Feb 032011

A few nice movie images I found:

movie scene

Etienne Marcel, Paris.
June 2005.

For the theme competition: CINEMA.

(see ‘movie scene’ On Black)

The Movie Project: B+W One

Technical info

Location: Scorzè, 20km from Venice, Italy
Lens: Nikkor 50mm (ƒ/1.4D) — ƒ/1.6
Shoot: ISO 200 | 1/250s — full manual
Filters: None
Strobist: 2 SB-900+ Exybox triggered by 1 SB-900 on camera, both on 45° angle to the man

The story

Still screenplaying. ;)

The Movie Project: Meets Events – Paolo il Re (The King).

Another set of shoots from the new tones style of The Movie Project.

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Jan 312011

Some cool movie images:

The Movie Project meets Venetia: V:005 – Looks up

Technical info

Location: Sestriere di San Polo, Venice, Italy
Lens: Nikkor 24-70mm (ƒ/2.8G) — ƒ/2.8
Shoot: ISO 200 | 1/1400s — full manual
Filters: none
Strobist: none

The Story:

New story from the unseen Venice project: new project "The Movie Project meets: Venetia" from the "The Movie Project meets:" series.

Venice is a rich place.

Rich in buildings, rich in arts, rich in… water, but above all is rich, really rich, for you eyes pleasure.

One thing you need to bear in mind is to move your eyes 360°, constantly.

Little treasures are waiting for you, to be discovered. :)

The little treasure you are seeing is one of the most Venice’s life peculiarity: clothes hanging.

Since the living space is not always so large, there are not so many gardens available, many peoples left to dry the clothes hanging from a rope or string.

It’s a real popular use.

So, keeping your eyes up, you could see an elegant, original and coloured life’s painting like this. ;)

Movie to Misc

Movie Toys transitioning into Misc Liked figured that don’t fit elsewhere.

This is not all of my Transformers just the ones I keep out on display.

I was Originally going to try to use Live Photo Gallery to make a Panorama but it didn’t work out so here are the raw photos.

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Jan 222011

A few nice hollywood movie images I found:

Great Movie Ride Entrance Walt Disney Hollywood Studios
hollywood movie

Great Movie Ride Sign Walt Disney Hollywood Studios
hollywood movie

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Jan 162011

A few nice movie images I found:

The Movie Project meets Venetia: V:003 – Perspective

Technical info

Location: Riva Schiavoni in front of San Giorgio island, Venice, Italy
Lens: Nikkor 24-70mm (ƒ/2.8G) — ƒ/2.8
Shoot: ISO 640 | 1/40s — full manual
Filters: none
Strobist: SB-900 on camera (-2 stop)

The Story:

Hi there!

This evening there is a new shoot from the new project "The Movie Project meets: Venetia" from the "The Movie Project meets:" series.

Today I wish to show you a new view of the San Marco’s basin.

The island you’re viewing behind the dock is San Giorgio Island and the Redentore’s Church on the right, at the end of the dock.

This is how the sunset could be here, in the most magical city all over the world. ;)

Transformers Jazz G1 vs. Jazz Movie

Transformers Jazz G1 (Meister Encore Reissue) vs. Jazz Movie Deluxe


Great Placements in Movie History

Movie fans will appreciate how well placed this is

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Jan 132011

Check out these hollywood movie images:

DJ Booth At Hollywood Forever Cemetery Movie Screening – Funny Face 061309
hollywood movie

Hollywood Forever Cemetery Movie Screening 052409
hollywood movie

DJ Booth at Hollywood Forever Cemetery Movie Screening 052409
hollywood movie

More Hollywood Movie Images

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Jan 012011

Check out these hollywood movie images:

Hollywood Forever Cemetery Movie Screening #2 052409
hollywood movie

Pre-movie picnic crowd. Dazed and Confused screening.

Hollywood Forever Cemetery Movie Screening 051609
hollywood movie

After the movie. Used the "nightshot" mode on my camera for this one. This is everyone getting up and heading out. You can better see the mausoleums in this shot.

