Monday, 30 November 2009

http://www.newspostonline.com/entertainment/actor-harrison-ford-from-indiana-jones%E2%80%99to-%E2%80%98extraordinary-measures%E2%80%99-2009111776279

For all those who’s been wondering what became off Harrison Ford since his last release, which was the latest in the ‘Indiana Jones’ saga, here’s some news. The actor has finally managed to take some time out of his busy marital co- habitation with actor wife Calista Flockhart and is reportedly working on his new movie.

The movie is presently at an early production stage and is based on a true story of a man who puts all at stake to seek a cure for his afflicted children. The movie also stars Brendan Fraser as one of the protagonists.

Brendan plays John Crowley, a successful businessman, whose world comes crashing down after his two children are diagnosed with potentially terminal illness. Seemingly losing all hope of a possible cure for his children once doctors throw their hands up, the desperate father turns to a brilliant scientist, inspired after a real life figure and played by Ford, hoping for a miracle.

The movie is titled ‘Extraordinary Measures’ and will up for release n January 22, 2010.

Here’s hoping for a successful comeback for Ford.

Sunday, 29 November 2009

Kelly Brook Jones (Pic:Sky)

West End actress Kelly Brook may not be a Hollywood movie star just yet, but if she keeps cracking the whip like this you never know.

Kelly looked a real treasure as she struck Harrison Ford's classic pose from Raiders of the Lost Ark for an advertising campaign.

The 29-year-old shot a series of film stills as she urged TV viewers to vote for their favourite Sky Movies' Christmas Day line-up.

Saturday, 28 November 2009

Produced in 1990, This short film was used to showcase the superior qualities of the THX presentation ethos invented by George Lucas. Contains clips from Star Wars, Indiana Jones and Willow. Origin...

Friday, 27 November 2009

Thursday, 26 November 2009

http://reviews.cnet.com/8301-19512_7-10401633-233.html


Having become fairly disenfranchised with all things Star Wars over the years, I didn't really expect to like Star Wars: Trench Run.

And really, the new game from THQ is little more than two kinds of arcade sequences sprinkled with a few familiar cutscenes.

So why can't I stop playing it?

Because Trench Run ($4.99) is a little slice of Star Wars heaven, that's why. It reminds me of the old vector-graphics arcade game from the early 80s--a game that consumed a considerable number of my quarters.

Of course, visually Trench Run blows that coin-op classic out of the sky. And what it lacks in variety, it makes up for with engaging gameplay.

You're at the tilt-sensitive controls of an X-Wing, which you can view from inside the cockpit or from behind. Tapping the right half of the screen fires your guns; tapping and holding the left half engages Force Power, which temporarily slows down the action.

As you might expect from the title, half the game takes place in a Death Star trench. You've got to steer past obstacles, blast turrets, stay out of Darth Vader's gun-sights, and, eventually, "blow this thing so we can all go home."

When you're not racing through trenches, you're dogfighting TIE Fighters just above the Death Star's surface. The only thing that changes from one level to the next is the difficulty.

And Trench Run does get difficult, though a little Force Power goes a long way toward helping you lock in a target or avoid a rapidly approaching turret.

Throughout it all, you're treated to all the familiar Star Wars sound effects along with John Williams' timeless score.

There's not a lot of replay value in Trench Run, and the limited variety means boredom is pretty inevitable. But until then, you'll have a blast.

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Wednesday, 25 November 2009

Telltale Games and LucasArts have announced that Rise of the Pirate God, the fifth and final episode in the Tales of Monkey Island series, is to be released for PC on December 8, 2009.

Has our piratey hero Guybrush Threepwood met an untimely end at the hands of his nemesis? There are many questions to be answered in the Tales of Monkey Island finale.

"He wanted what every young man wants - to loot, pillage, and sail the high seas in search of further looting and pillaging opportunities," said Dave Grossman, veteran Monkey Island game designer and writer. "It’s a great tragedy to see such a productive life seemingly cut off prematurely. And I’m not just saying that because he owes me money."

In celebration of the impending release of episode 5, all four previous episodes can now be purchased individually, priced $8.95 at telltalegames.com.

Tuesday, 24 November 2009

Monday, 23 November 2009

Sunday, 22 November 2009

from starwars.com


Starting today, UK residents have a chance to win a limited edition Clone Wars fine art cell personally signed by George Lucas!

