Hollywood mourned the death of actor Robert Forster today, remembering him as a consummate professional who brought magic to his screen portrayals while retaining a warm, human touch in his everyday interactions.
“Our hearts go out to Robert and his family,” Breaking Bad and El Camino: A Breaking Bad Movie producer Sony Pictures TV, said in a statement. “He was a true professional and an integral part of our Breaking Bad family. He will be missed.”
Producer Gale Ann Hurd called him a “Brilliant actor, wonderful man. #Rip #RobertForster” in her Twitter tribute. Her words were echoed in other online tributes, including from Forster’s Jackie Brown co-star Samuel L. Jackson and from Breaking Bad star Bryan Cranston:
Rip Robert Forster!! A truly class act/ Actor!!
— Samuel L. Jackson (@SamuelLJackson) October 12, 2019
I’m saddened today by the news that Robert Forster has passed away. A lovely man and a consummate actor.
“Our hearts go out to Robert and his family,” Breaking Bad and El Camino: A Breaking Bad Movie producer Sony Pictures TV, said in a statement. “He was a true professional and an integral part of our Breaking Bad family. He will be missed.”
Producer Gale Ann Hurd called him a “Brilliant actor, wonderful man. #Rip #RobertForster” in her Twitter tribute. Her words were echoed in other online tributes, including from Forster’s Jackie Brown co-star Samuel L. Jackson and from Breaking Bad star Bryan Cranston:
Rip Robert Forster!! A truly class act/ Actor!!
— Samuel L. Jackson (@SamuelLJackson) October 12, 2019
I’m saddened today by the news that Robert Forster has passed away. A lovely man and a consummate actor.
- 10/12/2019
- by Bruce Haring
- Deadline Film + TV
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSNaomi Kawase has been appointed as the director of the official documentary film for the Tokyo 2020 Olympics. Kawase, now the fifth woman to direct an Olympics official film, hopes "to capture ‘time’ and take full advantage of the appeal of documentary films and their ability to freeze those moments into ‘eternity.'" A mysterious Vr project by Terrence Malick entitled Evolver—his second virtual reality endeavor since this summer's Together—will be one of ten projects presented at Vr Days Europe in Amsterdam on October 26. Featuring original music from artists including Wu-Tang Clan and Radiohead’s Jonny Greenwood, "Evolver lets participants experience the human condition from birth until death."Recommended VIEWINGNew York's Museum of the Moving Image has thoughtfully shared a video of a post-screening discussion of Kubrick's 2001: A Space Odyssey, with stars Keir Dullea and Dan Richter,...
- 10/24/2018
- MUBI
[Editor’s note: The following contains spoilers for “Better Call Saul” Season 4 Episode 6, “Pinata.”]
Case Summary
We start off by going further back into the past than ever, encountering Jimmy and Kim at perhaps the youngest age we’ve ever seen them: Both are pushing the mail carts around Hamlin Hamlin & McGill, but it’s third-year-law-student Kim who shows her legal ambitions when she proves her knowledge of the law to a whole and healthy Chuck McGill.
10 years later, the dynamic hasn’t really changed — Kim is hard at work for Mesa Verde, and Jimmy continues to struggle with his pursuits outside the law. However, while they’re still living together, their relationship sustains a few body blows in “Pinata”; specifically, Kim decides to join the firm of Schweikart and Cokely as a partner leading their banking division, which means she’ll be able to split up her Mesa Verde work amongst other lawyers and continue doing the...
Case Summary
We start off by going further back into the past than ever, encountering Jimmy and Kim at perhaps the youngest age we’ve ever seen them: Both are pushing the mail carts around Hamlin Hamlin & McGill, but it’s third-year-law-student Kim who shows her legal ambitions when she proves her knowledge of the law to a whole and healthy Chuck McGill.
