“movies”

Beautiful? Thoughtful? Well-composed? Ratatouille did much to made me remember how much I’ve always enjoyed food, but Kandinsky in the Kitchen, the abovequoted review of the New York restaurant WD-50 floored me. I had never read food described with such words before, nor had I seen dishes more beautiful than most paintings, nor had I been so enthralled with so original a combination of ingredients (how about a dish made of cured hamachi, lemon leather, cilantro sorbet and paprika ?).

Another great review of the restaurant by The Gourmet Pig, made me realize the restaurant is part of a much wider movement: molecular gastronomy, the application of science to culinary practice. Apparently they can now compress watermelon to give it the texture of raw tuna.

The pursuit of beauty and meaning will never end, will it?

21C’s Treachery of Images^WP. From Ben Stiller’s Zoolander^WP. This may well be one of the funniest things ever.

Probably High Fidelity’s finest moment.

On first watch I was very ambivalent about the movie, but it grows on you.

And, y’know, it’s true.

Of course I couldn’t have been the only one obsessed about 5th Element’s Leeloo. It’s just that it only occurred to me today to look for likeminded people. Indulge,

Aw, so young yet so fetishful already.

That multimedia brings subjects “alive” is a painfully false cliche these days. For me at least. Maybe I’m just disappointed by the yawning gap between promise and (often gratuitous) delivery. Maybe I’m still too word-centric.

Thus my surprise with this animation of that most famous embroidered account of the 1066 Norman invasion of England (→), the Bayeaux Tapestry^WP. It’s so simple and yet so stunningly effective. (Though of course I have a sweet spot for animated tapestries…)

I can’t watch it without wondering what its weavers at the turn of the first millennium would say if they could look at their creations now.

(via Very Short List, which neatly sums up the work with a Venn diagram—as is their intriguing custom—, )

This was originally appended to the original lonelygirl article some weeks ago. I’m moving it to the blog strip^ELZR itself because I doubt anyone noticed it.

It’s frighteningly fast how the avant-garde becomes the status quo. Not long ago Google was an underdog. It is now unarguably a behemoth. (“Google is the weather.”^EEM) Two months ago it payed 1.65 billion for YouTube, the new media underdog. Now lonelygirl15, YouTube’s first star, has made the cover of this month’s Wired. And her article, The Secret World of Lonelygirl, is a fascinating behind-the-scenes look at how it all started. From Jessica Rose’s misgivings about the shady project, to her browseresque beauty, to lonelygirl’s origin as the alter ego of a commune-raised, bullied boy.

Jessica Rose was suspicious and frankly a little pissed off. She had come to this organic-tea shop to discuss what she thought was a feature film called Children of Anchor Cove. Now Beckett and Flinders had made her sign a nondisclosure agreement and, clearly pleased with themselves, told her that they wanted her to play the lead in what they billed as the future of entertainment. For free. It was an Internet-something-or-other –- she wasn’t listening. They were also going to “hire” another actor to play a character named Daniel. It sounded a lot like porn.

It was exactly what her acting coaches at Universal Studios’ film program had warned her against: unkempt producer-types hawking shady deals.

When he got to college, Flinders [cocreator of lonelygirl] dreamed up an alter ego—an awkward, geeky homeschooled girl. As a camp counselor, he told fireside tales about her experiences. He wrote short stories about her, and when he tried to make it as a writer in Hollywood, he put her in his screenplays.

There’s something about Jessica Rose that the webcam loves. Her distractingly large eyebrows and small round face are bent and stretched by the fish-eye lens into a morsel of beauty that fits perfectly in a pop-up window. That’s not to say she isn’t pretty off camera—she is—but every step she takes closer to the cam multiplies and enhances her looks. It’s a face made for the browser screen.

[Miles] Beckett was at home trying to decompress. He had been working as an urgent care doctor to pay the rent and was exhausted. Between filming and editing the Lonelygirl15 series and dealing with severed fingers and dog bites at the hospital, he wasn’t sleeping much. It didn’t help that Goodfried called at 2 am.

”Miles, it’s time you quit being a doctor,” he said. “We just passed 200,000 views.”

Within 48 hours, the video had half a million views. Goodfried knew that to be considered a success, a cable television show needs to get between 300,000 and 500,000 viewers. “My Parents Suck …” had vaulted into that territory.

Each episode needs to be short, no more than three minutes. ”You wouldn’t show a sitcom at a movie theater, right?” Beckett says. “You make movies for the big screen, sitcoms for TV, and something else entirely for the Internet. That’s the lesson of Lonelygirl15.”

This Web series not only looks different, it’s made differently than other filmed entertainment. As Bree’s universe expands, each new character will have his or her own vlog. Flinders can’t write and film them all, so new writer-directors have been hired and paired with actors playing the new characters. Unlike television, where writers sit in a room and come up with a single script, the Lonelygirl15 team comes up with a general plotline and then sends its writer-directors out to produce independent but interconnected videos. All the characters, in essence, have their own show.

Rose leaps onto the bed and jumps up and down. She makes faces at the camera and waves her hands, knocking askew the picture of the rose hanging on the wall. Beckett got it at a 99-cent store because it was cheap and looked like something a teenage girl would buy. Nobody seems to have noticed the faint pink quotation printed beneath the flower: ”It is by believing in roses that one brings them to bloom.” 

I loved Little Miss Sunshine^{WP, IMDB}! Deeply. Hadn’t had this fun with a movie in years. Please do go watch it. Now. (Particularly if you live here in Guadalajara. I doubt it’ll be on theaters beyond this week—there are some 7 people per screening.)

A movie on death, by Darren Aronofsky^WP (!), spanning a millennium, ending in 2505 A.D, opening November 22. Damn, I’m gonna be waiting.

I loved the above composition. Perhaps it’s just that I took Scott McCloud’s Understanding Comics^WP epiphany too seriously, but I feel there’s something deep about it. Space and time are one, do you see? The three small panels on top convey a quick sequence (and I can’t help but hear a zippo clicking open and the smallest of sighs), while the long panel invites us to rest on her at leisure. And we can go back, turn back time and see it all over again. Or stop it altogether and focus on the third panel with its bright flame. Or we can go backwards, make it into an infinitely regressive spiral. Or we can try and take it all in one visual gulp. Present is where you are. And all it takes is looking.

Space is time’s ultimate interface.

There’s also another superb quick-closeup, similar in structure, in Animatrix^WP ’s Final Flight of the Osiris^WP. It’s more joltingly impactful, to be sure, but that’s also its greatest shortcoming: it’s gone before you notice it. Our interfaces have evolved and our media player can let us see it slowly, frame by frame, but we can’t readily choose our frame. We can’t try and take it all and dream of synchronicity. That is, we can’t unless we space the frames.

Some weeks ago I was very interested in folksonomies because I was trying to build yet another one (though a political one at that). During my journeys I found out that Del.icio.us has a special kind of tag for filetypes—system:filetype:FILETYPE_HERE. Mixing it with the popular tag, I found many truly wonderful media shards for the filetypes that came to mind—mp3, jpg, jpeg, pdf, gif, png, mov.

Here they are, lest time forgets: