Watching comics legend Todd McFarlane speed draw his favorite characters.
This Took A Lot Of Balls
2,000, in fact.
Multitalented Bastard
This live Schoolhouse Rock cuts out after a minute or so, sorry.
Jack Sheldon provided that perfect railcar voice (suck it, Boxcar Willie), and opened for Lenny Bruce, and played trumpet for jazz artists of the 1950’s and eventually Merv Griffin.
Don’t Ask Me What I Want It For
I know it’s probably verging on blasphemy for some when I say I’m really digging Giles Martin’s new stereo mix of Revolver. Thinking very seriously of grabbing it on vinyl.
What, Me Worry?
Gone but not forgotten!
This video is only concerned with the artists who contributed to Mad in it’s first two decades – even if some of them carried on for longer. I’ve got nothing against those who came later but I’m selfishly only dealing with the ones who inspired and influenced me as I grew up. They taught me more than 4 years of college ever did. Apparently in the early Kurtzman comic years Mad was printed in colour, although all the examples I found were black and white only, and according to a particularly grumpy viewer Dave Berg didn’t die until 2002. Mea culpa.
Wish I Could Do This
Also, now I want a 1962 Vespa.
Down in the Sand
Alan Splet, who worked with David Lynch, remains my sound design hero. And we all acknowledge Ben Burtt. But these Doooooon guys (Mark Mangini and Theo Green) put on a show. I realized from the first minute watching it that the sound was going to be fantastic, and a new article provides some insight:
By way of explaining it to me, Mangini ground his work boot into the soft patch of sand that he had dusted with Rice Krispies. The sand produced a subtle, beguiling crunch, and Villeneuve broke out into a big smile. Though he’d heard it plenty of times in postproduction, he had no idea what the sound designers had concocted to capture that sound.
“I wanted Theo and Mark to have the proper time to investigate and explore and make mistakes,” Villeneuve said. “It’s something I got really traumatized by with my early movies, where you spend years working on a screenplay, then months shooting and editing it, and then right at the end, the sound guy comes and you barely have enough time.”
By hiring his sound designers early and setting them loose, Villeneuve could even take some of their discoveries and weave them into Hans Zimmer’s score, producing a holistic aural experience where the percussive music composition and pervasive sound design can sometimes be mistaken for one another.
And much like a band, the sounds of “Dune” benefited from some intriguing vocalists. To create the Voice, a persuasive way of speaking that allows Paul and his mother (Rebecca Ferguson) to draw on the power of their female ancestors — a witchy order called the Bene Gesserit — Villeneuve and his sound team cast three older women with smoky, commanding voices, then layered their line readings over those of Chalamet and Ferguson.
– Kyle Buchanan, NYT
One of the older women with a smoky voice? Marianne Faithfull.
Anamorphic Tesla
“I made from washing machines, televisions, computers, radios, printers, microwaves, videos, speakers, lamps, and various electro appliances portrait of Nikola Tesla, without his invention of alternating current would have none of them could work. This anamorphosis is 3D installation with the resulting 2D effect.”
– Czech artist Patrik Proško
New Spoon!
Man, these guys are timeless. Lucifer on the Sofa is available tomorrow!
Karen Dalton?
Never heard of her, but I’m intrigued! In theaters October 1, on digital November 16.
Blues and folk singer Karen Dalton was a prominent figure in 1960s New York. Idolized by Bob Dylan and Nick Cave, Karen discarded the traditional trappings of success and led an unconventional life until her early death. Since most images of Karen have been lost or destroyed, the documentary uses Karen’s dulcet melodies and interviews with loved ones to build a rich portrait of this singular woman and her hauntingly beautiful voice.