10 years later, the dynamic hasn’t really changed — Kim is hard at work for Mesa Verde, and Jimmy continues to struggle with his pursuits outside the law. However, while they’re still living together, their relationship sustains a few body blows in “Pinata”; specifically, Kim decides to join the firm of Schweikart and Cokely as a partner leading their banking division, which means she’ll be able to split up her Mesa Verde work amongst other lawyers and continue doing the...
- 9/11/2018
- by Liz Shannon Miller
- Indiewire
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSWe're pleased to announce that Mubi is continuing our collaboration with Filmadrid International Film Festival to bring a section dedicated to the art of the video essay to this year's edition of the festival.Recommended VIEWINGIn celebration of the centennial of André Bazin, the original critical proponent for long takes and deep focus, Dave Kehr aptly shares this breathtaking 1-hour-long jaunt through Tokyo:
In honor of Andre Bazin's 100th birthday, here's a link to my favorite YouTube long take stylist, Guy Who Walks Around Tokyo, aka Rambalac.https://t.co/w1AXCgy7Ym— Dave Kehr (@dave_kehr) April 18, 2018 The trailer (now with English subtitles!) for Japanese auteur Hirokazu Kore-eda's latest—and mighty promising—family drama, set to premiere at Cannes next month:Conversely, here's the U.S. trailer for the latest movie by another similarly hyper-productive auteur,...
In honor of Andre Bazin's 100th birthday, here's a link to my favorite YouTube long take stylist, Guy Who Walks Around Tokyo, aka Rambalac.https://t.co/w1AXCgy7Ym— Dave Kehr (@dave_kehr) April 18, 2018 The trailer (now with English subtitles!) for Japanese auteur Hirokazu Kore-eda's latest—and mighty promising—family drama, set to premiere at Cannes next month:Conversely, here's the U.S. trailer for the latest movie by another similarly hyper-productive auteur,...
- 4/25/2018
- MUBI
One of the best ways to learn about any given filmmaker is to study his or her shot list. Just last month, an invaluable video essay broke down all 678 shots in Paul Thomas Anderson’s “There Will Be Blood” to explore how the filmmaker uses shot lengths and edits to create a particular tone for the viewer that matches the character’s experience. If Anderson loves letting the camera linger, then consider David Fincher his polar opposite.
Read More:‘There Will Be Blood’: What You Learn About Paul Thomas Anderson By Counting All 678 Shots
Film editor Vashi Nedomansky, who worked on Fincher’s “Gone Girl,” has created amazing new graphics (via No Film School) that take a birds eye view at all of the shots in both “The Girl With the Dragon Tattoo” and “Gone Girl.”
Just to provide some perspective: There are 678 shots in “There Will Be Blood,...
Read More:‘There Will Be Blood’: What You Learn About Paul Thomas Anderson By Counting All 678 Shots
Film editor Vashi Nedomansky, who worked on Fincher’s “Gone Girl,” has created amazing new graphics (via No Film School) that take a birds eye view at all of the shots in both “The Girl With the Dragon Tattoo” and “Gone Girl.”
Just to provide some perspective: There are 678 shots in “There Will Be Blood,...
- 8/10/2017
- by Zack Sharf
- Indiewire
Even if you've seen Michael Mann's action thriller Heat a hundred times, there's still something magical about its iconic diner scene in which Robert De Niro and Al Pacino act opposite each other for the first time in film history. And now, thanks to a video essay by Vashi Nedomansky, we can watch that scene side-by-side with an annotated script. It's fascinating to see what subtle changes the actors decided to make to their dialogue from the page, and it's a nice microcosm of the way movies end up being the result of thousands of decisions between collaborators. This makes me want to go back and rewatch the whole movie.
For much more on Heat, including interviews with Mann, De Niro, and Pacino, click here.
Via: The Playlist...
For much more on Heat, including interviews with Mann, De Niro, and Pacino, click here.
Via: The Playlist...
