Hacker Cinema
Blow-Up
1966 · Film · 111 min
Directed by Michelangelo Antonioni
A successful mod photographer in London whose world is bounded by fashion, pop music, marijuana, and easy sex, feels his life is boring and despairing. But in the course of a single day he unknowingly captures a death on film.
2 positive5 neutralfrom 7 commenters
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8 comments on Hacker News
"The counterfeit man" episode (they show a picture) stars David Hemmings who went on to star in "Blow Up" with Vanessa Redgrave in 1966, and in 2000 was a dissolute political player in "Gladiator" alongside Russell Crowe and Oliver Reed. He had an amazing career acting, directing and producing. He died in 2003.
https://en.wikipedia.org/wiki/David_Hemmings
Here are the Yardbirds with Jeff Beck and Jimmy Page in the classic 1966 film Blow Up. Beck smashes his guitar while Page looks on.
https://www.youtube.com/watch?v=jSJGEn4FDys
+1 for The Conversation, an underated, gripping, and creepy movie that is underrated indeed and that I came to watch or even know about only last year (featuring a really young Harrison Ford btw). It's ahead of its time, yet also vaguely reminiscent of 1960's avantgarde movies like Blow Up. I also loved Hackmann's comedy performances, like in French Connection II and in The Birdcage. RIP
Solaris (2002), Soderbergh's love story in space, is one of my favs. (I watched the Russian adaption and didn't have the same reactions) The plot of human inner life juxtaposed with non-Terran nature flips the script for antagonist--the enemy is within us and humans did not evolve to be in space. Cliff Martinez's soundtrack is, for me, right up there with Vangelis or Tangerine Dream.
There are a number of movie directors who really deliver a cinematic experience and mess with your head: David Cronenberg, Terry Gilliam, David Lynch, Quentin Tarantino, to name a few contemporaries. I return to a handful of their films again and again. Many very re-watchable.
I think it's worth adding here a few playwrights who have made films scripts: Stephen Poliakoff and David Mamet.
I want to shout out to a classic director: Michelangelo Antonioni. He flipped my lid. He really captures something for me with his cinematography and the quiet emotional tension he gets from his actors. Blow Up (1966), LaAvventura (1960) are my favs.
Here are the Yardbirds with Page and Beck together in the classic 1966 film Blow Up. Beck smashes his guitar while Page looks on smiling and keeps playing.
https://www.youtube.com/watch?v=jSJGEn4FDys
The New Hollywood era is generally considered to begin with 1967’s Bonnie and Clyde, following the accidental but hugely successful US mainstream release of the 1966 British film Blow Up. Kubrick’s career straddles the eras, so he doesn’t belong to the young crop of new directors, e.g. Scorsese, Mallick, Coppola, Spielberg, that defined the movement, but I think it’s fair to say Kubrick’s output from the late 60s onward, to include 2001, absolutely leveraged the creative freedom studios were relinquishing to directors and writers.
The question of data collection could use a little reverse consideration: what could Audacity possibly collect that would be of interest to law enforcement? The only thing I can think of is IP address with a timestamp (which I'm not sure would be admissible as evidence anywhere) given their current stance, or....more? They want to add video so they have to be prepared for e.g. pedo interest? The circumstances in the movie "Blow Up?" I really can't think of anything from the real world.
Beyond that, there's nothing that requires them to allow for this in their TOS. There's no loose end by not including it; it's not a 't' to be crossed or an 'i' to be dotted.
I'm eager to be corrected, but I just don't see why they'd need to change the TOS at all except to replace some ownership info.
>No, it's a problem of target audience. If you produce films for a Dutch audience, you have two options: either appeal to a sense of Dutch pride or history, or go for something so generic that a decent swath of the population will like it; otherwise you won't have enough of an audience to make a profit. This is what they do, so Dutch films are generally about about our navy in the 16th to 18th century, about WWII, a romcom or some adaptation of a Dutch Children's book. You cannot locally produce a film about something which lies outside of the realm of interest of most Dutch people; Hollywood can, since they have a larger audience, and therefore do have the ability to target niche markets.
Well, EU has 400 million people. One can very well create a movie that appeals to EU audiences. We have lots of shared sensibility and modern problems and history (and it doesn't have to be BS like "16th century dutch navy" or "17th century french villagers").
Movies like Blow Up or Dolce Vita or For a Fistful of Dollars etc where shown successfully all over Europe at one time (and we still have films by people like Lars Von Trier, Almodovar, and so on).
Just because you make something that has a Dutch or Swedish or French etc sensibility, it doesn't mean it can't have pan-European (or even global) appeal. Trainspotting is as British as it gets, for example, but hit Europe big, as did La Haine, La vita e bella, Amelie, and others.
Besides, not all movies have to be blockbusters and multi 100 million dollar productions. Even from the US, I'd rather have the chance to watch some Hal Hartley or Jarmusch, or Cronneburg, that barely pushed 5-10 million dollars in the box office than the nth repeatitive formulaic shit from Hollywood.