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MillimeterDirector Series
Oct 1, 2007 3:06 PM
Scorsese: Gangster Style
By Michael Goldman
Like many intense relationships, Martin Scorsese's love affair with what he fondly calls “gangster pictures” never quite ends. Occasionally, he moves into colorful epics like his last effort, The Aviator, but sooner or later, Scorsese always returns to the dark, violent world illustrated in his newest movie, The Departed ...
Clint Goes Digital
By Michael Goldman
Clint Eastwood's reputation for economical, straightforward filmmaking is a bit out of date — at least in the opinion of Clint Eastwood. During a recent chat with millimeter, the director pointed to his twin World War II movies, Flags of Our Fathers and the upcoming Japanese-language, English-subtitled Letters from Iwo Jima, as proof of this assertion ...
Filmic HD
By Michael Goldman
Director Robert Altman, now 81 and fresh off receiving an honorary Academy Award for years of filmmaking excellence, says his primary reason for suddenly embracing high-definition acquisition technology in recent years is the fact that its nature suits his preferred style of filmmaking. That style, of course, involves running cameras as long ...
Exclusive: The Lasseter POV
By Michael Goldman
As John Lasseter stepped to the podium to accept the Georges Méliès Award for Pioneering and Artistic Excellence from the Visual Effects Society in February, he couldn't resist reflecting on his initial steps through the Walt Disney company ...
Scorsese's Color Homage
By Michael Goldman
If you are ever lucky enough to find yourself in Martin Scorsese's private screening room discussing the history of color feature film processes, he will no doubt school you on such movies as Follow Thru, an obscure 1930 film about golf that illustrates the limitations of the early Technicolor two-strip, dye-transfer process by showing golf courses with blue grass. He might also show you clips from other two-strip films, like 1934's La Cucaracha and three-strip movies such as The Divorce of Lady X (1938), Blithe Spirit (1945), and Leave Her to Heaven (1945) ...
Exclusive: The Lucas POV
By Michael Goldman
Even though he has received more than a few Lifetime Achievement awards, George Lucas isn't ready to view his career in terms of his “legacy” just yet. The awards on his resume range from the Irving B. Thalberg Award in 1992 from the Academy of Motion Picture Arts and Sciences for his accomplishments as a movie producer to the first-ever Visual Effects Society Lifetime Achievement Award, which was presented to him last month by his friend, James Cameron, at the 2nd Annual VES Awards Ceremony at the Hollywood Palladium ...
Spielberg Goes Retro
By Michael Goldman
Steven Spielberg decided to direct Catch Me If You Can because the script landed on his desk and, he says, “I loved it.” At that time, it was well into development at DreamWorks. Still, to hear Spielberg talk, it sounds like the project came along right at a point when the director wanted to exit, at least for now, the world of high-end visual effects and dark, futuristic stories of great complexity ...
Continue the discussion on Crosstalk the Millimeter Forum.