- 1/17/2017
- by Ben Pearson
- GeekTyrant
I just got back from seeing Rogue One for a second time. I gave it a 7/10 after my first viewing, but if I could change that, I'd drop it to a 6/10 after seeing it twice. The characters aren't as well developed as they could be (which causes problems during the moments in which the film really wants you to feel for them), and I think it doesn't hold a candle to The Force Awakens.
One other thing I was really disappointed by was how much the film was positioned to be wildly different on a visual level, and how it didn't quite live up to that potential. It was hyped as a "boots on the ground" war movie, but in the final cut, it didn't feel that much different than other Star Wars movies. If they had kept a lot of the shots from the trailers in the final cut,...
One other thing I was really disappointed by was how much the film was positioned to be wildly different on a visual level, and how it didn't quite live up to that potential. It was hyped as a "boots on the ground" war movie, but in the final cut, it didn't feel that much different than other Star Wars movies. If they had kept a lot of the shots from the trailers in the final cut,...
- 12/22/2016
- by Ben Pearson
- GeekTyrant
Over five years ago, on Wednesday, March 9th, 2011, John Fell Ryan and Akiva Saunders premiered their experiment The Shining: Forwards and Backwards. At the Williamsburg, Brooklyn locale The Spectacle Theater they screened Stanley Kubrick’s horror masterpiece from start to finish and vice versa simultaneously and superimposed on one another. Perhaps to the surprise of some, the results were fascinating enough to lead to many more screenings, including one at Fantastic Fest in 2012, as well as being featured in Rodney Ascher‘s Room 237.
The various oddities and strange occurrences that crop up when playing the film this way have been exhaustively explored by its own the creator (see here and beyond), and if you haven’t yet seen it this way, today is your chance. Editor Vashi Nedomansky made his own version and while we can’t imagine it’ll survive online for too long due to copyright issues,...
The various oddities and strange occurrences that crop up when playing the film this way have been exhaustively explored by its own the creator (see here and beyond), and if you haven’t yet seen it this way, today is your chance. Editor Vashi Nedomansky made his own version and while we can’t imagine it’ll survive online for too long due to copyright issues,...
- 10/27/2016
- by Jordan Raup
- The Film Stage
Here’s a bit of movie trivia you might not know. “The Dolly zoom… was invented by cameraman Irmin Roberts to visually convey the feeling of agoraphobia by zooming in with the lens while simultaneously dollying backwards the entire camera... or vice versa.” So prefaces editor and film enthusiast Vashi Nedomansky in his eight and a half minute long supercut, “Evolution of the Dolly Zoom.” In the video, Nedomansky strings together nearly two-dozen examples of the camera technique from classic films, beginning with its famous debut in Alfred Hitchcock’s “Vertigo,” on which Irmin Roberts worked. You can see how effective the technique was at creating a sense of, well, vertigo, as retired detective John 'Scottie' Ferguson (James Stewart) chases Madeleine (Kim Novak) up a bell tower. He suffers from an acute fear of heights, which inhibits his ability to follow her. Roberts’ technique is absolutely perfect in its attempt...
- 9/23/2015
- by Zach Hollwedel
- The Playlist
Sometimes it’s good to state the seemingly obvious, so Vashi Nedomansky has performed a public service in assembling this brief video showing how centered and symmetrical framing helps guide viewers’ eyes through the many cuts of Mad Max: Fury Road. Audio of John Seale discussing director George Miller’s constant instructions as to where to keep the camera’s crosshairs in each shot clarifies the point being made visually. Read more at Nedomansky’s site; thanks to The Playlist for the heads-up.
- 6/1/2015
- by Filmmaker Staff
- Filmmaker Magazine - Blog
Sometimes it’s good to state the seemingly obvious, so Vashi Nedomansky has performed a public service in assembling this brief video showing how centered and symmetrical framing helps guide viewers’ eyes through the many cuts of Mad Max: Fury Road. Audio of John Seale discussing director George Miller’s constant instructions as to where to keep the camera’s crosshairs in each shot clarifies the point being made visually. Read more at Nedomansky’s site; thanks to The Playlist for the heads-up.
