Wired has a gallery of Drive-In Theater shots to celebrate the Drive-In’s 75th birthday.
(via Boing Boing)
From The Guardian:
Clint Eastwood has advised rival film director Spike Lee to “shut his face” after the African-American complained about the racial make-up of Eastwood’s films.
In an interview with the Guardian published today, Eastwood rejected Lee’s complaint that he had failed to include a single African-American soldier in his films Flags of Our Fathers and Letters from Iwo Jima, both about the 1945 battle for the Japanese island.
In typically outspoken language, Eastwood justified his choice of actors, saying that those black troops who did take part in the battle as part of a munitions company didn’t raise the flag. The battle is known by the image of US marines raising the American flag on Mount Suribachi.
“The story is Flags of Our Fathers, the famous flag-raising picture, and they didn’t do that. If I go ahead and put an African-American actor in there, people’d go: ‘This guy’s lost his mind.’ I mean, it’s not accurate.” Referring to Lee, he added: “A guy like him should shut his face.”
For whatever reason, be it a deep-seated desire to act, a lack of a casting budget, or just â€œif you want something done right, do it yourselfâ€, many directors at some point in their careers have stepped out from behind the camera to act. This is typically in a smaller, cameo role, and often with varying degrees of success: sometimes theyâ€™re completely natural and sometimes they bring the film to a screeching halt. And sometimes youâ€™d never even know they were there.
The criteria for the examples below is that for the most part, acting is not their first career, so you wonâ€™t see Warren Beatty, Clint Eastwood, or Rob Reiner on this list. So, in no particular order, here we goâ€¦
This list inexplicably leaves Spike Lee off the list whose cameos are so bad they would have ruined any film that hadn’t already ruined by his hack directing abilities.
In 1931, the first documented attempt was made by animation pioneer Bob Clampett. It was to be his first independent project since making a name for himself as an animator at Warner Bros. Clampett approached Edgar Rice Burroughs himself about making an animated version of the books Clampett adored. To the animator’s pleasant surprise, Burroughs was enthusiastic about the idea of an animated film as he was eager to give his characters wider exposure. (The Mars books had won a reasonable level of success on their own, but nowhere near the author’s Tarzan book series.) Burroughs’ son, Jack Burroughs, recently-graduated from college, was fascinated by Clampett’s unique animation style. He and the animator collaborated in creating an extensive cachet of notes, sketches, and models–that would be the film’s blueprints–and a reel of test footage. All the while, Burroughs the Author sold the film rights to Metro Goldwyn Mayer, the studio that was already producing the Tarzan film series starring Johnny Weismuller.
The project was moving ahead expeditiously, until 1935. The executives at M.G.M soon clashed with Clampett and the two Burroughs men over the direction in which to take the film: the creators wanted a serious sci-fi adventure tale; the execs wanted a slapstick comedy with a swashbuckling hero. Eventually, the studio put an end to the entire project, citing it as “too expensive”. Had it been created, the first in a series of short films would have debuted in 1936.
(via Found Objects)
I’m not much of a gamer but I don’t think you need to be to enjoy Yahtzee’s reviews over at The Escapist.