Scatter Brain


What was Stanley like to work for?
Well, Stanley did value everyone that worked on the film, but he prized loyality as well. For that reason, Stanley would get quite nervous when someone who he wasn’t exactly familiar with started to work on one of his films. Stanley would use a specific group of people that he trusted on every film that he made, and frankly, I was also surprised by the fact that someone of Stanley’s stature wouldn’t be comfortable working with someone new as they came to the shoot. Every chance Stanley got, he would grill me about what I knew. He would ask me if I knew what I was doing and he would ask me how I knew that the way I was loading the film into the magazines was correct. You could go onto Stanley’s set being the utmost confident of your skills and training and he could just destroy you. He could say something like, “How do you know that the lens is going to remain sharp between 2 foot and 5 foot?” It was just brutal, but then after 6 weeks of that he finally became your friend. He was quite remarkable from that point-of-view. I can remember being called in to work on off days and when you’d get there Stanley would come in and have a chat with you in the camera room before you started. He was quite wonderful to work with once you gained his trust. Those first six weeks were complete hell on that shoot, but after that, Stanley really takes you into the fold and once you’re in, it sort of makes your career. —Camera Operator Peter Robinson talks about working with Stanley Kubrick and the making of The Shining

For more film related items throughout the day, follow Cinephilia & Beyond on Twitter. Get Cinephilia & Beyond in your inbox by signing in. You can also follow our RSS feed. Please use our Google Custom Search for better results. If you enjoy Cinephilia & Beyond, please consider making a small donation to keep it going:

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Recipe: Pumpkin Seed Salsa
Toasting seeds and adding chilies creates a condiment with a mellow burn that can be spread on quesadillas and sandwiches to add extra oomph.

The loss of human culture is frightening. Nearly all the threatened languages are spoken by indigenous peoples and, along with the languages, the traditional knowledge of these cultures is being forgotten. The names, uses, and preparation of medicines, the methods of farming, fishing and hunting are disappearing, not to mention the vast array of spiritual and religious beliefs and practices which are as diverse and numerous as the languages themselves.

– According to a report by researchers Jonathan Loh at the Zoological Society of London and David Harmon, the steep declines in both languages and nature mirror each other. One in four of the world’s 7,000 languages are now threatened with extinction, and linguistic diversity is declining as fast as biodiversity – about 30% since 1970. (via climateadaptation) Via


Super slow-motion video casts honeybees in new light
A photographer has caught fascinating slow-motion footage of a honeybee hive in New Hampshire, revealing subtle behaviors — like flapping wings, jiggling feet and even a sting — in dramatic detail.



A limited-time Pikachu Cafe opens in Roppongi Hills, Tokyo this weekend along with a Pikachu the Movie XY Exhibit. I can’t stop staring at the mango pudding parfait and those little hot dog things make me wish EVERY hot dog came with Pokémon printed on them.

(Kotaku via Inside games)

CHECK IT: Pokémon Panties
PRE-ORDER: Pokemon Alpha Sapphire, Pokémon Omega Ruby

Via Albotas - Gaming, comics, toys, gadgets, and more


Paying Tribute to Madiba on Mandela Day

To see more tributes to activist and former South African president Nelson Mandela, explore the #MandelaDay and #Madiba hashtags.

Nelson Mandela was only 33 years old when a speech he gave incited a protest in Durban and first landed him in jail. Over the next 10 years, Mandela would be arrested three more times for his work fighting South Africa’s oppressive apartheid regime until a 1962 conviction for sedition sent him to prison for the next 27 years.

“I was hoping to capture some sense of the hardships he suffered,” retired Johannesburg math lecturer Vivien Budge (@vivbudge) says of the young Mandela portrait she painted, “the anger he must have felt at the injustices he witnessed and the relentless tenacity, determination and courage with which he fought for his beliefs.”

After his release in 1990, Mandela helped bring an end to apartheid in South Africa and became the country’s first black democratically elected President. Mandela, who died last December but would have been 96 today, continues to inspire South Africans and others around the world to this day.

