Friday, February 24, 2017

The Hollywood Reporters Roundtable: It's still very much a mans world.

Are you up for one more roundtable before the Oscars telecast this Sunday? THR’s directors roundtable features three of this year’s Oscar-nominated directors: Damiene Chazelle (La La Land), Mel Gibson, in a bit of a comeback for Hacksaw Ridge and Barry Jenkins for Moonlight. We also have Denzel Washington who both stars in and directed Fences, Oliver Stone (Snowden), and Mira Nair (Queen of Katwe), the sole woman. A painful reminder of women’s under-representation, this year women make up just 7% of directors, down 2% from last year. *

I would have loved to have heard from Best Director noms Denis Villeneuve for Arrival and Kenneth Lonergan for Manchester by the Sea, both being two of my personal faves of the year.

*According to a Women in Film/SDSU study: Women accounted for 7% of directors, down 2 percentage points from 9% in 2015 and 1998. Last year, 92% of films had no female directors. In other roles, women comprised 13% of writers, 17% of executive producers, 24% of producers, 17% of editors, and 5% of cinematographers.

Last year I went through the list of upcoming movies based on books and told you which ones were directed by women. Queen of Katwe directed by Mira Nair was on that list. Would you be interested in my doing that again this year? 
Are you looking for ways to be more supportive of women in film?

Thursday, February 23, 2017

Pop Goes the Oscar! Alternative posters for the Oscar Nominated Films

I found this alternative look at the Oscar nominated movies for Best Picture over at IndieWire so arresting I had to share it. Marking the 30th anniversary of Andy Warhol’s death, the designers at Shutterstock re-imagined the posters as part of their annual Oscar Pop! poster series. 

“Moonlight” (Artist Inspiration: Peter Blake)
“The film is split into three chapters in Chiron’s life, so I incorporated Peter Blake’s use of grids, as well as simplified imagery, to represent the forces that shaped his life.” — Kate Crotty.
Manchester by the Sea (Artist Inspiration: Ed Ruscha)
“The two Ruscha-like drawings represent Manchester by the Sea’s multiple timelines —the top illustrates the foreshadowing of the film’s climax and the lower portion reflects the quiet heartbreak of its aftermath.” — Eric Sams
Lion (Artist Inspiration: Bruce Gray)
“[The film’s] sense of chaos and fragmentation reminded me of Bruce Gray’s work. I matched the segmented circles from Gray’s paintings with a key element from Lion, the Jalebi, an Indian dessert that triggered memories of home for Saroo.” — Flo Lau
La La Land (Artist Inspiration: Eduardo Paolozzi)
“I felt the colorful collage work of Eduardo Paolozzi matched this feeling of old and
new. Just like the film, his work has a feeling of energy and fantasy with serious undertones.” — Abbey Katz
Hidden Figures (Artist Inspiration: Idelle Weber)
“[The film] made me think of another woman in the 1960s whose work went unrecognized because of discrimination – the artist Idelle Weber. I used her signature silhouette style to frame the characters in the film.” — Alice Li
Hell or High Water (Artist Inspiration: Robert Rauschenberg)
“Like Robert Rauschenberg’s“ combines,” the film has a strong undercurrent of political references and often makes unexpected comparisons between the socio-political climate of the past and present.” — Michael Wong
Hacksaw Ridge (Artist Inspiration: Richard Hamilton)
“Inspired by Richard Hamilton’s style, I gave each piece a cutout aesthetic and substituted the real soldiers for toys.” — Brandon Lee
Fences (Artist Inspiration: Andy Warhol)
“Watching ‘Fences,’ I was struck by the frequent presence of a tethered baseball; it seemed to act as a symbol for unfulfilled dreams and stunted potential. I recreated it in the style of Andy Warhol’s gun series. That series was a commentary on culture and mortality, which seemed like a good fit for this poignant film.” — Terrence Morash
Arrival (Artist Inspiration: Roy Lichtenstein)
“I love Lichtenstein’s comic style and bold colors, and I used it to bring a totally different perspective to ‘Arrival’ by adding a sense of fun. I made Amy Adams’ character into one of Lichtenstein’s heroines, trying to make sense of her extraordinary situation.” — Alice Lee

I’d love to see posters for Hollywood movies take on a more artistic stance. Wouldn’t you?
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