Hollywood Forever Cemetery Movie Screening 051609
hollywood movie

Pre-movie picnic crowd. I’ve heard different estimates of the number of people that attend these screenings. I believe the average estimate is 3000+. But that could be way off. The movies are projected on the the side of a mausoleum and if I’m not mistaken, it’s the one where Rudolph Valentino’s remains are.

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Dec 262010

A few nice new release movie images I found:

Sid Haig Portrait
new release movie

The veteran character actor and recent star of both House of 1000 Corpses and The Devil’s Rejects. Sid is soon to make a cameo in Rob Zombie’s Halloween remake.

This set appeared in Darkside, the UK’s premiere horror magazine. Here’s the article:

The veteran character actor and recent star of both House of 1000 Corpses and The Devil’s Rejects. Sid is soon to make a cameo in Rob Zombie’s Halloween remake.

Here is the article that appeared in Darkside Magazine, a few weeks before the release of the The Devil’s Rejects.

Sid Haig has a face your nightmares won’t let you forget. With sunken eyes, heavy brow, swollen features and grizzly black beard, this hulking menace of an actor oozes gravitas with every carefully considered sentence that growls through his leathery lips. Today as the Californian sun beats hard upon his signature bald skull, he stands a looming 6’4” tall and cloaked entirely in black, commands presence that is undeniable.

Our interview is held in a plastic-cupped seaside café, halfway along the famous Santa Monica Pier, one of Hollywood’s favourite film locations and the point where western civilization ends. For over forty years, Sid’s vicious visage has found him cast in over fifty feature films and three hundred television appearances, mostly as the “heavy with a gun”. Odd really, for his onscreen roles belie a warm, charismatic and down-to-earth personality in the flesh.

Sid Haig’s first acting role on celluloid was in a UCLA student short called The Host, directed by Jack Hill – a crossing of paths that spawned a career-long collaboration and association with gritty genre pictures. Hill cast Sid as a demented murderer in his first feature Spider Baby (1968), the cult horror classic that featured a singing Lon Chaney, Jnr. and he quickly became an exploitation regular in films such as The Big Dollhouse (1971), Coffy (1973), and Foxy Brown (1974). Cast as one of the Slumber Brothers in Diamonds Are Forever (1971), he even managed the lucky task of tossing a Bond girl from a Las Vegas hotel room and of course his shaven-headed appearance was a definite advantage when he auditioned for THX1138 (1971).

Due to dissatisfaction with his continual casting as heavies, Sid abandoned acting in 1992 to become a hypnotherapist. Yet he later joined the likes of John Travolta, David Carradine and Robert Forster with a career revival at the hands of Quentin Tarantino, playing the Judge in Jackie Brown (1997), the director’s ode to blaxploitation.

His next role was the most significant of his rejuvenated profession, playing the crazy killer clown Captain Spaulding in rocker Rob Zombie’s directorial debut House Of 1000 Corpses. Sid was actually cast because of the filmmaker’s love of the Saturday morning kids sci-fi series Jason Of Star Command (1979-81) in which he starred as the villainous cyborg Dragos. Fully bearded under thick white greasepaint like Caesar Romero in the sixties Batman, his creepy persona and penchant for murder in House Of 1000 Corpses created a character that many are calling the new horror icon of the 2000’s. Particularly surprising when one considers the panning that the film received at the hands of the critics when originally released. Fans knew better of course, and now Sid Haig is in a jovial mood, for the upcoming sequel looks set to succeed its predecessor in every single department.

“We had a screening of The Devil’s Rejects in Chatsworth in the San Fernando Valley with an audience of about five hundred people,” recalls Sid, full of beaming praise for his upcoming feature. “The final scene was taking place in broad daylight and the screen illuminated the faces of the audience. Rob made his way down front so he could get what their reaction would be. It was amazing because many of the women were crying and most of the guys were sitting there with their mouths open. They did a survey and 18 out of the 20 rated the film as excellent and the other two rated it very good. Now House was released at 600 theaters. The last word I got was that the new movie will be released in 2500 theaters nationwide! Lions Gate say it’s the largest release in the history of the company.”

