That Strickland should have conjured a supremely cineliterate fantasy is unsurprising. But as the new movie works its strange black magic, the line between fact and film, documentary and drama, starts to melt like a frozen frame of 35mm celluloid, burning its way into Gilderoy's tortured brain. Faced with scenes of fearsomely gaudy brutality (the director, Santini, tells him that "no one has seen this 'orror on screen before"), Gilderoy retreats into dreams of the pastoral English countryside, inspired by letters from his mother detailing the changing birdsong in their garden back home. The brilliantly versatile Toby Jones (whose Christmas TV performance in The Girl gave Anthony Hopkins a run for his money in the forthcoming Hitchcock) stars as Gilderoy, an uptight English sound engineer from Dorking who has been called to the continent to provide the aural effects for "The Equestrian Vortex", which he mistakenly imagines to be about horses. Now, with Berberian Sound Studio (2012, Artificial Eye, 15), he turns his eye towards Italy and the evocatively vivid giallo-inflected horrors of Mario Bava, Dario Argento et al, which set the stylish template for a generation of saleably derivative American 70s schlockers. In the extraordinary (anti)revenge thriller Katalin Varga (2009), writer/director Strickland unravelled a mythical archetype against the backdrop of the Carpathian mountains. I run the images through a batch encoder with Irfanview to get rid of black borders on the image, rename the files, and conform them to jpg.Ħ.W hile the press has been full of doom-and-gloom stories about the "British film industry" (whatever that is) dying on its feet, 2012 proved to be yet another year in which the UK punched above its weight thanks to the work of adventurously non-parochial film-makers like Peter Strickland. and bring down the number of stills to my 60-65 golden number.ĥ. I go through the folder again (immediately)looking at the frames on large preview and try and remove frames that replicate a certain lighting style or framing. I’m then left with usually around 80-100 really interesting frames. I view all the frames as a slideshow and I remove any frame that there are doubles of (someone might be blinking in first frame and normal in second) or remove any that seem less interesting this time around.Ĥ. So the next step is to edit, usually there might be a week or 2 between the first grab and this edit stage. This usually leaves me with around 200-250 frames per film. Depending on mood I could spend a few hours just doing the grabbingģ. I watch through the movies on VLC, usually between 3x and 4x speed while listening to podcasts, grabbing any frame that interests me. i try to keep a mix of styles.genres/directors and DP’s so I dont get bored while working.Ģ. Make a to do pile, its a combination of recommendations, stuff Ive been enjoying myself, stuff I want to rewatch…. Hi Arturo, Ive considered having a donate button, but I feel bad for asking for money, maybe I’ll post an amazon wishlist so people can contribute in that way sending me movies I want to feature on the site.ġ.
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