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Olive The Movie: Shot Entirely on Nokia N8 Smartphone, Olive Gets Cinema Release

Posted: December 5th, 2011 | Author: | Filed under: Cinema, Culture, Digital Media, Favorite New Thought, Media, Mobile Media | Tags: , , , , , , , , | Comments Off on Olive The Movie: Shot Entirely on Nokia N8 Smartphone, Olive Gets Cinema Release

Technoid - Olive The Movie - Nokia N8 Smartphone Camera Rig

Getting a clue is often the first stumbling block for creatives, all the skill in the world is next to useless without a great idea. Hooman Khalili first got the idea to make a feature film shot entirely on a smartphone in January 2010. A little less than two years later, his film Olive, shot on a Nokia N8, is going to be shown in a Los Angeles theatre for a week. The film simply put is about a little girl that transforms the lives of three people without speaking one word. The movie stars two time Academy Award nominated actress Gena Rowlands (The Notebook, A Woman Under the Influence). While it all sounds too simple, it wasn’t, the impressive inventiveness from techs shines through in the quality of this flick. The movie was shot using the Nokia N8’s 12-megapixel camera and a customized 35mm lens adapter – attached with double-sided tape. The mobility of the phone also made for a shallow depth of field and easier maneuvering. Khalili attached the N8 to ladders, remote control helicopters, and motorcycles to capture some of the shots in the film. READ MORE


Film Review: Anonymous

Posted: October 28th, 2011 | Author: | Filed under: Art + About, Cinema, Culture, Indeep Media, Movie Review | Tags: , , , , , , , , , | Comments Off on Film Review: Anonymous

In his 1998 survey – Shakespeare: The Invention of the Human – Harold Bloom provides an analysis of each of Shakespeare’s 38 plays, “twenty-four of which are masterpieces.” Written as a companion to the general reader and theatergoer. Bloom declares that bardolatry ought to be even more  of a secular religion than it already is. Bloom contends in this work that Shakespeare Invented Humanity, in that he prescribed the now common practice of Overhearing Ourselves, which he says drives our changes. I’m not suggesting that Roland Emmerich’s latest film – Anonymous – in which the filmmakers introduce an alternative history of the Bard, then promptly sets about dismantling all we think we know, and all we’ve learnt about Shakespeare, is in anyway based on any form of fact, it’s a little more ambiguous in it’s take on possibilities. If shakespeare had written a 39th play though, Anonymous could very well have been his plot. Critics have been short on praise for Emmerich – the director of Independence Day, Godzilla and The Day After Tomorrow – most squarking that taking on a British period drama was a huge misdemeanor for one of Hollywood’s blockbuster kings.

The far to clever Luke Buckmaster of crikey.com wrote: “Much of the running time consists of well coiffed regal authorities conversing in dark hallways. Ignore the interesting ideas the script’s premise implies: Anonymous is not about how streaks of greatness can come from unexpected places or about how geniuses can be shunned from the history books, at least not in any meaningful ways. The acting is soporific, the writing dull and Emmerich’s fish-out-of-water direction is surprisingly consistent — he provides the film a steady ebb and flow — but lacklustre. Full disclosure: despite feeling well rested and wide awake when I entered the cinema, I slept through around 20 minutes of the second act”

When more time on a page is spent espousing the wonders of the reviewer, you have to wonder what it is they were reviewing, I get the feeling only terribly clever people are capable of such inbound criticism, crikey, it’s film?

I thoroughly enjoyed Anonymous, and had no problem keeping my eyes wide open, it was a sumptuously shot, a beautifully realized piece of cinema, not at all hard to get lost in, most importantly – it was thoroughly entertaining. Shakespeare’s influence has been vast, novelists such as Thomas Hardy, William Faulkner, and Charles Dickens. The American novelist Herman Melville’s soliloquies owe much to Shakespeare Scholars have identified 20,000 pieces of music linked to Shakespeare’s works. These include two operas byGiuseppe Verdi, Otello and Falstaff, whose critical standing compares with that of the source plays. Emmerich’s latest work comfortably joins this queue of  influenced works. Read the full article »»»»