The Taking of Pelham: Then and Now

by Bob Fisher | Published Jun. 10, 2009

The more things change, the more they stay the same. That's not a bad subtext for a conversation with Owen Roizman, ASC and Tobias Schliessler, ASC about The Taking of Pelham One Two Three. Roizman shot the original movie in 1974; Schliessler lensed Tony Scott's contemporary version (actually titled The Taking of Pelham 1 2 3), which opens on June 12, 2009. The stories and visual grammars are basically the same: Hijackers take control of a New York City subway train and demand a hefty ransom in exchange for the safety of the passengers. Both films were shot in widescreen 2.4:1 aspect ratio, mainly in dark and narrow spaces on subway trains, station platforms and tunnels. The subjective point of view augments the feelings of rising tension as the story unfolds. (No comments yet)

DV is No Fad, and Neither are the DV Awards

by Mark Hurley

In 2003, Martin Rhodes knew the world of video production was significantly changing. That's why he created the DV Awards, an international competition awarding video producers of all kinds for excellence in digital video recording and editing.

Joseph White Aims and Shoots for Repo! Men

by Kyle Rupprecht

Arriving in theaters on November 7th, Repo! The Genetic Opera is a true original—a "science fiction horror rock opera" that is sure to be unlike any other musical you've ever seen. Directed by the Saw series stalwart Darren Lynn Bousman and based on a play by Darren Smith and Terrance Zdunich (who also wrote the script), the movie takes place in the not-so-distant future, when an epidemic of organ failures devastates the planet. Biotech company GeneCo emerges, offering organ transplants for a price. So how do you mix science fiction, horror, opera and Paris Hilton? Any way you'd like, says cinematographer Joseph White.

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50 Best Websites for Moviemakers 2009

by Jennifer M. Wood
The Internet offers moviemakers a unique opportunity for sharing their work with the world. But distribution is not the only way the Web can assist aspiring and seasoned auteurs alike. From pre-production through post, millions of Websites help today’s cinema artists further their careers. How can you separate the best from the rest? For starters, you can use our second annual roundup of the 50 Best Websites for Moviemakers. (15 comments)

Slumdog Millionaire is Top Dog at 2009 Oscars

by Jennifer M. Wood
As predicated, Danny Boyle's little-indie-that-could, Slumdog Millionaire, took home the most awards at last night's Oscar ceremony, claiming eight Golden Guys in all, including those for Best Picture, Best Director, Best Cinematography for Anthony Dod Mantle, Best Editing for Chris Dickens and two nods for its music, one for Best Original Score and the other for Best Original Song.

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Bringing The Spirit to Life

by Mallory Potosky
With technological breakthroughs and inventive storytelling, Frank Miller is making sure that the innovative spirit of his friend and mentor Will Eisner lives on in his latest directorial effort. (5 comments)

Kung Fu Panda Drop Kicks the Competition

by Jennifer M. Wood
Seems like all those promos must have paid off—first at Cannes, then the TV commercial onslaught—as Kung Fu Panda kicked some serious butt at the box office over the weekend, out-grossing Adam Sandler's new film, You Don't Mess With the Zohan, by 50 percent. The animated action flick, featuring the voices of Jack Black, Angelina Jolie, Dustin Hoffman and Jackie Chan, took in $60 million over the weekend—while Zohan earned $40 million.

Harrison Ford and Shia LaBeouf's Indiana Jones and the Kingdom of the Crystal Skull held strong in the number three position with $22.8 million, while last year's surprise topper, Michael Patrick King's Sex and the City, saw a more than 62 percent decline in ticket sales, with a weekend total of $21.3 million. (8 comments)

Lights! Camera! Geritol!

by Christian Toto
Today’s stars keep themselves in better shape than ever before, and audiences seem to like that. In fact, box office receipts for recent flicks featuring some of our favorite aging action heroes are so encouraging that studio execs are practically rubbing their hands together in anticipation of the new Harrison Ford (Indiana Jones and the Kingdom of the Crystal Skull) and Sylvester Stallone (Rambo) vehicles. Stallone certainly didn’t hurt himself when his more famous screen persona—Rocky Balboa—earned critical acclaim and a respectable $70 million in last year’s titular blockbuster, chasing doubts that the actor-director was simply giving himself a starring role in order to slow a career slide.
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