Word: celluloidal
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...album X&Y. During a two-week period, 20,000 people downloaded video clips and sample tracks directly from posters in London's main rail terminals. Fifty bus-shelter ads in Britain for the movie Alien vs. Predator prompted 500,000 riders to vote for who would win the celluloid battle by pushing a button on the signs. "That's what I call engagement," says Jean-Luc Decaux, a co-CEO of JCDecaux North America. This month the Paris-based firm will place ads with 19-in. LCD screens in five Chicago bus shelters, allowing riders to watch a movie...
Ernest Hemingway was so embittered by his experiences in Hollywood that he formulated what might be called Hemingway's Rule for Dealing with the Celluloid Bastards: Drive your car up to the California state line. Take your manuscript out of the car. Make them throw the money across first. Toss them the manuscript, get back in the car and drive back east as fast...
Hollywood and Silicon Valley have never mixed well. You've got cinéastes vs. nerds, celluloid vs. digital, silicone vs. silicon. Then there is Pixar, the delightfully confounding combination of the two: part high-tech shop, part movie studio. Headed by Apple Computer's Steve Jobs and run by John Lasseter, an animator hailed as the next Walt Disney, Pixar has made exactly six computer-animated features in its 20-year history, from Toy Story to The Incredibles. Every one was a smash. Every one was distributed by Disney, which also shared costs and profits...
...dispassionate, journalistic demeanor and becomes completely unhinged. Imagine “The Blair Witch Project†written and directed by George Orwell—that is the terrifying power of “Punishment.†“Punishment†makes the transition from celluloid to DVD quite well. Though originally shot on 16 mm stock, the DVD transfer is re-mastered from “blown-up†35 mm reels. The film’s image clarity is high, and the color separation is quite good. A few frames are marred by dust...
...industry insists that a prettier picture isn't the only reason bytes are better. Right now, Hollywood might spend over $1 billion a year manufacturing and distributing film copies. Digital could slash that: the prints can be made for a fifth of the cost of celluloid ones and, stored on a hard drive the size of a paperback, they are easier and cheaper to transport than heavy, bulky reels. (Eventually, films could be sent to cinemas by satellite or cable, cutting out transportation costs altogether.) A more diverse range of films could be offered, too, because studios could afford...