The Matrix is one of those movies that’s tough to see with a fresh pair of eyes. Not only is it the kind of film that burns itself into your memory but the subsequent sequels were so messy that it’s easy to forget just how tight the storytelling in the first film is. One of the biggest reasons for this is its flawless…
The talented filmmakers—or should that be, remakers— at Ghostlight recently reshot the 1987 Paul Verhoeven masterpiece, RoboCop. But since they didn’t have a million dollar Hollywood budget, they had to build all of the film’s props and practical effects themselves, including this impressive ED-209 costume.
A movie’s ending is dessert—it’s the last impression a film makes on you before you leave the theater, and that’s what makes it so important. If it doesn’t appropriately encapsulate and comment on the events of the last two hours, everyone goes home with a bad taste in their mouths.
Why Props Matter by Rishi Kaneria is an excellent short about all the different ways that inanimate objects enrich the story being told. Try removing these props from the scenes they’re in, and you’ll rapidly discover how integral they are.
This grainy image from The Blair Witch Project is unremarkable on its own. But contextualized within the film’s carefully-crafted mythology and nerve-jangling buildup, this simple shot was a terrifying way to end the film. (I absolutely screamed my head off the first time I saw it.)
This year, the most amazing thing I saw at Google’s annual developer conference wasn’t a phone, a tablet, or even a head-mounted display. It was a 360-degree 3D video that took me to Japan. Now, filmmakers can spend $15,000 on the tech that made it possible: the GoPro Odyssey. It’s one heck of a camera.
Mad Max: Fury Road has earned considerable acclaim since its release, and over on his blog, commentator and editor Vashi Nedomansky highlights how George Miller and his team composed the film to make the most visual sense.
The original Mad Max movies were packed with action scenes and though they weren’t on the scale of Fury Road, they were still awesome to watch because a lot of times you get to see it all happen from the point of view of the character. It immerses yourself in the world and almost makes you feel like you’re a part of…
In just over five minutes, Jacob T. Swinney's film contrasts the opening and closing shots of 55 films, from The Tree of Life to The Usual Suspects. Some are quite abstract. But the number you will be able to ID (especially if you've watched a lot of indie/art-house movies in recent years) may surprise you.
She sits down on a rock, just a few feet away from me. She's tired, so completely drained that she doesn't even notice me here. Or maybe she doesn't care. We're just two travelers crossing paths in the wilderness. Maybe I should say something, I half-think. And then, without warning, Reese Witherspoon is looking at…
Back in September, Nikon announced yet another full-frame DSLR to add to its broad lineup— the upper-mid-level D750. Equipped with a pivoting LCD and a handful of video specific features, this new guy is chasing the hearts of filmmakers in particular. At first glance it's a welcome addition to an already proven camera…
There are many reasons why Birdman is so good. But one the ones that's harder to explain is the way the movie is shot and edited to look like a single long take. Variety talked to the film's digital colorist, Steve Scott, about how they achieve this effect.
D.A. Pennebaker and Chris Hegedus are documentary filmmakers who've recorded 60 years' worth of memorable folks in some of history's most culturally significant moments. Reels upon reels of their footage, tons of which hasn't been seen in decades, is stored in a Cold War-era limestone mine.
If you're looking for ideas on how to transform yourself into a disease-ridden horned demon this month, you'll want to head behind-the-scenes at Immortal Masks. The Hollywood-based company designs high-end creature masks for special effects teams in film. Or anyone who wants to seriously scare the shit out of…
Why on Earth did Sex, Lies, and Videotape and Traffic director Steven Soderbergh decide to turn the colorful pulp of Raiders of the Lost Ark into a silent black-and-white film? Because it turns out Raiders is still remarkably compelling stripped down and has a lot to teach us about filmmaking.
Yesterday, we brought you a list of screenwriting tricks and tropes we never need to see again. And afterwards, people tweeted some stuff that we're incredibly embarrassed we missed. Here are more overused gimmicks that really do need to go away.
There was a great disturbance in the Force this week as George Lucas announced he's locating his new art museum in Chicago instead of San Francisco. But Lucas's art isn't all Millennium Falcon models: There are some seriously fascinating pieces in his collection, all themed around the concept of storytelling.
If you're obsessed with gear, nothing can be more fun than hearing what actual professionals use in the field. Well thank goodness for PBS! They went ahead and took a survey of working documentarians—asking them about what cameras, lenses, tripods, and other equipment they use. The results are telling.