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Tim Burton at MoMA

This is a direct upload of the video for the story previously posted on the Movies page under the title, "MIGHTY MOVIE PODCAST: Tim Burton at MoMA"

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So you go into this room at New York’s Museum of Modern Art’s Tim Burton exhibit, and it’s like striking gold: the Jack Skellington figure is there, along with a choice selection of the replacement heads that were used to animate dialogue; there’s the creepy, completely covered baby Penguin wicker stroller from BATMAN RETURNS; you can see a MARS ATTACKS stop-motion figure and some test footage shot before Burton decided to go CG; plus the headless horseman figure and the EDWARD SCISSORHANDS outfit and ED WOOD’s angora sweater. Film geek heaven — and a must-have for MMP’s second video podcast.

I pull out my camcorder and power up, and am instantly intercepted by a MoMA PR person, who politely but firmly informs me that practically nothing in the room, save for Edward and Headless and a vitrine with some figures from THE CORPSE BRIDE, can be filmed.

“Including,” she points out, “the angora sweater.”

Okay, I can dig that, for whatever reasons legal or contextual, stuff may be off-limits (fortunately, no such prohibitions existed for the rest of the exhibit, and, as you’ll see in the video, it’s a big durn exhibit). But specifically throwing the barbed wire up around the angora sweater? Really? Is there some sort of legal constraint, or is this humble strip of fluff so iconic of… something… that dissemination of its presence here could completely blow the intent of the exhibit?

So sorry, all you PLAN 9 maniacs. You want to worship at the alter of the angora, you’re just going to have to make a pilgrimage to New York. Happily, once you’ve performed your obeisances, you’ll then have an opportunity to drink deeply of Tim Burton’s mad genius. There are tons of concept work here, drawn by Burton’s own hand, plus a stunning variety of original and heretofore unseen artwork, sculptures and installations created specifically for the exhibit, and a copy of the hard-to-see HANSEL AND GRETEL adaptation that Burton directed for Disney in 1982.

A lot of the film stuff — including concept designs for ALICE IN WONDERLAND and the aborted Burton version of SUPERMAN RETURNS — was not verboten, so you get a taste of it in this podcast, along with a good sampling of original art, some thoughts from the exhibit’s curators on the director’s life and work, and some footage of Burton’s very Tim Burtonesque appearance at the press presentation. Click on the player above to get a look.This is a direct upload of the video for the story previously posted on the Movies... more

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MIGHTY MOVIE PODCAST on HuffPost: Tim Burton at MoMA

So you go into this room at New York’s Museum of Modern Art’s Tim Burton exhibit, and it’s like striking gold: the Jack Skellington figure is there, along with a choice selection of the replacement heads that were used to animate dialogue; there’s the creepy, completely covered baby Penguin wicker stroller from BATMAN RETURNS; you can see a MARS ATTACKS stop-motion figure and some test footage shot before Burton decided to go CG; plus the headless horseman figure and the EDWARD SCISSORHANDS outfit and ED WOOD’s angora sweater. Film geek heaven — and a must-have for MMP’s second video podcast.

I pull out my camcorder and power up, and am instantly intercepted by a MoMA PR person, who politely but firmly informs me that practically nothing in the room, save for Edward and Headless and a vitrine with some figures from THE CORPSE BRIDE, can be filmed.

“Including,” she points out, “the angora sweater.”

Okay, I can dig that, for whatever reasons legal or contextual, stuff may be off-limits (fortunately, no such prohibitions existed for the rest of the exhibit, and, as you’ll see in the video, it’s a big durn exhibit). But specifically throwing the barbed wire up around the angora sweater? Really? Is there some sort of legal constraint, or is this humble strip of fluff so iconic of… something… that dissemination of its presence here could completely blow the intent of the exhibit?

So sorry, all you PLAN 9 maniacs. You want to worship at the alter of the angora, you’re just going to have to make a pilgrimage to New York. Happily, once you’ve performed your obeisances, you’ll then have an opportunity to drink deeply of Tim Burton’s mad genius. There are tons of concept work here, drawn by Burton’s own hand, plus a stunning variety of original and heretofore unseen artwork, sculptures and installations created specifically for the exhibit, and a copy of the hard-to-see HANSEL AND GRETEL adaptation that Burton directed for Disney in 1982.