- 6/1/2015
- by Filmmaker Staff
- Filmmaker Magazine-Director Interviews
Editor Vashi Nedomansky has created several videos that explore Steven Spielberg's editing techniques in Raiders of The Lost Ark. A few of those techniques are cutting in-camera and the long take. He presents Spielberg as master visual storyteller.
Recently, fellow director Steven Soderbergh took Raiders of The Lost Ark, made it black and white, took out all the sound, and replaced it with the soundtrack from The Social Network. Soderbergh did this so that you can focus on the cutting, lighting, and staging of the movie.
The following three videos are only a few out of seventeen in what Vashi calls a "1-Page Film School." It's worth checking out, I spent the past few hours just watching these videos. They are really great.
Vashi Visuals — The ‘Raiders of the Lost Ark’ 1-Page Film School...
Recently, fellow director Steven Soderbergh took Raiders of The Lost Ark, made it black and white, took out all the sound, and replaced it with the soundtrack from The Social Network. Soderbergh did this so that you can focus on the cutting, lighting, and staging of the movie.
The following three videos are only a few out of seventeen in what Vashi calls a "1-Page Film School." It's worth checking out, I spent the past few hours just watching these videos. They are really great.
Vashi Visuals — The ‘Raiders of the Lost Ark’ 1-Page Film School...
- 10/10/2014
- by Free Reyes
- GeekTyrant
When John Carpenter’s remake of “The Thing” was released 32 years ago, critics were mixed on the horror film – Roger Ebert gave it 2 1/2 stars – and North American audiences, still head over heels in love with Steven Spielberg’s tale of a nicer alien visitor – “E.T. the Extra-Terrestrial” – largely ignored Carpenter’s film. Thankfully, time has been kind to “The Thing” and it’s now rightfully regarded as a horror classic which has inspired Vashi Nedomansky to create a video showcasing the origins of the frightening images in the film. Lasting nearly five minutes long, the video is a side-by-side comparison of artist Michael Plogg’s storyboards and the final film. Two sequences are singled out for comparison, the crew’s discovery of the alien spacecraft in the ice and the iconic defibrillation scene. There’s few extra beats in the final version of the latter sequence, but the storyboards and film are still virtually identical.
- 7/16/2014
- by Cain Rodriguez
- The Playlist
Los Angeles-based film editor Vashi Nedomansky writes about visual effects, low budget filmmaking and editing techniques on his blog. Recently, he wrote about the innovative cinematography in Sidney J. Furie's spy thriller "The Ipcress File." Indiewire is republishing his post below. In 1965, Sidney J. Furie directed the spy thriller "The Ipcress File" starring a young Michael Caine. Producer Harry Saltzman used the same core production team he employed on "Dr. No" (1962), "From Russia with Love" (1963) and "Goldfinger" (1964). Editor Peter Hunt, Production Designer Ken Adam and Composer John Barry gave this film a stylized, signature look and sound, one that was the antithesis of James Bond. Furie and Czech cinematographer Otto Heller redefined their visual vocabulary by deciding to shoot as much of the film as possible through obstructions or foreground objects. They did this on 100 separate shots. In the past, a large foreground object usually meant it was the focus of.
- 2/4/2014
- by Indiewire
- Indiewire
Vashi Nedomansky (via The Playlist) has published an entertaining and enlightening look at 23 classic cinematic dolly zoom shots from the likes of Alfred Hitchcock's Vertigo, to Le Samourai, Jaws, Goodfellas and Ghostbusters, giving you a look at the evolution of the in camera effect that can have such a profound impact on a scene without any post production visual trickery. The effect was first developed by second unit cameraman Irmin Roberts and accomplished by adjusting the zoom lens while tracking toward or further away from the subject being photographed. Check out the video below and I'm sure many of the shots featured you're going to remember.
