Click to Skip Ad
Closing in...

Blogroll

Thompson on Hollywood

Anatomy of a Scene: Revisiting 'Hang Me' from 'Inside Llewyn Davis'

The opening of "Inside Llewyn Davis" is a remarkable achievement: It not only sets the melancholy mood of Greenwich Village in '61 with the eponymous singer (Oscar Isaac) performing "Hang Me, Oh Hang Me" at the iconic Gaslight, but it also sets us up for a confusing circular odyssey. I got the lowdown on the Coen brothers' bizarre tale about folk music with the Oscar nominated cinematographer Bruno Delbonnel and sound mixer Skip Lievsay (also nominated for "Gravity").
  • By Bill Desowitz
  • |
  • February 21, 2014 2:03 PM
  • |
  • 0 Comments

Anatomy of a Scene: Dissecting the Bravura 'Gravity' Opening

The extraordinary 13-minute opening of Alfonso Cuaron's "Gravity" is like a mini-movie, setting up the zero-gravity world in space, the two astronauts played by Sandra Bullock and George Clooney, the mood, the tension, the crisis, and the metaphor. I break it down with Oscar-nominated cinematographer Emmanuel (Chivo) Lubezki, production designer Andy Nicholson, VFX supervisor Tim Webber, sound mixer Chris Munro, and editor Mark Sanger.
  • By Bill Desowitz
  • |
  • February 14, 2014 2:45 PM
  • |
  • 1 Comment

Talking Benedict Cumberbatch, Dragon Secrets and More with the Oscar-Nominated Sound Editors of 'Smaug'

In returning to Middle-Earth for the second "Hobbit" adventure, "The Desolation of Smaug," Oscar-nominated sound editors Brent Burge and Chris Ward were given a gift with the very hot Benedict Cumberbatch. But when he was first announced, they were apprehensive that his overexposure on "Sherlock" and "Star Trek Into Darkness" might make his voice too familiar. But that all changed when he showed up and got down on his hands and knees, played around with his voice, and became the dragon.
  • By Bill Desowitz
  • |
  • February 5, 2014 2:53 PM
  • |
  • 0 Comments

Talking the Oscar-Nominated Sound Editing and Mixing of 'Lone Survivor'

Peter Berg's underrated "Lone Survivor" received its lone Oscar nominations in the sound editing and mixing categories, but it's well-deserved. The fact-based adventure about a failed Navy SEALS mission in Afghanistan grabs us by the throat and never lets up. And the sound is among the most intense and immersive experiences for a modern war film.
  • By Bill Desowitz
  • |
  • January 24, 2014 2:47 PM
  • |
  • 2 Comments

Email Updates