Via Instagram Blog


Romancing Paris on the ‘Love Lock’ Bridges

To view more photos and videos from the love locks on the bridges of Paris, explore the Pont de l’Archevêché and Pont des Arts location pages, or browse the #cadenasdamour and #lovelocks hashtags.

In a city like Paris, finding romantic spots isn’t too difficult—but for Parisians and visitors alike, the French capital’s bridges have a special draw all to themselves.

Rows of padlocks, known as cadenas d’amour, or “love locks,” adorn the Pont des Arts and Pont de l’Archevêché as timeless symbols of love. Those able to find a free space will often inscribe their names on the padlock, latch it to the bridge and then toss the key into the river Seine as a sign of their everlasting commitment.

In recent years, the romantic gesture has captured the hearts of those outside Paris. Love locks can now be found in cities across the world from London to Seoul.

Via Instagram Blog


Robo Planters combine tech, trash and indoor gardening in the cutest way possible! See more here.

Via Mother Nature Network


Walk with Me: Promo art

Our movie #walkwithme


Farmers market food safety tips
Even fresh produce picked just hours before you buy it or grass-fed beef needs to be handled safely.

Christopher Nolan on Writing, Editing and Lessons with Links to His Screenplays



“Every January the Sundance Film Festival takes over Park City, Utah, but since 1995 the town has also played host to the festival’s younger upstart sibling: Slamdance. Initially founded by a group of filmmakers who weren’t accepted into Robert Redford’s showcase, the Slamdance Film Festival has gone on to become a vital event in its own right — and one of its early discoveries was Christopher Nolan. Nolan’s first feature ‘Following’ was a black-and-white mystery shot over the course of a year for around $6,000. It screened at Slamdance in 1999, and tonight the festival honored the director with its inaugural Founder’s Award. Nolan then sat down to talk to the audience of filmmakers and fans about the lessons he learned as an indie filmmaker, his frequent collaborations with brother Jonathan, and how Brad Pitt helped ‘Memento’ get made.” —Bryan Bishop, Christopher Nolan on internet movie theories, his indie roots, and editing ‘Inception’

This article originally appeared at The Verge

Brad Pitt and ‘Memento’

Christopher Nolan: Truthfully he did read the script, I mean that’s where the story [about Pitt being the first choice for the lead role] comes from, is he read the script and he met with me about it when he didn’t have any reason to know who I was or anything about it. And nothing came of it. Other than him being interested in it, I think within the sort of [talent] agency world where the script was circulating, just sort of perked up a bit of interest in what was a very obscure project, otherwise. And I think really that’s how it came to Guy Pearce’s attention, and you know, he sort of got the ball rolling… It was a very nice thing that he liked it.

Writing with Jonathan Nolan

CN: Jonah’s my brother, as most people probably know, so we’ve worked together on a lot of different projects for a long time. Really the process has been different on different films. Sometimes we’ve written completely separately. You know, he’s done a first draft, and then given it to me and I’ve done a second draft and given it back to him, and he’s done a third draft. Sometimes we’ve been a little more together in that process. Generally the way it works is we’ll get in a room together, throw a bunch of ideas around — a lot of arguments, a lot of fights, that kind of thing — and then he’ll go off and write something and then I’ll take it and write. We don’t tend to sort of write together in the traditional sense, and that’s been a very productive way of working for us. Particularly because it allows both of us to work on other things at the same time. But you know, he just gets busier and more expensive so it gets harder to get his attention, but it’s really been terrific having a brother to work with on these projects. It’s been an important part of why they’ve been any good, if they’ve been any good.

The editing process

CN: Every film is a little bit different. I tend to start from scratch in the edit suite. My editor will do an assembly as we shoot, but I might never watch it fully. We’ll watch a scene at a time, and then we go back to dailies and review the dailies and we start putting it together. So the first few weeks when I cut the film is a process of discovery. And there are things that you’re thrilled with because they work better than you thought, and there are other things that you realize are going to be very difficult. Cutting ‘Inception’ with Lee [Smith], my editor, I remember we got to reel three and watched it. It was completely incomprehensible. And it took several weeks of sleepless nights of really trying to figure it out. Weirdly though, when I look back at the script compared with the way that section of the film turned out, it’s not that different. But it can be very hard to find those things. One of the reasons I don’t watch the assembly as a lot of filmmakers do, is it’s four hours long and it’s a terrible film. So I just don’t want to start from that place. I’d rather start from the place of its sense of possibility, which is what you have in the dailies. But generally for me the editing process has been largely a process of feeling that you’re completely changing and reinventing the film — and then sitting back at the end of it and going, “Oh, actually that’s pretty much what it was intended to be,” which has been a bit satisfying. But it can be a bit of a worry.