- 1/20/2014
- by Brad Brevet
- Rope of Silicon
1. Filmmaking Apps: Want to make a movie? There's an app for that -- or, to be more accurate, there are many, many apps to help make a movie. Check out our handy guide to the best affordable or free iPhone apps for filmmakers. Let us know your favorites and maybe we will feature them in a future story. 2. Blow Out: Los Angeles-based film editor Vashi Nedomansky writes about visual effects, low budget filmmaking and editing techniques on his blog. Recently, he wrote about how filmmakers split the focus in a shot by using a split focus diopter, a half convex glass that attaches in front of the camera's main lens, enabling the lens to focus on something in the background while the diopter captures the foreground. Nedomansky created a video which features all 15 split diopter shots in Brian DePalma's "Blow Out." Check it out here. 3. Women Film Pioneers: African-American women in silent film,...
- 10/16/2013
- by Paula Bernstein
- Indiewire
Los Angeles-based film editor Vashi Nedomansky writes about visual effects, low budget filmmaking and editing techniques on his blog. Recently, he wrote about how filmmakers split the focus in a shot by using a split focus diopter, a half convex glass that attaches in front of the camera's main lens, enabling the lens to focus on something in the background while the diopter captures the foreground. A split diopter creates an illusion of deep focus. Brian DePalma was one of the first American directors to experiment with a split focus diopter. Nedomansky wrote about the director's use of the split focus diopter, specifically in "Blow Out." He created a video which features all 15 split diopter shots in the film. Check it out below:...
- 10/15/2013
- by Indiewire
- Indiewire
The most brilliant trick of Alfred Hitchcock‘s Rope is that it takes place in real time. The second most brilliant trick is that co-star John Dall looks unnervingly like a 1940s era Jason Sudeikis. The result is that, in addition to being the textbook example of a bottle thriller, there’s a sense of incredible magic contained in how the film was made. The same way we marvel at the Cuaron/Lubezki artistry of That Scene from Children of Men, Rope elicits its own brand of awe thanks to Hitchcock, DPs William Skall and Joseph Valentine, and editor William Ziegler. Fortunately, Vashi Nedomansky has compiled a video of the 10 hidden edits in the film (for everyone interested in knowing how the lady is sawed in half) and written an accompanying exploration of the simple, clever techniques. The dissolve efforts are fairly noticeable — and have always been — but they provide an interesting version of a subtle act...
- 10/14/2013
- by Scott Beggs
- FilmSchoolRejects.com
Given Alfred Hitchcock's penchant for thrilling stories that demanded a big screen cinematic backdrop to play out on, his decision to adapt Patrick Hamilton’s play "Rope" seemed odd. Set in a single room, where there was no mystery exactly but rather the tension of the murderers getting caught, so perhaps the challenge lay in the contained nature of the story. Hitchcock embraced it, decided that it would be his first Technicolor production (what better way to test the format than in a movie with one location?) and then attempted to create the illusion of a single take movie with no obvious cuts between scenes. While these days single takes are almost commonplace, it was certainly a bold move in 1948 and even if through contemporary eyes the experiment didn't quite work, it's still a lot of fun to watch. Vashi Nedomansky has put together a pretty nice 3-minute compilation...
- 10/8/2013
- by Kevin Jagernauth
- The Playlist
In 1948 Alfred Hitchcock, long cinematically memorialized as an editing technique pioneer, completed his crime and suspense-driven and infamously homoerotic tale "Rope," based on the 1928 play. The film, while not necessarily narratively iconic in the same way that Hitchcock's other films were, was trumpeted as triumphantly experimental in that it featured edit-free, real time shots. Vashi Nedomansky has put together a video of the film's 10 isolated edits that effectively showcase the notorious director's masterful technique of hiding those edits and keeping the action going onscreen. Check out the video below:...
- 10/7/2013
- by Ramzi De Coster
- Indiewire
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