Nicholas Winding Refn on Fear X

Submitted by Matthew Arnoldi on Mon, 03/22/2004 - 16:00

With Pusher and Bleeder behind him, Danish director Nicholas Winding Refn has switched his attentions to the numerous possibilities that unravel for his lead, Harry Cain, a Security guard from Wisconsin, played by John Turturro, searching for his wife's killer and why she was killed in a random crime in a shopping centre car park.

When I met Refn in a London hotel, I asked if he was confronting his worst fears?

A Hellgirl For Hellboy

Submitted by Paul Fischer on Sun, 03/21/2004 - 16:00

Selma Blair, dressed in black, often cuts something of a gothic figure, but appearances can be deceptive. Here she conducts this one in a series of interviews for Hellboy rugged-up on a couch.

"I think if I take things too seriously I'd wind up with just so many neuroses," she says, referring to her eagerness to answer any questions from the press thrown her way, from "vaginal dryness" to tonguing supernatural creature Hellboy, both of which were brought up, tongue-in-cheek of course, in a previous group interview.

Buying A Budget Video Camera

Submitted by Robert Alstead on Mon, 03/15/2004 - 16:00

I'm looking for a new video camera. Nothing too expensive. In fact, I'm looking to spend as little as possible, but something that still delivers reasonable results in terms of video and audio. And I don't think that is too much to ask.

I want something that I wont fret too much about, that I'll have close to hand, that I can afford to lose or drop (although obviously I'd rather I didn't). My theory is that I'm more likely to be using the cheap camera than something bulky and expensive, if for no other reason than because they are smaller and more portable.

Starsky And Hutch Revisited

Submitted by Paul Fischer on Mon, 03/15/2004 - 16:00

PF: What was it like jumping on a naked Chris Penn?

BS: He's a big guy, a big guy -- a very solid guy. I was actually really excited to work with Chris because I've known his work for years. I was really happy that he did the movie. But, it was fun, in the moment, to get a little physical

PF: Why were you so keen to do this?

BS: I loved the show growing up - it was one of my favourite shows as a kid. It was really different for me to be able to do this sort of genre... it was just fun. It was a fun time.

Final Cut Pro Case Study

Submitted by Robert Alstead on Tue, 03/09/2004 - 16:00

We are often told how digital technology is levelling the playing field between big-budget studios and those filmmakers working on a shoestring. This view usually conveniently overlooks many other advantages the studios have, in particular their dominance in the distribution and marketing fields (internet distribution has yet to turn this on its head), but it's true that low-budget filmmakers are thriving more than ever.

Book review: Walter Murch's In The Blink Of An Eye

Submitted by Robert Alstead on Mon, 03/01/2004 - 16:00

A few weeks ago I reviewed the stimulating series of "Conversations" between film editor Walter Murch and Michael Ondaatje, where the two talk about the art of narrative and film editing. In The Blink of An Eye is a much shorter book, a 146 page paperback to be exact, written at an earlier date, in which Murch shares his ideas on the craft of film-editing.

Life Without Friends For Aniston

Submitted by Paul Fischer on Sat, 02/21/2004 - 16:00

Jennifer Aniston was fashionably late for our brief interview in a Los Angeles hotel, and freely admits that tardiness is one her least attractive faults. "Yeah, I tend to be late," she says, somewhat sweetly as we set about trying to ascertain what aspects of her personality she likes the least, as it pertains to her latest character in the new romantic comedy, Along Came Polly.

"I'm maybe too sensitive and perhaps I sometimes talk too much. Just ask my husband, who could say 'Talks too much.' I only pick when the game is on. I pick that time."

Smooth Drive Adobe Premiere Pro

Submitted by Robert Alstead on Mon, 02/16/2004 - 16:00

The release of Adobe Premiere Pro on 6 July 2003 marked a new direction of the long-running video editing software. Critics bemoaned the lack of a version for Macs (Final Cut Pro has forced Adobe out of the market here), and a few reviewers have commented that Premiere had problems with some AMD processors or was "unresponsive" on even high end machines. But by and large this was seen as a big improvement on the previous incarnation of the video-editing software, in terms of use and in terms of results.