Le studio français Fink a récemment dévoilé son showreel 2013 résumant avec talent et dynamisme les différentes réalisations de l’année 2013. De belles références diverses et variées démontrant une maîtrise des effets visuels et de la 3D. A découvrir en vidéo, sur la bande son de Nosaj Thing, dans la suite de l’article.
Pensée pour promouvoir The Young Director Award, un prix soutenant les talents créatifs dans la production de films depuis 1998, cette vidéo « Whisper » imaginée par Gioacchino Petronicce et produite par Moonwalk Films est une magnifique création utilisant le langage des réalisateurs dans des situations enfantines.
by Andrea DiCenzo Best known for their daring performances as school friends in the 2001 Mexican hit “Y Tu Mamá También” (And Your Mother Too), actors and filmmakers Diego Luna and Gael García Bernal have championed in a new generation of Mexican cinema to unprecedented critical acclaim. Two of the…
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An interactive digital woodland at London’s Tate Modern
Having won the hearts of music fans and artists alike with the wonderful co-creative spirit of “The Johnny Cash Project” and their digitally groundbreaking video for Arcade Fire, “The Wilderness Downtown,” Chris Milk and Aaron Koblin (head of the Data Arts Team at the Google Creative Lab) have joined forces again for a new project called
“This Exquisite Forest.”
Drawing on the overwhelming response they received in the frame-by-frame drawings that created their Johnny Cash video, Milk and Koblin are now broadening the scope of their creative partnership by offering a digital game of consequences to the global online community. This project takes the form of a new web platform where people can evolve each other’s drawings frame-by-frame into new animations.
The title of the project is inspired by the Surrealists’ game of consequences, called “The Exquisite Corpse.” Suitably, this week’s project launch was hosted by Tate Modern in London, in a gallery filled with 20th-century masterpieces. A large interactive screen in an annex of the gallery allowed visitors to navigate “This Exquisite Forest” with a handheld laser device, which, when pointed at the wall, triggered new animations to spring forth from the branches and leaves of the trees.
The initial seeds of the project have been sown by eight artists chosen from the Tate’s own collection. Dryden Goodwin, Olafur Eliasson, Bill Woodrow, Mark Titchner, Julian Opie, Raqib Shaw and Miroslaw Balka have all contributed work, creating an archive of drawings that the public can then appropriate and change according to their own taste. People from around the world can add their drawings online, while London locals can do so in person at the Tate Modern, where a bank of interactive screens are available for visitors to make their creative contributions to the project.
We spoke to Aaron Koblin about having his work in such a prestigious museum and how the project has grown and changed with the involvement of his collaborator, Chris Milk.
I’m thrilled, this space is amazing. It’s a bit intimidating actually, but it’s a beautiful and wonderful space to be in. We’ve put so much time and effort into putting this project together, so it’s a bit surreal to be standing here and see it finalized and ready for people to do whatever it is that they do with it. It’s an exciting moment. Tomorrow we’ll open up the website and see what people do.
Chris and I worked on a project called “The Johnny Cash Project” a couple of years ago, and in that project we saw people really wanting to express themselves more and take it further. So we thought we should build something that empowers them to explore their creative potential together. And that’s what this project is.
When Jane Burton (Tate Media Creative Director) reached out to us shortly afterwards and asked what we could do together with the Tate, then we knew this was a great opportunity to let people express and explore in a totally different way. To see what happens when you use the internet to allow them to connect in a way that I don’t think people have in the past. Random strangers exploring ideas in a really visual way.
I guess it is. I have unofficially been involved in some of Chris’s physical installations in the past. I’ve been helping behind the scenes, but this is our first physical collaboration.
This project is more complex in a lot of ways. It’s very open ended so people can really do all kinds of things with it. And it also has this physical component as well as the interactivity. It’s a bit like YouTube combined with Google Docs combined with a social network—it has a lot of aspects to it. So it’s been a different way of thinking and a much bigger experiment.
I think we’ve only gotten better at communicating. There’s very little held back. Which sometimes is brutally honest, but also very valuable and it makes the iteration process very quick. We can openly discuss things and come to conclusions pretty quickly.
