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Mike Leigh's 'Mr. Turner' Uses Painter's Own Work as Visual Reference PDF Print E-mail

10/09/2014 12:45 PM Eastern

Timothy Spall as J.M.W. Turner. Photo by Simon Mein/Sony Pictures Classics.

Mike Leigh's latest fim, the biopic Mr. Turner, depicts the 19th century British painter J.M.W. Turner with the look of the film itself inspired by Turner's own paintings.

Said Leigh at a panel following a screening at the New York FIlm Festival, "A great reference is Turner’s work as a visual reference for the whole period. The look of the film comes out a sense of us trying to interpret, visually, his paintings, but also the spirit of the two periods that the film moves through: the late-Georgian and early-Victorian periods.”

Read more and watch the panel here on Film Society of Lincoln Center.

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How 'American Horror Story' Ushered in New Era of Anthology TV Series PDF Print E-mail

10/09/2014 12:30 PM Eastern

Jessica Lange as Elsa Mars in 'American Horror Story: Freak Show.' Photo by rank Ockenfels/FX.

FX's American Horror Story has paved the way for TV anthology series, including True Detective, Fargo, and several more that are in the works.

Says FX president Nick Grad to TheWrap about why the format works, "I think any time someone wants to do something different, it strikes a little bit of fear. But I think every great success has taken some bold stance and broken some kind of ‘rule’ in the rule book. … I think if you let the creative dictate the way, I think the people will respond.”

Read the full story here.

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One DP Predicts the Future of Cinematography PDF Print E-mail

10/09/2014 3:45 PM Eastern

DP Robert Primes, ASC, shares his predictions for the future of cinematography over on the Global Cinematography Institute site.

He writes, "The key to efficiency will continue to be planning, pre-visualization and preparation. But the tools for accomplishing this will be faster, more mobile and far more powerful. Apps will allow synthesized camera positions and moves, virtual lighting and complete image manipulation almost instantly on a location scout. Thus communication can be based on actual tangible images instead of imprecise verbal descriptions."

Read the full story here.

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'Transparent' DP Jim Frohna on Using the Camera as the 'Unseen Player' PDF Print E-mail

10/09/2014 3:15 PM Eastern

Transparent cinematographer Jim Frohna talks to Indiewire about the highly improvisational, handheld style that he and director Jill Soloway created for the Amazon show.

Says Frohna, "The work we did in rehearsal not only built the foundation of the Pfefferman clan, but it also gave me an intimacy with the actors and the material. This whole approach to filmmaking is intuitive and allows that same sense of exploration and 'play' that we used in rehearsal to be carried over to the set. For Transparent Jill and I don’t feel the need for a storyboard or often even a shot list. Here, the actors don’t have marks and they are not restricted by a lighting set up because we generally light for the whole scene. As well, I like to operate the main camera and work, as Jill would put it, like the 'unseen player.'"

Read the full story here.

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How Documentary ‘Virunga’ Transformed Into a Tale of Politics and Corporate Greed PDF Print E-mail

10/09/2014 2:15 PM Eastern

Filmmaker Orlando von Einsiedel’s documentary Virunga started out as radically different concept than where it ended up. Von Einsiedel was initially interested in documenting the forward-thinking projects of Congo’s famed national park, when civil war, political unrest, and exposing a corporate injustice took center stage instead.

“I was drawn to the Virunga National Park because of its sort of transformative potential,” von Eisendel explained after an IDA screening of his film. “In early 2012, it was putting forth these really ambitious development projects, hydropower schemes…and this is a region which has had 20 years of warfare, so I was really inspired by that positive story.”

When he arrived in Virunga, von Eisendel was struck by the courage of the park’s rangers, who were fighting to save the UNESCO world heritage site from poachers, and the film’s focus shifted. “On the ground, I stayed because of the bravery and integrity of these rangers, who every day get up to risk their lives,” he says. “140 of them died in the line of duty in the last 15 years. They get up every day and do that because they know of the potential this place has to transform the region for the better.”

“So I set out to make that film and tell that story and I’d only been on the ground about a month when this new civil war started,” he continues. “And around that same period, I learned about the park’s very serious concerns about illegal oil explorations by SOCO International. So the film took a radical u-turn really quickly.”

Watch Von Einsiedel and producer Joanna Natasegara discuss the film below. (via Indiewire)

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