Pedobear is apparently going to strike in Tulsa, Oklahoma at the state fair. The broadcast mentions he was last seen at the “San Diego Comic Convention." Coincidently, I happened to interview him there in 2009.
I even got his Five Favorite Films. He said his name was Pedro.
Sadly, we both meant to say Hounddog. But I guess Underdog is just as pedo-friendly.
The difference between sloppy and choreographed action scenes.
And why Sly Stallone is simply wrong when it comes to his own process in The Expendables.
I’m doing some contributions to Hammer to Nail’s VOD selections this month.
To break it down for you:
9th Company is a Russian army film made by the son of the director of War and Peace. It’s also extremely good and has one of the most jaw-droppingly framed shots you will ever find. Also, Vladimir Putin claims it was one of the best films of 2005. You don’t want to prove Putin wrong, do you?
The End: British Gangsters is a good doc on the rise of the “cockney" gangster and makes me afraid of East London. Because everyone there will be very nice and also want to take my lunch money.
The third film you should really read about on the site. Because it has one of the best sentences I have ever written. Go on.
All are avaliable via VOD services starting this month.
Satoshi Kon died on a Tuesday and came back virally when Makiko Itoh translated a posthumous blog post from the Japanese anime filmmaker; retweets inevitably followed. The stream-of-consciousness missive ran through his fears and acceptance of the situation to the brutal send-off Itoh clarified: “So, he is essentially saying to the reader, ‘I have to go now, I’m leaving this world before you.’"
[the rest at GreenCine Daily]
First trailer for Uwe Boll’s (yes, him) new ‘film.’
Auschwitz.
I mean. Way to go, Uwe. Way. To. Go.
[this isn’t on his IMDB page, so…you know. let the viral marketing commence.]
(via Ryan Stewart)
sometimes it is better not to wonder, " I wonder what 4chan is doing with this news."
things to remember if you ever turn immortal:
you can make an air horn out of a parking cone and a can of purple spray paint.
also you can make a bucket filled with drills and put it on the head of a zombie. it is mildly amusing.
Overshadowed by the Emmy Awards and Jewel’s Non Sequitur song on Sunday night, Gizmodo pointed to an article from the Financial Times with the blunt headline, Google plans pay-per-view films.
FT’s entire article can be summed up as:
ReadWriteWeb has a quick history of YouTube’s number game when it comes to Google’s own income citing Forbes’ own 2008 number crunching that YouTube made up $200 million of Google’s $13 billion. This undoubtedly gets better with the decision in June that Viacom can’t sue YouTube after mishandling DMCA threats.
But that doesn’t mean the rental process is without a caveat. YouTube quietly tried this in January under the guise of a Sundance partnership by releasing five films (three ‘new’ and two Sundance alums) for $3 rentals. While out in Park City, Karina Longworth of the L.A. Weekly did the Internet Slogging and discovered the films received no push from YouTube and were all being negatively voted off the front page by users who feared exactly this—YouTube daring to “charge" for a rental.
Even scarier for a director, as she wrote:
If indie films are a questionable fit for the YouTube audience, another big argument against the experiment is that a ten-day rental window online could “cannibalize" the potential to sell the film later through other outlets. Theatrical distributors have historically expressed little interest in films that have taken a major distribution step in between the festival circuit and theatrical, based on the logic that every film has a finite number of potential viewers, and that every audience member can only be “exploited" once.
But the Sundance/YouTube deal worked out for no one. Directors barely saw a profit from the rentals that were open to constant negative comments and being voted into obscurity by purists—that in itself is darkly ironic when Sony’s CRACKLE is a studio-sponsored channel stuffed with a grab bag of complete films like His Girl Friday and…High School High.
Best of all? YouTube users were adamant that their pure ideal of what’s basically a streaming video dump not ever change. These same people must be floored when they learn their precious original content is used to fuel two shows and countless sites that do just that.
Ignoring all of that, a rental system simply doesn’t work anymore without a package deal or greater incentive: Netflix’ recent deal with EPIX—per the L.A. Times to strengthen its Instant offerings with more recent releases—is beneficial to everyone involved. On a purely digital/tv front, Hulu Plus is a multi-platform DVR launch that almost eliminates the need for cable packages, Crunchyroll allows for tiered simulcast Asian animation and dramatic packages; and owning a Playstation 3 is now like posessing a super-media-machine that strings together MUBI, Netflix, Hulu Plus with a giant pulsating orb-wand.
Compared to all of that and YouTube’s big plan is a streaming rental service? That isn’t remotely practical or plausible in a landscape where Apple is desperate to latch onto your viewing habits and never let go.
The ideal choice: YouTube unleashes their own version of Netflix Instant but with 420-1080p quality of newest DVD and even VOD releases under a fixed rate ($25/mo) and allow “rentals" to be a 24-48 hour download to laptops, desktops and mobile devices; end the idea of physical media and adopt a virtual rental system that is as free flowing as Barnes and Noble’s Nook system.
Until then, there’s no reason to bother sweating rentals off YouTube or should anyone remotely consider it a threat. Especially when the best it offers is an ad-choked, low quality stream of High School High.
At a dock. Three older women are in the water. Their child Jack, tanned to an absurd leathery brown, merely stands at the dock.
Woman 1:Jack! Come in!
Jack:No!
Woman 2:Jack, c'mon! It's the first swim of your last week of vacation in August!
Jack:No, it isn't!
Woman 2:Jack, just step in.
Jack:No!
Woman 1:Jack, do it for your Aunt [REDACTED].
Jack:No! I don' wanna!
Woman 3:Why not?
Jack:Because them two jellyfish are right next to you and if I splash in they'll hit you and hit me and I'll have to pee on you.
Cue the single fastest lap any of these three women have ever swam.
SCENE.
via Short Cuts.
And coming to Daddy.
“With feelings of gratitude for all that is good in this world, I put down my pen.
Well, I’ll be leaving now.
Satoshi Kon
”
The end of the last message of director Satoshi Kon, who died of pancreatic cancer this week at the age of 47.
[Via Anime News Network]
(via jimmyrabbitte)
Pro tip: When unsure how to fire a rifle, find the nearest woman with large breasts (preferably a 15-17-year old girl during a zombie outbreak) and proceed to fire at will. Or in this case, Will the Zombie.
Also, be sure your friends do not wear bras, so bullets can effortlessly move between breasts.
I’m going to this place for dinner tonight.
I assume nautical attire is required along with chainsmoking and cursing in Russian. I cannot see how any of this will be a disappointment to me.
It’s like WILD GRASS.
But instead of using film and cinema as a reference, it uses video games and comics.
And then Edgar Wright decides he’s bored and he’s going to do a bunch of cool shit and be all, “fuck y’all, here’s Thomas Jane. Didn’t expect Thomas Jane in this bitch, did you? No. Now you fucked up, now you fucked up, now you fucked u-"
And that’s when The Whitest Kids You Know Abe Lincoln sketch kicks in and you realize he’s referencing it. And you realize not everyone is going to get that reference, but you did and you will for a long time.
Also if you make a lesbian orgasm she will turn into spare change. Ditto if you kick in someone’s head.
edit: they don’t actually reference the Abe Lincoln sketch anywhere in the film Scott Pilgrim. I just had it open for some reason and it’s really hard to stop hearing Abe Lincoln say, “now you fucked up."