UK retailer Argos is hosting a promotion that will award a hand-numbered fine art cell of Yoda and clones from The Clone Wars -- it's one of only 15 hand-numbered cells worldwide, and this is the only one signed by Lucas!

There are also 50 runner up prizes of Force FX Lightsabers to be won (either Anakin's or Darth Vader's lightsaber, subject to availability). Prize draw ends December 22, 2009.

UK fans can head on over to the official Argos site to find out how to win!

Saturday, 21 November 2009


Hot on the hills of confirming the Jedi Knight class for new Star Wars MMO The Old Republic, LucasArts has announced the Imperial Agent as the latest addition to the line up.

Where as most of the other characters are based on existing Star Wars stawarts such as Han Solo (Smuggler) and Boba Fett (Bounty Hunter), the Imperial Agent is not immediately linked to an existing fan favourite.

“He uses subterfuge in order to infiltrate and assassinate enemies of the Empire”

We asked producer Blaine Christine to explain exactly what players can expect from an Imperial Agent: “He works behind the scenes doing the real dirty work of the Empirs. He specialises in high tech gear and always has the right gear at the right time. He uses subterfuge in order to infiltrate and assassinate enemies of the Empire with deadly efficiency. Players who play as Imperial Agents will see the underbelly of the Empire in a way never before seen.”

That currently brings the character classes announced to six but we’ve been assured that more will be revealed very soon.

Friday, 20 November 2009

Thursday, 19 November 2009

Technology and movie-making have always gone hand in hand but the latest breakthroughs are changing the very nature of the process.

Those in the industry say that thanks to the role of graphics processing units (GPUs), the director's vision can be more fully realised.

It also means that special effects teams are involved in the making of the movie at a far earlier stage.

In the past, their creations would be done in post-production and not be seen for weeks or even months after a movie has wrapped.

All that is changing thanks to the GPU, according to leading industry players like Richard Kerris, chief technology officer of Lucasfilm, part of Industrial Light and Magic (ILM).

The GPU is a specialised graphics processor that creates lighting effects and transforms objects every time a 3D scene is redrawn. These tasks are mathematically intensive and in the past were done using the brains of a computer known as the central processing unit or CPU.

ILM was started by Star Wars director George Lucas, and is the biggest special effects studio in the business and behind blockbusters like E.T., Star Trek, Terminator, Harry Potter, Transformers and M Night Shyamalan's soon-to-be-released fantasy The Last Airbender.

"The advent of the GPU is really the next big frontier for us. We have seen hundreds of times improvements over the last few months. This is taking Moore's Law out the window," Mr Kerris told BBC News.

"Back in the day, the simplest of special effects rendering took a lot of computing power and a 500-square-foot room back then that really wouldn't operate our phone systems today.

"But, the talent and the understanding of what could be done out of that was able to produce movies like Terminator. It was cutting-edge stuff and getting a computer that was the size of a small automobile to render out simulations of a twister was pretty groundbreaking then," said Mr Kerris.

Speed is key

At the heart of what the GPU does is speed, according to Dominick Spina, product manager for Nvidia, the company that invented the technology.

First computer generated main character
The Terminator T-1000 liquid metal shape shifter still wows audiences

"This is a big leap and the amount of data that can be crunched, analysed and documented can be done a lot faster on the GPU than the CPU. On certain simulations, we are talking a 100-200 times improvement," said Mr Spina.

With that kind of acceleration, Dr Jon Peddie, president of Jon Peddie Research says directors are no longer limited by the technology.

"A movie operates at 24 frames a second, and it takes for one of these extraordinary movies that we see anywhere from as few as 12 to as many as 24 hours for one frame.

"So now you have 24 days for a second's worth of film. By using the GPU for this rendering, you can literally reduce that to one 1,000th of what is was. So if it was say 24 hours to do the job, now you can do it in 24 seconds.

"GPU computing is on the cusp of transforming a major part of the computing industry," claimed analyst Rob Enderle, president of the Enderle Group.

"This is to supercomputers what PC's were to mainframes, and I doubt the world will ever be the same again."

'Making the impossible possible'

From a creative standpoint, studios say the technology has been a real boon.

"With this system, the creative process has been transformed from tedious to fun," said Rob Bredow, chief technology officer for Sony Pictures Imageworks, which used Nvidia's GPU to make "Cloudy With a Chance of Meatballs."