The Devil’s Rejects continues the folklore surrounding the Dr. Satan cult murders created in House Of 1000 Corpses by following the Firefly family on another bloody rampage. Pursued by the brother of the late lamented Sheriff Wydell (played by William Forster) who is hell-bent on bloody revenge, the murderous clan is forced to hit the road. Captain Spaulding takes them to ‘Charlie’s Frontier Funland’ a safe house that happens to be his brother’s brothel, a house of ill repute where a final gory showdown takes place.

“Sheriff Wydell may even be a little more crazy than the Firefly family!” chuckles Sid like his demented clown character. “We find out fairly early in the film that Captain Spaulding’s connection to the Firefly’s is that he’s Baby’s father, which is an interesting little twist, having been adopted himself by a young black family. Ken Foree plays my brother and everyone is asking, ‘How is Ken Foree going to be playing your brother?’ He and I both are saying, ‘We’re brothers from another mother!’”

The sequel continues the recent trend in filmmaking to trawl through the back catalogue of seventies horror movies for inspiration. The cast not only includes Dawn Of The Dead’s Ken Foree but also Texas Chainsaw Massacre 2’s Bill Moseley (reprising his role of Otis with a more rugged, realistic look), Halloween’s P.J. Soles and The Hills Have Eyes’ Michael Berryman. Rob Zombie shoots in a bleached-out, grainy Super 16 film stock and creates a universe where Leatherface could easily be lurking behind a battered pick-up truck or rusted out refrigerator. But what’s with the recent fascination with everything just post of Texas Chainsaw Massacre? Sid pauses and rubs his bearded chin before answering.

“It was a period that horror films were really good and after that everything was kind of predictable, not really very scary at all. There’s not really a whole lot of creativity in Hollywood at this point. I am so pissed that somebody had the brilliant idea to remake House of Wax (1953). That was one of my favorite films as a kid. I was in the theatre the night that it opened and it was one of the first 3D films I saw. I can’t even think about going to see Paris Hilton prancing around – it drives me nuts!”

This time, Sid promises that Rob Zombie has matured as a filmmaker. House’s scenes inside the creepy haunted house ride, Lucio Fulciesque catacombs and the Firefly’s Texas Chainsaw shack give way to a desert road trip scenario with classic Western themes and motifs. The MTV editing has been replaced by a thoughtful, Sergio Leone-influenced style and a move towards realism.

“Horror films seem to have to take place at night. Watching horrible things happen in broad daylight is much scarier,” theorises the actor. “House Of 1000 Corpses was a little campy and cartoony at times. There’s still a little humor, but just not as much. Rejects happens in the sunshine and there’s some really nasty stuff. It’s a very violent film, perhaps even more violent than House. It has a kind of Sam Peckinpah feel to it, very much like The Wild Bunch (1969).”

The bloodbath finale to The Devil’s Rejects is already causing frenetic fan speculation across hyperspace. The original film of course suffered very badly at the censor’s scissors in most territories and it seems Rob Zombie had to present the sequel an incredible eight times to the MPAA before it received the magical ‘R’ rating.

“Everything is much more real,” explains Sid. “It’s not so much a question of cutting the violence out. Rob couldn’t get it because they’d say, ‘We can’t pass that scene.’ He’d reply, ‘I don’t understand. Nobody gets molested in any way. There’s no blood, there’s no gore, there’s not even any cursing. So what’s the problem?’ ‘Well it’s too real,’ was the answer. Isn’t that what film is supposed to be? So it was an educational process for the MPAA.”

