(Youtube Direktuniversal, via Peter)

Schöner Clip von Universal, die zu ihrem hundertsten Geburtstag ein paar Klassiker restaurieren und in diesem Video ein paar Einblicke in den Prozess geben. Restauriert werden im Laufe des Jahres: All Quiet on the Western Front, The Birds, Buck Privates, Dracula (1931), Dracula Spanish (1931), Frankenstein, Jaws, Schindler’s List, Out of Africa, Pillow Talk, Bride of Frankenstein, The Sting und To Kill a Mockingbird.

Außerdem haben sie sich ein Tumblelog zum Jubiläum angeschafft, auf dem sie unter anderem die Geschichte ihres Logos erzählen:

Legend has it that Carl Laemmle named the company after seeing a “Universal Pipe Fittings” truck pass by his New York office window. Though our name may have been inspired by a whim, today Universal is considered a pioneer in cinematic history. Our logo symbolizes the films we’ve created which have not only impacted millions, but also helped tell the story of filmmaking.

The Universal logo has gone on to change over the years since 1912. From the silent logo of UNIVERSAL FILMS encircling the globe…to the ‘droning propeller plane circling the globe’ that marked the arrival of sound…and finally, to today’s more modern and vivid Universe—the Universal logo has reflected the evolution of film.

Die Internet Movie Database wird heute 20 Jahre alt und feiert das mit einer Menge Interviews und Listen, hier der Moment im Jahr 1990, der die größte Filmwebsite im Internet hervorbrachte:

October 17th: Our founder, Col Needham, (below [ed.: rechts]) writes a series of Unix shell scripts which make the lists that were being collected at a Usenet group called “rec.arts.movies,” searchable (the lists were filmographies for actors, actresses, directors and something called the “dead list”). The ability to search existing data is one of the key components of the Web experience, and it immediately makes the lists more meaningful and useful. Though the name was still six years off, IMDb, the Internet Movie Database is, in essence, born.

IMDb turning 20 on Sunday – Internet Movie Database takes a stroll down memory lane (via Digg)

true.jpgBei Maxim reden Quentin Tarantino, Patricia Arquette, Tony Scott, Christian Slater, Gary Oldman, Dennis Hopper und andere über die Produktion des Kult-Klassikers. Absolutes Must-Read für alle Tarantino-Fans.

Scott: In Quentin’s original script, Christian dies and Patricia takes off with the money. All the cynical people die. Rapaport is spared because he’s innocent, and everybody else gets their comeuppance.

Tarantino: I tried like hell to convince Tony to let Clarence die, because that’s what I wrote and it wasn’t open for conjecture. I made this big dramatic plea: “You’re losing your balls. You’re trying to make it Hollywood shit. Why are you doing this?” He listened to the whole thing and then convinced me 100 percent that he wasn’t doing it for commercial reasons.

Scott: I just fell in love with these two characters and didn’t want to see them die. I wanted them together.

Tarantino: When I watched the movie, I real­ized that Tony was right. He always saw it as a fairy tale love story, and in that capacity it works magnif­icently. But in my world Clarence is dead and Alabama is on her own. If she ever shows up in another one of my scripts, Clarence will still be dead.

Link (via)


Ich weiß noch, als ich zum ersten mal „2001“ gesehen habe, mit 11 oder 12 Jahren. Ich hab’ ihn nicht verstanden. Aber ich wusste damals schon, dass ich grade große Kunst gesehen hatte. Ich meine: Jeez, es war voller Sterne und hatte mit HAL9000 einen der ersten amtlichen Killer-Computer. Der coolste Killer-Computer ist er jedenfalls bis heute.

Movie City Indie hat eine Linksammlung zum Film inklusive eines Interviews von der Premiere…

(Youtube Direktkubrick)

…und allen möglichen Kritiken von Roger Ebert bis Robert Frederik, teilweise vernichtend:

Stanley Kubrick is alive and well and living in Outer Space. Those filmgoers who have wondered what happened to the man who gave screen birth to Lolita and Dr. Strangelove can stop worrying. He’s taken up a new hobby—science-fiction—and his first effort comes close to running away with itself. One criticism that will be raised is that film cost too much for so “personal” (i.e. Kubrick) a film… A major achievement in cinematography and special effects, 2001 lacks dramatic appeal to a large degree and only conveys suspense after the halfway mark. Despite the enormous technical staff involved in making the film, it is almost entirely one man’s conception and Kubrick must receive all the praise—and take all the blame.

Ich finde, „2001“ hat sich diese gewisse Transzendenz erhalten, die den Film gerade aus jetziger Sicht in dieser retrofuturistischen Umgebung bis heute einzigartig macht. Verstanden habe ich das Ende aber immer noch nicht so richtig, aber ich verstehe ja auch nix von Metaphysik.

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