Archive for September, 2009

While it was not part of the Joel and Ethan Coen: Raising Cain retrospective , the brothers’ newest film, A Serious Man , did screen at the Walker last weekend — as part of a cast-and-crew-only party, an event made it onto the front page of the Star Tribune ( along with a rare interview of the directors, by Colin Covert ). Among the cast in attendance was Mike Krug, who also happens to be the brother of Ilene Krug-Mojsilov, the Walker’s Artlab coordinator. He wrote in with this account of an uncanny coincidence he experienced during the audition for extras: “Authenticity — that’s what the StarTrib suggested the Coen Brothers were seeking for their new movie, A Serious Man . So on a midsummer Sunday afternoon I hurried to a warehouse in Northeast Minneapolis with my three brunette children near the end of the mass ‘open audition.’ We were seeking roles as late 1960’s, atmosphere-authenticating, Twin Cities Jews. ‘Great, you’re an entire brunette family!,’ one of the extras casting staff greeted my brood. The white walls of the warehouse interior were hung with a gallery of actors and actresses, some clearly casted, some in the consideration stage. After completing biographical paperwork, the staffer suggested we look at the wall of 1960’s period photographs across from the wardrobe area, where hung thousands of suits, tight shirts, skinny pants, bullet bras, and women’s jumpers and dresses, circa 1968. I looked at the first 1960’s photograph and my heart quickened. I recognized members of my Temple of Aaron Synagogue from the ’60s. To my amazement, there, in a group photo of six Temple of Aaron Board Members, was my recently deceased father Murry, with his Brylcreemed, pompadour hairstyle, generous smile and black suit. ‘Oh my goodness,’ I said, not trying to hide my pride, ‘that’s my father.’ And there was my Rabbi, Bernard Raskas, standing proudly next to the Temple of Aaron Confirmation Class of 1968 — among whom was the Walker Art Center’s Art Lab Coordinator Ilene Krug. “You won’t believe it, but that’s my sister!” I said to no one in particular. The Coen brothers and their staff had clearly done their due diligence, contacting synagogues, obtaining photographs from the Minneapolis/St. Paul Jewish Community, replicating St. Louis Park homes, and locating haute couture. Each of the four of us was ultimately selected as extras for A Serious Man . For me, unknown to Ethan and Joel Coen, this film is an ode to my father. While standing in the synagogue scene, reciting Kaddish repeatedly during the many takes from a variety of camera angles, it was only natural to feel the loss that the scene aimed to capture. Whether any of my family ends up in the movie or on the cutting room floor will not be known to me until full movie release this October. Regardless, for me, A Serious Man , captures a personal era.” A Serious Man opens at the Uptown Theater in Minneapolis on October 2 . Hey Mike — write in and tell us if you made the cut!

View post:
An uncanny Coen brothers coincidence: notes from a film extra

Related posts

• Coen Faves (0)
• “Prague” shot on the Canon 1DMKIV (0)
• Zylight’s IS3 LED Instrument Wins SIEL Award (0)
• which hd camera should I buy for short film and indie film making? With a budget of 6000. Sony hvr-z7u? (1)
• Volker Bahnemann’s Next Plans (0)

A hard-living nightclub singer discovers the importance of family with the help of a handsome Mexican immigrant in this inspirational comedy drama from writer/director Tyler Perry. When pistol-packing granny Madea (Perry) awakens to the sound of her home being ransacked by wayward teen Jennifer (Hope Olaide Wilson) and her two younger brothers, she…

Visit link:
Tyler Perry’s I Can Do Bad All By Myself

Related posts

• Why Indie Directors Give Movies Away Free Online (0)
• When in Rome (0)
• When in Rome (0)
• The Wave (Die Welle) review (0)
• The Editblog is a top 50 blog for Moviemakers according to MovieMaker (0)

I used to show you weird crap like this all the time Back in the day I blogged a lot about how compositing and rendering computer graphics in “linear light.” a color space in which pixel values equate to light intensities, can produce more realistic results, cure some artifacts, and eliminate the need for clever hacks to emulate natural phenomena. Along with Brendan Bolles, who worked with me at The Orphanage at the time, I created eLin , a system of plug-ins that allowed linear-light compositing in Adobe After Effects 6 (at the mild expense of your sanity). I also created macros for using the eLin color model in Shake and Fusion . Along the way I evangelized an end to the use of the term linear to describe images with a baked-in gamma correction. Then Adobe released After Effects 7.0 , which for the first time featured a 32-bit floating point mode, along with the beginnings of ICC color management, which could be used to semi-automate a linear-light workflow. The process was not exactly self-explanatory though, so I wrote a series of articles ( 1 , 2 , 3 , 4 , 5 , 6 ) on how one might go about it. Then I rambled endlessly on fxguide about this , and in the processes managed to cast a geek spell on Mike Seymour and John Montgomery , who republished my articles on their fine site with my blessing. This week Mike interviewed H

Related posts

• Use Dropbox to Remotely Monitor After Effects Renders (0)
• Noise Industries Releases Free Pan and Zoom Photo Animation Plug-in (0)
• Making the time – Sony EX1 footage (25)
• Magic Bullet Mojo (0)
• GenArts Expands Sapphire Licensing Options To Include Floating Licenses (0)