Most Unexpected, Shocking death scenes compilation


Here’s a video compilation I did for JoBlo.com of the most unexpected death scenes in cinema. There’s obviously a few missing – I was on a time limit so I tried to include the best ones. I wished to include one from Bonnie & Clyde for example – technically it does not fit since it was based on a true story, so we know the fate of the main characters, but cinematic presentation of it would definitely fit the video. Alas.

Enjoy, comment, whatever.



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First episode of The Collective is here

In trying to expand here with Ash Thorp, we have collaborated on creating a podcast which will bring professionals working within the creative industry. Whether it be filmmakers, designers, composers, editors, DP’s – we’ll try to get them all in. There will be some interesting people within the industry who will be our guests in the future. If you’re interested in that sort of thing, have a listen below and check out the Facebook and Twitter links to get updates on who’s coming or just what exactly is happening at all.


EPISODE 1: ANTHONY SCOTT BURNS



How John Schwartzman & Michael Bay met + update

john&bay


Thought I’d share something slightly off-topic – and that’s how cinematographer John Schwartzman and director Michael Bay started out making films early in their career. As you’ll hear John call it himself, this is a reader’s digest version of it. I thought it was interesting, sort of shows how something that begins early on in a filmmaker’s life may develop into a full blown professional relationship later in life no different than Scorsese-Pesci-DeNiro collaborations or Spielberg and Hanks, or Nolan and Pfister.


How John Schwartzman and Michael Bay started out



P.S. I haven’t been cranking out much commentary material, but I can assure you it’s temporary. Also I have recorded the first ever episode of The Collective Podcast with the Über designer Ash Thorp with a self-taught filmmaker Anthony Scott Burns – which you will soon get to hear. You can see Anthony’s most recent work below.



Introducing: Movements

This is the first of a long series of vids, concentrated on camera movements. Study the movements, the first video does not have any subtitles – on purpose. Watch the movements and get the feel for why they’re used.


urusevsky

Movements 001 is a selection of all the movements executed by one of the greatest — and largely to the general audience, unknown — Soviet cinematographer of all time. He’s responsible for shooting films of Kalatozov; The Cranes are FlyingSoy CubaLetter Never Sent, etc.


MOVEMENTS 001: Sergei Urusevsky – The Forty First (1956)

[ DOWNLOAD ]


A Passage from Film Technique

film-technique


THE METHODS OF THE FILM

The Americans were the first to discover in the film-play the presence of peculiar possibilities of its own. It was perceived that the film can not only make a simple record of the events passing before the lens, but that it is in a position to reproduce them upon the screen by special methods, proper only to itself.
Let us take as example a demonstration that files by upon the street. Let us picture to ourselves an observer of that demonstration.

In order to receive a clear and definite impression of the demonstration, the observer must perform certain actions. First he must climb upon the roof of a house, to get a view from above of the procession as a whole and measure its dimensions; next he must come down and look out through the first-floor window at the inscriptions on the banners carried by the demonstrators; finally, he must mingle with the crowd, to gain an idea of the outward appearance of the participants. Three times the observer has altered his viewpoint, gazing now from nearer, now from farther away, with the purpose of acquiring as complete and exhaustive as possible a picture of the phenomenon under review.

The Americans were the first to seek to replace an active observer of this kind by means of the camera. They showed in their work that it was not only possible to record the scene shot, but that by manoeuvring with the camera itself — in such a way that its position in relation to the object shot varied several times — it was made possible to reproduce the same scene in far clearer and more expressive form than with the lens playing the part of a theatre spectator sitting fast in his stall. The camera, until now a motionless spectator, at last received, as it were, a charge of life. It acquired the faculty of movement on its own, and transformed itself from a spectator to an active observer. Henceforward the camera, controlled by the director, could not merely enable the spectator to see the object shot, but could induce him to apprehend it.

It was at this moment that the concepts close-up, mid-shot, and long-shot first appeared in cinematography, concepts that later played an enormous part in the creative craft of editing, the basis of the work of film direction. That was the time when the film was rightly named “a substitute for the stage.”


New YouTube channel created

A new year, and a new channel. Click HERE and subscribe to the new channel – this will be the new place where I’m going to upload the new commentaries to. My OLD channel is one strike shy from getting deactivated, not to mention I have a 15 minute upload limit – so follow it here, and I’m going to upload a test video, which I hope gets likes and views – because in youtube will then allow me to upload PAST the 15 minute limit – so that I don’t have to spend so much time editing a commentary around that limit. All of this largely depends on subscriptions and views.

If you are subscribed to the old channel, re-subscribe to the new one.

http://www.youtube.com/user/filmschoolcomments


2012 in review

Check out the report WordPress compiled for this blog — this blog has been alive for a month. I would like to thank the Cinephile Archive who has selflessly and actively been exposing this place to people, as well as any of the readers who follow the commentaries and articles by sharing this blog with others. I’m not making any money with it, and the idea is always to learn and master the cinematic language. If others find all this helpful, that’s even better – it means I’m doing something right. Happy New Year all, and 2013 is just the beginning. There is so much more to come, you have no idea. I am going ultra hard and borderline obsessive, if not obsessive about devouring every bit of commentaries and filmmaking advice from established directors that I can find. I will share all this with you in the hopes you also learn from it. Let’s master this bitch.

Here’s an excerpt:

600 people reached the top of Mt. Everest in 2012. This blog got about 4,000 views in 2012. If every person who reached the top of Mt. Everest viewed this blog, it would have taken 7 years to get that many views.

Click here to see the complete report.


Decide on next commentary comp

filmmakers
Next up is Tony Scott, though out of the three filmmakers below, which one would you like to hear from the most? The one with the most votes will be the one I’ll start to work on.