Life Imitating Art Imitating Life →

Is it just me, or are modern ads starting to resemble the kind of ads we see coming out of Sterling-Cooper-Draper-Pryce on Mad Men? Pretty soon, the only way you're going to tell an ad is current is the presence of a URL.

I can't decide if this is a bad thing. I love these hand-drawn technicolor illustrations, but I don't know if they work for everything. It's a bit of a double-edged sword. For a beer, it works because the ad is aspirational, it makes me want to be a part of that scene. For a sports equipment company, it just makes me wonder if your company is still in business.

Erik Wolpaw on Portal 2

Great interview, but lots of spoilers for Portal 2. Favourite line of the whole thing: "I'd really like to make a really credible comedy game. People seem to be skipping straight to the pure art, and yet nobody's made the Caddyshack in games yet, right? So I'm like, woah woah woah, let's put on the brakes – let's make Caddyshack, and then we can make Anna Karenina or whatever."

Interview with Val Kilmer →

I watched two Val Kilmer movies this weekend while I was sick - Top Secret and MacGruber - and I honestly had no idea he was this insane-slash-amazing. E.g.

Time itself is a concept. It's just because we're lame, because we can't see that fast, because we can't imagine that fast-we think that fast, but it's hard for us to articulate it. That doesn't mean you misapprehend it. It just means that you can't diagnose it with the same language. The human language is lame. It's lame, I say! That's as deep as I can get without dinner.

Make Believe →

This looks like a great documentary. I went to school with a guy who was big into his magic. His nickname was "Presto". 18 years old and he would be doing magic tricks for people in the halls before class. Thinking back, he took an awful lot of shit for this thing he was deeply passionate about.

The last time I saw him, it was when Uri Gellar played in Dublin back in 2007 or so. He'd gotten all into Nu-Metal, he'd been arrested a few times and I'm fairly sure he was off his face on meth at the time.

Still - this looks like a great documentary.


I'm a man of good intentions. You should see my to-do list, it's full of good - nay, great - intentions. Chances are I'll get around to half of them. I start a project and lose interest halfway through. I'd like to say that it's because I'm like Jay-Z, I do one thing then I'm on to the next one. For example, I was so impressed by Brigada Creative's Life Calendar that I spent a few hours and knocked together a version in PHP. As you can see, that lasted all of nine days, before I got bored with that and moved onto the next thing.

But I think we both know that's not true. The problem is that I'm easily distracted and this affects my follow-through. With the life calendar thing, once the novelty wore off, I started to forget it was there and I forgot to update it. I could have set a reminder in my calendar, telling me to update it, but this would involve clicking "okay" to the reminder, firing up a browser, logging into the back-end, and then updating it. That's at least two steps too many for me. My browser would launch and I'd forget what I opened it for and then I'd get sucked into my Google Reader.

What I love about the Everyday App is that it's just the right amount of steps for me, for my weaknesses. It reminds me to take a photo of myself each day, and from the reminder, I can immediately take a photo of myself. It's frictionless. It's perfect for people like me.

Plus, I don't mind taking photos in my lift with its really unflattering fluorescent light just after I have gone running and when I look like a sweaty, exercising hobo. Win-win.

Quora - What are the best travel hacks? →

Tons of great tips in here. I particularly like this one from Josh Sprague: 'learning to say "How much," "That's too high," "This one" and "That one" is way more useful to the short-term traveler than "Hello, how are you?"'. And also 'Eat it before asking what it is.' (via Justin Mason)

Facebook on Friendship

Facebook runs on a very stiff, crude model of what people are like. It herds everybody — friends, co-workers, romantic partners, that guy who lived on your block but moved away after fifth grade — into the same big room. It smooshes together your work self and your home self, your past self and your present self, into a single generic extruded product. It suspends the natural process by which old friends fall away over time, allowing them to build up endlessly, producing the social equivalent of liver failure. On Facebook, there is one kind of relationship: friendship, and you have it with everybody. You're friends with your spouse, and you're friends with your plumber.

