1967) and Locomotion (1975), all shown at festivals around the world. In films such as Snow, where trains and railway workers battle against severe weather conditions, Rail, a commemoration of the steam age and celebration of the electric age, and the travelogue Trinidad & Tobago (1964), images ...
published: 19 Jul 2010
author: badmovie
views: 5182
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Geoffrey Jones "Trinidad & Tobago" (1964) 2/2
Since the 1950s, Geoffrey R. Llewellyn Jones has been making multi-award-winning short fil...
published: 19 Jul 2010
author: badmovie
Geoffrey Jones "Trinidad & Tobago" (1964) 2/2
Since the 1950s, Geoffrey R. Llewellyn Jones has been making multi-award-winning short films that look, sound and feel like nothing else. With his extraordinary marriage of images, music and rhythm, he ranks alongside such luminaries as Norman McLaren and Len Lye, and remains one of Britain's true film artists. Born in London in 1931, of Welsh parents, Geoffrey Jones trained at Central School of Art in interior design, graphic design and photography. Mesmerised by cinema since he was a child and later inspired by Dziga Vertov and Luciano Emmer, his first film project, a satire on the commuter society, envisaged images cut to very rhythmic music, a technique that became his hallmark. Although the film was never actually made, the drawings led to work, when he was just 24 as a one man band: 'The Experimental Film and TV Department' of advertising agency Crawford International, where early work included an acclaimed commercial for Martini. He went on to make films for global companies like Shell and BP, and innovative animated shorts. Geoffrey Jones is best known as the director of three seminal films for British Transport Films; Snow (1963), which was nominated for an Oscar, Rail (1967) and Locomotion (1975), all shown at festivals around the world. In films such as Snow, where trains and railway workers battle against severe weather conditions, Rail, a commemoration of the steam age and celebration of the electric age, and the travelogue Trinidad & Tobago (1964), images ...
published: 19 Jul 2010
author: badmovie
views: 3461