Cloudy With a chance of Meatballs
Animators created 80 different kinds of food for the movie

"When an artist can do 10 times as many iterations of an effect in the same amount of time, the quality of the end product will be that much better. Renders that would have taken 45 minutes or more to run on a CPU, are now cut down to 45 seconds," he said.

Mr Kerris from LucasFilm is in total agreement.

"In the past, a lot of times the director would say 'I want this kind of effect' and the team would go away, do their work and a year later come back with it and if it wasn't what you as a director wanted, then the whole process had to get re-instated.

"We are just at the tip of the iceberg in terms of experimentation but already we have seen the impact on some of the films we worked on this summer like Harry Potter.

"There was a final scene at the end of the film that had to do with fire and Dumbledore moving the fire around his head. When the director saw that he could actually direct the fire, he expanded that entire scene so it became a much more prominent scene in the film," explained Mr Kerris.

"GPUs are making the impossible possible in movies, bringing anything from swirling tornadoes to fiery infernos to the big screen," said Nvidia's Mr Spina.

"In the past movies dominated by crazy water, weather and fire effects were nearly impossible to make regardless of budget or timeframe; with the advent of the GPU, artists are able to make these visions a reality."

Story telling

So what does the future of this technology hold?

"In the next 6-8 months you will see some major films with some incredibly big scenes that are primarily done through GPU's. We are talking about taking it to a new level and doing it in a way where it won't take two years to do," said Mr Kerris.

Iron Man
Digitally adding Iron Man's armour later let the actor concentrate on acting

"Beyond that, I think GPU's will start to play a part in the home environment. You could hypothesise that a GPU could offload some stuff from the TV processor to give real-time overlays and graphics and data say with a sports game or show.

"You are going to see amazing new amusement centres, virtual reality and augmented reality. All these things will exploit the GPU on a more personal basis," said Dr Peddie.

"We take our mobile phone and with augmented reality we experience the world in a different way. The power of the GPU does that for us. We are at a tipping point," said Dr Peddie.

But at the end of the day, Mr Kerris stressed that when it comes to the movies, all the whizz-bang technology is worth nothing if the story is not up to scratch.

"George Lucas founded the different divisions of Lucasfilm not for technology's sake. In fact he is a very non-tech person. For him technology is a means to an end and it is always the story that counts," stressed Mr Kerris.

Wednesday, 18 November 2009

Tuesday, 17 November 2009

Pixar - Up


In the beginning, Mickey was one mean mouse, summoned from the soul of his creator, Walt Disney, an animation pioneer described by his first biographer as "a man under the lash of private demons". Around the pair hung a Depression-era sense of angst: the first Mickey Mouse film, Steamboat Willie (1928), was subjected to cuts after audiences complained about the star using a litter of piglets as an accordion, swinging a cat by its tail, and playing a goose like a set of bagpipes.

So the Disney Corporation's unveiling last week of a new, "edgier" Mickey, prowling a post-apocalyptic video game landscape, littered with ghostly cartoon faces, could be seen as a bold experiment in nudging the character back towards his roots. There's more to it than that, though. Mickey hails from the last golden age of animated moviemaking. Today's audiences are living, wide-eyed with wonder, through a new one – and for the first time in his long career, the Mouse is playing second fiddle.

Until recently, it had been widely held in Hollywood, and much of the world beyond, that the great Disney animated films from the period between Snow White (1937) and 101 Dalmatians (1961) would never be bettered. Walt certainly thought so. Hailed by David Low, the British wartime cartoonist, as "the most significant figure in the graphic arts since Leonardo da Vinci", he had seen that a cartoon – until then a short complement to the main attraction – could, with the necessary imagination, talent and technological input, become the main attraction.

He took his material from the fairy tales and folklore of the Old World, garlanded it with the moral certainties of the American heartland, employed the finest artists, writers and composers, and, in the process, established a unique bond of trust with audiences, who came to see the Disney name as a guarantee of high-quality family entertainment. Upon this perception was built a mighty – and mightily lucrative – franchise. A few days after September 11, President Bush, with a rattled nation to reassure, spotted the obvious straw to clutch at. "Get on down to Disneyland with your families," he urged. The park was closed, and there were no flights, anyway, but the thinking was clear enough: Uncle Walt's magic would make everything all right.

By then, the benign climate had seen Mickey turn cute. He smiled more, became cuddlier, and found himself a girlfriend. The incarnation suited him up to a point, and he would still be lording it over the Disney empire now if not for the revolution in animation brought about by computers – and, in particular, by John Lasseter, a one-time Jungle Cruise guide in a Disney theme park, and his Pixar Studios.