Perhaps members of the board were simply victims of caulrophobia, the dreaded fear of clowns. Could the sight of Sid Haig in Captain Spaulding make-up have been too much for their delicate sensibilities? The man behind the greasepaint doesn’t really understand the whole fascination with those evil, twisted monsters with venomous red noses and squirting flowers. Not to mention those enormous feet, fit for stomping small babies:

“I had really never heard that much about clown phobias until I did this film and people are just totally freaked out. I just think it’s the visual thing of this totally weird clown with the beard, the frown and the black eyes. Then other people just love the fact that this wacky clown is so evil and just does terrible things. Actually, a young lady was getting married and wanted me to perform the service as Spaulding. I said, ‘Well I can’t do it. I’m not ordained.’ So she got on the Internet with all my information and I’m now an ordained minister. I married them at the Chiller Theater convention in New Jersey in full makeup and insulting as hell. Everybody was drunk, laughing and carrying on.”

With Captain Spaulding sparking the imagination of young audience, a new generation is discovering some of Sid’s early work and most notably the wonderfully warped Spider Baby, another tale of a murderous family with a penchant for cannibalism. That low-budget movie enabled Sid to work with one of the masters of screen horror, the Wolfman himself, Lon Chaney, Jnr. during the twilight of his career. It was a last hoorah for a star who had truly fallen to the depths of bottle, a performance that would have been a fitting final bow instead of his ending up as an embarrassing bit part in Al Adamson’s campy but crappy Dracula Vs Frankenstein (1971).

“That was an amazing experience,” recalls the bearded genre icon. “Lon was so grateful to get that job, that somebody thought enough of him to offer him a part like that. He was really dedicated to what he was doing and dried out to do the film. I could see he was unhappy with where he had been and I could see how much joy he was taking in what we were doing. That was probably the best eleven days of his aging life and career.”

The tiny budget of the production forced the crew to be creative with their limited resources. Sid recalls how Al Taylor the director of photography – whose work in Spider Baby is one of the greatest assets of the film – once had to contend with having no electrical power to light a murky interior shot:

“Al bounced light off of six reflectors; the yard to the front door, down the hall, through one room and into another room to get light on the actor’s face. That’s pretty amazing. Most guys would just throw up their hands and say, ‘Oh we don’t have any light. Let’s go.’”

But during filming of Beware Of The Blob (1972), Larry Hagman’s comedic sequel to the 1958 original, Sid faced the true horrors of working within a miniscule budget.

“I was playing a cop and I caught these two kids smoking dope. Suddenly the Blob came down and devoured me,” he grimaces. “And there I stood in fifty-five gallons of dipee-dee-do, the most vile crap that anybody could put on their hair, let alone their entire body. So I turn and thankfully it’s all over. But there’s no shower! Oh my God! That was pretty sick.”

With Sid creating such a memorable screen persona with only ten minutes of screen time in House Of 1000 Corpses, his starring role in The Devil’s Rejects could unleash a new horror phenomenon. Could the misadventures of Captain Spaulding and his harem of homicidal hicks soon become a trilogy?

“Rob doesn’t want to do a third one. The reasoning is that if the first one is a success, the second one is usually better, but the third one sucks and he doesn’t want to go there. But I’m sure that some of us will get a call from Lions Gate saying ‘if you’re up for a third one, come and play…’”

Captain Spaulding is a rich, freakish multi-layered killer with some of the best caustic dialogue for a villainous champion of chaos since Freddy Kruger toyed with his hapless victims on Elm Street. This new bogeyman for the twenty-first century is a character that for once would actually create a welcomed franchise to a flagging Hollywood horror industry. It’s a strongly crafted, warped and still a strangely realistic role that only veteran Sid Haig could play with such true grit. Send in the clowns indeed.