-- profile of Mark Zuckerberg, their person of the year 2010

A Response to Mark Harris

There's a lot that could be said about Mark Harris' recent article for GQ, The Day the Movies Died, but I'm just going to say a couple of things.

First is to say that articles like this are so regular, I think they're the basis of the calendar in some civilizations. Every year, around Oscar time, someone comes out and proclaims that movies have finally reached bottom, as if things have changed suddenly since the previous year, when they proclaimed the exact same thing. Just like the year before. And the year before that, too. These are are nothing more than trolling articles. They're designed to cause controversy, rather than to put forward a legitimate argument. In a way, it's sort of ironic: writers complaining about Hollywood's selling out the last of their artistic integrity in favour of a few extra bums in seats by churning out deliberately 'shocking' bullshit-pieces like this in favour of chasing a few extra page views.

That's not to say that he doesn't make some valid points. For example, his discussion of Hollywood's segmentation of the markets and preference for kid-friendly movies has been justified this week, with the news that Guillermo del Toro's film of At the Mountains of Madness has been cancelled because the director was demanding an 'R' rating, while the studios were pushing for a PG-13. As Roger Ebert puts it, "Hollywood holds Del Toro hostage to 13-year-olds, or, the death of movies for grown-ups".

Still, that doesn't excuse bullshit like this:

That kind of thinking is why Hollywood studio filmmaking, as 2010 came to its end, was at an all-time low—by which I don't mean that there are fewer really good movies than ever before ... but that it has never been harder for an intelligent, moderately budgeted, original movie aimed at adults to get onto movie screens nationwide.


First off, alarm bells should be sound every time you see a blanket statement like "Hollywood studio filmmaking was at an all-time low in 2010" without any sort of facts or figures to support it. Since it takes all of three minutes to fire up IMDb and find out if he's right, let's take a look for ourselves. I guess I'll use Warner Bros. (not counting its subsidiaries) as an example. Ignoring any shorts, or direct-to-video movies, Warner Bros. distributed 25 films in 2010, 17 of which were original properties -- i.e., not sequels, remakes or based on an existing property. In 2009, they distributed 24 films, only 13 of which were original properties. 2008 was worse still. Again, they distributed 24 films, only 10 of which were original properties. I'm not saying 2010 was a particularly great year for original films, or that it even holds a candle to, say, 2001, but we can easily demonstrate that Harris was completely wrong in saying that "Hollywood studio filmmaking was at an all-time low in 2010" - why should we trust the rest of his article?

So here's what's on tap two summers from now: an adaptation of a comic book. A reboot of an adaptation of a comic book. A sequel to a sequel to an adaptation of a comic book. A sequel to a reboot of an adaptation of a TV show. A sequel to a sequel to a reboot of an adaptation of a comic book. A sequel to a cartoon. A sequel to a sequel to a cartoon. A sequel to a sequel to a sequel to a cartoon. A sequel to a sequel to a sequel to a sequel to a movie based on a young-adult novel.

While this is all true it's worth pointing out that Warner Brothers have 51 completely original properties lined up for 2012. And those are just the ones that are big enough to warrant a listing this far in advance. Also, let's just remember, that's 51 films from just one studio - I really can't be bothered going through all the rest and counting them all. Point is: yes, there's a lot of recycling, but really, nine films?

... And soon after: Stretch Armstrong. You remember Stretch Armstrong, right? That rubberized doll you could stretch and then stretch again, at least until the sludge inside the doll would dry up and he would become Osteoporosis Armstrong? A toy that offered less narrative interest than bingo?

Remember when it was announced that Hollywood would be making a movie based on Facebook? Remember the jokes? "Oh, it's going to be two hours of someone sitting at a computer click "like" on things?" It turned out to be one of the best movies of the year. I'm not going to be rushing to Paddy Power to put money on Stretch Armstrong picking up the 'best picture' oscar. I'm just saying that you shouldn't write it off just because you can't see the possibilities.

So cable has become the custodian of the "good" niche; entities like HBO, Showtime, and AMC have found a business model with which they can satisfy a deep public appetite for long-form drama.