In the 14 years since Pixar launched Toy Story – the first feature film composed entirely of computer-generated imagery, or CGI – the upstart American studio has produced a series of family‑friendly blockbusters comparable with the greatest works of Disney's past. Its latest, Up, the story of an elderly ex-balloon salesman realising a lifetime dream of adventure, has received ecstatic reviews and earned almost $500 million worldwide.

Under the guiding hand of Lasseter, Pixar's computers have developed something close to a soul. Ratatouille, the story of a French gastro-rat, is one of the most visually satisfying movies ever made, the detail and texture of a Parisian restaurant kitchen so lovingly evoked you can almost smell the cooking. Wall·E, a largely wordless story of robots on an abandoned Earth, oozes melancholy, poignancy and rebuke.

These are serious films, only nominally for children, that touch on profound themes, address deep emotions, and deploy the wizardry of modern animation not, as so many action movies do, for the sake of maximum wow-factor but to bring out what even the best live acting sometimes cannot. Some have argued that the price has been the death of serious cinema for adults, as Hollywood's finest talent concentrates on animated movies that can be marketed and merchandised to multiple generations – but given the quality of the results, there have been few complaints.

In fact, Pixar's success has been so great that Lasseter, 52, has been handed the keys to the Magic Kingdom: Disney paid $6 billion to buy Pixar (whose films it had distributed) and get Lasseter, hailed as the heir to Walt, to run its own studios, too.

The firm could have had him far cheaper. Obsessed by cartoons from an early age, the Californian actually started out as a Disney animation trainee, but came to the conclusion that the studio, for all its wealth and power, had run out of ideas. In the early Eighties he was shown footage of an experiment with CGI and immediately spotted its potential. Full of enthusiasm, he went back to Disney and urged his bosses to embrace the future. "The future," he was coolly told, "is not computers."

Within a year, he was out of a job. He quickly landed a new one, with the hi-tech film unit owned by Star Wars creator George Lucas; when that was spun off to Apple founder and movie buff Steve Jobs, in 1986, Lasseter was given the job of establishing the team that would become Pixar.

"It's not just about the technology," he says. "You've got to have a solid story, good characters, scenes that look right, all the things that have always made movies work." Nor is it just about Pixar. A rival studio, DreamWorks Animation, has its own string of hits – including the Shrek movies, Shark Tale, Madagascar and Kung Fu Panda.

Other filmmakers are heading in directions that seem almost retro‑techno. Wes Anderson, director of the recently released Fantastic Mr Fox, based on the Roald Dahl story, uses stop-motion, along the lines of Wallace and Gromit. Robert Zemeckis, who once gave us Forrest Gump, has turned his attention to motion capture, covering actors such Jim Carrey (for Disney's new version of A Christmas Carol) with ping‑pong balls in order to capture and digitise their motions.

As for Mickey Mouse, whose popularity has shown signs of fading in recent years, Disney says it is "re-imaging" him – initially for a new computer game for teenagers – but that the new look could stick. With or without Mickey, though, there is little doubt that animation has entered a new age of wonder.

Sunday, 15 November 2009

Steven Spielberg has bagged The Anti-Defamation League’s highest honour for his work in the field of human rights.

The Oscar-winning director will collect America’s Democratic Legacy Award at the league’s Los Angeles fundraiser on December 9, reports Contactmusic.

The 62-year-old was tagged as a “true champion of human rights” for his work in film and television, along with his humanitarian efforts.

American Idol runner-up Adam Lambert and Israeli singer Noa Dori are set to share the stage with other artists at the Beverly Hilton hotel. (ANI)


Saturday, 14 November 2009

Barrymore: 'Spielberg taught me so much'


Drew Barrymore has revealed that director Steven Spielberg taught her everything she knows about acting.

The Whip It star, who was cast in Spielberg's ET when she was only five years old, said that out of all the directors she has worked with, he has always given her the best advice.

Barrymore told Empire: "I've spent my whole life working with more than 60 directors, so I've picked up all kinds of tips. Steven Spielberg has been a big help."

She continued: "He gave me great notes. He's a wonderful mentor."

Barrymore also compared her latest film to her first, adding: "My favourite scene in Whip It is actually the food fight, which is an homage to ET, when we had that big food fight in the lunch room."

