Posts Tagged ‘script’

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 including James Bond, the Transformers franchise, and movies from the Marvel and DC cinematic universes.

IINSURGE:

EXCLUSIVE: Documents expose how Hollywood promotes war on behalf of the Pentagon, CIA and NSA

The documents reveal for the first time the vast scale of US government control in Hollywood, including the ability to manipulate scripts or even prevent films too critical of the Pentagon from being made — not to mention influencing some of the most popular film franchises in recent years.

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Watching this Arrival fx reel, it becomes obvious very quickly that the military assets are all digital now, cheap, easy, accessible to all. Most of them are doable with After Effects relatively easily and cheaply. It’s just another skill that kids are learning.

That means filmmakers no longer really need the pentagon’s script approval to tell stories. The implications of removing the US government from Hollywood are huge. Producers don’t need the fucking army or navy or air force anymore, nor their script changes or propaganda advice. Ruminate on that, as we move into the future.

J. Giambrone

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SPOILER ALERT

Do watch the show first, before bothering with the script.

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In episode 1 I mentioned ‘drunk cam.’ Here’s what it looks like:

Those shots are at 16 frames per second, maximum shutter and then slowed down so it doesn’t play back too quickly at 24 fps. Later in the episode there is a very surreal 12 fps sequence.

I had to make an irreversible decision at that final scene. Do I simply shoot the whole thing with drunk cam? What if it’s too smeared and hard to tell what’s being filmed? I did all sorts of tests ahead of time, and I was torn about 18, 16, 14 fps. When we filmed and there was no time to screw around anymore it dawned on me that we HAD to separate the aesthetics from other shows. That’s one area where we can…

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We are governed, our minds are molded, our tastes formed, our ideas suggested, largely by men we have never heard of.
-Propaganda, Edward Bernays, 1928

 

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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!

RoboCop (2014) Screenplay Review

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.

The Undertaking

Just sold a short film script!

Red and White is in pre-production, and the director is location scouting.  Not bad for a script I wrote in half an hour for a contest over on Done Deal’s forums.  I did put some more into it afterward, granted.  Story involves a blonde temptress, and so you’ll just have to wait for the movie to hear more.

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But there s more!

Hold onto your bongs, because I just signed a contract for the October issue of High Times.  A very interesting interview I arranged, with some historical follow-up, and you’re not going to want to miss it.

Note to any producers who may be reading: I do accept checks.  Features, TV, comedy, thrillers, sci-fi…

 

Pulp Fiction is the 1994 breakout hit by director Quentin Tarantino that won the Academy Award for best screenplay, and was nominated in several other categories, including best director.  The film is segmented into various vignettes and follows an ensemble of criminal characters through the Los Angeles underworld.  The film’s unique chronology is what sets it apart from most crime dramas.  Scenes are edited completely out of chronological order, jumping forward and backward in time in a manner that is mysterious.  The reason for examining the script for this movie is to discover why Tarantino and Avary chose to chop up the sequence of events in this manner and to present them to the audience in such a confusing manner.  This paper will lay out the scenes and sort out the viewing order versus the chronological order in which these scenes would have occurred.  Hopefully this will give some clues as to how the film is so powerfully engaging and carries a sense of mystery and magic throughout.

Pulp Fiction includes numerous characters, and each is developed with strong dramatic scenes, which play rather quickly in order to squeeze all the vignettes into a feature length.  Pulp Fiction opens with the definition of “PULP” on the screen, establishing some kind of formalism to the presentation.  The people pulling the strings are acknowledged with this choice.  Next PUMPKIN and HONEY BUNNY ( Tim Roth and Amanda Plummer) are a young couple who discuss robbing banks, armed robbery, strategies and targets while eating at a Denny’s.  At the end of the meal, they both jump up with guns to rob the restaurant, which leads immediately into a disjointed credit sequence and a jump away from this scene to another time and another place.

JULES and VINCENT (Samuel Jackson and John Travolta) are two hit men driving on their way to a job.  Later we learn that this scene is prior to the restaurant scene.  Their conversation details Vincent’s trip to Amsterdam and offers a clue to his reason for going there: drug tourism.  They also reveal that their crime boss, MARSELLUS and his wife MIA (Ving Rhames & Uma Thurman) are going to be relevant.  Marsellus is violently jealous of men making approaches to Mia and had someone thrown out of a window.  The overreaction of Marsellus affects the two hit men differently.  Jules (Jackson) is horrified that a simple foot massage brought such a harsh penalty, but Vincent (Travolta) agrees with Marsellus, in principle, that the offense was serious enough to warrant a harsh response.  Vincent is strong on principle and inflexible, while Jules is in transition with his thinking throughout the film. The kicker is that Vincent has been tasked with “looking after” Mia while Marsellus goes out of town tonight.  Jules suggests this could be perceived as a “date.”

Inside the apartment, MARVIN (black), ROGER and BRETT are caught off-guard by the two hit men.  The three in the apartment have a briefcase belonging to their boss Marsellus for some reason.  Inside the case is a bright golden light, which adds a sense of magical realism to the film.  Jules and Vincent are there to execute the wayward young thieves.  Jules attempts to justify his acts by quoting a bible passage full of fire and fury.  The hit men then execute the two white boys in the room for the offense of trying to steal Marsellus’ briefcase.

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