AMC? The same AMC that dropped the jaw-droppingly superb and completely original Rubicon in favour of the dreadful, painfully derivative, "zombies are popular now, right?" fanboy-appealing Walking Dead? That AMC, Mark?

I realise this is entirely personal because I loved Rubicon, and I'm still gutted that AMC killed it before audiences had a chance to discover it. And so I think that holding AMC up as a bastion of original storytelling is just stupid.

(Now, if you don't mind, I'll be over here burning candles in my shrine to Rubicon, Party Down and Terriers.)

Thinking Different

This is worth repeating. It’s in Apple’s DNA that technology is not enough. It’s tech married with the liberal arts and the humanities. Nowhere is that more true than in the post-PC products. Our competitors are looking at this like it’s the next PC market. That is not the right approach to this. These are post-PC devices that need to be easier to use than a PC. More intuitive.

Steve Jobs, announcing the iPad 2

Endnotes: David Foster Wallace →

Episode of the BBC radio show, Endnotes, focusing on David Foster Wallace. Features a load of interviews with DFW himself, a bunch of other authors and his editor, his agent and his sister. I've yanked the audio from the Vimeo so I can listen to it on my iPod. Download it here.

CGI and the Death of Urgency

Have I mentioned before how much of a huge Indiana Jones fan I am? I think I may have said it once or twice. I've also briefly mentioned my feelings on Indiana Jones and the Kingdom of the Crystal Skull (short version: I liked it well enough, despite some huge flaws).

Of all the things to not like about Crystal Skull, the thing that annoyed me most was the way Señor Spielbergo backpedalled about mostly relying physical effects, to keep it stylistically in line with the rest of the films in the series. Now, rather than having Terry Leonard actually getting dragged along behind an actual giant truck, hardly a shot went by in Crystal Skull without some sort of digital touch-up, whether it's a set they couldn't be bothered to build or a fucking monkey with a 1950s greaser haircut (really?).

All that said, here are my least favourite 16 seconds of that entire movie, the part that almost makes me give up entirely. Fortunately, they happen right at the end, so I can watch most of the movie without wanting to throw something at my TV.

Here we have a set of giant cogs closing in, destroying the only way out. Bad news, right? Except watch the way the characters react to this. Watch Harrison Ford's reaction. Everyone just strolls along, as if this kind of thing happens all the time, so why worry about itI also have a pet theory, which I don't think I've ever written about before. Watch Marion in this movie. Watch her stupid grin as she drives them over the waterfall. I'm convinced that she has somehow come to the realisation that she's one of the protagonists in an action movie and she cannot die. If it's deliberate, it's brilliantly post-modern. If it's accidental, it's a testament to just how much cocaine Karen Allen did in the 80s? Christ, I've seen people more stressed out about setting the alarm and leaving the house before the timer runs out. Where's the sense of urgency? Without urgency, where's the sense of danger?

I bet this is how it went: Señor Spielbergo said to the actors "Listen guys, I know you're all old and tired, so don't sweat it. Take your time. It doesn't matter how long you take to get across here, we'll get the ILM guys to make it so that the cogs close just behind you." Compare this to the opening scene of Raiders of the Lost Ark, where Indiana Jones is running from a boulder. Although it was only made out of fibreglass, that boulder weighed around 300 pounds. And you know what? That's real fear you see on Harrison Ford's face as he's running. That's real urgency in his movements.

Some things you just can't fix in post-production.

Dead Island Trailer →

Looks amazing, right? Well, here comes the buzzkill, David Jaffe, who says:

If the GAME makes me feel like the trailer, hail to the new kings! How amazing!

If the GAME, great as it may be, is nothing like the trailer then here we freaking go again. And I'll say it again:

If our medium isn't capable of generating compelling enough content that trailers have to sell something totally different than the actual product they are advertising, then we have a very serious problem.

R.I.P. Kenneth Mars →

Kenneth Mars in The Producers

You have no idea what a big deal The Producers was in my house growing up. I didn't get half the jokes, and I had no clue what the hell a Nazi was, but goddammit, I knew that Kenneth Mars guy was funny.