I love movies. I love dancing. This is lots of fun.
It’s great that there’s a title list as well so you can check out what’s what: Dancing in Movies title list.
“Annie Onishi, general surgery resident at Columbia University, takes a look at emergency room and operating room scenes from a variety of television shows and movies and breaks down how accurate they really are. Would the adrenaline scene from Pulp Fiction actually play out that way? Is all that medical jargon we hear in shows like Grey’s Anatomy and House true-to-life? Is removing a bullet really a cure-all for a gunshot wound?”
She did this in conjunction with WIRED magazine.
This is brilliant, very well done. I was hoping she’d comment on the William Hurt movie, The Doctor (operating room music, among other things) and the Harrison Ford movie The Fugitive where there’s behind the scenes fraud going on to inflate the effects of a drug.
This short film is one of the best representations you’ll see of what it’s like to be inside the mind of someone with a disability that affects their offline social life. Very well done, worth watching and sharing widely.
Mike Nichols is best known as both a theater and movie director and he’s directed some incredible movies including: Who’s Afraid of Virginia Wolf (his first film), The Graduate, Silkwood, Heartburn, Biloxi Blues, Working Girl, Postcards from the Edge, Regarding Henry, The Birdcage, Charlie Wilson’s War, and many more.
The American Masters documentary is based in part on an interview Nichols did with the producer Julian Schlossberg where Nichols tells the story of his life. May has taken the interview and added all of the relevant contextual information including interviews with many of the people Nichols knew and worked with, period photographs and video, and much more. It’s an incredible story of an incredible life and even if you’ve never seen his films or plays, my guess is you’ll find it fascinating.
This show aired on PBS in the United States January 30th (last night) and you can watch the entire thing here on the web at the above link. The web video will expire on February 27 so I highly recommend watching it soon. I’m not sure how and where this video will be available in the future.
Here’s a small tidbit on the making of the documentary: Filmmaker Interview with Producer Julian Schlossberg.
This is a brilliant 45 minute talk by author Andy Weir on how he came to write his book, The Martian given to an audience at Lawrence Livermore National Laboratory.
I’ve not read the book but enjoyed the heck out of the movie. Andy shares lots of great stuff from both the process of writing the book but also how the movie came to be made. He’s a smart, cocky, geeky dude who gives a great presentation.
This is really worth watching if you’ve read the book or seen the movie, but even if you haven’t, this will whet your appetite for both.
[via Steve Splonskowski]
This is a great post on how the just published book, To Kill a Mockingbird got turned into a movie.
When Philadelphia-based publisher J.B. Lippincott Company decided to publish Harper Lee’s debut novel, To Kill a Mockingbird, the company requested an initial print run of just 5,000 copies. Nevertheless, upon its release in July 1960, the novel swiftly gained popularity and earned a place on the New York Times bestseller list. Unusual for a promising literary property, the motion picture rights to which were often sold before publication, To Kill a Mockingbird spent six weeks on the list before producer Alan J. Pakula and director Robert Mulligan acquired the rights to the book, which would go on to win the Pulitzer Prize for fiction in 1961.
Incredible book. Incredible movie. Incredible story.
Let me preface this by saying I love Netflix: I love the process, I love the depth of their DVD library, I love their new streaming content, and coupled with AppleTV it’s a great service. When Netflix works right it’s one of the best services out there.
That said, in the past year they’ve been moving toward demoting their DVD service and it looks like they’re working on a way to drop it without causing as much of a stir as they did the last time they tried this (remember Qwikster?).
For a detailed history: Wikipedia: Netflix.
On their web site, the DVD queue is now a separate list and that part of their web site is at dvd.netflix.com.
When I called Netflix to report a problem getting DVDs in my queue I first got connected to someone from the streaming end, then I waited with muzak while they transferred me to the DVD end. This seems to point to the idea that they are less concerned with the DVD service than they have been in the past.
When I told Netflix about slow service they pointed to the US Post Office and it may be true that the Post Office is responsible for the slowness but its not responsible for the web site and the support phone tree. Something is going on.
One thing that’s happened in the past year is the US Post Office’s various services have changed, consolidated, and gotten worse. I love the Post Office and use it a lot but it doesn’t take heavy use to see that either they’re being starved by a Congress who won’t adequately fund them, and/or, they’re simply not a well run organization, or most probably, a bit of both.
In the old days (mid year last) the DVD disc turn around for Netflix was almost overnight for me. That has slid to a week or more.
Netflix says they’re working with the Post Office to resolve this but my guess is Reed Hastings (CEO) who tried to dump DVDs before and undid the change because of universal negative user feedback now has the cover to dump DVDs and I think he’s gearing up to do it.
This would be a shame because Netflix does not offer the depth in their streaming service that they do through DVDs. This is partly because the internet is feeling the strain of so much streaming, and partly because distribution agreements don’t allow streaming of all content.
If Netflix is going to offer a service, it ought to work correctly or they should fix it, and if they can’t fix it then drop it. This slowly cutting off the oxygen to the DVD service is a bad idea. Netflix has great content, but in my mind, the process is at least part of their product.
I climbed there in the mid to late ’70s, know this history well and I think they got it right which is amazing for an old “trad” like me to say.
Excellent archival images and footage, great interviews with many of the historic figures (Steve Roper is hilarious), toward the present show extreme free climbing and free soloing on big walls, timely given what Tommy Caldwell and Kevin Jorgeson have just accomplished on the Dawn Wall on El Capitan.
If you’re a Yosemite climber from any part of it’s history, you’ll enjoy this excellent documentary. Even my wife watched the entire thing and I was pretty much done with climbing by the time I met her, although we visited Yosemite Valley in 1990 as a family.
Robin Williams was a genius who took huge risks in his work which made it fantastic. Depression or, maybe in his case depression on the down side of mania is something that seems to go with his kind of genius.
For me, a fascinating question about creative geniuses like Robin Williams is, in oder for them to take the kinds of risks they do in their work, do they also need to take similar risks in their lives? In other words, can one be an improvisational genius on stage and live a relatively quiet life off stage?
I’m going to miss Robin Williams’ rare genius.