Archive | Random Acts of Interest

Casino Royale or: How I Learned to Stop Worrying and Play Poker Properly

14 Nov

With the rise of Texas Hold ‘em Poker around the world, we are seeing more and more films take hold of it as the gambling game of choice.  The keystone Hold ‘em films are Rounders, starring Matt Damon, and Lucky You (Eric Bana) and it has also popped up in other mainstream releases such as Michael Clayton, I Love You Man and The 40 Year-Old Virgin.

But probably the biggest film to feature Hold ‘em at a critical, plot turning moment is the James Bond reboot, Casino Royale.  Taking the name and some elements of Ian Fleming’s first Bond novel, it has been given a more populist slant by changing the showdown game from Baccharat (still the likely choice of major gamblers, but also a game with little to no skill element) to Texas Hold ‘em.

With Bond trying to bust out cash-strapped international money laudnerer Le Chiffre, leaving him at the mercy of his evil criminal cohorts, they face off in an all-or-nothing game of Texas Hold ‘em on a table featuring an assortment of cliched casino types.  In a key scene Bond takes down a massive pot, knocking out the last three players, Le Chiffre included, taking their entire bankroll.

Now while that may be cinematic, to the experienced poker player it is packed full of bullshitty goodness.  Breaking down the action shows a number of moments that simply wouldn’t happen in a real, high-level game of Texas Hold ‘em Poker.

If you need to run over the rules, Wikipedia’s Texas Hold ‘em Page is a good starting point.

Let’s break it down;

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Buried’s Opening Titles

5 Nov

As you may remember, in our podcast for the underground hit Buried, Adrian and I mentioned we weren’t fans of the opening titles.

However, rarely do we have the change to see and understand the artistic process of the man who made those titles.

Check out this link over at The Art of the Title Sequence where film and television titles are deconstructed, analysed, and often with interviews from the people involved.

It’s a fascinating site with great content on one of the most underrated aspects of filmmaking. You tend not to remember titles when they don’t make an impact, but who can forget the opening titles to either Fight Club or Se7en?

This movie isn’t what I paid for!

5 Nov

A friend of mine brought to my attention a website which is just brilliant and captures that reason why we do Mark It! in the first place.

10 Incredibly Misleading Movie Trailers

Check the blog post out here

Red State wraps AND screens!

2 Nov

Click on the above image for the full size version, as posted on Silent Bob Speaks

So as you may remember, back in August we exclusively dropped a couple of details about Kevin Smith’s new project – the horror film “Red State”. Hearing it straight from the horses mouth, I’m still pretty chuffed that I got the spelling of Abin Cooper correct.

Anyway, as a Halloween treat, Smith dropped the teaser poster on his Twitter feed, with the above-linked post to his blog.

Here’s the skinny. Wrap party was held two days after principle photography was in the can, with a fine cut (complete with credits) screened at Smith’s house in LA for around two hundred cast and crew. Efficiency much? Shot on the appropriately-named RED camera system (Adrian and I have done films on RED and yes, it is the camera of the lower-budget Gods) for around $4M dollars, independently financed, and the first project of the new production company “The Harvey Boys” with ex-Miramaxer Jon Gordon producing, Red State promises to be a massive departure for the writer/director, and personally that’s something I’m excited about. With a cast including Michael Parks and John Goodman, you can be certain Smith isn’t going for your standard horror flick.

While the current plan is to submit the film to Sundance for competition, we’ll keep you posted with details about Red State, while leaving you with the teaser poster (nicknamed as “the Holy Ghost”), lovingly released in a size you can slap up as your desktop wallpaper. Interesting note: the teaser image wasn’t done by anyone from a marketing department. Producer Jon Gordon’s assistant Melissa Bloom is credited for the striking image you see above (with a little help from Smith’s all-round web/tech associate Ming Chen). Within a week of wrapping the film, it’s screened and a teaser poster is released. Talk about moving quickly!

So with that, we’ve only got one question for Smith right now…

How long till the first trailer?

George Hickenlooper: 1963-2010

1 Nov

A couple of days ago, American cinema lost someone who had a marked effect on my life, George Hickenlooper, one of the directors of “Hearts of Darkness: A Filmmaker’s Apocalypse”. He was 47.

A quick bit of backstory. Before DVD was prevalent, and to a kid who never had Laser Disk, there wasn’t much in the way of seeing how movies were made. In Australia, even less so. A few documentaries here and there, a couple of precious television specials, and a few dusty-looking VHS tapes in a local video library.

One of those was “Hearts of Darkness: A Filmmaker’s Apocalypse”, the incredible behind the scenes story of the making of “Apocalypse Now”, Francis Ford Coppola’s 1979 Vietnam classic. Between “Hearts of Darkness”, “The Making of Star Wars” and “SPFX: The Empire Strikes Back”, I had two full VHS tapes dubbed with precious material. I hadn’t even seen “Apocalypse Now” when I saw “Hearts of Darkness” for the first time.

Late last week my copy of “Apocalypse Now: Full Disclosure Edition” arrived on Blu-ray Disc. In addition to the 1979 theatrical cut, the 2001 Redux release, and (in high definition), “Hearts of Darkness”, an essential chronicle of the film’s production.