Friday, 13 November 2009

Even before Steven Spielberg’s newly reformulated Dreamworks SKG makes its first film, his studio is moving – well, sort of. BusinessWeek has learned that movies made by Dreamworks, headed by Spielberg and producing partner Stacey Snider, will be moving from the Starz pay TVLMDIAto Showtime (CBS).

The move, which has yet to be announced, is being driven by the Walt Disney Co.(DIS), which signed on to distribute Spielberg and Co.’s films in February. That deal included a provision by which Starz would distribute Disney’s films under an existing agreement by which Starz distributes all of Disney’s films to its pay TV customers. Now, it appears that Starz doesn’t want to distribute Dreamworks movies to its cable and satellite viewers, and is pressuing Disney to find someone else to do it instead. Enter Showtime.

Why wouldn’t Starz want to show films from the hitmakers at Dreamworks or, more importantly, give up a shot at Spielberg flick? Starz, Dreamworks and Showtime aren’t commenting. But try to follow Starz’ reasoning, if you can: pay channels like Starz get a piece of the annual $10-12 a month that a cable operation collects from customers who get the channel. So, let’s say that Starz has 18 million subscribers, the last number Liberty reported to the SEC. If it gets, say $5 a month from each of those subscribers, it generates revenues of $90 million a month or about $1.1 billion a year. The problem comes in the payout to Disney. Pay channels pay studios a fee on the number of films they get from the studio, but the fee escalates as the film does better at the box office.

Starz execuitves, as I understand, were concerned that they hadn’t bargained for a slew of big blockbusters when they initially signed their deal with Disney. In its most recent SEC filing, Starz parent company Liberty Media Entertaiment says that “the number of qualifying films under Starz Entertainment’s output agreement with Disney may be higher than it would have been otherwise” as a result of the Dreamworks deal. The point is that Starz, which through the first six months of this year had seen its operating earnings increase to $187 million from $113 million a year ago, is in a bind. Its revenues were fixed, while its faced the prospect of skyrocketing costs.

On the other hand, Showtime could use a boost in the number of films that it puts on its service. That’s because last year it lost the films it had distributed from Paramount(VIAB), MGM and Lionsgate (LGF). After a nasty negotiation over the fees that Showtime was willing to pay, the trio left to start their own pay channel, Epix, which is just now rolling out. As Showtime starts lining up for its next round of negotiations over fees with cable and satellite operators, it likely would love to have Spielberg & Co. as one of its headline acts.

Dreamworks already has plenty of ties to Showtime. Spielberg is executive producer for the show United States of Terra that Showtime airs. Spielberg and Snider are also producing a show on the behind the scenes making of a Broadway play for the pay channel. When will the first Dreamworks flick appear on Showtime? Probably not until next year. The studio is making Dinner for Schmucks, a comedy starring Steve Carrel with Paramount, but that’s being distributed on HBO. The first Dreamworks movie for Disney – and presumably for Showtime – would likely be Real Steel, a futuristic boxing film that The Pink Panther director Shawn Levy has signed to direct.

Thursday, 12 November 2009

(1977) The computer graphics for the first Star Wars film was created by Larry Cuba in the 1970s at the Electronic Visualization Laboratory (EVL) (at the time known as the Circle Graphics Habitat) at the University of Illinois at Chicago.

Wednesday, 11 November 2009

Steven Spielberg's 'Oldboy' remake dead?

Rex Features

Steven Spielberg and Will Smith's update of South Korean film Oldboy has reportedly been scrapped.

Mandate Pictures and Spielberg's DreamWorks were in the process of securing story rights to the movie when the latter "walked away", reports Latino Review. The production companies apparently "didn't see eye-to-eye" on the terms of the deal.

Director Chan-Wook's Oldboy, released in 2003, is a dark and violent revenge tale that involves torture and murder. Voters on CNN named it one of the ten best Asian films ever made.

The Smith/Spielberg production was believed to be based on the picture's original source material, a Japanese manga by Nobuaki Minegishi and Garon Tsuchiya.

Here's a cool segment from British video 'How to film the impossible' where wizards of ILM show us the process of real matte painting photography from films like Temple of Doom and Return of the Jedi.