On internet speculation (and over-analysis)

CN: Well one of the things I took away from doing the festival circuit — having a film here, for example — is that anybody paying any attention to your film is a fantastic thing. I mean I remember the first time we were reviewed in, I think it was Weekly Variety, and it wasn’t a very good review, apparently. But I was just thrilled and I called my then-agent and he said, “Oh don’t worry, no one’s gonna notice it, it’s Weekly Variety.” And i said, “But we got reviewed in Variety, it’s amazing!” “They didn’t say great things.” I’m like, “Okay, well…” [laughs] By far the hardest thing for a filmmaker is to get eyeballs on your material. So I would never complain about people overanalyzing the detail. I mean, there can be a somewhat unrealistic level of analysis, in terms of divining the filmmaker’s intentions to be. But I think it’s a fun game anyway. I would never begrudge the attention on a film. Because it means that the film will have its chance. You get it out there, people see it; then they can judge it.

Returning to smaller movies

CN: There are a lot of filmmakers that have taken a very different approach than me. My friend Steven Soderbergh for example, who helped me with my first studio film, he’s always made a very, very specific point about going back and forth between different sizes of film. I’ve only ever been driven by story, you know. A set of characters that’d grab me. And I try not to really think too much about why I want to make a film. It’s just if you know you want to make it, then you sort of go for it. And I think there’s also a sense in which if you have the opportunity to work on a big scale, that opportunity’s not always going to be there, so I certainly avail myself of it while it’s there. I would never want to go to making a smaller film in an artificial sense. I would never want to do it for the sake of it. I’d be very very thrilled and happy to do it if I found the right story and the right thing in the back of my head that I wanted to get across, and I’m pretty sure that’s something I will do eventually. But I’m not in any rush. I like working the way I’m working.

The lessons of ‘Following’

CN: I think one of the things about having your first film, and spending the time you spend to get it made any which way — when you’re finished with it you sort of think, “Well, okay, we’re done, what happens next?” And then that’s the beginning of a very, very long, very arduous process. And in a lot of ways that’s where the real works begins. Certainly in the case of ‘Following,’ it took us several years to secure distribution for the film and get it out there and released. The film gave us the opportunity to make a film on a higher budget, which was ‘Memento.’ And that was a big leap for all of us, me in particular, in terms of spending somebody else’s money to make your own film and that kind of responsibility. And I think I figured because I had a crew of hundreds of people and union trucks and all this stuff, and we were shooting on 35mm — a proper film — that at the end it would go into movie theaters in a more easy way. I was completely mistaken. It was just as difficult getting that film out as it was with ‘Following.’ I think it’s one thing that filmmakers here, for the first time with the opportunity of showing a film, you should be very aware of. It’s not about the one screening you have here. The world isn’t going to change the minute the lights come up. It’s just doesn’t work like that. There’s a lot of time and a lot of effort, and it’s really the beginning of a long process — if you’re very fortunate. There’s a lot of hard work, and further opportunities, and avenues that have to be explored.

You can download the screenplay here. Christopher Nolan script suite here. (NOTE: For educational purposes only)

For more, see our archive under the tag, “Christopher Nolan.”

For more film related items throughout the day, follow Cinephilia & Beyond on Twitter. Get Cinephilia & Beyond in your inbox by signing in. You can also follow our RSS feed. Please use our Google Custom Search for better results. If you enjoy Cinephilia & Beyond, please consider making a small donation to keep it going:


Via Writer of Screen


The Daily Cartoon by Tom Toro:


What are chemtrails, and are they dangerous?
Is the government really spraying toxic substances at 50,000 feet? Probably not, but here’s what’s really going on up there.

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