(Photos and words – Copyright Mark Berry)

Batman Begins ~~ Movie Masterpiece Series ~~ 1/6th scale – TDK (Original Costume) (49)
new release movie

The Dark Knight – 1/6th scale BATMAN (Original Costume)

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Dec 232010

A few nice movie images I found:

Jackie Chan Movie Star

Kung Fu Action Movie Star JACKIE CHAN on board the float title :
Better City, Better Life by Shanghai World Expo / Roundtable of Southern California ~ Rose Parade 01 January 2010 ~ Pasadena, California

Keystone K-48 Bel Air Movie Camera

Manufactured around 1960 by Keystone Mfg. Co. of Boston, Massachusetts. This is an 8mm (i.e. “regular 8”) moving camera with a three lens turret. The only lens attached is a Keystone-Elgeet 1/2inch f/1.9. The camera used a Bel-Air Magazine to hold the 8mm film which had to be flipped a minute and a half (at 16 frames per sec) through shooting. Yes, that’s right—consumer 8mm films were only 3 minutes long. And people use to complain about sitting through someone’s movies. Must mean that watching a 60 minute MiniDV of the trip to Europe is a living hell… [grin]. The camera was a wind up and had an adjustable frame rate from 12 to 48 fps. A mechanical gage on the top of the camera showed the amount of film left on that side. And “stop action” (specifically one frame at a time) was a feature provided by lifting up on the shutter release lever instead of pressing down.

see the vimeo movie…Wildy Beastie…

Jardina getting fit? HFF everyone* the movie on vimeo.com/348087

Do join the new Blurvision Video group, sister group to Blurvision www.flickr.com/groups/blurvisionvideo/

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Dec 142010

Some cool movie images:

(#20 of 365) Movie Night

I just realized I did two movie themed pictures in a row. Oh well. It’s late, and I’m tired.

My own road movie #2.

Made it on Explorer: December 5, 2007
Check the whole set:
My Own Road Movie

2009 in movies

Maybe there’s a rainstorm to duck. Or maybe there’s a just an empty afternoon to fill. Or a bad day at work and the only cure is two hours in E Street. Whatever the reason, or for no reason at all, I see a lot of movies. Last year, I drew up a list of my top 5 movies; this year, it’s not so straightforward.

This year, it’s all about the moments. The scenes. The fleeting moods that stick after the lights are back up and the popcorn grease has been washed away.

Like the dance scene in "(500) Days of Summer." In a movie packed with beautiful images–and a soundtrack I’m still listening to almost daily–this scene accomplished the impossible: It put Hall and Oates on my top-played songs of the year.

Or the opening credit sequence from "The Watchmen." The movie couldn’t live up to 20 years of hype (didn’t stand a chance, really), but for five minutes there, boy, didn’t we all have our hopes up while Bob Dylan was singing?

Come to think of it, music matters so much with these scenes. "It Might Get Loud," one of the best movies I saw this year, was a masterpiece of music-lover porn, those three men and their beautiful, beautiful guitars.

The relationships matter, too: The pairing in "Paper Heart" was sweetly honest and brutal; Carl Fredricksen and his wife in "Up" brought me to tears.

Sometimes it’s that very last scene that reinforces a great movie, or makes an OK one seem better. "Up In The Air" ended exactly how I wanted it to; "Adam" saved itself when the boy didn’t get the girl.

Sometimes it’s just about casting: Meryl Streep in "Julie and Julia"? Perfect. The surprise cameo by [you know who] in "Zombieland"? YES! And "Adventureland" made me not hate Ryan Reynolds for the first time, like, ever.

Other movies build to a sense of their goodness: "Coraline" made me hopeful for a generation of kids growing up now; "Moon" took what could have been a bad "Outer Limits" episode and made it so much more.

And then there’s the joyride. "Public Enemies" was a mess, but with Johnny Depp walking around as a ’30s gangster, who cares? "Sherlock Holmes" spent more money and time on costumes than plot, but I’m OK with that. "Brothers Bloom" put Adrien Brody and Mark Ruffalo in matching fedoras and taught Rachel Weitz how to juggle.

The silliest movie can have such beauty. "Night At the Museum" gave us a peek inside the VJ Day in New York, and it brought to life those Degas ballerinas I pass so often at the National Gallery.

And the most serious movie on the most serious subject–"Hurt Locker–can surprise you. Sigh, another war movie? How’s this one different? Turns out, it’s different in the most significant way possible: it tells a story you care about, with people you care about. That’s exactly what i want from two hours in the dark.

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