Tuesday, 10 November 2009

A new Jurassic Park trilogy? A fresh direction for the films? Or is Jurassic Park 4 still a pipe dream? JP3 director Joe Johnston has been offering his thoughts…

Published on Nov 9, 2009

Jurassic Park 4, then. It's the sequel that we'd pretty much written off, and even now, we wouldn't want to lay down too much cash in favour of it actually happening. After all, it's been the best part of a decade since we saw Jurassic Park III (which we've written in defence of here), and while there have been very sporadic smatterings of news since, there seems little inclination to pick up the cameras and get the dinosaurs moving again.

As he puts the finishing touches to next February's The Wolfman, Jurassic Park III director Joe Johnston has, however, been talking about another sequel. And he's told AintItCoolNews, "There is a great story for the fourth one that I would be interested in getting involved with and it's nothing like the first three. It sort of takes the franchise off in a completely different direction, which is the only way I would want to get involved."

Furthermore, he hints at a potential (although, again, we suspect unlikely) future trilogy. "Why would anybody go back to that island?" he says. "It was hard enough to figure out the second and third reason for them to go, but it would take it off in a whole other trilogy basically, but when it gets to that level it's sort of about studios and Steven's thing and who knows. I think we are at that point where we are due for another one if we are going to do it."

It does seem that it's pretty much in Steven Spielberg's hands, and were he to say that it was going ahead, then chances are it would go ahead. But the mix of news over the past few years on the project has both suggested that the franchise is now dead, or that some of the original cast are coming back.

Hopefully this one will clear up soon, as this writer, at least, is mighty keen to sit through another Jurassic Park movie. And don't forget to check out the intriguing AinItCoolNews piece here.

LOS ANGELES—Over five days, one of the nation's finest music venues has seen two of the finest film-music concerts in recent memory: One focused on classic movie music by seven distinguished composers, the other on music from Disney-produced films old and new.

John Williams conducted the Los Angeles Philharmonic on Friday, Saturday and Sunday, Oct. 16-18, at Walt Disney Concert Hall. The theme was "Music from the City of Angels" and, as Williams pointed out, new music director Gustavo Dudamel wanted a film-music concert during his first weeks in L.A. because of its importance to the history of music-making in Los Angeles.

The major work on the program was the half-hour "Suite from Memoirs of a Geisha," drawn from his Oscar-nominated 2005 score and adapted into a virtual cello concerto. The soloist, German-Canadian cellist Johannes Moser, drew extraordinary sounds from his instrument and performed with the kind of joy that distinguishes the playing of Yo-Yo Ma (for whom the work was written).

Although the score has been modified for conventional Western orchestra, the Japanese flavor remains present throughout the Geisha suite, especially in the delicate second movement ("Going to School") and the colorful fourth ("Brush on Silk," featuring seven percussionists). The first ("Sayuri's Theme") was elegant, the third ("The Chairman's Waltz") featured a stunning duet with Moser and concertmaster Alexander Treger.

Added to the program for Saturday and Sunday was Williams' seven-minute "Elegy for Cello and Orchestra," the only piece that did not originate as a film score.

The first half included six scores spanning 35 years of Hollywood history, including Erich Wolfgang Korngold's 1939 The Private Lives of Elizabeth and Essex, with its fanfares and gorgeous love theme; Alex North's 1960 Spartacus, whose music, Williams said, suggested "the brutality of Roman aggression"; and music of Bernard Herrmann ("a curmudgeonly, often irascible, amazingly erudite man") for Alfred Hitchcock's 1958 Vertigo.

Williams concluded the first half with a trio of classic noir scores that he called an "L.A. Triptych": Franz Waxman's 1950 Sunset Boulevard, with its "exaggerated habanera" for Gloria Swanson as Norma Desmond; 1974's Chinatown by Jerry Goldsmith ("a fantastic colorist... an uncanny sense of where the soul of each scene happened to be"); and 1944's Double Indemnity by Miklos Rozsa ("an elegantly educated musician," Williams said, who could "write a perfect double fugue during the lunch hour that might take the rest of us three days").

The "Triptych" was a highlight of the concert for many, including the urgent opening of Sunset Boulevard, the brilliant solo trumpet performance (by Donald Green) in Chinatown and the dramatic intensity of Rozsa's doom-laden Double Indemnity.

Monday, 9 November 2009

Star Wars Battlefront: Elite Squadron, the expanded new take on the classic Star Wars Battlefront gameplay, is now available for DS and PSP, LucasArts announced. For the first time ever in the Star Wars Battlefront series, players will be able to fight on multi-level battlefronts, on the ground and in space. Players can start the fight on foot, commandeer a vehicle to battle on the ground or dogfight in space, and land their craft and fight on capital starships. The battles waged on each front are all directly effected by the player's actions, creating a combat experience where every shot fired and every enemy defeated can affect the outcome of a battle on another front.