A lot of the film stuff — including concept designs for ALICE IN WONDERLAND and the aborted Burton version of SUPERMAN RETURNS — was not verboten, so you get a taste of it in this podcast, along with a good sampling of original art, some thoughts from the exhibit’s curators on the director’s life and work, and some footage of Burton’s very Tim Burtonesque appearance at the press presentation. Click on the player above to get a look.So you go into this room at New York’s Museum of Modern Art’s Tim Burton exhibit,... more

DanPersons
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MIGHTY MOVIE PODCAST on HuffPost: John Woo on RED CLIFF

The short form would be that John Woo rediscovered himself in returning to China, but that really doesn’t capture what’s going on. Woo made his name with such beautiful, dynamic, and surprisingly thoughtful urban crime films as HARD BOILED and THE KILLER — pop culture with soul — then made his way to America for films like BROKEN ARROW, FACE/OFF, and MISSION IMPOSSIBLE II. Pop culture, still — with bigger budgets and bigger stars, granted — but with something missing: Even when Woo touched on the themes that first earned him the love of film fans, it was clear that there was a subtle but critical dissipation of that all-important soul.

So Woo is now back in China. But instead of a full return to familiar, city-grit turf (asphalt?), he’s leveraging his Hollywood-nurtured clout and turned his attention to epic adventure. The result is RED CLIFF, a mammoth (the original Chinese version ran five hours, we’re getting a version that clocks in at somewhere in the neighborhood of two and a half) historical drama based on a fourteenth century novel about two kingdoms who join military forces to repel the onslaught of a usurper general (Zhang Fengyi). And aside from the return of Tony Leung to the Woo fold as a military strategist, and the appearance of Zhao Wei in a very Tsui Harkian role as a female warrior who goes undercover in drag to scout out the opposing forces (other stars in the large cast include Takeshi Kaneshiro as another key strategist, You Yong and Chang Chen as the rival kings turned allies, and Chiling Lin as what amounts to a Chinese Helen of Troy), you can tell Woo is regaining his form in how the lead protagonists form bonds that are less military expediency than they are full-on brotherhood, and the sheer energy and beauty of the production (maybe I’m overdramatizing, but a CG sequence of a dove — John Woo, remember? — overflying the opposing camps looks as much like Woo’s creative heart taking flight as it does a neat way to transition from one locale to another).

I was kind of expecting that having faced/down Tom Cruise, Woo would present a rather battle-hardened front for the press. Instead, he was quiet, polite, and rather self-effacing — which only reinforced my original respect for him. We got to talk about how one brings down to earth a tale originally told at a time when heroes, as a matter of course, were ascribed supernatural powers, and how his sojourn in Tinsel Town positioned him to push the Chinese film industry into more ambitious realms. Click on the link above to hear the interview.The short form would be that John Woo rediscovered himself in returning to China, but... more

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tagged w/ Success

Tim Burton at MoMA

MIGHTY MOVIE PODCAST on HuffPost: Tim Burton at MoMA

MIGHTY MOVIE PODCAST on HuffPost: John Woo on RED CLIFF

Conjoined twins op 'successful'

MIGHTY MOVIE PODCAST on HuffPost: PIRATE RADIO Part 2: Hoffman, Nighy, Curtis

Kenny G Titanic

MIGHTY MOVIE PODCAST on HuffPost: PIRATE RADIO Part 1: Nick Frost, Talulah Riley, Tom Sturridge

You Know You’re Rich When You Can Afford A Louis Vuitton Electric Chair (Such Sleek Shackles!)

MIGHTY MOVIE PODCAST on HuffPost: Michael Aimette and John G. Hofmann on TURNING GREEN

Online Degree Success Stories

Thought-Provoking Sayings for Your Life

MIGHTY MOVIE PODCAST on HuffPost: Mira Nair on AMELIA

The Hold On Success

I WILL TRY AGAIN....

MIGHTY MOVIE PODCAST: (Almost) Live from London: PIRATE RADIO vs. THE BOAT THAT ROCKED

MIGHTY MOVIE PODCAST on HuffPost: Sebastian Silva on THE MAID

Chris Brogan & Success-Benchmarks, Business Objectives & Balance! « Social Schmoozing

MIGHTY MOVIE PODCAST on HuffPost: Nicolas Winding Refn on BRONSON

MIGHTY MOVIE PODCAST on HuffPost: Tom Hooper on THE DAMNED UNITED

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