Since we’re both in California it’s not too bad. Sometimes Chris drops into San Francisco for the day, or vice versa. We’re in the same time zone so video conferencing is really easy. It’s definitely a less traditional process where we’re not in the same room that often.
It’s been an interesting fusion. I think working at Google has been great. They are amazing people with great resources. I’ve been able to use that opportunity to create some pretty exciting art projects. We’ve just been having a lot of fun really. There’s so much cool technology and so many interesting uses for it. So we really experiment with the potential of the web and see if we can’t push these technologies to their limits in weird ways to see what happens. So it’s a pretty dream job, for a nerd who’s into art.
Sweden’s legendary video director talks story-to-screen at Liberatum’s recent stop in Berlin
Liberatum, the global series of summits and seminars that celebrate creativity in its many forms, made a stop in Berlin to celebrate the opening of the new Soho House apartments. The program brought together great minds and big names like Stephen Frears, Jonas Åkerlund, James Franco, Kim Cattrall, Marianne Faithfull and Carmen Dell’Orefice to discuss their respective areas of expertise in film, music and fashion. Curated by Britain’s industrious young entrepreneur Pablo Ganguli, Liberatum focuses on connecting leading cultural minds in major cities of the world.
Soho House Berlin has opened 20 apartments for short-term or long-term living in its historic building in Mitte, the rooms adding more booking options to the in-demand accommodations in the massive building. Guests are treated to hip Berlin living while enjoying first-class service and access to all Soho House amenities such as a pool, spa, room service and full-size Cowshed products in the bathrooms. Soho House Berlin plans to launch more housing options in the upcoming year, including a handful of sprawling loft apartments.
Liberatum made full use of the various spaces to host the summit. In addition to artist talks, dinners and general enjoyment of Soho House’s lush cocktail spaces, Liberatum screened recent work from the directors, including “Tiny Apartments,” Jonas Åkerlund’s third feature-length film. The Swedish director is best known for making iconic videos for 25 years for the likes of Prodigy’s “Smack my Bitch Up,” Lady Gaga’s “Telephone,” Metallica’s “Turn the Page,” Madonna’s “Ray of Light” and “Mein Land” by Rammstein, a band he frequently collaborates with when in Berlin. As of late, Åkerlund has been increasingly focused on longer-form storytelling. “Small Apartments“—a black comedy set in the less-glamorous side of Hollywood—premiered this year at SXSW.
Åkerlund, who got his start as a drummer in the Swedish black metal band Bathory, can trace his signature editing style back to his own drumming style. With quick cuts or sped-up characters, Åkerlund believes the story is best told through the editing process. He still takes a very hands-on approach to editing, working late into the night once the shooting wraps.
He explained to a gathered group in the Soho House’s Red Room how his skills in making music videos and commercials translated into longer works. “You use everything you can to make an impression in a very short amount of time,” he said. “Of course, if you translate that into a movie it becomes very in your face. I have that in my blood. There’s no other way I can do it.”
The talk ended with a screening of Åkerlund’s nine-minute video for Duran Duran’s “Girl Panic.” “The video reunites the world’s top supermodels, Naomi Campbell, Helena Christensen, Cindy Crawford and Eva Herzigova, to play Duran Duran in a typical night of concert and behind-the-scenes debauchery. Åkerlund explained that he is often influenced by fashion, because it’s an industry where trends change by the minute.
Åkerlund reminisced about the early days of music videos when the brief was to simply break all the rules and do whatever necessary to get attention for the band. Then with shows like “Total Request Live,” that changed to do whatever necessary to get a spot on the charts, thus copying the other videos. Today, with the rebirth of the Internet, where the music video is used less for pure promotion, the allowance for creativity is coming back in a big way. Åkerlund is focused on the stories to come, long and short. “The first 10 years are the most fun,” he said. “Everything is fun. Then it loses its fun. Then your body of work becomes what you’re most proud of, and you keep working.”
A beautiful video done by Danish painter-turned-director for IKEA. They must have footed a pretty serious travel bill, shots from all over the world. You can watch it, along with some of his other work here.
via: Esquire UK
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