Sunday, 8 November 2009

Saturday, 7 November 2009

Watch the clip and notice a young Spielberg in the reflection of the telehone booth. At 53 seconds

Friday, 6 November 2009

from the Daily Telegraph


10 The Bridge on the River Kwai

The lavish production that launched Lean into the big league is grand, grown-up and full of eye-popping set pieces and moral complexity.

9 The Dirty Dozen

Robert Aldrich, 1967

Real-life former marine Lee Marvin has to mould 12 convicted murderers into a crack unit to assassinate a slew of SS officers. Entertaining sparring leads to a dark climax.

8 The Great Escape

John Sturges, 1963

The POW escape movie is a subgenre all of its own – and this, inspired by a real breakout, is the most celebrated example. No matter how many times you see it, you always will Steve McQueen not to plough his motorbike into that fence.

7 Where Eagles Dare

Brian G Hutton, 1968

Richard Burton’s British major joins forces with Clint Eastwood’s US lieutenant and takes on pretty much the entire Wehrmacht. Proof that Allied soldiers were not only better than their Axis counterparts, they were also better looking.

6 Casablanca

Michael Curtiz, 1942

Casablanca’s chief battleground is one of hearts rather than guns, but it’s also emphatically a war movie, playing out in a Vichy-controlled territory. Bogey! Bergman! That bar! That song! And, above all, that screenplay.

5 Ice Cold in Alex

J Lee Thompson, 1958

The uninitiated may dismiss this as just another Fifties three-cheers-for-Blighty war flick, but it is far more sophisticated: less a tale of Brits v Germans than of man v the elements.

4 Schindler’s List

Steven Spielberg, 1993

At once a great achievement and a desperately upsetting picture to watch, Spielberg’s adaptation of Thomas Keneally’s historical novel Schindler’s Ark cuts directly to the heart of the Nazis’ poisonous ideology.

3 The Thin Red Line

Terrence Malick, 1998

This came out just months after Saving Private Ryan and, while like Spielberg’s film it doesn’t shrink from depicting the terrors and frustrations of war, it at times makes a virtue of reining in the gore and has near-spiritual moments.

2 Das Boot

Wolfgang Petersen, 1981

Petersen’s best film, this tale of 42 submariners trying to sink as much Allied shipping as possible while staying alive is riveting: tense, sweaty and full of robust gallows humour, with liberal and expert use of Steadicam to convey the grim claustrophobia of living in a metal box that could so easily become a coffin.

1 Saving Private Ryan

Steven Spielberg, 1998

No film-maker has ever plunged the audience into the nowhere-to-hide horror of battle as Spielberg does in the opening 25 minutes with his meticulous depiction of the D‑Day landings on Omaha Beach. His refusal to show us the same gruesome episode twice means we never have the luxury of developing any psychological resistance. It’s a terrifying spectacle and a magnificent tribute to the men who did it for real.

Thursday, 5 November 2009

Wednesday, 4 November 2009

Tuesday, 3 November 2009

Star Wars - John Williams - The Throne Room End Title - IV A New Hope

Monday, 2 November 2009

Sunday, 1 November 2009

Source - http://www.comicbookmovie.com/fansites/becks/news/?a=11265

MarketSaw is reporting that George Lucas and LucasFilm are currently considering a new “Star Wars” trilogy–and that it would be shot in 3-D.

According to the report, Lucas would serve as a producer for the new trilogy and would not take the director’s chair. Among those rumored to be in line for directing duties are Steven Spielberg and Francis Ford Coppola.

One litmus test will be the success or failure of James Cameron’s upcoming 3-D movie, “Avatar.” If the film catches fire at the box-office, then that could be the impetus for a new “Star Wars” trilogy to go into production.

So, this brings up an interesting question–do we want a new “Star Wars” trilogy?

You can let us know in our poll below. And feel free to tell us what you think in the comments section.

UPDATE: Ain’t It Cool News has contacted LucasFilm. The company stated that it is currently not working on a 3-D version of the films for theaters and that no new “Star Wars” films are under development.

Several other sites have pointed out that this may be a campaign to help ensure the success of “Avatar.”

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