The pool scene in the original Let the Right One In was amazing. I kind of want a loop of iconic vampire bloodshed scenes; that, the bar scene from Near Dark, the beach party massacre from Lost Boys, the opening taking of the town from 30 Days of Night, that sort of thing. Oh, and the opening 15 minutes of The Hunger, of course.
You know, that really shouldn't be too hard to pull together. You could probably grab all those iconic scenes off YouTube then combine them on iMovie or some such.
Or, you know, rip the scenes off the DVDs and put them together. But the former strategy is a little more within my range.
Doesn't Ple have a bunch of video editing stuff around the house? And a husband with two thumbs and professional televideo skills?
Mind. Blown.
Apparently he's going to be playing General Zod. Kneel before him!
Kickstarter project involving a couple of Whedonverse actors.
Kickstarter project involving a couple of Whedonverse actors.
Dollhouse reunion! I didn't know Enver was in The Avengers.
Just got through the Avengers article in Entertainment Weekly, from last week (or the week before) and DAMN if Jeremy Renner isn't looking a whole lot like Nathan Fillion in the stills they had. Like an eerie resemblance.
I love Jeremy Renner.
I just thought you all should know.
You could probably grab all those iconic scenes off YouTube
Well, you can't find the pool scene, because I looked!
Well, you can't find the pool scene, because I looked!
Yeah, they pulled it from YouTube. (Though it's still one of the most popular searches.)
you can see the pool scene here, though
Really interesting, rather atypical filmmaker interview with Tomas Alfredson, director of Let the Right One In.
He was a rock drummer for 10 years! His dead was a famous comedy director!
I noticed the visuals are very important in your film: the snow landscapes in the forest are stunning, for example. What influences your visual choices?
I am very tired of hearing filmmakers talk about other films like visual cannibals. When my crew and I discussed the look of the film, I tried to get into it through Renaissance painters: namely, the lightning, the composition, how the eyes meet the viewer.
I was especially inspired by Hans Holbein, the Dutch painter who painted at the British court in the 1500s. In his paintings, the people are looking slightly out of frame or under the frame. We worked a lot with the angles of the eyes to create a strange feeling.
As for the forest scenes, I was influenced by Raphael's painting from the Vatican, his way of treating white. He uses it really effectively, a deep grey tone with lighter grey tones. Snow shots can be very flat and ugly. I achieved the right color for the snow by having all the lighting come from very far distance, from a forty-foot distance above, so it is very soft. We invented a name for it: "spray lighting."
I also thought this was really good advice for any kind of artist:
What is the most important skill for a film director?
Part of being a filmmaker is to know that any decision is better than the wrong decision or the right decision. The set designer comes with a blue cloth or green cloth. What is best is just making a decision. You can always change the decision later.
