“The most beautiful thing we can experience is the mysterious. It is
the source of all true art and all science. He to whom this emotion is
a stranger, who can no longer pause to wonder and stand rapt in awe, is
as good as dead: his eyes are closed.” - Albert Einsten
Title: Play-Doh Director: Darren Walsh and Juan Cabral Type: Advertisement
Every so often a certain advertising campaign comes along that transcends marketing. Sure, it's all advertising and the bottom line is still money; however, this does not negate the artistic possibilities of visual communication. The "Bravia Play-Doh" (Bunnies) ad is Sony's third installment to their LCD television campaign. Each ad focuses on the beauty and brilliance of colour (it has primarily remained a European campaign) while elevating the creativity level amongst T.V. advertising along the way. (See Bravia's "Bouncy Ball" ad if you doubt.)
The latest "Play-Doh" creation (below) continues this tradition by revealing a convergence-of-sorts of still and live motion. This is done primarily through the use of claymation - involving over 200 bunnies, 150 cubes, a giant 30 foot rabbit and a 20 foot tall purple wave - all made from 2.5 tonnes of plasticine. Shot in New York City, it took over 40 animators three weeks to obtain over 100,000 stills - all for a mere 90 seconds of viewing pleasure. Darren Walsh headed the animation process alongside production house Passion Pictures. Music has played an integral role in the Bravia series and Sony has chosen the Rolling Stone's "She's a Rainbow" to accompany the bunnies' travels through NYC.
Whether you "wanna revolution," need to cheer up your friend Jude, or hope to find out if you're a walrus, Across the Universe has enough Beatles songs to make a cover band envious. While director Julie Taymor's latest film has been met with comparisons to Moulin Rouge, the only similarity is the use of preexisting song material and the simple fact that both films are musicals. Across the Universe is a musical film based entirely on the music of the Beatles-and as the Beatles would agree, it's all about love. And if love songs are the undoing of this world, then the message of Across the Universe will undo all across every city, border, and, of course, the universe.
Across the Universe brings the spectacle of the stage to a tormented ‘60s that doesn't know how to cope with war and civil unrest. What better way to reflect this inner and external turmoil than to highlight the ‘60s ambiguous need for love. Despite differing views about politics, social change, sexual confusion, and mind expansion, "all you need is love." We might not know how to change the world, but we know we need love, and until we can truly vocalize the specifics of that love, we'll keep speaking in broad terms.
Almost a year ago, I saw a preview of the powerful film, TRADE. It is based upon a New York Times investigation by Peter Landsman, about the horrors of sex trafficking entitled "The Girls Next Door". An avalanche of controversy followed, questioning the veracity of Landesman's reporting. Amidst all the claims of journalistic license or excess, the victims of the sex trade were tragically lost. Evidently, we'd rather argue about how many sex slaves their might be than get involved in stemming the tide.
The cinematic version of Landesman's article, TRADE, arrived at the
2007 Sundance Film Festival with a fair amount of anticipation. Written
by acclaimed Motorcycle Diaries scribe, Jose Rivera, directed
by young German filmmaker, Marco Kreuzpaintner and starring Kevin
Kline, TRADE looked to be an early contender for serious, important
film of the year. TRADE's distribution company, LIONSGATE, rode an
equally small, independent film like CRASH from the Toronto Film Festival to an Academy Award for Best Picture. Would lightning strike twice for Lionsgate?
Title: Det Snurrar I Min Skalle Artist: Familjen Director: Johan Söderberg
Do you know who won the Oscar this year for achievement in film editing? Well, of course you don't. Neither do I. (Okay, now I do.) Though editors rarely receive their props, they are an integral and crucial aspect of any film piece. Editors are often responsible for the visceral "feel" within a film. This comes via attention to timing, placement, and juxtaposition alongside the dialogue and soundtrack. Endless hours of footage are sifted through and perfectly placed in order to create the perfect moment. There is no question its validity as an art form.
Title: Ness (Miracle) Artist: Rona Kenan Director: Adam Bizanski
Oppression. It has defined various people groups and individuals throughout history. It is derived from the very idea of being "pressed" or pushed upon - the precursory act to being burdened or weighed down. It aspires through power over the powerless. Its reality goes against our very being.
Liberation. It coexists with its adversary. It embodies effort, release, and freedom. Its yearning is ever present.
Ness. "Ness" is the Hebraic term for miracle. Immersed between the realities of oppression and liberation, "ness" exists as both a desire and a possibility. A word in which its very meaning gives hope a reality.