Over the past few days I’ve rewatched “Apocalypse” and some of the special features, and as always, whenever I watch it I remain enthralled by it, immediately remembering just how much I love the film.

And I’m reminded of that young kid, reaching for the top shelf in that video store, and renting a documentary about the making of a film he’d never seen before. That same kid, a little older, a little wiser, and having seen “Apocalypse Now”, is going to give “Hearts of Darkness: A Filmmaker’s Apocalypse” a spin tonight.

Thanks George.

If you haven’t got the new blu-ray release of Apocalypse Now yet, it’s region free. You can snap it up from Amazon right here.

The Cinema Experience, and Why it Sucks.

31 Oct

So, I’ve had a pretty bad run lately in seeing films. I’m not going to name any places, because sometimes it hasn’t been their fault, and other times they’ve made attempts to rectify the situation.

Quite frankly, if I can’t make it to a really quiet session of a film, I’ll usually just watch a decent pirated copy, if it’s available. These are a few notes as to why.

Buried: This was a quiet session, with only about 10 people in the cinema. I’d say that it was a Monday night late session, but I could be wrong. People were chatting into the start of the film. Minor annoyance, but it’s not like the film has a conventional start to it. Some guy and his girl were talking. Not whispering. Talking. This was about 45 minutes into the film. I yelled out a deep “Shut the fuck up, buddy!”, which seemed to silence him. Later, I realised that a girl 3 rows in front of me was giving head to her boyfriend. Charming, eh?

The Twilight Saga: Eclipse: Nothing like a cinema smelling completely like the Colonel’s secret blend of herbs and spices. Only inattentive cinema staff could miss two heifers carting a large box of KFC into a session.

The Town: I don’t give a shit if your girlfriend doesn’t like the film. You tell her to shut up, or you take her outside. Or, you just punch her in the face. Either, I don’t want to hear her talking in the film. Ditto to girlfriends with boyfriends who are vocal in their disinterest of the film. Oh, and you might have enjoyed it if you hadn’t missed the first ten minutes (and thus, the entire set up for the rest of the film). Get there on time, or shut up and dwell in your ignorance.

The Town: I should mention that before I made it to that session (arriving just before the last trailer started), I went to another cinema of the same chain. After sitting through the ads, I head outside to enquire what the large banging is. Apparently shopping centre management neglected to inform the cinema that construction is going on tonight. The least the cinema can do is cut a loss on my overpriced Coca-Cola and give me a refund, because I’m not hanging around to see a film’s soundtrack supplemented by the joyous noises of construction. I bolted to another nearby location and made it in the nick of time.

Paranormal Activity 2: Session refunded. I left because the cinema clearly didn’t give a shit about controlling the 20 teenagers in the cinema. This chain usually checks on sessions every 15-20 minutes, a little more if it could be a rambunctious crowd, a little less if they’re watching something full of oldies. 10 minutes in, I gave up, and told them I’d catch it another time.

Ironically, when I went to see The Social Network, I had a totally pleasant experience. The irony? I nearly watched a bootleg that hit the net some twelve hours before. I really love the cinema experience. I don’t mind paying $15.00 to see a film on the big screen. What I cannot fucking stand is the general lack of respect people seem to have when seeing a movie.

Some of these events have happened at a cinema that have been good to me. When seeing Easy A, I received a phone call that my workplace at the time (another cinema) had suffered an attempted robbery. They refunded my distributor pass without issue, and I couldn’t give them enough credit for that.

That being said, here’s a few rules to providing a quality cinema experience.

Customers
Don’t be late.
Shut up.
Don’t bring hot food in.
Don’t blow your boyfriend in the cinema. Save it for the bathroom.
Don’t talk.
Don’t talk.
Don’t talk.
Turn off your phones.

Floor Staff
Know the film titles. It’s not difficult.
Check on sessions. Regularly.
If a customer asks you to notify the projectionist that they are out of focus, don’t say that you’ll do it and proceed to stand in the back of the cinema watching the trailers for 15 minutes. Notify the goddamn projectionist.
If you’re providing a sub-par cinema experience, refund the concessions. Why? Because the only reason I bought that overpriced Coca-Cola was to support you guys while watching a film. You want to charge high prices for a soda? Fine. If you refund the ticket, refund the goddamn drink too. It’s your loss for not providing a decent cinema experience.
Accept the fact that I know more about cinema presentation than you, and take the hint.

Projectionists
Check your focus and aperture plates on 35mm flat, 35mm scope. Change a lens? Check everything. Just because you have automation doesn’t mean you shouldn’t check it.

For the record, I don’t believe cinema tickets should be $20.00. I don’t go and see Gold Class, because that’s complete ass. If you’re going to create a stunning cinema with great chairs, make sure the incline is enough so that the average-height person’s head in the row in front of me isn’t cutting into the screen.

The alternative to paying for crappy service is simple. It’s called the internet. And looking at how Video on Demand will change in the next few years, if cinemas don’t lift their game, they’re going to be run into the ground by new films purchased at a premium rate to be delivered straight to the home, or piracy.

I love cinema, but not all of us live in LA, and not all of us can go to the Arclight.