Posts Tagged ‘Hollywood’
Tags: animal, cruelty, death, endangerment, exploitation, harm, Hollywood, injuries, reckless, responsibility
Tags: blue screen, classic, cult classic, destroyed, devastation, Hollywood, remake, Robocop, ruin, sanitised, satire, screenplay, script
I was searching for the opening scene of Robocop for the previous post, and I stumbled across this-
Scathing review of the upcoming Robocop 2014 (script). If you believe everything you read on the Interweb tubes. I know I do!
This film is so sanitised and devoid of character, its unreal.
For God’s sake people rent the original, and the very good follow-up Robocop 2.
Tags: dipshits, executives, Hollywood, idiocy, moronism, notes, ridiculous, stupid, stupidity, suck satan's cock, tv, vapidity
The genius of Hollywood studio executives on display:
Tags: arrogance, Hollywood, Joe Eszterhas, screenwriting
10. Don’t let the bastards get you down. If you can’t sell your script, or if you sell the script and they bring in another writer to butcher it, or if the director claims in interviews that he really wrote your script, or if the actors claim that they improvised all of your best lines, or if you’re left out of the press junket, simply sit down and write another script. And if the same thing happens to you on that one, write another and another and another and another, until you get one up there that’s your vision translated by the director to the big screen.
Tags: color grading, conformity, Hollywood, movie, orange, rant, ravbe, style, teal
It’s astounding, but many have not yet noticed that every mega-craptacular that Hollywood flushes our way has bright orange people in a teal/aqua world. Apparently there’s one guy colorizing all these films who went through the actual MKULTRA version of “A Clockwork Orange.”
This Into the Abyss article has been up for three years now, and it’s a great rant:
I write this on the cusp of having the first Wolverine movie forced on me by family. I think a pretty good gauge for a film’s suckiness is the degree that they colorize the shit out of the characters so that they glow neon orange. It’s the new white.
No, it couldn’t be long before Michael Bay’s name came up, but screw that guy. There’s a world of cinema that doesn’t care for bright orange meat puppets and doesn’t colorize their actors in such an over the top, offensive way. You have to wonder about the integrity of those who jump on every stupid bandwagon and literally paint over their entire films with gaudy colors, thinking they are improving what was captured by the camera in the first place. It’s sad, and a sign of blinkered conformity.
Just say no.
Tags: 12 Monkeys, Baron Munchausen, battles, Brazil, director, documentary, free film, Hollywood, studios, Terry Gilliam, The Hamster Factor, Time Bandits
Tags: Alfonso Cuarón, directing, DIRECTORS, film, Hollywood, James Cameron, moviemaking, producing, screenwriting
Tags: alliances, audience, bias, box office, DIRECTORS, female, gender, Hollywood, issue politics, myopia, propaganda, response, writers
There’s a myopia to some of these articles that irks me. It’s that she doesn’t seem to care what the stories themselves are saying — the entire point of this blog, btw — but only if they are directed by women, produced by women, or about women’s issues. It’s a hard numbers kind of argument, without regard for the actual propaganda content of the films. I tend to see it a bit differently, to say the least. Kathryn Bigelow’s pro-torture opus does not end up in my plus column, least of all because she happens to lack a penis. There are issues beyond who gets to direct, important issues, society-wide issues of war, peace, empire and authoritarianism.
That’s my simplistic response to the article, I admit, but it does cover my main gripe: Hollywood is part of a fascistic system of social control, selling authoritarianism in partnerships with increasingly despotic surveillance states. Whether those hammering out the next propaganda extravaganza possess dicks or not is not my primary concern.
Her myopia is the expected result of issue politics, where support is thrown behind tyrants based on narrow sets of interests and narrow understanding. The counterargument to that will of course cite how this isn’t strictly “narrow” when talking about half the population (gender bias).
The concept holds though. By obsessing over one metric, one parameter, we ignore the rest. This is why Obama can turn America into Orwell’s worst nightmare: at least he’s not Bush.
Now I’ve heard debates over this Hollywood gender problem, the underrepresentation of women in Hollywood,and usually the first thing trotted out by the defenders of the establishment is that the box office dictates the decisions. Is this true? It’s not just perception, they argue, but actual ticket sales that determine these movies getting made the way that they are. After all, these shlock Superfests sell tickets, and they sell them to male and female. Hard to argue against that.
Women do make films about women all the time, but they aren’t the ones raking in the dump trucks of money. Melissa Silverstein:
“… but the sad news is that the numbers have remained consistently dismal for the last decade. In 2012, in the US, women made up 18% of the directors, executive producers, producers, writers, cinematographers, and editors working on the top 250 domestic grossing films.”
On the top grossing films???
Well who made that happen?
That’s the audience, not a dark cabal in suits smoking cigars and sticking voodoo needles into Barbie dolls.
Now if an argument could be presented for more marketing dollars affecting this equation, and male movies being typically funded at much higher levels (probably true) then there would be a more solid foundation, but Silverstein doesn’t even bother to go there.
The counterargument will remain that this is what the movie-going audience is “demanding” according to the strict economic dogma of supply and demand.
So if we’re talking gross box office, at what point does the audience share in this responsibility, this culpability?
If women themselves aren’t supporting women up on the silver screen, then how can this be considered some great intractable problem?
“When we don’t see women, and we don’t see women’s stories, we get the message that women don’t matter as much, that our stories don’t count, that our experiences are less valid.”
Ever tried watching TV?
It’s ALL WOMEN ALL THE TIME!
Perhaps women prefer the comfort of their living rooms compared to the excursion to the overpriced, smelly, crowded MultiPlex where you overpay for popcorn, candy, liquid junk and have to endure the cell phones and blather of nincompoops while you try and follow the film. Then you must miss scenes while you head off to pee in the middle, and perhaps some jerk will start a fight or shoot up the place and kill everyone.
Maybe there are other factors involved.
Tags: 1930s, censorship, collaboration, Hitler, Hollywood, Jesish, nazis, propaganda, World War 2
More on the upcoming book, Collaboration. This time in The London Independent:
Tags: Arabs, bigotry, dehumanization, Hollywood, Israel, Muslims, Palestine, Palestinians, propaganda, pubilc relations, race, racism, religious bigotry, seperation walls, walls, World War Z, Zionism
‘World War Z’ and Hollywood’s Zionist Embrace
By Jesse Benjamin
First published at Mondoweiss
I went to the Drive-In in Atlanta Friday night, to celebrate a friend’s birthday, a beautiful night under an almost full moon. We watched This is The End and Fast and Furious 6, and two of us stayed for the 2:00 am screening of World War Z.
I’m not a zombie fanatic, so other than watching the Walking Dead, I had few expectations beyond the trailers that have been on TV since the Super Bowl. So I was surprised, jarred out of the movie really, when right in the middle of the narrative, Brad Pitt’s character, Gerry Lane, travels to Israel and spends more than 10 minutes in a full-on pro-Israel propaganda piece that was as corny as it was crazy.
The Times of Israel may be only slightly exaggerating when it calls this “the greatest piece of cinematic propaganda for Israel since Otto Preminger’s “Exodus.”Not only is Israel’s fanatical Wall Building proven to be justified, against the hordes of undead invaders, and not only are Jewish victimizations paraded to justify the aggrandizement of Israeli military prowess, but it’s Israel’s supposed humanism, and multicultural inclusiveness, which in the end weakens the fragile post-apocalyptic state and allows the zombies to overrun everything. Its pretty heady stuff.