BLU • FOO • BY

One day we'll dance for you.

[blufooby-blog-blog]

[blufooby-blog-blog]

[asecondperson]

Brian Sanders, 1968

[blufooby-blog-blog]

Stanley Kubrick commissioned Illustrator Brian Sanders to portray the making of 2001 in this series.

[blufooby-blog-blog]

Len Lye - "Free Radicals" (1958)

[blufooby-blog-blog]

Rooney Mara - Interview Magazine

Steven Soderberh Interviews Rooney Mara

[blufooby-blog-blog]

A friend of mine makes BEST OF videos every year This year's was particularly touching.

Just wanted to share.

Credit: David Ehrlich

[blufooby-blog-blog]

Hitchcock Demonstrates Montage (by mcglue)

[blufooby-blog-blog]

"When a man cannot choose, he ceases to be a man." - Prison Chaplain, A Clockwork Orange

[blufooby-blog-blog]

Chinese lanterns wrapped in gel. Eyes Wide Shut (1999)

[blufooby-blog-blog]

The Symbolists experimented with colour and surface ornamentation around the same time that cinema was invented in 1895. It is evident that the Symbolist aesthetic was developed as a resistance to the mechanisation of perception (4). The importance of this moment for Kubrick, after 100 years of cinema (and consequent technologisation of the human sensorium), is encapsulated in the film’s title. The expressive use of what Van Gogh called arbitrary as opposed to local colour is facilitated by the garden of artifice created by the paintings (5). I would go further and say that painting forms a virtual sphere nourishing this film. The importance of colour over light is made possible by Kubrick’s refusal to use studio lighting in a film shot almost entirely on a studio set. Instead of the usual studio lighting he used the available light sources visible in the shot, such as lamps, Christmas tree lights and so forth. When this was not adequate he used Chinese paper ball lamps to softly brighten the scene. The colour was enhanced in an unusual manner in the lab where the film stock was “force-developed by two stops” in processing to bring out the intensity of colour. The cinematographer Larry Smith makes the point unequivocally: “There’s no question that with force-developing you get exaggerated highlights—they really blow out.” (6) This is a new kind of cinematic colour invented by Kubrick, working against the standardised norms of film lighting and processing.

The Ornamentation of Nicole Kidman (Eyes Wide Shut) and Mita Vashisht (Kasba): a Sketch | Senses of Cinema

[blufooby-blog-blog]

Michael Caine - Acting in Film Workshop (Part 1) (by 2handsdanny)

[kubricksfilms]

Jack Nicholson & Stanley Kubrick on the set of “The Shining” (1980).

[nobodyiswatchingus]

Kubrick with Nicholson on the set of The Shining.

[blufooby-blog-blog]

Notice to Projectionists Regarding "The Tree of Life"

A "fraternal salute," from Terrence Malick.

[blufooby-blog-blog]

Duane: When you get that feeling, it's like... Mike: Sexual healing. Duane: It's a force beyond your control. You know what they say about love and war. Tim: Yes. One involves a lot of physical and psychological pain, and the other is war.

[x19-87x-deactivated20120518]

[blufooby-blog-blog]

Stalker (dir. Tarkovsky)

[blufooby-blog-blog]

Godard serves as dolly grip for cinematographer and longtime collaborator Raoul Coutard on the set of Breathless.